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ILM just ran a Poll Of Many Colors, women in country music: best or favorite artists, albums, tracks. I only did tracks. Poll results will probably start next Friday, possibly with a new thread.

This is what I wrote, with a few tweaks, and I've added embeds. The person making the Spotify playlist was kind enough to post what he could:

I'm late to the party so doubt you'll have time to put any of these into your playlist, and LOL at trying to find them on Spotify anyway.

To call my knowledge of country music "spotty" is to overestimate the number and size of the spots and to underestimate the vast amount of blank space. But last June when Tom's Peoples Pop Polls were doing 1966, I did a kind of dive for country music, especially looking for country women to toss into the Suggestions Box.

In the meantime here's one from 1985:

Lacy J. Dalton - Over You
Deep burnt voice, makes me want to hear more.

[A little while later]

Another from 1985:
Louise Mandrell - Devil In A Fast Car
Sounds more Flashdance than her sister.

[A little while later]

From hither and yon. Yes, I can find a way to put hip-hop into a country poll!
The Forester Sisters - Crazy Heart
More heart than crazy, but the guitars mince some garlic over in the cutlery section of Bed Bath & Beyond.
Faith Hill - One
Keep forgetting how good Faith Hill is. This is quiet storm, basically, that doesn't forget to get a little noisy.
Bonnie Guitar - Hello, Hello Please Answer The Phone
Question, what genre has the most telephone songs? Think country's a contender.

Norma Jean - The Gambler And The Lady
You're either on the boat or you're off the boat.
Haley Georgia - Becky
"Becky" is blissful and buoyant and one of the great songs of 2017 and when all the online creeps kept telling Haley it was shit she must've listened, 'cause it's been wiped off the Internet except for this snippet.
LeAnn Rimes - Family
Saw a live clip of this where LeAnn says "And just admit you have a dysfunctional family" and she raises her hand really high.
LeAnn Rimes - No Way Out
And she didn't know a way out.



Taylor Swift - You're Not Sorry
Taylor Swift - Lose Yourself
SHeDAISY - Lucky 4 You
Carrie Underwood - Jesus Take The Wheel
Allison Moorer - Dancing Barefoot

Sarah Buxton - Space
Laura Bell Bundy - Giddy On Up
Sarah Darling - Whenever It Rains
Cassadee Pope - Wasting All These Tears

[18 hours later]

Most of the cows have left the barn already, but here's 1966. Among my surprises and discoveries when diving into '66 was how much country was still wrestling with rock 'n' roll and, for the women, wrestling with the girl group sound. For instance, Dolly Parton's "Don't Drop Out," produced by Ray Stevens, was going for a Spector/Shadow Morton/Shangri-Las sound. This is while, out on the pop charts, the girl groups were either disappearing or – in the case of the Supremes and the Marvelettes – morphing into mid '60s soul.

Of course, the country acts were not trying to absorb or meld with the (barely yet named) "rock" genre. Lots of country acts covered "These Boots Are Made For Walkin'," but they got no closer.

One happy surprise, though, was hearing Bonnie Guitar and Margaret Whiting veer towards the art-pop of Petula Clark, say, or Burt Bacharach. Bonnie Guitar (see upthread) is especially interesting – I'd never heard her, but she's terrific. She sounded as at-home on Bacharach type stuff as on Carter Family type stuff, and I could imagine her singing a Bond theme. If you can tell me more about her, I'd be grateful. In the Suggestions Box I was also posting for someone who couldn't figure out how to post, and I ran his choice of Scott Walker's "Mrs. Murphy" right into Bonnie's "Grey Rain Years."



I made a couple of Sixties playlists with a bunch of stuff incl. these and some male-sung country tracks; the second playlist includes the Bonnie-Scott merger. And the first playlist's got my Suggestion Box segue from Norma Jean's "The Shirt" to the Rolling Stones' "Mother's Little Helper." This segue is one of the meanest things I've done in my life.

