Tag Archives: Dixie Chicks

Reflecting on: How I Came to Love Country Music

It’s written in my half of our writers page that “my first and deepest love will always be country music.” That doesn’t mean I don’t like other genres, and even within country, I’m certainly not a purist. I’ve definitely come to appreciate music from many different styles over the years, and you’ll even find me discussing some of it on this blog. But my first love was country, and it will always be my passion and the one thing I feel qualified to talk about.

So where did I get that love for country music? You might think living in Oklahoma, I was ensconced in it from the day I was born, but my parents were mostly into classic pop and rock, and it’s these styles which make up my earliest memories of music. It was later, when I started school, that I first began hearing country songs, and they came from my grandma. She’d pick me up from school, and she always had our country station playing in her car. These days, it plays 80’s and 90’s and 00’s country, but back then, in the late 90’s, it was a mix of classic and modern. She and I generally gravitated toward different sounds, but that was okay because the same station that played Merle Haggard also played the Dixie Chicks, whose record was one of the first country albums I ever owned. I remember my parents” reactions at first, not believing I was getting so much into country. Both of them eventually followed me into the genre and enjoy a lot of country from the late 90’s and early 00’s.

I didn’t always love her brand of country back then, but I did get into Merle Haggard and Keith Whitley. She didn’t always love mine, but she dearly loved Brad Paisley’s “We Danced.” We could agree on George strait in equal measure, as he seemed to bridge the gap between our generations. She always loved “I Just Want to Dance With You” and “Living and Living Well.” We drifted some as I grew older, for reasons which aren’t important here, and we didn’t see each other as much as we had when I was young. But we still had that time, that few minutes between leaving school and reaching my house, and we still had that music to share.

When I got into high school, I branched out some from country, starting to get into pop and rock and modern Christian music. I never drifted too far from country music during that time, but I was always careful throughout my time in school to not completely show my obsession with it. But it was there in full force; I sang records till I could perfect them, and I also started to write songs. And even though I was discovering other genres of music at the time, my love of country music only grew stronger. And it was during this time that my grandma was diagnosed with cancer. She fought it most of the time I was in high school. We didn’t speak much about it, and it’s not like our relationship changed, but that time we had in her car and the music we shared came to mean more. She eventually went into remission, and when I graduated high school, she was well.

I went to college for my passion, and it was there that I really became exposed to different styles of music, both through friends and through popular music courses. At this time, I drifted away quite a bit from my first love and began to explore all kinds of other music, and it’s something for which I’m still thankful. I got an appreciation for all different types of music and a newfound respect for the art of making it. Country was also going pretty much off the rails by this time (2010), so I was listening to it less and less.

But no form of musical expression can speak to real-life situations like country music, and I found my first love again when my grandma’s cancer returned, this time without hope for a cure. I wanted to listen to the music that she introduced me to, and it brought me comfort during those last days as we took care of her. We eventually lost her six years ago Sunday (Nov. 19th.) I listened to Merle Haggard and Keith Whitley and George Strait nonstop after that because it was the only thing that helped me. “I Just Want to Dance with You” will always make me think of her.

Her music brought me through that time like only music can, and it’s her love of country music that still lives on in me. I am so thankful that she introduced me to it and instilled that love in me, for music is the one thing that has always been there for me no matter what. It’s the one thing I have counted on to get me through loss, divorce, loneliness, and pain. And I can never, ever thank her enough for that gift.

What Happens When you Take Women Out?

I debated whether or not I should write this piece because it’s really quite personal, and I’m not sure if it will be relatable or have a point when I’m done here, but it’s still on my mind after a couple of days, so I’ll try my best to be articulate as I express my thoughts.

