Archive for the ‘music’ Category

Not-so-random hits, 16.12.13

December 16, 2014

Yes, I am still here! Been working 45-50 hours a week for the last couple of weeks, with just iPad and smartphone access, but I hope to be back to a more frequent blogging schedule soon. In the meantime…


Man alive, the butthurt from the Cody Johnson fanboys here is something to behold. From what I’d heard of him I didn’t think he was that bad, just overrated. But if that review is to be believed…damn.

Don’t quite understand the hate for Josh Abbott and Casey Donahew, though. I know the concept of the “gateway drug” has been made a mockery of in recent years with the promotion of Taylor Swift and the like as such, but I think folks like Abbott do make a good gateway drug of sorts to Texas music, especially with songs like “I’ll Sing About Mine.”


Speaking of the latter song, I picked up Adam Hood’s The Shape of Things a few weeks back, as his version of that song is my favorite. The whole thing is great, though. “Flame and Gasoline” has always been a favorite, and “Hard Times in the Land of Plenty,” “New Deep Ellum Blues,” and “Once They’re Gone” are some real gems, too. Need to get his new album soon…

Wrong answer, Sammy. Thanks for playing, though!

December 2, 2014

…or, If I keep rolling my eyes like this, one of these days they’re going to stick.

Sam Hunt, via Country California:

I don’t know if the phrase originally was meant to be derogatory but it’s turned into that. It’s sort of a snobby thing to say. You know, I think some people enjoy being above whatever “bro-country” is.

Good grief, talk about missing the target by a mile. It’s a good thing he never flew B-52s or he’d have been thrown out of the Air Force. — Enjoy being above bro-country? I only speak for myself here, but I don’t so much “enjoy being above” bro-country as pride myself on it. Why?

Because, as I’ve probably said before, it’s all so shallow and insincere. Fake, even. What the hell did Sam Hunt think “I’ll Sing About Mine” was really about?  Does he think Adam Hood and Brian Keane just pulled that song out of their asses? I mean, you could probably paint it as some kind of elite vs. proletariat thing if you wanted to — Hunt may or may not be alluding to that here — but when you have songwriters who grew up in those small towns calling out bro-country for the bullshit that it is, that lends a certain level of, shall we say, credibility to what they’re saying.

Oh, who am I kidding? Hunt is just in his own way disparaging all the longtime country music fans who don’t like the direction the genre has been taking the last few years. That’s what it sounds like to me, honestly. And I can see why he’d be a little cloudy on the concept of standards, considering he markets himself as a country singer when he’s nothing of the sort, but that doesn’t make him any less off-base.

Musings on politics and music, 20.11.14

November 20, 2014

Via Country California, we have this, from the New Yorker:

By now, Brooks’s big-tent idealism—cheesy and vague, to be sure, but sincerely and exuberantly expressed—feels like a relic of the early nineties, of a time when Michael Jackson sang “Black or White,” and it felt as though real progress might be just a catchy pop song away. Yet here is Brooks, in late 2014, on “People Loving People,” the first single from the new album, turning back the clock to what seems like a pre-modern age before irony, singing, “People loving people, that’s the enemy of everything that’s evil.” Country music’s liberal conscience has returned to the stage.

That sound you just heard was me rolling my eyes. You probably heard it Sunday night as I was reading that piece for the first time. I’m telling you, for all the world that story sounded like it was written by an anthropologist describing some sort of alien culture he just discovered.

And the infuriating thing about it is that wasn’t really the worst of it. What was the worst of it, you ask?

The worst of it was that there was very little in that New Yorker story about whether or not the new music itself was actually any good. The whole thing seemed to be a ham-handed attempt to paint Garth Brooks as holding the author’s preferred political beliefs. That in and of itself doesn’t have to be bad — but if the allegedly political music is so outrageously bad to the point that “People Loving People” is, then what’s the point? The lyrics were bad enough. “People loving people, that’s the enemy of everything that’s evil.” Really, Garth? Really? And as I’ve said before, I heard the song described thusly at Saving Country Music a while back:

“It sounds to me like ‘We Shall Be Free’ with a touch of ‘Right Now’ by Van Halen.”

