Saturday music musings, 11.11.17

Apparently Washington Post music critic Chris Richards is hellbound and determined to throw every bit of his credibility away. First it was “Sam Hunt…(is) far and away country’s most forward-thinking stylist, and he deserves to be recognized as such,” and then it was, “Maren Morris…is a straight-talking, forward-thinking fountain of dash, and she’s funneling it into some great country music.”

And now, there’s this, via Saving Country Music:

not one artist found the courage to say a single word about gun control after 58 fans were shot dead at a country music festival in Las Vegas last month….today’s country stars are singing about an apolitical no-place that doesn’t actually exist.

Apolitical no place that doesn’t actually exist. Apparently this dude has never heard, for example, anything from Jason Boland’s latest album, or the Turnpike Troubadours’ “1968” or “Southeastern Son,” or Corb Lund’s “Gettin’ Down on the Mountain,” the title track to the Jason Eady album When The Money’s All Gone, or…you get the idea. Now, you could very well make the argument that what Chris Richards says is true, but we all know that he’s making this argument for entirely the wrong reasons. Anyone who’s been paying attention knows that 2010s country music (the mainstream component of it, at least) is a near-total wasteland, from the whole bro-country business to Kelsea Ballerini, Thomas Rhett, Jerrod Niemann, Chris Lane, Walker Hayes, and, yes, Sam Hunt and Maren Morris. I guess I shouldn’t be surprised that someone like Chris Richards would say something like this under these circumstances, but it just rings so incredibly hollow and hypocritical. Small wonder so many people have lost faith in the media, with people like him writing for ostensibly credible and respected outlets.

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Well, this was rather disappointing…

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Aaron Watson’s a good, good guy from everything I can tell, but to be frank, as an artist, to see him associate with somebody like Granger Smith is rather unsettling. I mean, Watson’s no Jason Boland even on his best day, but he’s still way the hell ahead of Granger Smith for the most part.

But with this latest album, I gotta admit, I wonder…

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Trigger posted a fine review of my favorite Lee Ann Womack album. I heard the first single, “I May Hate Myself In the Morning,” and knew I had to have the album; it was a Day One buy for me, and when I heard the twin-fiddle opening of the title track, I knew I was in for something really special. Killer album from start to finish. If I had to pick a least favorite track it’d probably be “What I Miss About Heaven,” but I still don’t ever skip it. I also really liked her covers of “Waitin’ for the Sun to Shine”…

and “Just Someone I Used To Know.”

The latter, of course, was a hidden track; I remember hearing the end of “Psalm 151” and the cd still going, wondering what was next, and BAM! More twin fiddles. “Oh, I know this song!” Gorgeous, gorgeous ending to a gorgeous album. Lee Ann has done great stuff since, but There’s More Where That Came From remains her masterpiece.

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2 Responses to “Saturday music musings, 11.11.17”

  1. Borepatch Says:

    The 2010s *has* been a wasteland. It’s depressing. Don’t even listen to Country music anymore.

  2. southtexaspistolero Says:

    I still listen to a lot of country music, just not the stuff they play on the radio. There are a lot more options than there used to be, and I am so very grateful for that!

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