As much as I love the '66 country tracks, after 10 of them in a row I feel like I'm in an airless closet. If I'd been a kid in a country-listening family, I would've seized on the Stones as a giant bear claw to claw my way out.

In the '00s I wrote that country should change its genre name to "Resentment." For the '60s you could call the genre "What A Drag It Is Getting Old." —An interesting exception was Wanda Jackson; not that she's better than the others, but in going all Jimmie Rodgers she was arriving like a breeze of air and space.

In my actual 1966 – a mostly unhappy year for me – I was trapped in a room not with country but with the Rolling Stones. But since the Stones sounded like they were trying to claw their way out of themselves, I was able to ride with them.

To sum up, though, I'm impressed at the extent that country '66 was willing to engage with other people's present.

Jody Miller - I Remember Mama
Former folkie who foreshadows Emmy Lou/Ronstadt sogginess, which is actually perfect for the big fat sentiments of the song.
Jan Howard - You Really Know
This track's in the country and girl-group zone: her voice can wail, but's got a whip.
Connie Smith - Same As Mine
Excuse me, you've got the wrong house.

Margaret Whiting - The Wheel Of Hurt
Brings formidable style to the sobbing bucket.
Patti Page - Custody
The emptiest house in the world.
Norma Jean - The Shirt
What a drag it is getting old.



Bonnie Guitar - Grey Rain Years
Deep grey voice but with mirth playing around the edges.
Jan Howard - Bad Seed
Traveling the more conventional country track, Jan is just as warm and dangerous as on the rock 'n' roll side; and that harpsichord might actually, after all, be a nod to the shiny new stuff over on the pop charts.
Wanda Jackson - Tuck Away My Lonesome Blues
Loretta Lynn - Saint To A Sinner
Wasn't God who made honky tonk angels.

Interesting thing about Jody Miller: I read in Wikip that in the early '60s she would appear on a television folk show hosted by Tom Paxton. In my folkie days I'd got an album I liked by Paxton, Ramblin' Boy. A few years later, in my rock nihilism days,* I read an old Sing Out! article circa 1965 called "Folk Rot" by Tom Paxton, a savage denunciation (iirc) of the new electric rock 'n' roll direction by erstwhile folk heroes like Bob Dylan. Beginning summer vacation of '71 I left my Sing Out!s on a friend's porch with a note lending them to his older brother, who was learning guitar (the mags had lyrics and chords). Neither the friend nor the brother ever saw them. I suspect a parental intervention, though maybe a dog ate them. Anyway, when Clark McGregor put together his anthology of old commentary about Dylan, Paxton refused to let him reprint "Folk Rot." So I haven't seen it since, but I remember it ending with Paxton quoting from and sneering at a crossover chart hit, "Home Of The Brave": "Home of the brave, land of the free, why won't you let him be what he wants to be." By Jody Miller. Maybe Paxton felt betrayed.

*which haven't ended, by the way; but neither have my folkie days.

[Two days later]

Got my ballot in, tracks only, with maybe an hour-and-a-half to spare. While my number 30, "Suds In The Bucket," is a rockin' little record, it's surely not the 30th best woman-sung country song of all time, just the 30th best that I, my ignorant self, could think of (while restricting myself to only one song per artist except I invoked The Taylor Swift Exception and gave Taylor two, finally choosing "Should've Said No" over "Lose Yourself" as the second on the grounds of better (in)fidelity).

Only eight that I "nominated" i.e. linked above actually made my list; voted a different LeAnn Rimes ("Blue") and a different Sarah Buxton ("Stupid Boy"). My guess is my ballot's the only one with Cassadee Pope and Daveigh Chase. Never saw Big Love but from what I remember people telling me, Chase played either a screwed-up character or a character in a screwed-up situation; anyway, her "Happiest Girl In The Whole U.S.A." adds a grabbing passion to the song's supposedly staid and comfy happiness. I have no memory whatsoever of Cassadee Pope's "Wasting All These Tears" prior to three days ago except I must've heard it when it came out 'cause it made my 2013 Nashville Scene ballot. Is an angry self-pitying wailer that you'd think'd want an Avril Lavigne or an Amy Lee to drive it through the wall, but Pope's thin reeds manage to do just fine.