Just reading that still makes me cringe. No doubt the more cynical politically minded country fans would get the idea that Garth was some sort of agent provocateur, putting out “liberal” music that’s so outrageously bad that it’s just going to be dismissed out of hand. I don’t think he is, but I do think it deserves to be asked why people do this sort of thing.You could say that this is the flip side of what we were seeing in 2003, with conservative activists singing the praises of Darryl Worley and Toby Keith (and trashing the Dixie Chicks left and right) without saying anything about how good the music actually was. Honestly. “Have You Forgotten” should never have been a No. 1 hit for rhyming “bin Laden” and “forgotten” alone. It’s like, “Hey, these artists think the right way, you should listen to them!”

Uh, no. I mean, I think “Snake Oil” is really out there as a political polemic, but it’s probably my second-favorite Steve Earle song behind “Hillbilly Highway.”I can sit here and say, “Steve Earle’s full of shit as far as his political beliefs go, but that’s a great fucking song, message be damned. Play the shit out of it.” Of course, there’s only so far I’d be willing to take that; if he’d been, say, advocating racial genocide in song, I’d be backing away from that. But I don’t see why so many people can’t take both the message and the music itself into account. I’ve always thought that championing music just because of the artists’ politics and the music’s message, not bothering with the music’s quality, cheapens music as an art form more than pretty much anything I can think of. And I don’t see anything changing that opinion any time soon.

Charles Kelley is a blithering idiot.

November 3, 2014

Why? Well, read it for yourself:

Since the beginning of country, they were debating on Kenny Rogers being too pop and then Rascal Flatts, too, but now you listen to Rascal Flatts and they sound like traditional country.

“Rascal Flatts…(sounds) like traditional country.”

Uh…no. No they don’t. Even now, 14 years after their debut, Rascal Flatts’ music still sounds just like the glitzy feel-good pop that was dominating the genre a la Shania Twain and Faith Hill in the early 2000s. Sure, you might have heard a fiddle here and there, but that didn’t make them country any more than Eddy Shaver’s electric guitar made Tramp On Your Street a thrash metal album. I really don’t understand where people get off saying certain music sounds like traditional country music just because it’s old. That’s gotta be the most self-serving shenanigan I’ve seen from a modern mainstream “country” artist yet. (And considering Jerrod Niemann that’s really saying something.) I mean, really. It’s just so self-evidently ridiculous that I don’t have to explain it.

But why the hell not? Just for an example, Charlie Rich’s “Behind Closed Doors” came out in 1973 — more than four decades ago — but there are quite a few big songs from that year that were considerably more country-sounding, among them:

• Merle Haggard, “I Wonder If They Ever Think Of Me” and “If We Make It Through December”

• Loretta Lynn, “Rated X”

• Cal Smith, “The Lord Knows I’m Drinking”

• Johnny Rodriguez, “Ridin’ My Thumb to Mexico”

I could go on, but such would be belaboring the point. I hesitate to say that Charlie Rich was the Rascal Flatts of his day, as even with his pop leanings his music did have substance to it, but that really doesn’t change anything. (Perhaps he was the Faith- or Breathe-era Faith Hill of his day.) It’s more than a little bit disingenuous to take a certain genre of music out of its historical context for whatever reason, not least of all because music is to a large extent a reflection of its time. None of this is to say that music doesn’t evolve, and I realize that artists are going to bring the influences of the artists they listened to in their formative years to their own sound. But the question still remains of why, for example, on one hand you have Jason Boland and the Stragglers covering Don Williams and Merle Haggard in their live shows and relegated to relative obscurity, and on the other you have the likes of Eric Church boasting about playing the same stage as Metallica after he talks about how he didn’t even grow up listening to country music and not being at the very least booed right the hell out of the room.  (It’s like, well what the hell are you doing here, you freaking carpetbagger?) And it’s worth asking why so many mainstream artists feel the need to defend their musical direction by taking old musical trends completely out of context as Kelley did here — other than the phenomenon Bob McDill described 20 years ago in “Gone Country.”

(h/t Country California)

Monday music musings, 20.10.14

October 20, 2014

Kix Brooks, peddling a revisionist history of sorts:

We’ve got Luke [Bryan] and Jason [Aldean] and Zac [Brown Band] selling stadiums! Hell, Ronnie and I never did that. Now we have four or five artists legitimately that can sell stadiums damn near anywhere.

