Category Archives: Commentary

Advice to Young Girls Seeking Country Airplay

You know the days when you could turn on the radio and hear all sorts of interesting female voices? That’s been true throughout country’s history, from Loretta and Dolly on down to Martina and Faith. Nowadays, it’s Miranda and Carrie–well, no, not even Miranda, as her latest single struggles mightily to chart despite its sales and critical acclaim. Better to say Carrie and Kelsea. Anyway, to all the young girls out there who might be pursuing a career in country music and are wondering just how to shatter the glass ceiling on country radio, here’s some tried-and-true advice.

1. Don’t, under any circumstance, release something traditional. Fiddle, steel, mandolin, throw them all out. Even if they might make an appearance on your album–which is also discouraged–at least do what Maddie & Tae did with “Girl in a Country Song” and release a single with electronic beats and pop elements. Keep all the traditional fans guessing at your intent, wondering if the beats are serious or sarcastic, because it’s better to hold them at arm’s length or even to alienate them altogether if you want to get a #1 at radio.

2. Ignore all the misogynistic bullshit thrown at you by radio programmers, record executives, and in many of the male songs on country radio. Katie Armiger spoke up about that a couple years ago, and look what happened to her career.

3. Don’t date anyone in the industry, or better yet, don’t attempt to have a personal life on any level. Lindsay Ell taught us that.

4. Trivialize the female problem on country radio and in the industry. Kelsea Ballerini’s got success, and she barely admits to the problem. Meanwhile, the ones who speak up about such things struggle for recognition. Just worry about breaking in yourself, and don’t try to help other women along the way.

5. Forget just ignoring the misogyny, try writing lyrics about being these types of women. Throw all your dreams and hard-hitting lyrics to the side and sing about tailgates and tight jeans. If at all possible, try accepting the objectification and embracing this role.

6. Try not to veer too far from singing songs about love or getting noticed by men. Under no circumstances should you speak up about the type of songs that women are often stereotyped as singing.

7. Don’t be sexual or have sexual desires, and if you do suffer from these afflictions, don’t leak them into your music, for God’s sake.

8. Talk about your outfits more than your music. It’s not okay to be sexual in your songs, but it is important to be viewed as desirable at all times.

9. If all this fails, sing one or two lines on a male song, and you’ll soon have a #1 hit. It doesn’t matter if you sound like a glorified backup singer, take it from Maren Morris.

10. Finally, remember that your awards, sales, and most importantly, your perspective, do not matter in this industry and on the radio. Let go of these archaic notions, and you might soon be one of the only four females in the top fifty. Here’s to being one of the fortunate 8%, and I look forward to your #1 hit!

“It’s Always the Songs”–What we Should Learn From Steve Earle’s Recent Outbursts

Ahead of his new album So You Wannabe an Outlaw, Steve Earle has not been afraid to speak his mind. IN a recent interview with The Guardian, Earle calls out, among other things, the current state of pop country and says that the mainstream is nothing but “hip-hop for people who are afraid of black people.” He also says that “the best stuff coming out of Nashville is all by women except for Chris Stapleton.” I don’t want to focus too much on this interview since that’s not originally what this article was meant to be about, but it adds new light to it and strengthens the point I was originally going to make here–Steve Earle is not afraid to be honest and share his opinion. However, the thing is, although it’s not overly common, bashing pop country is certainly not uncommon, and we’ve seen our fair share of artists do so over the past several years. The thing that makes Earle’s recent statements different comes in light of another interview, which before today had been the main focus of this piece.

IN another interview in Canada, with The Globe and Mail, when asked about Canadian songwriters, Steve Earle mentioned Colter Wall, citing him as “the best singer-songwriter I’ve come across in years.” Here’s where the interview takes an interesting turn.