As you may have figured, I'd no trouble voting "country" songs that sound like they're invading or being infected by another genre.

My top 30 songs )





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Posted these on Rolling Country:

POST ONE:
Jiyoon and Gayoon of the great K-pop girl group 4minute are billing themselves as 2YOON and have just released a country-dance-pop (or something) EP called Harvest Moon [EDIT: But see below]. I'll report back when I hear it. In the meantime, there's the single, "24/7," which subdee calls a mess — certainly has more of a mashup sensibility than a country sensibility. The first vocals you hear are a rap. My thumb is wavering but in the up direction. Jiyoon's climbing-and-falling wail in the prechorus is the best part (shows up first at 0:28 thru 0:33), though I'd more likely envision Robert Plant singing it than Miranda Lambert. There's a teaser with a very problematic cultural stereotype that unfortunately I find funny (and sounds more like Steppenwolf than Hank Williams). I'm sure 2YOON dance better than any of their country or rock counterparts.



I would like the EP to be great, so that on next year's ballot I can list Shinsadong Tiger, Kim Da Hoon, and Lee Sang Ho as Country Music's Three Best Songwriters Of 2013 [EDIT: But once again, see below].

(xhuxk, you've got a Shinsadong Tiger song on your 2012 P&J ballot.)

Paucity of country, total absence of Tiger )
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Just posted this on Rolling Country:

I don't think we've talked much about Korean country music - there not being much Korean country music to talk about. Han Myeong Suk's "The Boy In The Yellow Shirt" (1961) uses a self-consciously old-timey string band arrangement, though with a more aggressive '60s rhythm. Melody and singing are - I don't know - old bluesy country mixed with (I really don't know) trad Korean? pop Hawaiian? G'Old Korea Vinyl, the site that streams it, tells us that the lyrics "were pretty badass at that time" - doesn't quote them, unfortunately. Site says that the song was a hit in Japan too and other parts of Asia, and according to Wikip there was a French cover version by Yvette Giraud, YouTube being no aid to further research. Is terrific enough in the original.

Searching "country music in korea" on Google nets me Bobbyville, a side project of Seoul indie performer Bobby Chung, who says he models it on the Bakersfield sound; and Kim Tae-hun and his band Sunday Losers, who veer towards rockabilly and blues and are from the Busan indie scene. There's also a trot song by Moon Hee Ok that's labeled by the uploader as Korean country music, but isn't unless you consider trot the Korean equivalent to American country, which it's not.

Sunday Losers "KimchiBiilly Night Grand Carnival"


There's perhaps a Korean yodeling scene that by the evidence on YouTube goes for yodel per se rather than the country variety, but it includes someone identified by the uploader as "Korea Young&Beautiful Yodelgirl" who wants to learn to rope and ride, someone doing "La Desperadado," and a fellow billing himself as Peter The Korean Yodeler who made his way to the Le Mars Country Festival in Iowa a few years ago.

Yodel Per Se
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Billboard has a squib today, describing its new way of computing the Country Songs chart. The chart used to be airplay alone, as compiled by Nielson; now it includes streams and downloads (though I presume there's no way to tell where and whom the downloads are coming from — that is, whether they're coming from the country audience or not). Also: "With digital download sales and streaming data measuring popularity on the most inclusive scale possible, it makes perfectly logical sense that the radio portion of the new chart calculations include airplay from the entire spectrum of monitored formats." Don't know if I'm interpreting that sentence correctly. Does it mean Billboard is now counting the airplay a country song receives on noncountry stations as well as on country stations? (In this case, is it always clear what a country song is? What about an alt-country track that gets a lot of play on Triple A but almost no play on mainstream country?*)

Guess who has a song that's number 42 on Mediabase's current country airplay chart, that was number 21 on last week's Billboard Country Songs chart, and that has just jumped to number 1 on the new Country Songs chart as a result of the change in methodology!

