The Week In Review: My Top 5 Stories

#5 — Tim Krekel:

The week will be remembered by most for the passing of Farrah Fawcett and the King of Pop, but country music lost one of its most talented on Wednesday.

Krekel’s songs were recorded by numerous artists that included Rick Nelson and Canned Heat. Crystal Gayle had a hit with his song “Turning Away” and Patty Loveless with “You Can Feel Bad.” (Reuters)

“You Can Feel Bad” is one of my favorite Loveless songs, and a prime example of how mainstream country music can be catchy and smart at the same time. Once a guitarist for Jimmy Buffet, Krekel also penned songs recorded by Alan Jackson and Martina McBride, as well as “Cold Grey Kentucky Morning,” one of the few Aaron Tippin tracks I can stomach.

He will be missed.

#4 — Chambers and Nicholson Earn Rave Reviews:

Reviews from Kasey and Shane’s two sets in Austin on Monday night were brimming with praise.

For 90 minutes the stage dripped with humor and charm. Kasey’s vocals of angelic fire were just right all night and when she blended with Nicholson’s voice, a slightly raspier James Taylor, one “One More Year” the mix was perfect and powerful. (Michael Corcoran, Austin 360)

Towards the end they stomped through “Last Hard Bible,” evoking Ralph Stanley’s mountain music, final proof of their affection for American music that left them, and the sold-out crowd, nearly breathless. I’ve spent many nights at the Cactus (Austin), and Monday’s show was one of the venue’s most engaging. (Jim Caligiuri, Austin Chronicle)

I had the pleasure of catching their first U.S. show in Nashville at the Belcourt in Nashville during CMA Fest, and I can only echo everything Corcoran and Caligiuri wrote. The husband and wife duo–joined for most of the set by Kasey’s father, Bill–were equally charming, funny and powerful as they worked their way through various incarnations of roots, Americana and traditional country. Chambers, who drank at least two glasses of scotch during the show, has one of those rare voices that sounds better live than recorded, the emotional resilience of her delivery not fully captured by tape. Her performance of “Wildflower,” especially, was one of the most moving I have ever heard.

#3 — Julianne Hough Gets Footloose (Maybe):

After quitting Dancing With The Stars to focus on her music, Hough further continues proving that she’s a singer first and a dancer second by reportedly accepting the role as Ariel Moore in a 2010 remake of Footloose, a movie about, well, dancing.

Variety reports that Julianne’s first major film role is still “contingent on working out scheduling,” but shooting is set to begin in March 2010. Variety also says fans of the 1984 film starring Kevin Bacon can expect “a more mature version than the original.” (The Boot)

After that news broke, however, the NY Post cited “insider” sources when it claimed that Hough’s casting was far from a done deal.

She can dance, she can sing — but Julianne Hough apparently can’t act. Paramount had wanted to cast the “Dancing With the Stars” hoofer, who’s also topped the country charts with her hit, “My Hallelujah Song,” in its remake of “Footloose.” But her audition “was so bad, the producers sent her off to take acting classes,” our insider said. “She’s scheduled for another screen test Aug. 1. They definitely like her, but the producers know they need a real actress for the movie to work — she’s a pretty girl who can sing and dance, but so was Mariah Carey, and we all know how ‘Glitter’ turned out.” Reps for Hough and Paramount didn’t return detailed calls. (Post)

All kidding aside, casting Hough as Moore would make perfect sense for everyone involved. Hough would get ample screen-time to further build on her budding starlet image, and the film gets a fantastically talented dancer. Besides, anyone who thinks this needs “a real actress” to succeed probably hasn’t paid much attention to the acting chops deomonstrated by the cast of the original.

#2 — Jason Aldean’s Big Week:

Jason Aldean is slowly emerging as one of country music’s biggest stars.

After only 10 weeks, Wide Open has achieved sales of more than 500,000 units. Jason took 12 weeks to reach that mark with his previous two albums, his self-titled debut and Relentless. Wide Open has produced the No. 1 single “She’s Country” and the current hit, “Big Green Tractor,” which has become the fastest-rising record of Jason’s career. (Country Weekly)

Aldean has already racked up six Top 10 singles (Only “Relentless” missed that mark, peaking at #15), and his current hit “Big Green Tractor” will likely become his second consecutive #1 (third overall).

Cricket, co-host of Froggy 97’s (Watertown, NY) morning show, is smitten:

When I think about newer country artists who’ve come on the scene in the past five years or so, I ponder which of them will still be cranking out hits ten years from now. Who will become a household name? Who is destined for the Country Music Hall of Fame? Which newcomers will collect honors and awards galore? If there’s any justice in the music biz, Jason Aldean will be one of them.

I think cricket needs to drink less swamp water. Many artists rack up a strong series of hits out of the box, only to experience faltering popularity not long after. The artists who are able to maintain their success and build sustainable careers are those who consistently write and choose outstanding and memorable songs that keep them on the air even during their downtime. They are also, generally speaking, the artists who (for whatever reason) are wholly unique and instantly recognizable.

The biggest male stars of the 90s–Tim McGraw, Alan Jackson, Garth Brooks and George Strait–remain relevant today partially because their early music remains relevant (with the possible exception being McGraw, who didn’t hit an artistic stride until his 3rd or 4th record). Do songs like “Hicktown,” “Johnny Cash” and “She’s Country” meet that benchmark?

Aldean’s Crossroads special (with Bryan Adams) debuts tonight on CMT, and there’s no denying that he has the attention of much of country music’s audience. But I strongly doubt he will be remembered “ten years from now.”

Cricket’s comments just illustrate the vast disconnect between radio and reality. Destined for the Country Music Hall of Fame? Not until the Hall lowers its standards, or Aldean seriously elevates his game.

#1 — Montgomery Gentry Joins The Opry:

Immediately after joining the hallowed cast, Eddie Montgomery and Troy Gentry launched into “Hillbilly Shoes,” their initial 1999 hit, with buzzing power chords and a blistering guitar riff, adding second-generation Southern rock to the wide musical net that represents the Opry. Marty Stuart and his Fabulous Superlatives bolstered the sound, which included six electric and acoustic guitars as well as a steel, the kind of power more associated with arena rockers such as Lynyrd Skynyrd than with Opry stalwarts such as Jim Ed Brown or Jeannie Seely. (GAC)

It’s hard to argue with the Opry’s decision to induct Eddie and Troy. The Opry is a brand that probably looks and sounds antiquated to many country fans under the age of 30, and it’s current challenge is to find talent which appeals to its aging audience while helping to build a bridge to a younger generation. While seeing MG take one of country music’s most hallowed stages as members of the venerable program would probably make a number of the late membership of the institution roll over in their graves, the duo is one of the few acts in the mainstream today who could not, under any circumstances, be mistaken for pop. At the very least, the Opry deserves credit for resisting the urge to simply induct the biggest stars over those who mesh, at least somewhat, with its legacy.

Montgomery Gentry is not the artist most deserving of Opry induction. But the Opry is a business–despite its revered status–and bringing the duo onboard as members is a prudent business decision. From an artistic standpoint, there are far worse choices.