I haven’t heard his new album yet, but I heard him [Colter] described as “bad Richard Buckner.”
Richard Buckner sucks. Richard Buckner is the most overrated songwriter in the history of songwriting ever. Girls liked him, because he stared at his feet. He’s a neanderthal. I know Buckner.
I’m quite fond of Buckner’s music. Particularly, The Hill (2000).
He can’t write his way out of a wet paper bag. Richard Buckner was nothing but a painfully alternative hipster’s darling. But I hate a lot of things people think are brilliant. I will not read Cormac McCarthy again. Technically, he’s one of the best writers I’ve ever come across. But I don’t think his intentions are good. I don’t think he likes us. I don’t think he likes himself. Actually, I think he likes himself just fine. That’s what’s so disgusting about it. I think he thinks the rest of us are pieces of [garbage].
Painfully alternative hipster’s darling, you say about Buckner. Can you explain that?
I don’t want to be a part of a culture that defines itself by what it hates. I can’t stand alternativism. I mean, I hate disco, but I have to admit there’s been some great art coming out of dance music.
But out of hate and alternativism comes great art. Punk rock, as a reaction to disco, for example.
Sure. But the stuff that’s great in punk rock are the songs. The songs hold up. The stuff lasts. Nirvana’s not Nirvana because of punk rock. Nirvana’s not Nirvana because it was different than hair metal. Nirvana is Nirvana because Kurt Cobain was a world-class songwriter. It’s always the songs.

First of all, I had never heard the name Richard Buckner before this interview, and let me tell you, after getting acquainted, Steve Earle is entirely correct, Richard Buckner sucks–but that’s beside the point. The point is, and it’s been strengthened today by his criticism of the mainstream, that he’s not afraid to judge the independent/Americana/alternative in the same way as what is popular. We’re all pressured by that in this independent country scene, to like everything Americana just because it’s not on the radio or isn’t considered mainstream. But let me tell you, a lot of it bores the hell out of me, and Country Exclusive was founded on a principle of honesty. When I said that, I didn’t just mean bashing the mainstream, and I get that there’s a certain problem with spending too much time unnecessarily bashing the little guy, but there’s also this elitist attitude in the Americana world that makes it seem as if you can’t criticize anything about these artists. Hell, there are albums I enjoy but have slight criticisms about in Americana, but somehow, if we say that, it’s a horrific thing. Criticism is meant to be constructive, and to share an opinion–and if the artist deems it necessary to listen, perhaps to make that artist better, but again, it’s just someone’s opinion. WE all find it easy to bash Nashville and pop country, and we all rally behind people like Steve Earle when they do the same. So why do we attack him for saying something negative about an Americana artist? I love that last point–“It’s always the songs.” Let it always stay about the songs. That goes for you mainstream fans afraid to like Jason Isbell, and for you independent/alternative/Americana fans afraid to like Chris Stapleton because he wrote some mainstream hits. Just let it be about the songs. They should, and will, speak for themselves.

Collaboration with Critically Country and the Critical abyss

So I did another collaboration piece for the month of May, this time with both Alex of Critically Country and Leon of The Critical abyss, formerly Country Music Minds. Topics include stuff we covered in May, that God-awful Chris Young song, midyear lists and albums emerging as our respective favorites of 2017. You can check that out here.

The Country Music Chat Featuring The Critical Abyss and Country Exclusive

You Know What? I Couldn’t Care Less About the Production on Colter Wall’s Album

Recently, I reviewed Colter Wall’s self-titled debut album, and if you haven’t heard that record, you’re honestly depriving yourself for no good reason. It’s right up there with the best of 2017 so far; it got a 9/10 here, but only just, due to one song, “You Look to Yours,” which admittedly has gotten only slightly better and less boring since my initial thoughts…but I digress.

Many outlets had a common criticism, in varying degrees of intensity, of the production. Produced by Dave Cobb, this record was minimalist to say the least–in fact, Cobb did virtually nothing, letting Colter and his guitar speak for themselves on a good portion of the album. This was quite a contrast from Wall’s debut EP which featured more interesting instrumentation and sometimes lively fiddles. I wrote that I thought that might have worked in some places on this record, and that Dave Cobb was to blame. I was careful to add that I personally thought that on this particular album, Dave Cobb did a fantastic job, getting out of the way of Colter–but I added that Colter will have to expand his sound going forward, and I agreed that the concerns of production are valid, if perhaps a little early.