Unavailable data )

Gratuitous embed )

For instance )
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1. Britney Spears "Hold It Against Me"
2. 2NE1 "I Am The Best"
3. Fat Cat "My Love Bad Boy"
4. GD&TOP "High High"
5. Jeremih "Down On Me"
6. IU "The Story Only I Didn't Know"
7. Bobby Brackins ft. Dev "A1"
8. Galaxy Dream ft. Turbotronic "Ready 4 Romance"
9. Big Bang "Tonight"
10. Dia Frampton "Heartless" (live on The Voice) [webrip]
11. SNSD "Bad Girl"
12. Britney Spears "Criminal"
13. Rihanna "S&M"
14. 4minute "Mirror Mirror"
15. Far East Movement ft. Lil Jon & Colette Carr "Go Ape." Dance phenoms add caterwauling and hollabacking to the palette. Jon's had his entrepreneurial eye on Korea for a while; U.S. West Coast is the closest he's gotten so far.



16. Nine Muses "Figaro"
17. GD&TOP "Knock Out"
18. MBLAQ "I Don’t Know"
19. New Boyz ft. Dev & The Cataracs "Backseat." Got a blank response on the Jukebox despite being to my ears far catchier and clearer than the mass of floundering fish that joined it in this year's dance-r&b-hip-hop-amalgam mess. Dev walks in and walks away with the song, of course, friendly, scrappy little clubrat casually exuding oceans of sexiness while just zipping through.



20. Rihanna "Man Down"
Nicola Roberts through Miss A )
Florence + The Machine through Blady )
Orange Caramel through Nero )
Feist through Eric Church )

My rankings were by sound and feeling and how good I thought something was, so proximity and juxtapositions are accidental, e.g. 50 and 51, and 89 and 90. But I like Rittz rubbing up against Eric Church at the end. Rittz is from the outer suburbs of Atlanta, but it's fun to think of him as the kid brother Church is singing to, the wigga who left the farm for hip-hop's dirty streets. The whomp of pain and incomprehension in "Homeboy" is Church's as much as the narrator's, Eric and cowriter Casey Beathard never giving voice to why a little brother might feel no home for himself in the place he grew up. The words are mostly about what the little brother supposedly lost. But the loss in the song is much deeper, the last verse giving us a view that the writers don't necessarily have themselves, the sense of something vital having left when the kid brother did and the abandoned relatives wishing it back rather than developing it in themselves.
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Just posted this on Rolling Country about the Alaina-Scotty final on AI:



To my surprise, Scotty McCreery and Lauren Alaina are the last two standing on American Idol. I was sure that James Durbin would win it, he being a mediocre rocker with enthusiastic performing, just what's won the last few years. Think Lauren sings with vastly more life, subtlety, and passion than Scotty; but I also think I mischaracterized her a little upthread when I said she had a big blustery voice. I think she has a big blustery talent, but the voice isn't big enough yet for all the bluster, and she often goes for wallop she can't reach. Scotty's got a strong love-man demeanor and wants richness that his tonsils lack, though he's nice to listen to on a talent show. The out-of-character "Candle In The Wind" is still the best thing Lauren did. A weak field, so the overreaching sexpot Haley Reinhart reached third and to my surprise occasionally grabbed what she was grasping for, "House Of The Rising Sun" in particular being a song to reward all that stretching.

I also posted a country singles 2011 top 10, which unfortunately included Aaron Lewis.
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Here's my ballot for the Nashville Scene's Country Critics Poll.

