Monday music musings, 14.9.15

…wait, what? People still care what Darryl Worley thinks?

I still catch myself breaking out in a sweat when I sing that song. I was so angered. I was just so angered by the coward of the attacks.

Oh, wait, Taste of Country. Never mind.

In all seriousness, when you talk of complete wastes of potential in 2000s country music, Darryl Worley’s pretty high up on the list of people who blew their potential all to hell between bad songs and/or career choices. I bought his first two albums — Hard Rain Don’t Last and I Miss My Friend — and they were both pretty good. But with Have You Forgotten, I was like, nope, no more of that shit — even if only because the album was mostly a compilation of songs from those first two albums riding on the success of a song that never should have been written in the first place. Sucks, too, because Worley had a solid voice quite evocative of Keith Whitley and was a pretty good songwriter too, at least if the credits on his albums didn’t fall victim to the whole “third for a word” phenomenon. But he put himself in the position of putting out poorly-written propaganda, and, well, you see how well that’s worked out for him.


Man, Dale Watson just nails it

The best songwriters and best musicians in the world live in Nashville, Tennessee. Unfortunately, that whole thing is a business plan. Music is made, but it’s like a sweatshop.

…as does William Clark Green:

It’s kind of like gentrification. What happens is you have neighborhoods in every town that you consider it poor. People live there forever and then somebody builds a Starbucks and it ruins the neighborhood. Rich people move in and make these sidewalk diners, and tax values go up. And we can’t afford to be there anymore.

Those are some really interesting analogies, and ones that put the whole “it’s just evolution of the music” argument into perspective. It’s certainly not a flattering perspective, either. You could very well argue that what’s going on isn’t evolution of the music, but consolidation of the music — consolidation into that big mono-genre that Trigger’s always talking about at Saving Country Music. And the same arguments against sweatshops and gentrification apply here, also, because there’s no long-term benefit to the music with what’s going on here. It’s just the artificial shift of the music from targeting an older demographic to targeting a younger, allegedly hipper one with the cheap mass-produced product, and we’re going to see the same thing happen to the music that happened to Suzette Kelo’s neighborhood. That’s where this is all gonna end up. Bet on it.

(h/t Country California)


Quote of the day, from a Redditor on Judas Priest, discussing the 25th anniversary of the release of Painkiller:

They’re absolutely not dad rock…unless your dad is metal as fuck.

Yep, that’s pretty much it, although I thought they were kinda meh for a long time. While they weren’t as banal and uninteresting as, say, Fleetwood Mac or U2, all the Judas Priest songs I heard on the radio got to be pretty boring after a while. I had heard so much about how Priest were one of the baddest-ass of the metal bands out there, and I heard songs like “You’ve Got Another Thing Coming,” “Turbo Lover,” and “Breaking the Law,” and I thought, really? That’s all there is?

And then I heard this.

Metal as fuck, indeed. And the entire album is just as great. I had much the same reaction to this as I did to Queensryche when I heard the Operation: Mindcrime songs for the first time, i.e., “Holy spitballs, this is the same band?” I have heard that not all of JP’s stuff was quite as hard and fast as the stuff on Painkiller, but I am definitely interested in exploring their back catalog….


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