The inspiration for this piece came after the news that Miranda Lambert’s “Tin Man” fell from #38 on the Billboard Country Airplay chart this week to #42, despite its sales and the ridiculous spike after her ACM performance. Now, as I’ve seen a lot of people point out, Miranda has never had the greatest treatment at radio anyway. There’s also the fact that “Tin Man” is stripped down, not necessarily radio-friendly, and quite traditional, so it’s got those strikes against it–although “The House That Built Me” had all of these characteristics and still gave her a #1 hit. But the glaring fact is, a big part of this simply has to do with the fact that Miranda Lambert is female, and in 2017, despite all the think pieces and supposed inclusion of more women by the country awards shows, females are still systematically ignored on country radio and by the country industry as a whole–and if you think these awards shows really want to include more women, why are there fewer nominees for ACM Female Vocalist of the Year? Sure, more women have been signed to major labels recently, but they’re not generally given the same chances to succeed; there’s a quota for females on country radio, and Miranda Lambert and Carrie Underwood are filling it. And now it looks like Lambert will be replaced by Kelsea Ballerini, who is as non-country as Sam Hunt and the bros.

Keith Hill said back in 2015 that radio should “take women out.” The more infamous part was calling them tomatoes, but the more alarming part was taking them out. Lindi Ortega said then, “I can’t begin to describe to you how my blood boils at those words. Erase us, delete us…make it so we don’t exist.” And that’s what country radio is systematically doing–taking the female perspective so completely out that it’s shocking to imagine a woman’s point of view beyond the “girl” on the tailgate. Maren Morris recently spoke about this when she wrote that women in country can’t be sexual in their songs–they are supposed to be pretty and desirable but not write about their own desires. That inspired another piece which I haven’t yet written and have many conflicting feelings about writing–mostly because so many people I know will read it, and Maren Morris is a stronger person than I am–but it’s a more specific issue deriving from the same problem: take women, and their perspective, out. “Girls” are okay–and that’s why Kelsea Ballerini’s music can succeed on country radio; that, and that it isn’t country and seldom has substance.

So what actually happens when you take women out? I could go on about how it takes away their perspective in the mainstream, or how it leads to radio being one-sided and favoring music that marginalizes them, but I’m going to answer it from a personal place instead. I grew up in the late 90’s and early 2000’s, and one of the first country records I ever owned was a Dixie Chicks album, Wide Open Spaces. I fell in love with their music because it was country, but also because I could sing it and relate to it. They were women, and what they sang about appealed to me. I loved Martina McBride and Faith Hill, and later Miranda and Carrie. I sang an inordinate amount back then, so I will say that part of the appeal in their albums was that I could sing them; their ranges matched mine. But more than that, I related to them. I enjoyed plenty of music by male artists–and still do–but I naturally gravitated toward more women artists. Even today, on this blog, I can go back and look at the very few tens I’ve awarded–it’s a subconscious thing, but more of those records are by women. They have nothing in common in production, style, lyrics–but tens are set apart from nines for me because they can connect emotionally, and I have connected emotionally with more women in the history of running this blog, it seems.

The point of all this is that I fell out of love with country radio for the same reasons you all did; it lost its sound and its substance almost overnight. More than that, here in Oklahoma, radio killed Red Dirt around the same time. It had once lived on our radio stations along with mainstream music, but things like the rise of iHeart helped to destroy it. Even more than all of that, though, I became disenchanted with country radio because of the lack of women. I didn’t know then that there was all this independent music floating around just waiting to be discovered, and all of a sudden, I couldn’t relate to anything on the radio or sing along with any of the records. I mentioned that I sang, and I will now say that I grew up wanting to be those women. And I don’t think it’s even possible to do that now. You can’t turn on country radio and hear Miranda lambert as a young girl and say, “I want to sing like her” or get that passion for country music like I did. It’s the same thing I said in my piece about genre awhile back, that it makes me sad that your average young person can’t just turn on the radio and find and fall in love with traditional-sounding country. But even that’s starting to make its way back in, (slowly), with Stapleton, Morgan, Pardi, Midland…while the women are being pushed further and further out. Sure, there are plenty of them out there if you know where to look, but you have to love country first before you go seeking out Ashley Monroe and Angaleena Presley and Margo Price.

And I’m not saying a girl can’t fall in love with country from listening to men, or anything close to that; I’m only saying that in my case, I don’t think I’d be sitting here writing this if I hadn’t heard all those women on country radio back then, and if country radio’s systematic ignoring of females keeps even one girl from falling in love with this wonderful genre, then that’s the real problem, and the real danger of taking women out.

