New York Times Cites Country's "Pension Plan"
For every fan who thinks country music is all about hot shot newcomers, consider this. In a story that ran in the New York Times on New Year's Eve, the writer puts Nashville up on a pedestal for what he calls an "enduring pension plan for cherished acts," listing Reba McEntire, Tim McGraw, George Strait, Brooks & Dunn, Alan Jackson, Toby Keith and Kenny Chesney, who have proven their resilience over the years. They have all been releasing albums for a long, long time and continue to stay at the top of their game. There's not a has-been in the bunch.
All this at a time when the genre was under attack from within, according to the story. "Early in the decade came the fear that country would go irretrievably pop, courtesy of Shania Twain, Faith Hill and Lee Ann Womack," the writer says "A few years later the rabble-rousing Muzik Mafia, with acts like Gretchen Wilson and Big & Rich, arrived as a rejoinder to the music's increasing sheen. And finally came a youth flank attack: via American Idol, there was Carrie Underwood, and via the Internet generation, Taylor Swift."
It's hard to argue with that. Country music has definitely gone down some different paths in the past 10 years. And it is good to see that one genre can have so many lasting artists who have maintained a common sound. I don't think other genres can make that claim. But later in the story, there's this: "As a result country has been the most commercially significant genre with the smallest amount of stylistic innovation." That I cannot agree with. I think country has had plenty of stylistic innovation. What say you, readers?
©2008 Country Music Television, Inc., a Viacom company. A division of
hotelmotel says:
I think both the Times writer and Alison make a lot of generalizations without offering much solid evidence to support them.
Joe says:
Actually it makes alot of sense…Country music goes through so many changes like the Carter Sound, Then Hank Williams, then The Eletric Guitar was introduced,then the Nashville Sound, then the Outlaw Movement along with Pop Music, then Urban Cowboy, then it went swung back to Traditional, then it went back to pop, then 2000 came and it began with Toby Keith, Phil Vassar, Rascall Flatts, Kenny Chesney, George Strait, and a whole slew of new artits popping up, then came the Muzik Mafia, then the Women of country Years….And yet nothing changes, has never changed…I got a book from 1979 that talks about the pop/country debate….So it’s been around a good 30 years
brian griffin says:
With the notable exception of “I Hope You Dance” Lee Ann Womack has never been pop and whoever said that shows their ignorance with that statement. The general theme is correct though it is nice to invest in artists over many years and see them grow.
Me says:
Just because alot of people happened to catch on to a song and like it is not always a negative.
hotelmotel says:
I dont think it is “ignorance” to suggest that back in 2000-2002, it seemed that Womack might be heading pop along with Faith and Shania.
True, “Dance” was Womack’s only pop hit, but “Something Worth Leaving Behind” seemed like an effort to replicate that. It failed, but I can understand why it seemed that Womack might be going pop.
Also, the “Dance” album went over 3x platinum, and the album immediate preceeding it, “Some Things I Know,” only went gold. So “Dance” may well have sold Six times what Womack’s last album sold. Given that, it seemed quite reasonable in 2000, 2001, 2002 to think Womack was going pop.
In 2003 and 2004, it seemed that Womack’s career might be over. She did seem to revive it briefly and in a minor way with “There’s More…” but she seems to be a D-level artist now.
Joe says:
Her last album Call Me Crazy was Excellent, but radio it seems can only play only two female artists at a time…Faith Hill, Martina Mcbride, Shania, Gretchen Wilson, Sara Evans should be played more, yet all we hear is either Taylor Swift or Carrie Underwood…That’s what selling so they kick the other ladies to the curb
hotelmotel says:
Call Me Crazy may well have been excellent, but why should mainstream radio play it? Would playing Call Me Crazy have helped mainstream country radio attract the demographic they want in sufficient numbers? Would mainstream country be able to attract more advertisers (or charge advertisers a higher rate) if they also played Call Me Crazy? I’m not sure, but I highly doubt it.
