Maybe I'm an old man, but I don't think it is unfair to say that if one would flip the radio dial to a country station at any time in the last 5-20 years, the product may have been broadly identifiable as country only in contrast to the hip hop station. To an educated ear, it was very difficult to discern any recognizable evolution or transmission of any 20th century country music tradition. The stars of the mainstream, like Keith Urban or Taylor Swift, pulled from contemporaneous pop rock into an intoxicating mix that appealed to the ears of listeners all across the country. The bro country movement continued the formula as they pulled from hard rock and hip hop. The further the product moved from the heritage of country, the more the dollars rolled in. Kudos to Nashville on finding an avenue for revenue. I don’t begrudge the hustle.
Even to a fan like myself, who isn’t opposed to pop country per se (this is a newer development, perhaps worthy of further examination at some point), there was something crucial that was lost. Country music, even in its most pop or rock heavy forms, always maintained ties to the music of the past. The past kept the present in check enabling a slow transition and transmission of the country tradition. Seemingly that chain was largely snapped in the mainstream of the genre. Personally, I felt that the shift was somewhere about 2005 although many would insert differing dates.
To the progressive country fan (not politically, but in temperament), nothing could be better than the stale musical community of Nashville embracing new sounds. There is truth to that sentiment. All throughout the history of country music, new techniques and instruments have been added to the genre in a synthesis of new and old. In many ways, the formerly transgressive and innovative ideas of one generation become the following generations' traditional backbone. Look no further than the enigmatic Sturgil Simpson. Upon release of his Metamodern Sounds in Country Music, he reflected on the debt this project owed to Ray Charles and his classic album Modern Sounds in Country and Western. All the traditional old head types nodded along and were grateful that even in the second decade of the 21st century, the great contributions of Ray Charles were not only not forgotten, but even being used as inspiration for current day music. The irony or hypocrisy (which is really a matter of perspective isn't it?) is if the old heads were 50 years older, we probably wouldn’t have taken such a sheen to Modern Sounds. It’s a very “pop” crossover record. Charles draws so much on his soul background that putting the reality of the songs being primarily country songs in origin, it sounds very similar to a regular Ray Charles album (which is to say absolutely fantastic and very worthy of a thorough listen even all these years later). It did great work in reaching non country audiences and exposing them to a world of music they may not have heard otherwise, but that’s not dissimilar to the defensive arguments we hear nowadays about Sam Hunt sampling Webb Pierce accompanied with janky trap snares.
From the traditional standpoint, a differing perspective would be offered and via comparison of the two approaches, we can come to a greater understanding of the issue. Taking the Sturgill example from above, his valuing Ray Charles contributions to the genre and emulating that in his own music doesn't mean that somehow Ray Charles or Sturgill Simpson are Hank Williams incarnate. What Charles did so well was the fusion of genre through his artistry. He understood what made these genres tick, fully absorbing the ideals of each genre, then via the sheer mastery of his musical talents combined them into an elegant cohesive language. Certainly that isn't wholly country music, but it deeply resonates with a traditional country fan who is steeped in those ideals. A properly melded fusion project can bring out the finest within just as a dedicated genre project can do. Yes, it's a more holistic view towards the crossover material the blustery trad fan claims to hate passionately, but it's a realistic view of what the actual appeal of evolved country music is. No educated traditional country consumer actually thinks that Alan Jackson sounds no different then Fiddlin’ John Carson did. What they appreciate is the slow growth and updating those sounds that Carson originally brought to the recording studio have been developed and matured upon by artists, such as Alan Jackson, who respect, appreciate and imbue their music with the sounds and themes of the genre as it was. As the unbroken chain gets passed along, more links are added, and they all enhance and expand the tapestry of this beloved genre.
