Is there anyone left in Nashville with a functioning memory of country music?
Trisha Yearwood put out “Georgia Rain” in 2005. This is almost the same song. The theme, storyline, geography, and even the weather are all identical.
The only differences? It’s not written as well or sung as well. Not even close.
When I was a very young child, maybe five or six, there was a song that used to scare me a little bit: “Maneater.”
When Hall & Oates sang about her only coming out at night and warned, “Watch out boy, she’ll chew you up,” my literal little mind thought she was a monster that was going around eating people. It creeped me out.
Somewhere tonight, there must be another small boy or girl listening in terror to Jamey Johnson’s “Heartache.”
Much credit has been and should be given to The Band Perry for resisting the popular urge to rock out with their country music. As a result of their more laid back hybrid of folksy country instrumentation, this young group has received well-deserved critical praise. Where they falter, however, is with their lyrics.
“Little Miss’ is one of many socially conscious songs on Sugarland’s The Incredible Machine, but it’s the only one that truly works. It succeeds where the others fail for two main reasons.
One, it describes things as they are now, instead of trying to inspire us with idyllic images of how the world could be if we just, you know, did something. The details used to describe a woman who “is so much more than you like to talk about” captures the dilemma that faces so many women today with little descriptions that add up to a larger picture of all of the compromises that must be made to a woman’s ambition and talent for her to not offend those who might be offended by them.
This is a joke, right?
Because if it’s a joke, it’s absolutely brilliant. The video alone is worthy of In Living Color at its heyday.
He may be the latest of many pop dudes gone country, but I’ve got a feeling Josh Kelley could actually stick around for a while. Just because it makes business sense. He’s famous enough to enjoy name recognition, but not enough to seem like a desperate has-been for switching teams; plus you don’t need your music to be especially “country” to market it under that name now anyway; plus I suspect that lots of Lady Antebellum fans will be willing to give Charles’ big bro a shot.
Back in the nineties, radio remixes became widely prevalent in the pop, rock, and R&B formats. You couldn’t just send a song to radio as is, and call it a day.
Instead, programmers would get the same song in five different versions. Top 40 Mix, AC Mix, Dance Mix Edit. All the same song at the core, I suppose, but when the only thing left from the original is the artist’s vocal, it’s hard to know what the core of the song is.
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