TOP TEN COUNTRY SINGLES OF 2010:

1. Little Big Town "Little White Church"
2. Sunny Sweeney "From A Table Away"
3. Martina McBride "Wrong Baby Wrong Baby Wrong"
4. Taylor Swift "Mean"
5. Laura Bell Bundy "Giddy On Up"
6. Kenny Chesney "Somewhere With You"
7. Trace Adkins "Ala-Freakin-Bama"
8. Sarah Darling "Whenever It Rains"
9. Stealing Angels "He Better Be Dead"
10. Sarah Darling "With Or Without You"

TOP TEN COUNTRY ALBUMS OF 2010:

1. Taylor Swift Speak Now
2. Jamey Johnson The Guitar Song
3. Kenny Chesney Hemingway's Whiskey
4. Mumford & Sons, Laura Marling, Dharohar Project Mumford & Sons, Laura Marling, Dharohar Project [EP]
5. Reba McEntire All The Women I Am
6. Chely Wright Lifted Off The Ground
7. Jerrod Niemann Judge Jerrod & The Hung Jury
8. Flynnville Train Redemption
9. Laura Marling I Speak Because I Can
10. Laura Bell Bundy Achin' And Shakin'

A bunch of other categories )

Some wonky shit )

My comments )

Sloshbucket )

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In regard to Wednesday's post about Dottie West: I should point out that pre-makeover Dottie is already going pop (the country-pop of Patsy Cline and Skeeter Davis, etc.), and whatever the lyrics and dress and placid instrumentation tell us about her in "Country Girl," there is a pop-jazz sense of rhythmic (dis)location in her singing, and at the end the melody becomes a potential rock 'n' roll wailer that's ready to let loose.

But still, prior to the late '70s she's at least giving lip service, if not throat service, to the idea of accepting limits and being snug in your place.* Country may be the only genre in American music that consistently does this (by "consistently" I don't mean "always does it throughout its length and breadth" but rather "does it a lot" or "at least allows performers to do it, to openly accept constraint and defeat"). Of course country has other impulses - the seeking of wide open spaces, the drive to invent and reinvent oneself (according to Wikip, Dottie's makeover includes plastic surgery), and so on - which intermix with or butt against the sense of limits, of place, of defeat, etc. So we can look, in particular instances, to see whether the reinvention and wanderlust clothe themselves in limits and roles (and defeat), say in cowboy garb, which is a role of adventure but in a traditional robe and a dying occupation. Or do they throw off the garb? Or engage in some combination of robing, disrobing, and counter-robing?

*Unless sometimes she isn't: my knowledge of country doesn't go deep or stretch long, and I don't think I'd thought ten seconds about Dottie West until two days ago; nonetheless... well, nonetheless, why isn't anybody not on Rolling Country talking about cultural stuff like this, limitlessness versus defeat etc.? Or are there lots of people doing so? I can't say I know the discourse.
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Why country singers want to go pop.

Dottie West 1968 ("I Was Born A Country Girl"):



Dottie West 1979:

[EDIT: Well, YouTube killed the clip: It might have been a live version of "You Pick Me Up (And Put Me Down)" with her look at its most disco. Anyway, here's "A Lesson In Leavin'" from probably about a year later.



And here's a link to a 1979 version of "We've Got Tonight"; a little more staid, but still a look that's a drastic shift from 1968.]

But I don't claim to know anything about Dottie West or about fashion, and anyway, few stories are ever simple or simply linear; e.g., here's Dottie in 1967 ("Here Comes My Baby"):

Dottie West: Here Comes My Baby )

And in 1965, with her sound bleeding into old-style r&b ("There's Someone Who's Missing"):

Dottie West and Boots Randolph: There's Someone Who's Missing )

(I'm looking at all these while exploring the idea that periodically country moves into pop in order to shake its sense of stodginess and squareness, but that also there are countermoves to try to find a specifically country form of hipness. In the late '90s you get Faith Hill and the Dixie Chicks and Shania Twain pushing their style into glamour, while maybe you get... I don't know, would Toby Keith and Brooks & Dunn qualify as a countermove into country hipness? Big & Rich, in the '00s? Meanwhile, Taylor Swift is taking the Faith 'n' Dixie Chick glamour rebellion in her own idiosyncratic direction. Are there any country guys who might be said to be currently doing this?)
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Sunny Sweeney had an album out several years ago that I've yet to hear but that Don and Xhuxk praise, and has a single now that reminds me in sound and melody (though not at all in lyrics or arrangement) of Vanessa Carlton's excellent "Spring Street."