This idea seems to be what has been lost on the airwaves. It isn't that the pop country material being made was significantly more poppy then other crossover periods. Maybe it was or maybe it wasn't. I don't have access to a mythical objective countryness evaluator tool. The issue is more philosophical. It lies in the ruined fusionist mentality. The connection to the metaphorical unbroken chain is snapped. The aim is not to artistically meld, say, the rhythmic energy of rockabilly with the stark guitar strumming and down to earth storytelling of country à la young Johnny Cash. There isn't any understanding or honest attempt at actually connecting and melding together the varying sounds, influences, connotations, and all the myriad of unique elements that the various genres bring to the table. Any country instrumentation added to these songs seem to merely be stapled on to grant entrance onto the hallowed rural airwaves, and all the beer, fishing tackle, and pickup truck advertising dollars that come along with that status. Steel guitar, an incredibly versatile instrument which has been used in innumerable ways to voice the desires, sorrows, and heartfelt emotions of country music singers and enjoyers throughout the generations suddenly fell out of favor as a harmonious instrument. The only time it makes an appearance is to occasionally show up for a split second during a bridge as a quick reminder of the countryness of the song. If you blink, you miss it. Brett Young's hallmark special In Case You Didn't Know is a textbook example of this usage case.
With this being the reality of the day, it is no surprise that many throw up their hands in despair. “Country is dead!” they proclaim as they dive into the near endless back catalogs of classic singers of yore. With nothing worthy being produced, it is only logical. Why bother wading through piles of nonsensical claptrap when there is plenty of enjoyable material from beloved artists to still enjoy?
I don't have the answer. All I can say is that for a a specific kind of soul, the joy of discovery simply tickles part of the brain in a way that the expected delight of a classic album just can't do. Some thrifty souls dig through dusty second hand stores searching for that one last thing they need to finish up their house decor. It could take hours upon hours of unfruitful searching, but that is part of the journey. Others just go to Amazon and within 2 two clicks, all is taken care of. Some souls need the investment for the dopamine hit to reach the fullest. Others are satisfied with the stability and assurance. To each their own.
I personally fall more upon the discovery side. The thrill of finding something unexpected and delighting in beating the odds is exhilarating. I have an unusual twist on this formula however. Unlike many others who grew up with country music as the soundtrack to their youth, I wasn't exposed to as much country as a child. Consequently, more music is “eligible for discovery”. I could stumble across a song like, for example, Collin Raye's classic ballad Little Rock, and be astounded by the depth and delicacy with which it handled the song's subject matter. I never heard a Collin Raye song before and have yet to listen to another. To me, it easily could have been a deep cut or a number one hit. The thrill of stumbling across that nearly thirty year old song is just the same to me as discovering a fresh track on my Friday release radar.
Honestly, that is a slightly tangential point to the thrust of what I am aiming for in this post. I just thought it provided some useful background into the following paragraphs. It also explains why a recent discovery of mine that I wrote about on the blog may easily be from different decades than you might expect.
Here are some recent albums I have recently discovered that embody the ideals of synthesis as I envision them. This doesn't mean that these are masterpieces of musical art. The focus isn't on the totality of the project. What we are looking for here is fusion projects that embody the genres that are melded into one distinct new sound. That is the sole criterion. That is how something can both be non genre, but also clearly part of the chain. I have three albums that came to mind.
High Valley is a band, formerly headed by two Canadian brothers Brad and Curtis Rempel, now headed as a solo act by Brad. Their sound has oscillated throughout their history, but they seem to have really landed on a signature blended sound on the 2016 album Dear Life. Bluegrass and EDM seem as far removed culturally from each other as any other genre pairings I can think of. However in retrospect, and a few Avicci songs later, they may not be as far off musically as appears. The generally brighter tones and high tempo energy make for potentially rewarding partners. This album aims to bring the two genres together. The high octane frenetic energy of EDM meets the brotherly harmonies and lightning quick picking of bluegrass. The brothers clearly have an appreciation for a more organic instrumentation core, but the merger and experimentation with synthetics and modern pop textures yield high energy bops that have the passion of dance music and the layered complexity and personality of bluegrass. It adds up to an intoxicating mixture that the standard plastic pop-country mix just doesn't conjure. Even the more standard 2016 era popco tracks on the album maintain the harmonious vocals and rooted banjo picking that gives delicious three dimensional depth to the project. As an overall project, the album is held back by the writing. It is pretty bog standard radio writing. Large on vague platitudes and short on sturdy firm details that you can actually hang your hat on. Nonetheless, the execution of this unique vision remains a compelling narrative that keeps me entranced whenever I return to the album.
