All posts by Megan

The Case For Inducting Keith Whitley into the Country Music Hall of Fame

It is that time of year when we start anticipating the names who will be added to the famously selective Country Music Hall of Fame. The Hall has been notoriously careful about preserving an elite class of members, to the point there is now a significant backlog of artists, writers, and musicians who probably should already have been inducted by now. I am not writing this to assert that Keith Whitley deserves to be in before say, Alan Jackson, whose exclusion has become almost ridiculous, or to discount others worthy of the distinction. This is why I mentioned the backlog, as Keith Whitley is one of several names who have earned their place here and have yet to receive it. But I do consider it a travesty that Keith Whitley’s motorcycle, pictured here, has made it into the Hall before Whitley himself. So perhaps because of the seeming uncertainty among many that Whitley deserves this honor at all, or perhaps because I want to explain why I signed the petition started by his fans to have him inducted, or perhaps simply because Keith Whitley’s music is one of the biggest reasons I fell in love with country music and still carry a passion for it to this day, I feel especially compelled to reach out and explain why Keith Whitley deserves a place alongside his peers and his motorcycle in the Country Music Hall of Fame.

Career

Keith Whitley grew up in Kentucky and first made a name for himself performing in Ralph Stanley’s Clinch Mountain Boys. He was fifteen at the time, and he and fellow singer Ricky Skaggs became widely respected in the world of bluegrass. In 1983, he moved to Nashville and later signed with RCA Records. At first, he made more contemporary country music. His biggest chart successes during this time included the singles “Ten Feet Away” and “Miami, My Amy.” He also married fellow country singer Lorrie Morgan in 1986.

Whitley asked to have his second full-length studio album shelved, feeling that the music wasn’t really his style. Back then, the concept of labels actually listening to artists and giving them creative control was not so foreign, and the result was the 1988 release Don’t Close Your Eyes. This was a more traditional-sounding album, similar to the music being put out by Randy Travis and George Strait. IN fact, Whitley had previously recorded both “ON the Other Hand,” later a hit single by Travis, and “Nobody in His Right Mind Would Have Left Her,” which became a #1 hit for Strait, on his 1985 album L.a. to Miami. Whitley’s vision for Don’t Close Your Eyes proved successful, as the album produced three #1 singles in 1988 and 1989. These included the title track, “When You Say Nothing at All,” and “I’m no Stranger to the Rain,” all of which have become timeless songs. As a fan, I can say they are three of my favorite country songs of all time. “I’m NO stranger to the Rain” won him his only CMA Award and a Grammy nomination. It was expected that Whitley was on his way to becoming a country superstar.

Untimely Death

One of the biggest reasons for the success and popularity of Keith Whitley was the raw emotion he conveyed in his songs. His last producer stated,

There was no Pro Tools at that point. Pitch accuracy and things like that were important. But someone who could express the emotion and really own the song, so to speak, that counted for a lot. And Keith certainly knew how to do that.

Many modern singers have identified Whitley as the one who taught them to bring out this emotion in their songs, not just to sing, but to tell the story of a character.

But the emotional power in Keith Whitley’s voice came at a high price. despite his musical success, Whitley’s life was troubled. He could express pain so easily in a song because he lived it out. His alcoholism was an ongoing battle, made harder by depression and by the fact he had lost both his brother and father by 1987. The country music community was well aware of his struggles with alcohol and were pulling for him; Keith made the issues quite public, and “I’m NO stranger to the Rain” was written about it. He seemed to be trying to deal with it, but on May 9, 1989, at the age of thirty-four, Whitley died in his home of what was ruled to be alcohol poisoning. His blood alcohol level was stated to be .47, the equivalent of 20 1-ounce shots of 100-proof whiskey. And thus, tragically, Keith Whitley’s career had ended just as it had begun.

Influence

So the question is, after only a handful of hit singles, does Keith Whitley deserve country music’s highest honor? As I stated above, there is no doubt that there are many others also deserving of this recognition, and certainly there are names whose inclusion is long overdue. The problem that arises with Keith Whitley is whether or not his career was impactful and long-lasting enough to warrant him such a distinction. Would he really have been a superstar, or does his legacy elevate his status? Does a career as short as Keith’s merit equal respect and consideration with that of someone like the aforementioned Alan Jackson, who is well-liked by the industry and has been churning out quality and commercially successful music for two decades? What sets Keith Whitley apart from the countless others who charted a small string of hits and then faded into irrelevancy?

