Monday music musings, 5.5.14

Oh, boy, here we go again…

Brian Kelley, also known as the other guy in Florida-Georgia Line, the one who plays electric guitar without plugging it in:

We’ve heard the term ‘bro country’, and I don’t really know what it means. People like to label things I guess these days. What’s country? What’s not country?

Just…wow. Where do you even start with the inanity of such a quote? I mean, I know the dude’s so dumb that he makes a fence post look like Albert Einstein, but it isn’t as if the term “bro-country” isn’t ever used without any context. Hell, it’s even gotten to be used as a positive term. And if you don’t know what’s country and what isn’t, how can you call your music country?

As far as labels go, it’s not even that this crap is mislabeled that’s the most irksome. What’s most irksome is that it’s completely devoid of any musical value outside the context of labels. It doesn’t just suck as country music; it sucks as music, period. And that makes Dallas Davidson look even more small-minded than he comes off here:

When you’re in a country songwriting dynamic you can only do so much. You’re pigeonholed, and I hate that. You can’t do this, you can’t say that.

It’s as if he has absolutely no sense of country music history. And really, if he finds country music to be so restrictive, then there’s a really simple solution to that. No doubt that’s completely beyond his ken, too.

And speaking of things completely beyond one’s ken, we have this from Luke Bryan:

Well, I do lean toward party music on some records, but even on Crash My Party I’ve got a song like Drink A Beer that’s quite a deep song. It talks about loss. You can’t have 12 songs about partying on every album. You need an ebb and flow of emotions. […] Look at George Strait — he’s been around for four decades. And if you really want, you can pick out five goofy songs like (George Jones’) Love Bug that you can claim are what he’s all about. But it’s not true. He’s got so many hit songs to choose from. It makes more sense to look at the range of the career.

Whaaaaat? People are looking at the entirety of Bryan’s career when they ridicule him. I mean, sure George Jones had clunkers like “I’m A People,” “The Ceremony,” and all that rockabilly stuff, the latter of which he himself later disavowed, calling it “a bunch of shit.” But it was the vast majority of what was later chosen to be released for radio airplay  — “When The Grass Grows Over Me,” “A Good Year For the Roses,” “Who’s Gonna Fill Their Shoes” — that made him so revered. Now, whether George Jones’ rockabilly records were really a bunch of shit I couldn’t say, as I haven’t heard any of ’em. But it just goes to show you the lofty standards the man had as an artist. Same goes for George Strait; in fact, Strait had such a problem with pop-sounding records that he parted ways with producer Blake Mevis over the latter’s insistence on Strait taking a more pop direction as they were finding songs for the follow-up to 1982’s Strait from the Heart.

Luke Bryan, on the other hand, more or less sold out right after his first album. I don’t know what he’s bitching and moaning about. One song like “Drink A Beer” doesn’t make up for 5 songs like “That’s My Kind of Night.”

(h/t Country California)

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