Blues, rock, and assorted other country and roots genres often get lumped into a rootsy mash barrel and labeled as being of the same family. There is truth to that. In the primordial distillery of 1920s Appalachia, genre distinctions weren't strong and old time music was just a general appellation applied in generous pours to any musical product emerging from the region. However, as things developed- the specifics of which we will shunt to the siding for the moment- clear lines defined themselves. Of course the lines were blurred but as a general rule, genres were clearly identifiable. The artists that live in the fringe are of peculiar interest to me. Existing in the remains of the southern rock scene, but heavily pulling from the blues tradition, and country culture and songwriting, these artists create something neither hither nor thither. Not blues, nor southern rock, nor country, but something that is both all and neither.
I can think of no better artist to exemplify this than Drake White. He released an independently produced EP entitled Stars in 2020. It exists in this murky world of rock, blues, and country. His craggy bluesy tone can turn on a dime and transition into buttery smooth crooning in a way that intimately fits the style of music being presented. Whether the whimsical rock in My Favorite Band, the reflective countryness in the ballad All Would Be Right With the World, or the bluesy ode to country music's beverage of choice in Mix It With Whiskey, White finds the exact blend of each genre needed to bring out the song's finest qualities. His blended styles smoothly flow with each other, the lines evaporating in the wake of White smoothly cruising along the river of song that defines this tightly captained project. It may only be five songs long, but I have rarely found an EP that is this tight and well executed.
In 2005, Kenny Chesney was on top of the country music world. He had fully transitioned into his beach bum persona, wholly shedding his original good ol’ Tennessee country boy look for the sleeveless cowboy in the Caribbean vibe he is now synonymous with. With the success he had, the public lapped it up. At such a stage, often the next move is for the artist to coast on his success. Chesney did in fact succumb to this impulse only returning to well rounded artistic output with Hemingway's Whiskey in 2010. However, before he slipped, he released an entire concept album, outside of his radio cycle driven releases, tightly hewing to the themes of the Chesney philosophy. One part Jimmy Buffet, one part grateful country singer, it added up to a revealing glimpse into the soul of Kenny Chesney. It answered questions. What was the appeal of the oceanic beach lifestyle to a Tennessee boy like Kenneth Arnold Chesney?
Guitars; acoustic, steel, Spanish, and light touches of electric anchor the project firmly on the country side of things. The accompaniment of steel drums, tambourine, shaker and other ocean and beach influenced instruments bring the “exotic” and unfamiliar to the project. Chesney comes off as a person who has wholly immersed in the holy waters and has emerged a changed man. Serious and self aware, with a dash of whimsy and wry wit to bring out the depth of character that the watery setting opens up in his soul, this passion project brings together all the myriad factors that made Kenny Chesney fall in love with the beach lifestyle. It's not just the appeal of empty escapism. It's the allowance to connect with himself and his soul that makes the lifestyle so attractive and Chesney devotes 13 songs to analyzing and praising this way of life and the benefits (mainly peace of mind) it brings to both his own life and innumerable others. I'd argue it's his finest work. No other album has the different musical and character elements of Kenny Chesney connected together as well as this album. It juggles Tennessean country and Caribbean/Jimmy Buffet into a clearly defined sound which uses both genres greatest strengths to effectively build a conduit for processing and transmitting deep emotion. That is, after all, the whole purpose of music.
Fin
Thanks for reading. Sorry for the long hiatus. Life knocked me firmly on the rear and this is another step towards me getting all the pieces back together. For any feedback please leave a comment or reach out at Todayiheardblog@gmail.com. Please share this with a friend or three. Have a great weekend!