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Female Fridays

Female Fridays: Featuring Kacey Musgraves

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I debated about whether or not to do a Female Friday over Kacey Musgraves because she’s probably the most known female in country music besides Carrie Underwood and Miranda Lambert. But being known and being appreciated are two vastly different things, and I think Kacey Musgraves is certainly underappreciated by country radio and many times by country listeners themselves. It’s one thing to know her as the controversial singer of “Follow Your Arrow” and “Biscuits” and quite another to know her as one of the writers of “Fine.” So with that in mind, I decided that Kacey deserves a Female Friday.

How You Might Know Kacey

I’m sure you all know “Follow Your Arrow,” but I’m not going to post that for the aforementioned reasons. Many of you should also know her debut single “Merry Go ‘Round” which won a Grammy for Best Country Song in 2014.

Bio

From a 2013 interview with PrideSource, on her musical influences,

I’ve always loved Dolly Parton and I used to sing her songs when I was little. She’s a great storyteller and that’s probably where I got a lot of my influence from. I love Loretta Lynn and Willie Nelson and his truth telling. I love Glen Campbell and a lot of old-school country. I’m really all over the map, but the country I seem to like is a lot older.

From a 2013 interview with The Guardian, on her controversial lyrics,

“Certain kinds of people will always have an issue with my music,” says Musgraves. “But that’s fine, it’s OK. I don’t want to be the McDonald’s of music. I don’t want to not turn anyone off. If you were everybody’s cup of tea, you’d probably be boring.

“I don’t feel that the songs I sing and the music I make are very subversive, but I can see how it would be to some people,” she goes on. “The things I sing about are just what inspires me and what I’ve been exposed to in my life. It’s not like I’ve thought, Ooh, this is a button pusher!”

Kacey Musgraves (born August 21st, 1988, from Golden, Texas), grew up singing and songwriting. She sang western swing music in the clubs around Texas and listened to the aforementioned country artists, along with The Spice Girls and Tom Petty, among others. She dreamed of leaving Golden and eventually did, after placing seventh on Nashville Star in 2007, an experience for which she is glad few remember her. Kacey had self-released three albums before her appearance on the show. In 2008, while living in Austin, she was signed to independent label Triple Pop and recorded two songs, “Apologize” and “See You Again.” She eventually moved to Nashville and was signed to Mercury in 2012.

Kacey Musgraves has released two excellent, critically acclaimed albums, Same Trailer Different Park (2013), and Pageant Material (2015), along with a single called “The Trailer Song” (2014.) Additionally, she can be found singing backing vocals on Dierks Bentley’s 2013 single “Bourbon in Kentucky,” was featured on Josh Abbot Band’s 2011 single “Oh, Tonight,” and is credited with writing many other songs, including several for ABC’s Nashville. Same Trailer Different Park won a Grammy for Best Country Album in 2014, as well as an ACM for Album of the Year. Pageant Material is nominated for this year’s CMA Album of the Year. Kacey’s debut single, “Merry Go ‘Round,” won a Grammy for Best Country Song and charted inside the top ten on Billboard Country Airplay, a remarkable achievement for a woman, a debut single, and a song of such substance. “Merry Go ‘Round” has been certified platinum and “Follow Your Arrow” has been certified gold. “Follow Your Arrow” also became the 2014 CMA Song of the Year.

But it was “Follow Your Arrow,” as well as Pageant Material‘s lead single, “Biscuits,” that typecast her as the controversial singer who supports gay rights and/or anti-religious lyrics. “Follow Your Arrow” does exactly that, with its “Kiss lots of boys, or kiss lots of girls, if that’s what you’re into,”–but that’s not all Kacey is about. She’s been classified by many as the singer who supports casual sex, (“It is What it Is,”) homosexuality, (“Follow Your Arrow,”) anti-religious lyrics and/or lyrics concerning hypocrisy, (“Biscuits”), and smoking pot (“Follow Your Arrow,” “Pageant Material,”) and that’s drawn both criticism and praise. Many praise her for her outspoken, progressive values while others typecast her as only singing about these things and don’t even bother to check out the rest of her discography. That is highly unfortunate, especially if you claim to love country–Kacey is a traditional country artist if I ever heard one, and she shouldn’t be overlooked either because of her values or because of some ill-conceived belief that “controversy” is all she sings about. In fact, her current single, “Dime Store Cowgirl,” is the most personal and least socially controversial song Kacey has ever sent to radio, so hopefully it will get a chance.

