Life and career —
Over the course of the past year since I reviewed the Zac Brown Band's magnificent UncagedI've had a bit of a chance to get reacquainted with country music - and by reacquainted, I mean catch a glimpse at the singles that show up on the pop charts and the occasional YouTube video that pops up.
And while I could say that I did indeed see more country music when I reviewed Taylor Swift's RedI'd be lying, mostly because that album would be lying if it called itself country.
And yet Taylor Swift is considered one of the leading country acts in this day and age, a fact that doesn't so much baffle me as disappoint me. This is mostly because I'd be stretching to call Taylor Swift much of a leader in this field on any level - her lyrics are only getting more mundane and insufferable, her vocals are absolutely nothing to write home about, and when her instrumentation contains dubstep and electropop breakdowns, you can barely consider it country music anymore!
For tNhe most part, too many of these guys sound the same, with the same country rock style and the same bland lyrics that seem to be about booze, girls, cars, and loving America.
You hardly ever get acts that stand out much against the herd here - I mean, say what you want about Toby Keith, but at least the man has a distinctive sound and style to his songwriting and charismatic delivery that makes him stick out.
Brad Paisley has his excellent guitar playing, Florida Georgia Line has that annoying backwoods twang in the vocals 'Cruise' is still kind of awesome, thoughKenny Chesney is there to rip off Jimmy Buffett with alarming and shitty frequency, but outside of the Zac Brown Band, who the hell of this group has the serious songwriting chops to stand out and be remotely memorable?
Say what you will about Garth Brooks, but at least the man had great songwriters and he was a halfway decent songwriter himself and he had the charisma to deliver the songs well - and that's why songs like 'Friends In Low Places' will never go away.
The point that I'm trying to make here is that it doesn't tend to be vocal delivery or instrumentation that makes country songs stand out - almost unique amongst any genre of music, the songwriting and lyrics come into much higher prominence for singling out the greats.
That's why Ronnie Dunn's 'Cost of Livin' is one of the best songs of - it wasn't because of the instrumentation, but because Dunn was singing a desperate song with a very desperate, uncompromising edge.
It's one of the most raw and excellent country songs I've ever heard, and for the most part, it's because of the songwriting and subject matter. In another case, let's compare three mixed-gender country acts: Now let's make this clear: I both like and dislike songs from all of these bands.
I think none of them are all that special or spectacular. But for me, I'm going to devote more time to talking and analyzing and ultimately thinking about The Band Perry over the other two, mostly because The Band Perry write very flawed but very interesting songs.
Yes, 'If I Die Young' is shit, but I find it a lot more interesting and entertaining to talk about and thus it's more memorable compared to the middle-brow pablum that Little Big Town and Lady Antebellum keep shoveling out.
They're essentially the goth kids in the country scene with their obsession with death, and considering how much southern gothic imagery they co-opt, I find them more than a little amusing and kind of intriguing And with the discussion of death filtered through a southern gothic aesthetic, we come to the female country singers - most of which have either co-opted Carrie Underwood's Beyonce-esque contempt for men with mixed results or fallen in line with the industry's traditional gender roles Taylor Swift.
But one of the more interesting country acts to come out in the wake of Carrie Underwood is former Pistol Annies' singer Miranda Lambert. Now, to be honest, I've always tended to drop her onto the B-list, mostly because for the past two years she's been making bland, not all that interesting country lacks a certain degree of depth or thought.
It's a tough dichotomy to play, and Miranda Lambert plays it masterfully. But what I find interesting about it is the juxtaposition of societal expectations - because believe it or not, societal expectations play a huge role in country music. Keep in mind this is music often marketed solely to rural America, which has a very distinctive set of values and customs that don't really reflect those in the coastal cities - or in Canada.
And while most of these societal expectations tend to be racist, sexist, homophobic, prejudiced, or just plain moronic, they're still expectations that genuinely good people in those rural areas live by. Sure, they're often expectations that reflect an America that wants to be in or which wanted to pretend to bebut people still live by them, and they are a marketing demographic.
And here's what makes 'Mama's Broken Heart' so interesting - because it pushes the cruel double standard forced on women under those societal expectation into view.
The fact that they're expected to be prim and proper 'Stepford' ladies, even in the face of their partners acting like pigs or leaving them. Now let's be fair here, the push behind Carrie Underwood would seem to suggest a more liberated mindset, but I don't quite buy it.
To me, too much of Carrie Underwood's material comes across as too harsh and grating to be anything but a fantasy or a pose - you know, like how Beyonce only sounds convincing when she's angry like a man, but she's happily married to Jay-Z. Miranda Lambert, on the other hand, brings across that grief and rage and vulnerability in a way that Kelly Clarkson used to do and Adele perfected, and while most of 'Mama's Broken Heart' might seem like it's being played as a laugh, there's genuine sadness and anger in that song that makes it work better than you'd think, mostly because Lambert isn't the rail-thin knockout that Underwood is, or the fact that she's not quite as polished.
I'm reminded a lot of Reba McEntire with Miranda Lambert on this track, and while she isn't quite as good as Reba, this is a good step in the right direction.
So on that topic, one should ask who wrote such a border-line transgressive or at least out-of-the-ordinary track for Lambert. Well, one of those songwriters is a young woman named Kacey Musgraves, who just released her major label debut album Same Trailer Different Park.
An album that might just be one of the best goddamn albums of the year. Holy shit, did I not see this coming. For those of you who have no idea who Kacey Musgraves is Then inshe toured with Lady Antebellum in the UK, which probably gave her enough clout to sign with a major label and release her new album, which is now sitting at 1 on the Billboard Country charts.
What it does say is that Musgraves has had some time to hone her craft, probably working out the amateur mistakes on her previous albums.This is a wonderful film, a fun adaption of the stage play.
As a Social Studies teacher, I've shown it to high school classes as part of our post-war block to spur discussions of the counter-culture. The Sacred Shakers - Sacred Shakers (Signature Sounds) Gospel meets rockabilly, anyone?
Well that's what comes blastin' out of your speakers at the start of this sparky offering from Eilen Jewell and a handful of her like-minded chums. Guitar chords and lyrics made easy.
Search, view and store your chords on your desktop, smartphone and tablet. Eminem Song - Boy Meets Girl (feat. Bow Wow & Drake) Lyrics [Chorus] Boy meets girl, You were my dream my world, But I was blind, You cheated on me.
🔥Citing and more! Add citations directly into your paper, Check for unintentional plagiarism and check for writing mistakes. Jun 04, · I don't know any of the lyrics to the song except, obviously, boy meets girl. A guy sings it, and in my opinion he kind of sounds like Nick Jonas rutadeltambor.com: Resolved.