Sigh. Why is this revisionist history, you ask? Because it’s quite clear what he’s getting at, and he’s wrong. Back when Brooks and Dunn were actually a thing, in fact one of the hottest acts in country music, country music had at least two acts who could pack stadiums — Garth Brooks and George Strait. In fact, Strait was selling out stadiums, or pretty close to it, 20 years into his career — about the same length of time Brooks and Dunn were at it before they called it quits. Think about that, in the context of what Brooks is saying here and what Strait has said (or, rather, not said) about modern country music.

Of course, all of this is assuming that “numbers of acts selling out stadiums” is a valid indicator of the artistic health of any given genre. Which it isn’t.


Apologies to David Cantwell,  but “I Hope You Dance” is still the most overrated thing Lee Ann Womack has ever recorded. I remember seeing a recent Texas Monthly Lee Ann Womack feature that summed it up quite nicely:

“If all you know about Lee Ann Womack is the schmaltzy megahit ‘I Hope You Dance,’ then you probably don’t understand her at all.”


Somebody ought to ask Cortez Bryant if he knows how the U2 album Songs of Innocence was received as it was put on every iTunes account and if that’s something he really wants to emulate. Or, on second thought, maybe not. The faster these interlopers with no respect for the genre go down in flames, the better.

(h/t Country California)

“This sounds like hipster mischief to me.”

October 17, 2014

Such was one reaction at Saving Country Music to alt-country pioneer Ryan Adams’ admission that he “(does) not like fucking country music” and “only (liked) country music as an irony.” Sounds about right to me. Trigger’s own reaction:

I feel like I’ve been stabbed in the back.

If I were a bigger Ryan Adams fan, I’d feel that way too. This isn’t the first time I’ve seen an artist so gratuitously insult the genre of music and the fans of that genre that brought him fame and fortune, but it’s incredibly distasteful all the same. I can separate the artist from the art a lot of the time, but it’s not so easy when the artist insults his own art — especially as he says out of the other side of his mouth that it has a “certain amount of honesty.”

So, in other words, what we have here is Ryan Adams making a certain kind of music, acknowledging its honesty, and then saying that he hates that kind of music and that he only liked it ironically. One can only presume that he’s trying to be his true self as he admits his true feelings, but in the process he shows himself to be a total fraud.

Oh, the irony!

“…if country means ‘whatever,’ it really means nothing at all.”

September 22, 2014

…or, Heyyy, time for more ragging on Jason Aldean!

From Buzzfeed:

For some listeners, “Burnin’ It Down” is more “pop” than “country.” Aldean has heard the criticism, and he is unfazed. “If somebody can put a definition on what country music is, please tell me,” he said.

“I’m pretty knowledgeable in country music, and I’ve never once seen where it says, ‘Country music doesn’t have a drum loop,’” he said.

Definition of country music? Steel guitar, fiddle, three-quarter time. Add some electric guitar in there every so often. You might be able to get away with more avant-garde stuff like putting your vocals through a vocoder a la George Strait and “Stars on the Water” if you know what you’re doing. Granted, that’s only a start, and country music is more than just that, but some instruments work better than others. And some things just don’t work at all. The things you find in “Burnin’ it Down” are perfect examples of what doesn’t work. It seems that Aldean thinks that “country music” pretty much has no definition, that it’s whatever people who record music in Nashville says it is. I saw something at Saving Country Music yesterday about Country Roads, a new European-produced documentary on country music, featuring this quote from Justin Townes Earle as he was narrating it:

This is one of our few untouched things in Nashville—RCA Studio ‘B’…But then you just look around at all the crap that has been built around it. This is like the belly of the beast right here. This is where all the bad ideas are thought up. This is where all the bad country songs come from. This is where they’re all recorded. In all these buildings, this is where all the ‘geniuses’ that are thinking all the crap up and what they’re gonna do … It’s amazing to me that the people that work here now can hold their heads up, that they can walk these streets and think that if Hank Williams wasn’t here right now he wouldn’t whip their fucking ass.

Aldean was also stung by his failure to get an Entertainer of the Year nomination:

Obviously it’s disappointing. We’re still out there selling out shows. With maybe the exception of Luke [Bryan], I don’t think there is anybody else out there that is doing the kind of touring numbers that we’re doing.

Now, on the surface, that gripe might be legitimate. After all, he’s “entertaining” a lot of people, right? Well, when you look at the actual criteria for the award, the snub makes a lot more sense:

“This award is for the act displaying the greatest competence in all aspects of the entertainment field. Voter should give consideration not only to recorded performance, but also to the in-person performance, staging, public acceptance, attitude, leadership, and overall contribution to the Country Music image.”