Reflecting on: Dixie Chicks–Wide Open Spaces

Welcome to our first Random Reflections, a new weekly feature in which Brianna or I will discuss an album–or perhaps a song on occasion, but more than likely an album–from country’s past that we would recommend. These are not reviews; anything we would put here at all would probably be an 8 or higher anyway. There are no rules other than that the music being discussed has to have been released prior to June 2015, the birth month of Country Exclusive. We are not going through “classic” albums, and there’s no rule on style or era either, these are just simply a way for us to highlight more music, and for us and our readers to discover older material and become more acquainted with country music’s history. With all that said, I’d like to reflect on one of the first country records I ever owned, the debut album by the Dixie Chicks.

Release Date: January 27, 1998
Style: mostly traditional country
Who Might Like This Album: traditional country fans, fans of Maddie & Tae, maybe fans of Pistol Annies or other all-female groups
Standout Tracks: “I’ll Take Care of You,” “Am I the Only One,” “Tonight, the Heartache’s on Me,” “You Were Mine,” “Loving arms,” “Once You’ve Loved somebody”
Reflections: Well, if you haven’t gotten into the Dixie Chicks before now, you definitely should. Fly is probably more well-known, and Home is certainly more critically acclaimed, but this debut started it all for them, and it’s one of the first country albums I ever fell in love with. The harmonies of the Dixie Chicks are unmatched; the only thing I’ve ever heard come close are those of Maddie & Tae, and that’s a beautiful thing. The lyrics in some of these tracks are outstanding, and it’s traditional pretty much throughout. They weren’t afraid to explore sensitive themes either–“I’ll Take Care of You,” one of the highlights of their short career, deals with a same-sex relationship, and that’s something not seen often in country. This album was made at a time when good songwriting mattered and when it wasn’t so hard for women to be successful in the mainstream. Country might be much different today if the Dixie Chicks hadn’t been blacklisted, but that’s another story. For now, go check out this album and their other work.

Listen to Album

Let us know what you think about this feature, and share your own reflections in the comments below!

Country Music vs. Good Music: Does Genre Matter?

There has been a lot of talk lately about genre lines and how important they really are. Does it matter that an album sounds country if the lyrics are bland? Is hearing songs rife with fiddle and steel on the radio really an improvement in itself, or have we gone so far that country-sounding music is praised over good music in general? Do we overlook artists like David Nail and Eric Church, both of whom have put out solid country albums in the past year, while propping up more traditional artists like Mo Pitney and William Michael Morgan just because they sound a certain way? All of this boils down to one question: Does genre really matter at all?

Well, that is a difficult question to answer, and there are differing viewpoints on all sides. This is probably the hardest thing I’ve ever had to write because of the sheer number of people who may disagree, and I could ignore it, but I feel inclined to address it, and to be honest with myself and all of you. Honesty is absent everywhere in music right now, and that is one of the driving factors behind Country Exclusive’s existence, so I am going to do my best to provide it.

The simple answer is no, genre doesn’t matter. Good music is good music regardless of who is singing or what genre it is labeled. This is why I gave Carrie Underwood’s Storyteller two different grades–one as a country album, and one as simply an album. It makes a pretty good pop album. Kelsea Ballerini made a decent pop album too and then sent the singles to country radio–and not the best singles either, I might add, but that’s a different story. I wrote that Courtney Marie Andrews defied genre lines in Honest Life, and while not being the most country album, it is the best album I have reviewed to date. Good music can and does come out of every genre, and that is what we should be looking for the most.

To add to that, I want to say that country can be good without having fiddle and steel. I have written in several Red dirt album reviews a sentiment like, “This isn’t the album to buy if you want fiddle and steel,” followed by praise of the album. Red Dirt has a raw honesty that often surpasses genre, and this is evident in the massive sonic difference between Jason Eady and Reckless Kelly, both of whom have produced an inordinate amount of great music during their respective careers. There’s good pop country too, like the aforementioned Carrie Underwood and David Nail. Eric Church produced one of the better albums of 2015, both musically and lyrically, and you won’t find fiddle or steel anywhere on it. I have written a great deal about Maddie & Tae, advising strict traditionalists to give them a chance because they were bringing country back to radio, even if it was pop country. I praised Aubrib Sellers and her debut album which she labeled “garage country.” I’m far from a country purist, ready to criticize something immediately because it isn’t what country “should” sound like.