The answer is Keith Whitley’s legacy and influence. He continued to produce top 5 singles after his death, and several compilation albums were released. Some of his previously unreleased material would come out in subsequent years, and a tribute album was made in his honor in 1994. Alison Krauss’s version of “When You Say Nothing at all” was released as a single from the tribute album; it became one of her biggest hits and has since been covered by other artists. Whitley is considered to have helped open the door for the class of ’89 which included Jackson, Clint Black, Travis Tritt, and now Hall of Fame member Garth brooks. Garth initially tried to turn down his induction in 2012 because he felt others, including Whitley, deserved to be admitted before him. Tim McGraw, inspired by Keith Whitley’s music and passion, famously arrived in Nashville the day Whitley died and has also cited him as an inspiration for dealing with alcohol issues of his own. Vince Gill began writing “Go Rest High on That Mountain” after Keith’s death, and although Gill finished it several years later following his brother’s passing, the song remains a tribute to Whitley as well; this is embodied in the line, “You weren’t afraid to face the devil, you were no stranger to the rain.” The song won the 1995 Grammy for Best Country Song and has become a standard at funerals and arguably Vince Gill’s signature song. Ironically, Gill said of “Go Rest High on that Mountain” in his own 2009 Hall of Fame induction, “Turns out, if anybody remembers any of my songs, it’ll be this one.”

Keith Whitley is still influencing artists today. Chris Young paid $15,000 for Whitley’s guitar and says Keith influenced his singing. Part of Young’s decision to sign with RCA was that Keith Whitley had been on that label. It’s a shame Chris Young doesn’t take his Whitley-like voice and lend it to less boring songs, but I digress. Other artists, including Miranda Lambert and Dierks Bentley, are said to play the singer’s music regularly. Perhaps the most impressive and telling sign of the impact of Keith Whitley came in 2014 when then seventeen-year-old Jake Worthington, a contestant on NBC’s The Voice, auditioned with “Don’t Close Your Eyes.” Whitley had died years before Jake Worthington was ever born. The performance became a standout of the season and a hallmark moment for Worthington.

It can be argued that Keith Whitley didn’t do enough in his career to be considered for the Hall of Fame. But few can make the impact he did over such a short time. If he had been able to continue making records, he might be a living legend like George Strait. Or maybe he would have faded into obscurity like so many other artists before and after him. But the fact is, none of this happened, and much like Hank Williams and Patsy Cline before him, his tragic death created a legend and a legacy around him. But it takes more than legacy to explain the kind of lasting impact he had and continues to have on country music. It takes a voice like his that could express such raw emotion, to make songs that inspire people twenty-eight years later. It takes an authenticity and vulnerability rarely seen in music. It takes something real and raw that used to be the foundation of country music, the very thing that is disappearing from the airwaves today. It takes a connection so strong that it can make the kind of impression in a few albums that most artists struggle to make in twenty. Keith Whitley lived out the pain in his songs, and it’s that honesty, that part of himself left behind in his music, which transcends the years, influences generations of artists, and has earned him a place among the most elite in country music.

The Petition to Induct Keith Whitley into the Country Music Hall of Fame

In 2015, a group of dedicated Keith Whitley fans drafted a petition for the singer’s induction into the Country Music Hall of Fame. The petition has gained 7,600 signatures so far and states, among other things, that Keith Whitley’s love for and influence of country music should be recognized by the Hall.

Sign the Petition

Album Review: Jaime Wyatt–Felony Blues

Rating: 7.5/10

Jaime Wyatt’s debut effort comes to us from a place of authenticity few artists can really claim; she was convicted of robbing her drug dealer and subsequently served time in prison. Upon her release, the hardship and stigma that came with her past eventually led her to country music. I could go into more detail, but I feel like I should keep my focus as much on Wyatt’s music as possible. Still, it is worth noting because the album’s title rings true in a way that much of today’s music doesn’t, and the raw honesty that comes with life experience like this can serve music well, and certainly does in Jaime Wyatt’s case.

This is an interesting album to discuss, as it isn’t really quite an EP or an album. At seven songs and thirty minutes, it lies somewhere between the two. The rating may be slightly misleading because there are some really fantastic songs and some really average songs. So in order to better serve Jaime Wyatt and the potential shown in several places on this record, I will discuss the high and low points rather than going through the album track by track.

A definite high point on this record is the instrumentation. The opener, “Wishing Well,” immediately captured my attention with its driving production. From the opening line, “I wanna wake up somewhere where you don’t have to lose,” I was drawn to the raw quality in Jaime’s voice. This is the kind of song she really excels at, and I’d like to see more like it from her in the future. Lovers of fiddle and steel should check out “Wasco,” arguably the album’s best track. The narrator in this song is in love with an inmate and dreams of graduating high school and going to be with him, singing, “ain’t nobody gonna tell me who to love.” Songs like this and “Stone Hotel” directly speak to Wyatt’s past and give an authentic feel to the album. “Stone Hotel” especially seems autobiographical, telling the story of an inmate looking back on her conviction and forward to the day when she gets out of prison and can try to live a different life. Another song that stood out for me after a couple listens is the easygoing “Your Loving Saves Me.” “Hard as concrete, soft as gravy, Jesus is cool, but your loving saves me.” Once again, the production and instrumentation really fit the song well.