I see at least three strikes against Aldean here:

A. Attitude: his semi-literate Twitter attack on Zac Brown and his general cavalier attitude on the anything-goes direction;

B. Leadership: With apologies to Trigger, “Is ‘Burnin’ It Down’ the ‘leadership’ from the man these people think should be the Country Music Association Entertainer of the Year? Because I’d rather shit a knife than listen to this.”

C. Overall Contribution to the Country Music Image: Well, I think A and B, combined with the perception that “Burnin’ It Down” is a window into his affair, pretty much knocks that one out.

And it’s just so…disappointing. For all I rag on Aldean, he’s actually a pretty decent singer. I was expecting to be quite disappointed, for example, with his duet with George Strait on “Fool Hearted Memory” on the cd of Strait’s last live show from Dallas, but I gotta give the dude credit — he nailed his part. I don’t know if he’d ever be on that level, but he could be at least not bad if he’d record better songs.

Thursday musical observations, 4.9.14

September 4, 2014

Seen at Rolling Stone Country:


“For so long we were that regional band down in Texas,” Eli tells Rolling Stone Country. “We were all kind of lumped together. I think a lot of times maybe we were misunderstood, or discounted. It took some time to convince everyone that we had something to offer nationally and commercially.”

Eli also hopes it gives a little validation to other Texas-bred artists looking to gain recognition on Music Row. “Hopefully what we’re doing will open some doors for them,” Eli says.

Oh, boy. Where does one even start with this?

You longtime readers all know my feelings on awards like this, but for those of you that don’t:

Being a fan of a lot of non-mainstream artists, I’ll admit I’ve gotten to the point that I don’t really put much if any stock in awards shows anymore. Not that I ever really did, but there was a time that I got a little ticked if my favorites didn’t win. That changed after I started getting into the Texas music scene and discovered a lot of great music from artists who in all likelihood won’t ever make it to the stage at the CMAs, ACMs, Grammys or what-have-you. Since then I’ve pretty much gotten to the point that I go, “another awards show, yawn, that’s nice…” I’d run into people here and there who would point to those awards as some sort of justification for liking the artists who won them — as if those awards made said artists better than all the others — and I’d just have to roll my eyes.

Now, with that said…

There is so much I could say to that Rolling Stone bit, but here’s what my answer boils down to:

To the extent a CMA award nomination would serve as a “validation” of Texas and Red Dirt music, it would do much, MUCH more so if it went to, say, the Jason Boland and the Stragglers album Dark and Dirty Mile or the Josh Abbott Band song “I’ll Sing About Mine.” (Or, hell, even the Brian Keane recording of that song.) It strikes me that the Eli Young Band anymore is about as good a representative of Texas music as Shania Twain was for mainstream country music circa 2002 — that is to say, not a very good one. I know that might sound harsh, but one of the raisons d’être of this music was and is to give fans an alternative to the bland pop Nashville turns out. I don’t know if I’d categorize the Eli Young Band as having sold out, as I am not sure they ever really “bought in” in the first place, but they more or less fit right in with what’s going on in mainstream country anymore. I don’t know if I’d fully commit to this next observation, but I’d just about call Kacey Musgraves as a better representative of Texas country anymore than the EYB; even if she is signed to a big Nashville label and is considered a mainstream artist, she seems to ride the line between Nashville and Texas better than anyone since probably Steve Earle.

As for this…

Next year, he’s hoping to see Texas acts like Lubbock troubadours Josh Abbott Band and traditional honky-tonker Cody Johnson crack the list…

It’d be nice, but I am not optimistic about the chances of that happening. And if anyone’s gonna be on the CMA Awards from Texas without any kind of artistic compromise, I’d much rather it be Jason Boland than Cody Johnson. I remember commenting on Reddit that JB had the best voice in Texas music, and some dude replied to me that was because I hadn’t heard Cody Johnson. I did, not long after that, and was kinda underwhelmed. He’s a good singer, don’t get me wrong, but he’s no Boland.