Why Kacey Belongs on Country Radio

Kacey Musgraves started out with a top ten hit, but now she has been all but blacklisted from country radio. Why? She’s too “country.” She’s too “controversial.” She supports drug use, gay rights, etc. Well, for one, they played “Merry Go ‘Round” and that was country. Secondly, so she’s controversial…at least there’s something to her lyrics besides “calling dibs” on some “boy.” Thirdly, so it’s okay for Luke Bryan to promote “Strip it Down” on Tinder, for the bros to objectify women–and sing about casual sex, I might add–and for virtually everyone in mainstream country except Carrie Underwood to glorify excessive drinking, but Kacey Musgraves can’t talk about getting high? Talk about hypocrisy. And one more thing: Kacey Musgraves is actually doing something that radio programmers want to do–she’s bringing in a younger audience with her “controversial” brand of country. And guess what? Unlike the people coming to “country” through Kelsea Ballerini, the bros, Sam Hunt, and Taylor Swift–with some exception for early Taylor Swift–these people are being introduced to actual country. We traditionalists advocate balance. We don’t want everything to sound like Hank Williams and Loretta Lynn–we just want some actual country on country radio. Kacey Musgraves is an answer; she brings in a younger demographic while keeping her completely traditional sound.

Tracks I Recommend

For this, I’ll pick the standout tracks from each album separately, in order of awesomeness. I recommend both albums equally; each had highs and lows, and I listen to each one far too much.

Same Trailer, Different Park

1. “It Is What it Is”
2. “Merry Go ‘Round”
3. “Back on the Map”
4. “Silver Lining”
5. “I Miss You”
6. “Follow Your Arrow”
7. “Blowin’ Smoke”

Listen to album

Pageant Material

1. “Pageant Material”
2. “Good Ol’ Boys’ Club”
3. “Somebody to Love”
4. “Dime Store Cowgirl”
5. “Fine”

Listen to album

https://www.youtube.com/watch?v=XEFYCgAOe_s

This was the most country moment of last year’s CMA’s, complete with Loretta Lynn herself.

Reviews

Album Review: Lindi Ortega–Faded Gloryville

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Rating: 8/10

As mentioned in Female Fridays, Faded Gloryville is Lindi Ortega’s fourth album for Last Gang Records. She brought in producer Dave Cobb from 2013’s Tin Star, as well as Colin Linden from 2012’s Cigarettes and Truckstops. Dave Cobb seems to be on a roll–he worked on Jason Isbell’s Something More Than Free as well. Lindi experimented with “a more Muscle Shoals sound,” for which she got help with Ben Tanner of Alabama Shakes and John Paul White of The Civil Wars. The result is the most soulful album of her career to date.

The album opens with “Ashes,” which is also my favorite track. Basically, the premise is that she was once in love, but now the fire has burned out, and he has left her with “these cold, dark ashes.” Lindi’s voice soars through this song, singing, “Darling, this is madness, why don’t you come back to me? Don’t leave me in the ashes of your memory.” The title track is similar to “Tin Star” and is an ode to the disillusioned dreamers who feel like there is no hope left. However, unlike “Tin Star,” which was only for musicians, this feels more universal. It is a theme that I feel Ortega uses too often, but this is still a good song, and I prefer it to “Tin Star.”

“Tell it Like it Is,” takes a more bluesy, soulful approach. Lindi is trying to persuade a man to stop pretending and “tell it like it is.” It’s a more interesting version of Clare Dunn’s “Move On.” Next is “Someday Soon,” which is one of the more relatable songs on the album. Lindi says she’s been “spending all my nights on someone that just ain’t right” and looks forward to a day “someday soon” when she can move on from her disappointing life. This is another song that stood out for me and will hit different people in different ways. Lindi then does a cover of “To Love Somebody,” and although it is unique, I prefer the original. Some people will probably love it, I am just not one of them. It was released ahead of the album, and it was the only song I heard beforehand that I didn’t like. I haven’t warmed up to it much.

“When You Ain’t Home” is an upbeat song ironically about the narrator feeling lonely while her lover is away. I said before that I hear Dolly Parton, Stevie Nicks, and Emmylou Harris in Lindi’s voice, depending on the song, but never have I heard so much soul in her voice. I can’t think of anyone to compare her to, and while it sounds less country, it makes her sound even more like just Lindi. This side of her adds to the individuality that she so obviously prizes. I can’t say I love this song, but I do love what it brings out in her.

