Attn. KJ97: If you’re going to talk about the “good music” you play, you really don’t want to follow such a claim with Carrie Underwood, let alone “Good Girl.”
(I went back to KKYX and was promptly rewarded with the Statler Brothers’ “Hello, Mary Lou” and Emmylou Harris’ “Two More Bottles of Wine” back-to-back. WIN!)
Unless Darius Rucker hired MC Hammer to be his financial planner, he ought to have enough money from the Hootie days to do whatever the heck he wants to now. But I’ve listened to a couple of his albums on Spotify and even the filler is generic pap. He’s not even up to Dierks Bentley’s level.
And that’s really saying a LOT, too, because Dierks Bentley lost the plot a long time ago, about the time his third album was released. It’s a real shame, too, because his first two albums were really good. I don’t know what happened to him.
Speaking of folks who went downhill after their first album, Tracy Byrd is toward the top of that list, sadly. I’ve often said that while a lot of folks look upon the 1990s as some sort of golden age of country music, a lot of the stuff from that decade didn’t hold up that well. That thought came to mind as I heard “Keeper of the Stars” last night on the radio (KBUC 92.5, for you locals). As badly as I hate to say it, Tracy Byrd was yet another of those great voices that was saddled with subpar material. His first album was pretty good, but then it was off to novelty-song hell surrounded by maddeningly inconsistent album cuts.
And while I can deal with Brandy Clark being charitable with her assessment of bro-country “songwriters,” try as I may to believe it, I don’t think Dallas Davidson has a “Bridge Over Troubled Water” (or “Mama Tried” or “A Good Year For the Roses”) in him. If he did, you wouldn’t see him defending his vapid frat-boy bullshit so vehemently. The man is the very definition of “one-dimensional,” and he wears it like a badge of honor.