However, this idea of good music first has been taken too far. William Michael Morgan got a #1 at radio with “I Met a Girl,” which, while indeed lyrically weak, actually sounded country. It’s a step in the right direction as much as the songwriting on Eric Church’s album or the CMA wins of Chris stapleton. Why? Because something actually resembling country can be heard on country radio for the first time in years. But if genre doesn’t matter, why are we even celebrating? Surely Morgan’s “I Met a Girl” is just more shitty music with fiddle and steel.

It’s because truthfully, genre can’t be ignored completely. If you went to a bookstore and found the books arranged in categories of “good” and “bad,” this wouldn’t help you find a book at all. It’s because these terms are subjective. If you wanted to read crime fiction, you would go to the section marked crime fiction, and from there, you could decide which books you wanted to read. If you found romance in the crime fiction section, you would say the book has been put in the wrong place. Of course, there are books that have elements of both and can therefore be classified as both. Now, let’s apply this to music. Crime fiction might be country, romance might be pop, and the two might blend to make pop country. A book containing many different elements might be labeled just “fiction” or “literature”–in music, this could be Americana, with its blending of many styles. There are probably good books in all the different genres, but since you came looking for crime fiction, you aren’t going to be satisfied with a good romance novel. In the same way, if you want to hear traditional country, you won’t find it in the pop country of Carrie Underwood, the country rock of Eric Church, or the Americana of Jason Isbell.

Therefore, when an artist like Morgan comes along, who actually sounds traditional, it’s right to be excited that he’s getting airplay. It’s right to fight to hear more country on country radio–in fact, many of us ran to underground country simply because of the lack of country on country radio. And it’s right to want to see mainstream Nashville and country radio embrace people like Sturgill Simpson and Margo Price. We can run to Americana and give up on the mainstream altogether, but no matter how you look at it, Americana isn’t country. Some of it is excellent, but it still isn’t country. It isn’t the music we fell in love with, the music we miss. We should praise music of substance regardless of how it sounds, but the lack of country on country radio is just an important a problem as the lack of substance in the music.

I daresay the majority, if not all of us, fell in love with country music, at least in part, by listening to country radio. Maybe you grew up with the legends like Haggard and Nelson. Maybe you remember Keith Whitley and Randy Travis, or maybe you miss the sounds of Alan Jackson, George Strait, and Vince Gill. Maybe you’re like me, and the first country you ever heard was the Dixie Chicks. Regardless, you heard all of them because they were played on country radio and available to the masses, just like their pop country counterparts. Pop country has always been around, but never has it replaced and eradicated the traditional as it has in recent years. Wherever your nostalgia comes from, you fell out of love with country radio after it lost the sound and substance you were drawn to. Today, even though the substance is slowly returning, there is still a noticeable lack of the sound. People growing up with country radio today might associate country with Luke Bryan or Thomas Rhett, both of whom lack the sound and the substance. Or maybe they’ll associate country with Carrie Underwood and Eric Church–they will recognize the substance but lose the sound. But until Morgan and Pardi, there hasn’t been a traditional sound being carried to the masses in years. Pop country isn’t a bad thing, but the complete elimination of the traditional is a terrible thing, and a dangerous thing for country as we know it. Therefore, when an artist like Morgan breaks through and gets a #1 single, we should all be celebrating. There is still much work to be done in Nashville, both in sound and substance, but Morgan, and others like him, are bringing hope for everyone who thought traditional country was lost. He’s not pop country, he’s not country rock, he’s not Americana. He’s just country. And I miss country. I fell in love with country. Country is my passion as a fan and my focus as a reviewer. It’s what I’ll always love the most, even though I praise and listen to plenty of good music from other genres, and it seemed, not long ago, that the music I loved would be lost forever in the mainstream. I am nothing but glad that Morgan and Pardi have broken through, and that young people out there listening to country radio once again have the opportunity to fall in love with real country the way I did. As I said, there is still a lot of work to be done, but let’s all recognize this for what it is, a positive step, and be glad for how far we’ve come.

