The 9513 - Country Music Blog

In his post $10 Ticket Specials, music industry insider and blogger Bob Lefsetz wondered if the current centralized concert structure is still relevant:

Furthermore, one can ask whether Live Nation’s business model works at all. Does centralized buying of national tours deliver good results? Or do you need a local promoter, who knows the marketplace intimately, what competing shows are coming into town, what drains money from the marketplace. Only the grandest of the grand, and that seems limited to GaGa and Swift, can appear any night at any price. Everybody else is scrapping for dollars.

A recent article on Live Nation’s large dips in sales in the shadow of the overall economic pace may show Lefsetz is on to something:

In particular, the downturn has spelled trouble for Live Nation, the country’s biggest promoter of live music, which informed investors earlier this month that the company’s adjusted operating income for 2010 is projected to drop by $40 million, or nearly 10 percent below last year’s, despite a merger with Ticketmaster that enhanced Live Nation’s market position. U2’s tour postponement alone will cost the company $6 million. And Live Nation said it expects a further 15 percent income drop for the top 100 tours in the second half of 2010.

Still, despite all of these reports, it seems country music is exempt, reports The Tennessean:

“There’s not a single country artist out there that’s not doing well,” said Clarence Spalding, manager for up-and-comer Jason Aldean and for Brooks & Dunn, currently performing their farewell Last Rodeo tour after 18 years in the business.

“A lot of acts out there from the pop and rock side are getting the crap beat out of them, and a lot of it’s about the high ticket prices,” Spalding said. “I don’t think you should look at it like we’re not making money from the record business so, in turn, you need to jack up ticket prices. If that’s your strategy, it’s not a great strategy, and it’s going to turn away fans.”

What’s your take? With all of the problems Live Nation is facing, what has kept country music tours from feeling the pinch?

• In case you hadn’t heard, Rascal Flatts signed with Scott Borchetta and Big Machine Records, the home of Taylor Swift.
• Farce the Music had a few things to say about the new Rascal Flatts album cover.
• People posted the audio for all six songs on Blake Shelton’s upcoming “six pak,” All About Tonight. Among the included songs is a duet with fiancée Miranda Lambert on “Draggin’ the River,” and Shelton’s take on “Who Are You When I’m Not Looking,” which appeared on a previous Joe Nichols album.
• As a token of his appreciation, Josh Gracin is giving away an EP of previously unreleased songs on his site, which includes: “Give Us Tonight”, “Lead Me Home,” and “Loves Lullaby.” (via Country Music Tattle Tale)
• Actor Jeff Bridges played a country singer in last year’s film Crazy Heart and Gwyneth Paltrow plays a country singer in the upcoming release of Country Strong, now word has it that Russell Crowe will take his own turn at playing a down and out country singer in the film adaptation of the novel Dirt Music. Director Phillip Noyce thinks Crowe, who will write his own material, will surprise a lot of people.
• The nominees for the 2010 Canadian Country Music Association Awards have been announced. Gord Bamford (MySpace) leads all nominees with six nominations.

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Penned by Casey Beathard and Dave Turnbull, “The Boys of Fall” is an introspective, wistful whiff of Friday Night Lights nostalgia, a player’s-eye-view of high school football and the small-town society that rallies around it, watching their dreams and aspirations play out on the field. It’s a sad song that captures, in impressionistic detail and musical mood, the feeling of stepping out on that field. And the feeling of remembering stepping out on that field, of realizing that your proudest moments were very possibly left in the end zone.

Or something like that. The truth is that, as somber and evocative as “The Boys of Fall” is, and as much as it’s nice to hear Chesney maturing his post-glory-days jock image a bit, you’ll have to listen pretty closely for the nuances that make this a cut above your average Chesney nostalgia song. And the collective weight of past Chesney hits along these same lines–”I Go Back,” “Young,” “Keg In the Closet,” “Never Wanted Nothing More,” “Don’t Happen Twice,” and so on–might make you disinclined to do so. There’s something to be said for finding a theme that resonates with you and not racing to record every song that fits the mold: it makes the ones you do choose feel that much more special.

It’s a shame Chesney didn’t find “The Boys of Fall” before he had so thoroughly desensitized us to his particular brand of high school nostalgia. A few years ago, this might have felt like something special. Now, a great sense of ‘been there, done that’ overpowers whatever particular features (e.g. a specific focus on football) recommend this repetition of the theme. Let’s hope Chesney’s upcoming Hemingway’s Whiskey features songs of similar (or better) quality on topics he hasn’t already burnt through many times over.