Mainstream radio is a business and if Womack wants airplay on mainstream stations, she has to give them something they can work with. Call Me Crazy was good, but probably not relevant to the needs of a mainstream country station.
I think its a lot safer a bet that mainstream radio should not play Call Me Crazy.
People who want to hear music along those lines probably are best served by looking for sources other than mainstream country stations. And if Womack wants to release songs like those on Call Me Crazy, she probably needs to look to other outlets for publicity.
brian griffin says:
Since she won the CMA for single and album of the year with “I May Hate Myself In The Morining” and “There’s More Where That Came From” she revived it in more than a minor way. Plus every other single from “I Hope You Dance” was definitely country so saying she was going pop based on one huge song that the record labal serviced to AC stations isn’t fair.
Redmaz says:
What I find unique is that everyone mentioned in this blog are not even recognized outside of the Pop music industry, with the possible exeption of Womack, and that was shortlived.
hotelmotel says:
brian griffin - I don’t think winning those CMA awards revived Womack’s career in more than a minor way. Womack has exactly zero top ten singles on mainstream country radio since winning that award (though I May Hate peaked at 10 just prior to winning), and since winning that award, she has released exactly zero gold (not to mention platinum) albums.
The award has helped her get publicity but that hasn’t translated into commercial success.
I do agree that “every other single from “I Hope You Dance” was definitely [mainstream] country” but I don’t think that suggests that she wasn’t going pop/AC. Those songs were recorded before “Dance” became a crossover hit in 2001. Once “Dance” became a hit at AC, Womack’s demeanor changed, her clothing changed, and her next new recording - Something Worth Leaving Behind- was clearly a bid at a second AC hit. I think Womack’s flirtation with AC radio was very brief,so I understand where you are coming from, but it was definitely there in my mind.
brian griffin says:
HotelMotel- I think we are quibbling over words I think winning two major CMA awards counts as more than minor revival. As for since then you are right but she seems committed to this Tammy Wynette role in country music which while creatively awesome may be commercially troublesome.
hotelmotel says:
I agree Brian that Womack is making some very good music now. We probably are quibbling over words.
I do like much of Womack’s music and I own 4 of her CDs. I hope in the future she continues to make good music.
Peacock Queen says:
My favorite Lee Ann Womack song is the duet she did with Willie Nelson, “Mendocino County Line.” Her voice is absolutely stunning in that song. As to whether you think it is country or pop or pop country depends upon your own personal taste, I guess. To me it is country, but I am sure there are others who do not think so. That’s O.K. I still love the song, and Lee Ann’s performance of it, no matter what you decide to call it.
brian griffin says:
It’s hard to call anything Willie Nelson does pop. That song is great and as someone who has spent time on the northern California coast it always brings back good memories.
Redmaz says:
To brian, I’m curious to know what your definition of Pop Music is.
Peacock Queen says:
I want the horse Lee Ann is riding in that video!!!!
Jesse says:
I will agree that “I Hope You Dance” and “Something Worth Leaving Behind” was a little less traditional and more mainstream than previous albums…but they were and never should be group with Faith and Shania. I own SWLB, and I know for a fact that there is traditional country on that album. A lot of the songs remind me of a long missed Patsy Cline. Try and listen to “He’ll Be Back” and tell me that is not country, if so neither is Patsy!
I am not biased when it comes to music, except rap, but if we are going to debate true country…I am biased in that sense.
If I am going to watch a country music award show, I want the best artist, songs, and albums that represent country, to its roots, to be recognized. I hate seeing “what sales” being honored. Sorry disagree with me, as I know you will, but there is a big difference in what sales these days, and what sold ten-twelve years ago.
hotelmotel says:
I agree with Jesse that the SWLB wasn’t just a Faith Hill clone. But many potential record buyers wouldn’t have known that: The single, as well as the album artwork, strongly suggested that Womack had left behind the days of “Some Things I Know” or her debut album.
I think her 2005 album’s cover did a much better job of reflecting the music contained on the album than did the 2002 album.