But now? After listening to this several more times, and as this record becomes one of my personal favorites of 2017, as well as one of the best from a critical standpoint, I have to take back those comments. I think the production here was fantastic, as I already said, and I do think Colter’s next album can’t be more of the same without running the risk of it feeling a little stale, a la Stapleton. However, Stapleton is an easy comparison because they used the same producer; the bigger problem with Stapleton wasn’t Dave Cobb’s production as much as a general lack of passion from Chris Stapleton himself, which stands out even more on a minimalist Dave Cobb project where there’s not much going on to distract you. Now, I do have a problem with some of the production on Stapleton’s album, but my point is that it made it easy at first for me to draw comparisons with Colter Wall and seek out problems with the minimalistic approach, especially one that differed so much from Colter’s previous output.

But that’s just it; Stapleton’s two albums sound exactly the same, whereas Colter’s album and EP sound nothing alike, so I believe this means that any concern we have about him sliding into a rut with production is completely unwarranted until his next project. That concern should have no bearing on this album, and when I listen to this album, I can find no flaw in the production. Colter Wall and his guitar are enough, and that is all the more reflective of his talent and of the strength of these songs. I’m actually glad Dave Cobb got out of the way of this and let Colter and his stories shine. I can still understand people who wanted more production wise, but it is no longer my criticism–and as for expanding his sound going forward, we’ve already seen two very different sounds from Colter Wall, so I’m no longer sure we have to worry about this either. Now seriously, go listen to this album, it’s still incredible.

A Note to my Fellow Bloggers

I’m not saying readers can’t get anything out of this, but mainly this is directed at my fellow country bloggers who may read this and get something of value from it. I’ve seen blogs shut down, go on hiatus, change format, question themselves, whatever you want to call it, in some form or fashion, quite a lot these past few months, and I took a break for most of 2016. I see so many people who have come to be friends in this little world questioning where they go with their blogs and trying to find themselves and figure out what works for them. And I definitely don’t have it all figured out; Country Exclusive is so much different than it was when it started in 2015. Back then, it was much more structured and scheduled; we covered charts and had scheduled opinion pieces, and you know what? That sucked the joy right out of it for me.

The key part of that? For me. So I had to come back and figure out what parts I enjoyed. I love the reviewing, and I love talking about random topics such as this, but not on a scheduled basis, where I feel pressured to come up with something. It may be different for all of you, but my point here is find what makes you passionate, and then do that. Be yourself.

I was originally going to write a post this week on the value of honesty and criticism in music, and how we shouldn’t give up on the mainstream and/or the negative viewpoints. Country exclusive was founded on honesty above all else, and there’s a reason my Twitter handle is @honest_country. With that in mind, be yourself when it comes to review. If you have something unpopular to say, say it; we won’t ostracize you for it. And let’s be blunt here, growth is a big concern for all of us–Saving Country Music is perhaps the most hated institution in all of country media/journalism/blogging, and it’s also the most unflinchingly honest, and yes, the most viewed–with maybe the exception of stuff like Taste of Country, but certainly when it comes to independent country music journalism. Trigger is nothing if not himself, so if it’s growth you’re worried about, don’t be afraid to put yourself out there.

But back to the main point…just be yourself, and find what makes you passionate about this whole thing. You started doing this for a reason, just like I did. You all obviously loved it at one point, and I hate to see so many people lose that part of it as they copy other styles or try to be something they’re not. All of that’s hard though, and it comes with time, and I’m speaking as someone who went through it, and has come out, mostly, on the other side. Just get back to doing this because you love it, or else it’s not worth doing.

So, I’ll get back to reviewing music now, I just thought I’d share that with you all, and maybe you can get something from my personal experience.