“From Outer Space” is one of the lower points of the album. I have listened to it several times, and it just doesn’t connect with me like some of the other songs. Jaime Wyatt’s voice really elevates the acoustic “Giving Back the Best of Me” and the cover of Merle Haggard’s classic heartbreak song “Misery and Gin,” but these songs don’t stand out like the more upbeat, rocking material. They are still really solid tracks, but I find myself coming back to “Wishing Well” and “Wasco” more than anything else because the personality and potential of Jaime Wyatt is clearest on these songs.

Overall, this is a pretty solid album. The highlights are the more upbeat tracks, especially “Wishing “well” and “Wasco.” The production works well with each song, and there are some nice lyrical moments as well. But more than anything on the album itself, this debut shows the potential of Jaime Wyatt. This won’t necessarily blow you away, but it shows promise, and Jaime Wyatt is a name you should keep an eye on.

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Album Review: Nikki Lane–Highway Queen

Rating: 8/10

For those unfamiliar with Nikki Lane, Highway queen is her third studio album. I will admit to having checked out lane before, but not really being impressed by either of her two previous records. This was mainly due to production, and Nikki apparently wasn’t sold on it either. She has stated that for this album, she wanted a producer who wouldn’t overshadow her and who would bring out the best in her. So her boyfriend, Americana artist Jonathan Tyler, helped produce this record, and what we get is a great showcase of Nikki lane and her talent.

The album opens with the catchy, upbeat “700,000 Rednecks,” a lighthearted song about all the hardships of being a musician, and all the things “it takes to get to the top.” I am very careful about designating something outlaw country–in fact, I am not sure I have ever labeled anything I have reviewed here as such–but that’s what comes to mind with this song and throughout much of the record. A few tracks lean more toward Americana, but mostly I would call it outlaw country. “Highway queen” is a fun, upbeat track that seems to be a personal anthem for Nikki. The woman in the song lives on the road and travels alone; “the highway queen don’t need no king.” “Lay You down” is another upbeat track about a woman watching her man leave her and asking who will be there for him when he dies alone. The instrumentation, which is the strongest point of the record, is catchy, but it doesn’t really go with the lyrics, and for me, this is one of the weaker tracks.

“Jackpot” is a highlight of the album; this is a fun love song comparing true love to finally hitting the jackpot in Vegas after putting in so many quarters that came up short. If you pick one Nikki Lane song to listen to, make it this one. “Companion” is a more serious love ballad, and once again, for me it is a weaker track. Lane’s voice and style just don’t work as much on these types of songs as they do on the more rocking, upbeat, fun tracks. “Big Mouth” is one of those; it’s literally a song about telling someone to shut the hell up and stay out of her business. Think Kacey Musgraves lyrics but with Miranda Lambert attitude. “Foolish Heart” is another more serious song, this time about finally finding love but fearing losing it all again. This one is better than the previous serious tracks. “Send the Sun” is the type of love song Nikki Lane excels at; much like “Jackpot,” it is more lighthearted. It’s about long-distance love; while they miss each other at night, they promise to “send the sun your way, wake you up with a dawn full of golden rays.” Even though the miles separate them, they can’t imagine being with anyone else.

I have listened to “Muddy Waters” several times, and honestly I have no idea what it’s trying to convey. It’s a pleasant song musically and lyrically, but it seems underdeveloped somehow. Lane repeats, “I don’t believe ’cause I don’t wanna believe” but it’s pretty unclear what she’s referring to. Maybe someone more intelligent than me can figure it out. The album ends with the excellent “Forever Lasts Forever,” and for the first time on the record, Nikki really nails a serious song. This one is about divorce. The lyrics in this song really paint a great picture; “we swore for better or worse, and it was better at first, and worse at the end. They say forever lasts forever till forever becomes never again.” Lane also brings out the emotion in this song well, and it closes the album on a high note.

This is the best place to start with Nikki Lane’s music. The instrumentation is definitely the high point of the record. Lyrically, some of the serious songs don’t connect with me as much, but Lane proves she can deliver them well with “Forever Lasts Forever.” The highlights are the more fun tracks like “Jackpot,” “Highway queen,” and “700,000 Rednecks.” This is a really unique style like that of outlaw country, and Nikki’s unique voice works well with it. I”d definitely recommend getting to know this album and Nikki Lane.

