Monday music musings, 3.4.17

Messing around in the archives of Lone Star Music, I came up on this Jason Boland interview from some time ago. Key snippet:

What were you listening to back then?

Well, you know, growing up, you just listen to whatever your dad listened to — Johnny Cash and Waylon Jennings, and some folk music, and then just whatever was on the radio. And as far as more modern country, the things that really interested me … I liked Clint Black’s early stuff, a lot of that was great. Those were some of the country albums from my generation that really blew me away. And then of course I listened to rock, too: Pantera, Judas Priest, Iron Maiden.

Wait, what? The guy who did songs like “Pearl Snaps” and “Hank” listened to the likes of Judas Priest and Iron Maiden? Huh. Now, I know those hard country songs are not all Boland does — see, among others, “Green Screen,” “It’s Alright to be an Asshole,” ” and “Thunderbird Wine,” and those not-so-country influences come through rather loudly. But even towards the end of that latter number, they throw in a wailing fiddle solo that’d make Bob Wills proud.

I know I keep coming back to that, but I think it’s probably at the root of my gripes with mainstream country. “We didn’t grow up listening to just country music!” Well, if a traditional country standard-bearer like Jason Boland can come of age listening to fucking Judas Priest and Pantera, then Luke Bryan and Florida-Georgia Line don’t have any excuse — unless, of course, they’re just lying to us all about having listened to any country music growing up. Which is a distinct possibility.


Confession time:

You know that I scoff at certain people’s nostalgia for ’90s country as some sort of golden age, and I know he’s a laughingstock to a lot of people now, but I can’t deny that Doug Supernaw’s debut album, Red and Rio Grande, was one of the most underrated albums of that time period. It did spawn a No. 1 hit with “I Don’t Call Him Daddy,” but there was a lot more to it than that, including covers of Keith Whitley (“I Would Have Loved You All Night Long”) and Dan Seals (“Five Generations of Rock County Wilsons”). And I have no idea how I only now came to recognize the meta brilliance of the honky-tonk shuffle “You’re Gonna Bring Back Cheatin’ Songs” — a cheating song that talks about the cheater’s actions boosting their popularity, whaaat?

But there’s a reason I got this album on both cassette and cd — and now mp3 — and it’s this song right here:


5 Responses to “Monday music musings, 3.4.17”

  1. Andrew L. Says:

    I checked out Red and Rio Grande based on your recommendation, and it is indeed thoroughly excellent. Thank you!

    • southtexaspistolero Says:

      De nada. 😀

      Pretty much the only song that didn’t really hold up on that album was “Daddy’s Girl.” I thought it was kinda cute when I was 16, but then I cringe at a lot of things I liked from that time. Now I just think, yet again, “Why is ‘daddy’s girl’ a term of endearment while ‘mama’s boy’ is a pejorative?” I still have yet to get a satisfactory answer to that question.

      But 9 out of 10 is pretty good for an album from the ’90s that wasn’t from George Strait or Alan Jackson…

  2. Andrew L. Says:

    I agree. “Daddy’s Girl” is not the worst thing in the world (especially compared to a lot of today’s stuff), but it is pretty weak and forgettable. Every other track struck me as above-average to great, though.

  3. Classic Cuts, 4-11-2017 Edition – Country Music Minds Says:

    […] to listening to him further for whatever reason. However, I recently checked out his debut album on the recommendation of CMM friend texaspistolero, and I’m sure glad I did, because outside of one weak filler track, it’s excellent […]

  4. Classic Cuts, 4-11-2017 Edition – The Musical Divide Says:

    […] to listening to him further for whatever reason. However, I recently checked out his debut album on the recommendation of CMM friend southtexaspistolero, and I’m sure glad I did, because outside of one weak filler track, it’s excellent country […]

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