What I wrote on Rolling Country: "Woman in the shadows realizes she's stuck being the other woman. Good workaday sorrow, a rich voice that doesn't force things."

Also, Xhuxk and I think there's something Ashleeish about Lee Brice's "Picture Of Me," even if Lee's a drooling-at-the-mouth southern rocker. I haven't heard the album version, so I'm going on a live clip:



Chuck Eddy: "'Picture Of Me' seems like a pretty good here's-how-I-am-and-here's-why-I'm that-way statement, the kind of song Eric Church might've sang on his first album (and maybe Ashlee Simpson on her first two), though I haven't decided yet if Brice is saying anything new in it."

Me: "Not taking in the lyrics yet, but Lee Brice's wail on this reminds me of Ashlee, his voice scooping down and yarling up. Kicking band, too."
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Want to report that while I was gone Rolling Country picked up considerably, with Edd Hurt and Jonathan Keefe suddenly posting a lot, and Chuck and George et al. responding in turn. Only spot in the universe where Dierks Bentley and Laura Bell Bundy stoke the fires of controversy.
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More convo with Tom on his Tumblr, this time as to whether or not Taylor Swift's "You Belong With Me" is indiepop. I say not, though I can hear the potential indieness that he hears. (Also, more generally, I can hear parallels between country and indie in that country is up to its eyeballs in alienation and social resentment; one thing I find inspiring about Taylor, beyond the craftsmanship that insists you tell a story rather than simply allude to one while hoping that the listener will do your work for you, is that, though she's personally hurt - it's all over her lyrics - and she hangs on to her bitterness, she's not head deep in social resentment.*)

The reason You Belong With Me is not indie )

*Which isn't to say that one can't do great stuff with social resentment, mind you, as long as it doesn't devolve into an easy shtick.
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Here's the theme-song to a Japanese videogame* that's sung in English by a Chinese woman (Faye Wong) who was born in Beijing but originally rose to fame singing in Cantonese rather than Mandarin. But the reason I post it (Faye Wong sings it well, but she's done more interesting stuff) is that when I heard it I thought to myself, "I bet she's covering a song by a country diva" thinking that this was the sort of song a country diva aiming to hit the adult contemporary market might have sung about thirty years ago. So my question would be, who else who isn't country would be likely to sing something like this? (One answer: Faye Wong, though I gather that this sort of thing was less and less a part of her repertoire as she went on. She's still a subject for further research, my having seen her name for the first time four days ago.)



*Final Fantasy VIII, which I gather isn't just a game, but a whole franchise, a combination videogame and Taco Bell.
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Last month I linked the "radio edit" of my decade's end piece, the version that was printed in the Las Vegas Weekly. Here under the cut is the "extended freestyle mix" (a.k.a. director's cut), a full one thousand words longer – that's 60 percent more, for the same price! To put it in brief, I'm suggesting that the musical story of the Web is words, but that this Web word story can be one of distance and isolation.

Microwaving A Tragedy: The marriage of romance and romanticism in '00s pop )
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In "Ala-Freakin-Bama," Trace Adkins says he grew up listening to Skynyrd, but it sounds like someone's been listening to the Standells and Joan Jett, too.

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My decade's end piece in the Las Vegas Weekly, though after I'd pitched it I rebelled against the idea of trying to fairly sum up, hence no mention of Timbaland or Max Martin, whom I'd peg as the two most important figures in '00s music. (The Club Mix has brief mentions of "Behind These Hazel Eyes" and "Since U Been Gone," though not in regard to Max's input.) In about a month I'll post an Extended Freestyle Mix, and I'd welcome any suggestions as to what you think it should contain.

Microwaving A Tragedy: The marriage of romance and romanticism in '00s pop

(Links to my old Las Vegas Weekly columns are here, if you're interested.)
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Facing the worst slump since the Great Depression, country responded with hard-eyed realism, producing great track after great track about booty, transvestites, and Saturday night blowouts. This is my best country list since I started doing them in '03. Lotsa dance beats.