Quote of the week, from Trigger at Saving Country Music, on Clear Channel deejay Bobby Bones’ whining about not getting a CMA nomination (emphasis mine — ed.):

Bobby Bones continued,

“its not an ‘injustice’. I simply don’t play the political games the format is known for. Also Jason Aldean got screwed too! Id like to thank the almost 500 radio stations Im on & you the listener for the millions of $$$ we’ve raised for charity this year,”

This charity card is another indolent, insulting, and misrepresenting card Bobby Bones overplays predictably. Just because you give to charity doesn’t absolve you of all your sins. Why doesn’t Bobby Bones set up a charity for the hundreds of local DJ’s he’s put out of work, or the thousands of people laid off by Clear Channel in the most historic and sweeping homogenization and nationalization of a cultural institution since the dawn of American media? Give all the money to charity you want. It will never make up for the damage of poisoning people with the cultural filth broadcast on the Bobby Bones Show to millions every morning.

That pretty much sums it up, if you ask me. I also saw that George Strait was up for yet another Entertainer of the Year nod at the CMAs. It would be quite worth it to see him win, just to see Luke Bryan fans’ heads explode like they did when he won at the ACMs earlier this year…

Speaking of Saving Country Music, via that site I also saw that the new single from Garth Brooks made its debut earlier this week. Saw it described in comments as “‘We Shall Be Free’ with a touch of ‘Right Now’ by Van Halen.”

Man. If that doesn’t make you run away in shrieking, gibbering terror, I don’t know what would…

Whoa, dude, get over yourself.

September 2, 2014

My gut reaction to this:

“Wow, Brad Paisley is a whiny little bitch.”

My more thoughtful reaction:

This is really quite unbecoming of…well, anyone in Paisley’s position. It’s as if he thinks he has the right to make shit music but no one has the right to call him out on it. Three things, before I go any further:

A. I realize this sort of thing (shit music vs. good music) is highly subjective.

B. I don’t have any particular love for critics on any level, as I’ve said before, and

C. Paisley may be right that “the fans know better,” as ultimately they’re the ones who decide whether the artists get to keep making records.

All of that so stipulated, what Brad Paisley is saying here is not really something one should want to say out loud, because it makes one look very, very petty and insecure. And it really doesn’t say much about Paisley’s position — or at least what he perceives as his position — in country music right now. It just comes off as him thinking the time is at hand for his career and that he’s lashing out because of that. But no matter his reasoning, did it ever occur to him that he’s held to a higher standard because critics and fans alike (but to a large extent anymore I am repeating myself — see below for more on that) perceive him as capable of better than what he’s doing anymore? I mean, he was no George Strait even on his best day, but he had at least a decent ear for good songs (“Who Needs Pictures,” “You’ll Never Leave Harlan Alive,” “Whiskey Lullaby,” “Too Country”) even if said songs seemed to get fewer and further between as his career progressed. But it all went to shit between his increasing penchant for joke songs, his taking himself so seriously, and trying to be “progressive,” “pushing the boundaries,” etc., etc., etc. His chickens are coming home to roost.

And here’s what I am talking about when I allude to the critics and fans more and more becoming one and the same: I find it…interesting…that Paisley chose to tweet a review from a blog as opposed to a review from a newspaper or magazine critic. All of this is my completely uninformed observation, but this suggests quite an interesting shift in perceptions — if only in the music world. Once upon a time it seemed that the only opinions people deemed worth taking seriously were those of the Authorized Critics from “official” media sources as opposed to bloggers offering their observations as fans of particular artists and genres.

Such may well be another part of Paisley’s frustration — a few of these so-called “critics” are actually fans of his who are disappointed with the direction he’s chosen to take since…well….I don’t know. That depends on who you ask. 2003’s Mud on the Tires had its moments, but I wasn’t big on the albums I heard after that. Looking back I don’t even remember why I bought that album, to be honest. It wasn’t as good as I thought Part II was then, to be sure. I used to think Paisley was decent, but his shtick has been tiresome for some time.

At any rate, it’d be interesting to see how at least the blog reviews correlate to the album sales, and why, if the reviews don’t matter, Paisley is so up in arms about them — other than his anxiety over being on the backside of his career. It certainly goes to show that he’s not the A-level artist that he thought he was. I mean, I thought Tracy Lawrence’s and Clay Walker’s respective takes on their artistry in relation to their continued relevance left a lot to be desired, but Paisley is making them look like dignified elder statesmen of the genre in comparison.

Another couple of observations…

“I control the presentation,” Paisley told Billboard’s Country Update.

