Patty Loveless
Carrie Underwood and Female Country Artists: A Historical Perspective
I’ve always been something of a chart junkie. While I don’t pay as close attention as I used to, I still have a pretty good handle on historical trends. One artist I’ve been keeping an eye on is Carrie Underwood. When each official country single from her first two albums peaked at #1 or #2, it caught my attention.
But I never expected the trend to continue, with three more #1 hits from the new album. The source of that belief was the history of women on country radio, especially in the twenty most recent years that were based on actual monitored airplay instead of radio playlists. Since that change, far less records have gone #1 or #2.
Discussion: Worst Album Titles?
We don’t do as many discussions as we used to at CU, and it’s possible that we already did this one. But seeing the title of this week’s #1 country album, I couldn’t resist:
Jerrod Niemann, Judge Jerrod & The Hung Jury
I’d call it juvenile, but I don’t think I would’ve laughed as a kid, either. But I’m sure some people found it funny.
Here are a few others that make me wince:
Pam Tillis, Above and Beyond the Doll of Cutey
How Very Nineties: George Jones & Friends, and other All Star Jams
New fans of country music in the nineties were hit over the head with the assertion that country music was one big family. Nothing demonstrated this mythos better than the all star jams that cropped up during the boom years.
There were some variants of this approach. A popular one found a veteran star teaming up with one or more of the boom artists to increase their chances of radio airplay. George Jones was big on this approach, with the most high profile attempt being “I Don’t Need Your Rockin’ Chair.” Seventeen years later, it’s amazing to see how young everyone looks – even Jones himself!
Single Review: Patty Loveless, “Drive”
It’s such a welcome relief to hear Patty Loveless doing something outside the mountain soul/classic country vein that I’m going to overlook the fact that this sounds modern simply in comparison.
“Drive” doesn’t approach the sonic euphoria of her work for Sony, but it’s fun to hear her do something that could’ve been entertaining filler on one of her late eighties MCA albums.