Female Fridays: Featuring Jamie Lin Wilson

Someone said they’d like me to do a feature on Jamie Lin Wilson, and that day has come. I am excited to feature Jamie on this Female Friday.

How You Might Know Jamie

Much like her friend Courtney Patton, whom I covered two weeks ago, you might not know Jamie Lin Wilson if you aren’t familiar with the Texas scene. If you are, she’s a member of the Texas-based group The Trishas. She can often also be found singing with Courtney.

Bio

From a 2014 article by The Daily Country, on the influences for her debut album,

The type of music she likes to make is, she says, influenced by “the greats” — Emmylou Harris, Kris Kristofferson, Guy Clark, Townes van Zandt, John Prine, Rodney Crowell and Tom T. Hall. But it’s equally inspired by those friends and contemporaries, including the Trishas and song-swap pals like [Courtney] Patton,Drew Kennedy and Owen Temple. “Their style creeps into my style and vice versa,” she says. “I love that. We’re a little team.”

From an interview with Newslang on her style of songwriting:

The song I wrote with Jason [Eady] and Adam [Hood], we started with a photo. I sent this picture of an old abandoned house in Yancey. The yard is overgrown and the windows are broken. It hasn’t been lived in for a very long time. There was a chair on the porch facing out that had been there ever since the last people moved out. They left this chair on the porch. I took a picture of that and sent it to them saying that there was a song in this picture and we needed to write it. That was one of the easiest co-writes because we all had the same image. Half of co-writing is trying to get that same image in your head. We figured out that was a great way to co-write.

Jamie Lin Wilson has gained a great reputation in the Texas scene as a singer and songwriter. However, for many years, she was simply a collaborator on other projects. Her career began fifteen years ago while she was in college; she was simply inspired by the sight of Natalie Maines, the former lead singer of the Dixie Chicks, singing and playing guitar. Shortly after this, Jamie started a band called the Sidehill Gougers (later known only as the Gougers) and began writing songs. She released a solo EP in 2010 called Dirty Blonde Hair and made a name for herself as a member of the Texas-based female group the Trishas. During a Trishas hiatus, Jamie Lin Wilson finally took time out of her life–which by this time included a marriage and three children–to record her first full-length solo record. Holidays & Wedding Rings, released on May 19th, 2015, has been met with much-deserved praise and appreciation. Finally, people everywhere are being exposed to one of Texas country’s best-kept secrets.

Why Jamie Belongs on Country Radio

Her case is similar to Courtney’s; as I said with Courtney, I am not going to spend time explaining why independent/Americana/Texas artists deserve to be treated fairly in the mainstream. This is a headache-inducing topic that can only be improved through sources such as Saving Country Music, Country Perspective, and this site that give these artists an equal playing field and hopefully more fans. This post, however, is about Jamie, and what she brings to country music in general. Well, firstly, and I don’t know why I have to keep writing this sentence on these features, she’s country! This should need no further explanation. She has relatable, real-life experience in her songs–you don’t have to have partied in every cornfield and club in the South to relate to her lyrics. Similar to Courtney’s, her songwriting tells the stories of real people in real-life situations. Like Lindi Ortega’s, Jamie Lin Wilson’s voice is unique. Blake Shelton would say, if somehow she were ever able to stand before him on The Voice, “There’s no one quite like you in country music right now.” Well, Blake, this is because mainstream Nashville doesn’t want originality, and that’s what Jamie has to offer.

Tracks I Recommend

Most Jamie Lin Wilson apologists will say I shouldn’t pick apart Holidays & Wedding Rings, and indeed it is a great album. These are just personal favorites.

1. “Just Some Things” (featuring Wade Bowen)–Holidays & Wedding Rings
2. “Whisper on my Skin”–Holidays & Wedding Rings
3. “Here Tonight”–Holidays & Wedding Rings
4. “She’ll Take Tonight”–Holidays & Wedding Rings
5. “You Left my Chair”–Holidays & Wedding Rings [this is the song written with Jason Eady and Adam Hood]

Listen to Holidays & Wedding Rings

Finally, I was told to check out Jamie’s videos with the Southern Gospel Revival, and all of you should too.