Really. And this is a good thing? Whether it is or not doesn’t really matter, because what he’s ultimately pissed off about is the fact that he can’t control the reaction to his presentation. I don’t know if he said that to make himself feel better about his inability to do that, but it certainly sounds like it.

And although it’s a slightly different situation, I am reminded of the reaction to Lee Ann Womack’s Something Worth Leaving Behind. From what I understand, that album was pretty roundly panned as a poor attempt to cross over to the pop charts and recreate the success of I Hope You Dance. In other words, it was received by critics about as well as Paisley’s latest, at best. But did you see Lee Ann Womack bitching about critics? Hell no you didn’t. She went back to what she was good at and in the process made the best album of her career. There’s a lesson there for Mr. Paisley, if he’ll just pull his nose down out of the air long enough to learn it.

Tuesday music musings, 26.8.14

August 26, 2014

Blake Shelton, on his new single:

The song, the melody, the chorus is so George Jones or George Strait. It really is. Of course, I’m always going to have the haters and critics out there that say it’s not. But then, kiss my ass! I know more about those records than a lot of people.

No, Blake. How about you come to Texas and kiss my ass, you arrogant motherfucker?

As I said at Saving Country Music, after about a minute and a half of the song…

I really don’t give a shit what Blake Shelton likes to make everyone think he knows about George Strait, or Jones, for that matter. Can’t really speak as to the Possum, although I have heard a ton of his music, but I have George Strait’s entire catalogue. And I can tell you that if this song showed up on a George Strait album it would rank at or toward the bottom if I ranked my favorite songs on said album. I would also be incredibly disappointed in him for more or less completely giving in to the trends of the moment. I’ll admit I like Strait’s earlier stuff better, but even as of late he’s still miles above this sort of thing. “Neon Light” doesn’t even sound like something George Strait would do even on his most adventurous day. And there’s not enough Shiner Bock in the Spoetzl brewery to make that pablum sound anything like George Jones.

And yes, it is better than the likes of “Boys ‘Round Here” and “Doin’ What She Likes,” but that’s an incredibly low bar.

On another note, as I’ve put it here before, Marty Stuart has probably forgotten more about country music than Blake Shelton will ever know, but you don’t see him being a cocky asshole to his detractors, assuming he even has any. So who’s the better representative of country music? I know my answer. I bet you do too.


Chase Rice:

I think the reason women are looked at in that way — and it’s not in a negative way at all — I don’t think it’s degrading to tell a girl to get in my truck and let’s drive around. I think that’s just what we’re doing. I’ve got an ’85 Chevy Silverado, and I have a bench seat where the girl can sit right next to me. She can slide on over. That’s literally why we’re singing about it.

I suppose I could just repost most of what I said here, but really, this is the perfect rebuttal to that:

The replacement of traditional narrative songs in favor of “lifestyle songs,” once characteristic of commercial hip hop rather than country, made the objectification of the opposite sex in country songs inevitable.

Narrative songs feature characters with desires and intentions. “Lifestyle” songs list artifacts: bonfires, jeans, moonshine, country mixtape, girl, ecetera. Yes, the “girl” in the bro-country song is literally just another artifact.

On the other hand, when one is writing narrative songs about relationships, it is difficult to avoid alluding to the fact that the opposite sex are human beings that posses individual thoughts and feelings and the agency to make decisions. In fact, the existence of both love songs and heartbreak songs are completely contingent upon the fact that it takes two to tango. Even Hank Williams could never have been so lonesome he could cry if his woman hadn’t had the freedom of choice to dump his ass in the first place. The woman in a bro-country song doesn’t seem to have much of a choice at all.

“Git yer little fine ass over here, girl.”

I mean, sure, Rice might act like the girl in a bro-country song might have the choice not to “get (her) little fine ass on the step shimmy up inside,” but it’s certainly never come off like that. I mean, really…

“Slide that little sugar shaker over here!”

“Waiting on you to look my way and scoot your little hot self over here. Girl hand me another beer, yeah!”

“You’re shakin’ that money maker, like a heartbreaker! Yeah, gotta get me some of that!”

I mean, it’s like the alpha and the omega of objectification. And that’s far from the only thing wrong with this particular strain of virus “country” “music.” Not that I’d expect the likes of Chase Rice to grasp that, what with his limited brain wattage, but there you go.

(h/t Country California)


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