Listen: Kenny Chesney – “The Boys of Fall”

With the major news outlets still swirling around the BP Gulf Coast oil spill, blue states and red states have taken positions on both sides of the argument about who is to blame and how well Washington DC has responded to the locals needs.

But there’s one thing that most Americans can come to agreement on and that is the unfortunate position that this disaster has put the oil industry workers and their families in. In the oilfield profession, these crews are called roughnecks. Trace Adkins was a roughneck- and is still proud to be associated with being a roughneck. It’s one of the more difficult and dangerous professions, whether they’re in some desolate region of Texas or out in the middle of the ocean. The massive spill has not only affected those areas in which they leave with crude washing onto their shores, but the resulting clampdown has affected their ability to earn an income to live on. Regardless of your position on off-shore drilling, it’s hard not to have some empathy for those that lose or have cuts in their employment.

There have been many songs written about the roughneck life, including several from the 1950’s by legendary songwriter Slim Willet. More recently, (very) indie singer/songwriters (and roughnecks themselves) like Wes St. Jon and Buddy Parmon have put out entire albums of the stuff.

So today, we honor those that pull that black gold out of the ground for all of us to put into our vehicles and help keep this nation’s lights on with five songs about roughnecks.

• 5. “Roughest Neck Around” – Corb Lund

  Corb Lund isn’t from the Gulf Coat. Hell, he isn’t even American. But he is definitely from roughneck territory as his home Canadian province of Alberta is home of many an oil rig. Out of each of the five songs selected today, this probably tells the passionate story of the roughneck the best. “It’s 35 below or its 98 above/And he’s workin’ thru it all, ’cause baby this is what he loves/Drives a hundred-fifty miles make sure his kids are doin’ fine/And he sees ‘em when he can but he’s married to his iron/You’d better hire him on, he’s the roughest neck around/He got the power in his hands he’s pulling the dragons from the ground.”

• 4. “Roughneck Blues” – Al Terry

  This 1956 rockabilly release on the Hickory label was undoubtedly one of the bigger hits for the man known as the Cajun Hillbilly. He was a contemporary and friend of some of the bigger country names of that era, playing with Chet Atkins, Hank Garland and the Kershaw brothers. It was written by Al’s brother Bob who knows “four days in ain’t enough to lose those lowdown roughneck blues.”

• 3. “This Old Rig” – Will Lamb

  The production and instrumentation on this song is classic old country, but it is the video that is set to the music that’s so fascinating. Vintage oilfield photography tells the story of the men and equipment that helped start and move the oil industry forward here in North America.

• 2. “Roughneck” – Johnny Cash

  Released on Cash’s 1963 concept album about the working man in America, Blood, Sweat and Tears, “Roughneck” tells the somewhat depressing story that you’re born to be a roughneck and that there’s not much you can do to change that predetermination. It is written by Sheb Wooley–the singer of “The Purple People Eater” who also starred in the film High Noon and the television series Rawhide.

• 1. “The Ballad Of Jed Clampett” – Jerry Scoggins, Lester Flatt and Earl Scruggs

  While he might not quite be a roughneck by formal description, you didn’t think we’d leave out old Jed Clampett of the Beverly Hillbillies–the most famous oil millionaire–did you? Flatt and Scruggs’ bluegrass picking is some of the most widely heard bluegrass in history. I’m a little partial to Weird Al Yankovic’s version where he combined this famous tune with Dire Straits’ “Money For Nothing” though. (It was an 80’s thing. I’m sorry.) “You’re all invited back again to this locality to have a heaping helping of their hospitality…”

Bruce Robison’s new single “Heartache to Houston” from upcoming album From the Top is currently available as a free download on his website—it might just be the best non-purchase you make all week.