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Country Exclusive Welcomes a New Writer

So, this running a blog and keeping up with all this new music can be overwhelming. I have heard the same from several fellow bloggers. I have no idea how Trigger at SCM does it alone, and he writes more than all of us combined. For that, he deserves the utmost respect. For all the rest of us, or at least for me, it gets overwhelming. More than that, there are lots of albums I listen to but just can’t seem to put my thoughts about them onto paper. I am extremely proud of how far Country exclusive has come and grateful to the readers and commenters that make it happen and seem to want to hear what I have to say. I want to see it grow even further, to cover more music, and ultimately to reach more people and showcase more deserving artists.
With that in mind, I am happy to welcome another writer, Brianna, to Country Exclusive. You can expect her arrival within the next couple of weeks. Brianna is a fellow lover of country music, especially the more traditional and alternative music that many of us embrace, and she also does reviews of books. Our connection came, as many great connections do, somewhat by accident, in a conversation over a game of poker. I am excited to welcome her and learn from everything she has to say. Different perspectives are always great to have, and reading the same opinion can be tiresome at times. It’s great to have different opinions and observations about the same song or album. Most importantly, we’ll get to talk about more good music this way, and that can only be a good thing. 🙂
Oh, and one more thing. With Brianna coming onboard, I will have more time, so I’m thrilled to announce Female Fridays are coming back. They won’t be every Friday like before, but you can expect them once or twice a month. I know many of you really enjoyed that feature, and it was one of my favorite things to write. You’ll be seeing their return very soon. Finally, thank you all for making Country Exclusive what it is today because without you, I’d still be boring my family with my facts and opinions and perpetual ranting about country radio. And without you, I wouldn’t have this problem of not being able to cover everything on my own because I’d be writing to the air. So thank you for blessing me with this problem, and Brianna and I look forward to sharing more great country music with you all.

Single Review: “The Fighter” by Keith Urban and Carrie Underwood

Country Rating: 0/10
Pop Rating: 3/10

I remember when Keith Urban actually tried. Now, there are a lot of traditionalists who have probably hated or at least dismissed Keith Urban from the start. His music always had pop and rock influence, and I can see how many strict traditionalists wouldn’t enjoy it. But there’s no denying his talent as a musician, singer, and songwriter. There was a time when he wrote many of his songs and sang with passion. As a reviewer, I can say without bias that he produced a lot of good pop country throughout his career, and as a music fan, I can say with absolute bias that I owned every Urban album right up through Get Closer. He’s recorded some great music in his time, and if you have any doubt of this, go listen to “Stupid Boy” and “The Luxury of Knowing.”

And then, somewhere around Keith’s American Idol stint, and the single “Little Bit of Everything,” all that talent started going to waste, and Urban’s passion and musicianship was lost in the wake of cringe-worthy pop music and the chasing of money and continued mainstream relevancy at all costs. It’s one thing when Kane Brown or Thomas Rhett gives us bad music, but Keith Urban knows better, and his self-awareness leaves me much more disgusted by “John Cougar, John deere, John 3:16” than by some arguably worse singles from these artists. All of this brings me to his latest effort, “The Fighter,” which may be his biggest insult to the genre and former Keith fans yet.

“The Fighter” has no semblance of country anywhere. It is generic pop music with electronic beats and some of the least impassioned vocals I’ve ever heard from either Keith or Carrie Underwood. Yes, that’s right, I forgot to mention Underwood’s part in this, but that is understandable, since mostly she just repeats the same three lines in the chorus like a bored backup singer. The song itself is about Keith Urban being a fighter for Underwood, who presumably got out of a bad relationship and needs to feel protected. The premise of Keith Urban being this type of guy is unintentionally hilarious, and Carrie Underwood doesn’t work as the character who needs to lean on him either. “What if I fall? What if I cry?” she keeps asking. It’s just annoying and doesn’t seem like her at all. There are some other obnoxious lyrics in the verses; Keith sings, “He never knew what he had, thank God.” So he is glad that she went through the hell of the previous relationship so that she would end up with him. Also, the line “he didn’t deserve you ’cause your precious heart is a precious heart” is just downright lazy ssongwriting. This song should be laughed off country radio, but it’s not even much better as a pop song and would probably be laughed off pop radio, so country is where it will stay. Reiterating why country radio will play it would be beating a dead horse, so I’ll spare you all that. But it’s artists like Keith Urban, who know better than this, can do better than this, and have done better than this, but choose instead to resort to absolute laziness because it will sell, that say more about the state of the genre and the fans who will buy this than anything else. The real tragedy is not that Urban recorded “The Fighter,” but that in 2017, he can get away with recording songs like this because that’s all he needs to do to sell records. This is one of the worst songs of his career, and without a doubt the worst song to which carrie Underwood has lent her voice.