Top 35 Country Singles, 2009

1. Love And Theft "Runaway"
2. Jamey Johnson "High Cost Of Living"
3. Taylor Swift "You Belong With Me"
4. Sarah Buxton "Space"
5. Lady Antebellum "Need You Now"
6. Taylor Swift "White Horse"
7. Sarah Borges And The Broken Singles "Do It For Free"
8. Caitlin & Will "Even Now"
9. Miranda Lambert "White Liar"
10. Brad Paisley "Welcome To The Future"
11. Taylor Swift "Fifteen"
12. Jack Ingram "Barefoot And Crazy (Double Dog Dare Ya Mix)"
13. Brooks & Dunn ft. Reba McEntire "Cowgirls Don't Cry"
14. Rascal Flatts "Summer Nights"
15. Kenny Chesney ft. Dave Matthews "I'm Alive"
16. Randy Houser "Boots On"
17. John Rich "Shuttin' Detroit Down"
18. Jamie O'Neal "Like A Woman"
19. Kenny Chesney "Out Last Night"
20. Billy Currington "People Are Crazy"
21 through 35 )
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Jace Everett's "Bad Things," which was first released in the U.S. in 2005 and which last year became the theme to the HBO series True Blood (and which was number 20 on my top country singles list for 2006, four spots below Everett's "That's The Kind Of Love I'm In"), rose this week to #49 on the UK pop singles chart. Any idea why? Did someone sing it on X Factor? (If so, this isn't readily apparent from a quick Google search.) Or is True Blood getting sudden TV attention in Britain?

The basic feeling back in 2006 on Rolling Country was that Everett was getting over more on songs than on his singing. That's what Xhuxk said, anyway, and I agree. ILX was down in late 2006, so when I got around to discussing Everett with Edd Hurt, we were on email. Iirc, I praised Everett's songwriting but said he had a mannequin voice (though he was good enough for me to list then and to embed now).



On Rolling Country 2007 I kept asserting that the way Miley Cyrus sings "I just can't wait to see you again" is fairly similar to how Jace sings "I wanna do bad things with you": not that Cyrus and Armato & James copied it but that they and Everett were pulling from the same rockabilly model, using reverb and a similar twist in the tune. But Miley doesn't sound like a mannequin (someone on Rolling Country said that she's got the raw voice of a 40-year-old Nashville barmaid; this was meant as a compliment).
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While barely paying attention I'm hearing one country single after another that's Top Ten worthy. What really floors me is that a piece of Lady Antebellum mush that's just as mushy as any of their previous mush, and nothing special in style or message, is so warm, lopes right into a Little Big Town place in my heart. Good hook helps. Other tracks that I've not said much about previously: Sarah Borges "Do It For Free": a respectable alt-country band does my neo-new-wave tuff girl track of the year. Jack Ingram "Barefoot And Crazy": southern dance is further defined as Mellencamp. Holly Williams "Keep The Change": with Borges being Chrissie Hynde, Girl Hank III gets to be a rocking Borges singer-songwriter type. Phil Vassar "Bobbi With An I": country transvestite novelty is a pretext to sing "Barbara Ann."

Top Country Singles 2009, Three Quarters Through )
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Haven't posted here about Taylor Swift yet this week, so I'll just set down these notes towards a future Taylor Swift post, though you don't have to wait for the future to comment.

Geoffrey Himes thinks Taylor is too suburban to be country; Martin Kavka thinks Taylor is a small-town girl running a critique of small towns (hence definitely country but an interesting twist on it). I don't think either comment is particularly relevant since her songs could be set anywhere there's a high school English class.

Question would probe her concerns with family and community and cross-generational commonality and intergenerational continuity. Also what other people's country songs are doing these days. Also, how much is her fifteen country's fifteen, and what's the genre's relation to people whose fifteen doesn't match Taylor's?

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