“Heartache to Houston” begins like a slow burning fuse, with Robison coming to the harsh realization that “there’s nothing left worth saving” in his relationship. The solution? Leave town, of course. But this is country music, so that doesn’t quite work: he’s still seeing “her face in every headlight” as the miles fly by on I-10. The song slowly picks up speed and volume, and by the halfway mark it’s settled into a comfortable, mid-tempo groove anchored by drummer Joey Sheffield and guitarist Miles Zuniga of the band Fastball, both of whom know their way around an irresistible hook or two (remember late ’90s monster hit “The Way?”). This roots rock arrangement—which also includes Bruce Hughes and Brian Becken from the South Austin Jug Band—is a change of pace from Robison’s usual sound, but the song’s lyrics, vivid and sharply written, are typical Bruce. The portrait of a man spending hours behind the wheel, wanting to be anywhere but with his memories, is instantly recognizable to anyone who’s ever utilized this time honored method of (trying to) outrun heartbreak, or at least anyone who’s listened to “A Little Past Little Rock” a few dozen times.

Unfortunately, despite its catchiness, masterfully written lyrics, and an arrangement that’s made for steering wheel drumming, Robison’s version of “Heartache to Houston” might not get a lot of airplay outside of Texas. If some mainstream artist chose to record it, however, chances are it would go the way of Robinson-penned hits such as “Wrapped,” “Angry All the Time,” and “Travelin’ Soldier.”

Listen: Bruce Robison – “Heartache to Houston”

Photo by James Minchin

There aren’t many areas of American roots music that Marty Stuart hasn’t explored since he came to Nashville as a teenaged mandolin player in Lester Flatt’s band. With solid runs as Johnny Cash’s guitarist and a hit-making solo country artist, Stuart has had one of the most eclectic careers of anyone in Nashville. He’s equally adept at bluegrass, gospel, blues and more, but country music is where his heart is, and the genre is better for it.

Stuart is one of country music’s great ambassadors, with an outgoing personality, an encyclopedia-like knowledge of country history and, most importantly, talent to spare. Even at the height of his mainstream popularity, when he was scoring Top 10 hits like “Tempted” and “The Whiskey Ain’t Working” with Travis Tritt, he never strayed too far from, or changed up his style to fit in with, mainstream country radio. As one of his own songs said, “That’s country, and baby that’s my style.”

While recent years have seen him recording bluegrass, Delta gospel and a song cycle about the Native American people, his latest album, Ghost Train (The Studio B Sessions) is pure, unadulterated country. Available August 24 on Sugar Hill Records, it is a return to Stuart’s favorite type of music, but it’s not meant as a tribute to times gone by. To Stuart, creating a modern traditional country album isn’t so much about establishing a link to past times as it is building on the strong foundations of country music.

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Since landing on the national country music scene in 1990 with the top five hit “Too Cold At Home,” Mark Chesnutt has gone on to garner four platinum albums, five gold albums, 14 number one singles and 23 Top 10 singles. His neo-traditionalist style of country music, along with others such as Randy Travis, Tracy Lawrence, Clint Black and Alan Jackson, brought a classic sound back to the radio for over a decade.

Now, 20 years after he hit it big, Chesnutt is back with this 14th album entitled Outlaw. On Time Life’s Saguaro Road Record label, the album features re-recordings of some of Chesnutt’s personal heroes and life-long friends such as Billy Joe Shaver, Willie Nelson, Kris Kristofferson and Waylon Jennings. At the producer’s help, steeped in this music and production style having worked with the likes of Dwight Yoakum and Tanya Tucker, is Pete Anderson.

“When I was first approached to record this CD, my reaction wasn’t just ‘yes,’ but ‘hell, yeah,’” Chesnutt said. “I cut my teeth on this kind of music and it’s an opportunity for me to pay tribute to some of my biggest heroes in country music.”

Pete Anderson is on record saying, “Mark Chesnutt put on a vocal display like I’ve never before seen in the studio. He stood in front of the mic and sang the whole record, from beginning to end, flawlessly–and in less than three hours. We are all amazed at the results. There may be singers out there as good as Mark, but there are none better and, at this point in my career, I am thrilled to have had the opportunity to work with this caliber of talent.”

Chesnutt was kind enough to give The 9513 some time for an interview just before his recent spot at the Grand Ole Opry at the Ryman Auditorium.

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• Rhonda Vincent’s new album Taken, her first since departing Rounder Records in Feb., will be released on Sept. 21. She talked in-depth about the album during a press conference at the recent HullabaLOU Music Festival.
• Jason Aldean is country…with an edge:
  

  “I grew up listening to George Strait, Ronnie Milsap, Conway Twitty … I also listened to a lot of ’80s rock bands. What I do is country … lyrically, melodically, everything about it is country. The only thing we we change around a little bit is that we make the guitars … a little more aggressive. It has a little more of an edge to it.”

  [...] “We always have a cover or two we put in our show,” says Jason, noting that covers of Guns N’ Roses and Bryan Adams are among those he’s sung in the past.

• Steel guitarist Ben Keith passed away at the age of 73 from a heart attack. Although he was a well-known sideman for Neil Young, he also worked as a popular session musician with a list of artists that includes Patsy Cline, Emmylou Harris, Linda Ronstadt, Willie Nelson, and Waylon Jennings.
• With all the songs presented for his recently released Outlaw album, Mark Chesnutt says the project could have had six discs.
• Pop star Ke$ha tells Papermag that country might be in her future, but for now, she’s happy being “a white girl rapper.” (via The Tennessean)

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After two albums recorded stateside (including the excellent Too Far Gone with Keith Stegall), Aussie wunderkind Catherine Britt’s latest release finds her reuniting with early mentor Bill Chambers for a set that spans country, pop, rock, gospel, and blues to generally strong effect.

Fans of Too Far Gone will gravitate toward the more traditional material here, but much of the rest is equally worthwhile. The pop tracks cowritten with Melanie Horsnell are fetching little earworms that benefit greatly from Chambers’ tastefully organic production. Britt’s turn as a bluesy yodeler on the Chris Stapleton cowrite “Lonely” is just as good. The only thing that consistently doesn’t work is the rock: “I Want You Back” and “Under My Thumb” seem as jarringly out of place as Jason Aldean at a virtuoso bluegrass picking session.

Though it’s nice to see Britt cowriting three tracks with kindred spirit Ashley Monroe, they evidently spent all of their time on the verses: “Down” repeats its title no less than 14 times per chorus, while “Anywhere You Are” leaps suddenly into overblown Lonestar territory with no warning, like a second song soldered onto the first. Only the lovely “Call You Back Town” fulfills the promise of the pairing.

Britt is at her best when she keeps it simple. Her minimalist recording of “Sweet Emmylou” is the equal of the version by cowriter Rory Feek’s wife (Joey +), and the two songs she wrote solo are certifiable album highlights. “Holy River” and “Sleepy Town” both have the sheer and simple beauty of old gospel and bluegrass standards. An especially nice touch on “Holy River” is a menacing Dobro line that sounds like the demons struggling to assert their control.

Britt wins that battle, thank goodness, just as she ultimately wins the battle against her own experimental impulses to create an album that is, if not quite as satisfying as the best of her past work, at least a promising reminder that she’ll remain an important artist to watch in the years to come.

If this were about baseball, I’d add, “Where Everyone Has a Shot,” to the title.

The game of baseball has seen its ups and downs. It’s pristine, slice of apple pie Americana reputation occasionally sullied by blemishes here and there, from the Black Sox Scandal of 1919 to the Steroid Era of the last decade. For the most part, however, the overall reputation of the game lies somewhere between a Norman Rockwell painting and a Chevrolet Bel Air—an undeniable part of our culture.

Of course there are those of you who probably haven’t thought of baseball in that way in quite some time. I completely understand. It’s easy to become disenchanted with a game that in simpler times was more idealistic and transparent—something to be proud of—rather than the game as it is today, controlled by deep pockets, its validity easily questioned with the rampant use of performance enhancing drugs.

The correlation between baseball and the music business is painfully obvious.

Part of our culture, once wholesome, something to be proud of, now run by and with deep pockets and performance enhancing technologies, et cetera. I won’t bore you (if I haven’t already) with a more in depth analysis than that.

As we look at the two industries today, despite all of their similarities in principle, somehow one seems to be thriving (even after the aforementioned black eye of the steroid era) and one is clearly crumbling.

There are a host of reasons why these two businesses, both of which deal in the semi-impossible natures of entertainment, are heading in opposite directions, but I like to focus on one in particular.

Let me first preface the remainder of this article with some personal statements: I love writing songs, and I love to travel. I love singing my songs for anyone who will listen. I have no desire to step into the Tim McGraw / Kenny Chesney realm of superstardom, nor do I think that I have the looks or the attitude for it. I do have a desire for those types of performers to record the songs that I write, and I do have a desire to be able to go into any club, anywhere in the country, and have 30-50 people show up to hear me play. I am happy with the troubadour lifestyle, and proud to bear its reputation and all that it implies.

Back to my nearly overdrawn baseball metaphor. I promise I’m wrapping it up.

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