“Rundown Neighborhood,” is a lighthearted track about two friends who look out for each other in a bad neighborhood. They are “bad for each other,” but that’s all right because they will always have each other’s backs. Among other things, they share whiskey, rum, cigarettes, and weed. Next is “I Ain’t the Girl,” a relatable song in which Lindi tells a guy she’s not the girl for him because he’s too straight-laced. She likes “long-haired guys” who are “rugged with tattoos,” and he wears a suit and tie. It’s a fun song, but it speaks to many people who feel like they are with the wrong match. As a girl who doesn’t like pretty boys like the one she seems to be describing, I am a little biased toward this song.

In “Run Amok,” Lindi pours out her frustration with someone who is doing “every crazy drug,” alcohol, etc. It’s upbeat and catchy, but a line still caught my attention–“When you run with the devil you burn everything you tuch, bridges and money and everyone you love.” In the end, she finally gives up and decides, “I’ll just let you run amok.” The album slows down to close with “Half Moon,” a thought-provoking ballad. This is actually one of my favorite songs on Faded Gloryville, but I was surprised that I enjoyed it because it is one of those that has to be heard to appreciate. She compares people–or at least herself–to “Half moons hanging in the sky,” with something to hide, but still shining some light. This is probably the most country song on the album, and the mystery in her voice fits the lyrics very well.

All in all, this is my favorite Lindi Ortega album as a whole. Some people will not like it as much as her previous material because of the more soulful songs, but I think this is more in her wheelhouse. This is also a better mix of ballads and upbeat songs, as well as a better balance of lighthearted and dark material. Faded Gloryville is a solid album and one that I would recommend, especially for people who have just been introduced to her work.

Listen to Album

Female Fridays

Female Fridays: Featuring Lindi Ortega

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Her new album, Faded Gloryville, is available today, (expect a review shortly), so today the Female Friday spotlight is on Lindi Ortega.

How You Might Know Lindi

If you watch ABC’s Nashville, you may have heard Lindi–she has had several song placements on the show. (Interesting that a TV show would help promote her, but radio won’t…)

Bio

From a 2013 interview with
Saving Country Music
in reference to her motivation to make music that might not have mass commercial appeal

But my motivation comes from my influences, and people that have stuck to their guns. I read a lot of biographies. If there is one thing I can respect more than anything, it’s individuality in music. And I think back in the early era of country music that was so apparent. Like you could really tell your Johnny Cash from your Waylons from your Merles. They all had a distinct thing happening. And they were all really great at what they did. It was really important for me to etch out my own thing as a student of that.

From one listen to Lindi Ortega, I can tell she means every word she says. She easily has the most unique female voice in country music today.

Lindi Ortega (born May 28, 1980, from Toronto, Ontario), wrote her first song, “Faded Dress” at the age of seventeen. She spent many hard years in the Toronto music scene, where she gained the nickname “Indie Lindi.” Her struggles as an artist, as well as the universal struggles of musicians, are often referenced in her songs. The best example of this is the title track from her 2013 album Tin Star, where she sings of the “tin stars” who are “lost in the shining stars of Nashville, Tennessee.”

After struggling for about a decade and eventually moving to Nashville, Lindi signed with Last Gang Records in 2011. She has released three albums since then, including Little Red Boots, (2011), Cigarettes and Truckstops, (2012), and Tin Star (2013.) She is known for her unique soprano voice, wich has been compared to the voices of both Dolly Parton and Emmylou Harris. When I first heard her sing, I heard Dolly Parton and Stevie Nicks, but in other songs I can hear Emmylou Harris as well. Her albums have received much critical acclaim, and she has been nominated for several awards by the Canadian Country Music Association. In 2014, Lindi won the CCMA Award for Roots Artist or Group of the Year and was nominated for Female Artist of the Year. She has also been nominated by the CCMA for 2015’s Roots Artist or Group of the Year.

Since this column is dedicated to promoting females, it should be noted that my first exposure to Lindi Ortega came shortly after the “tomato” incident in May. Lindi spoke out about the comments in an article called
“I Say, Include Women”
Lindi comments,

Women have had to fight to be treated as equals in society. We have had to fight for equal pay. We have had to fight against sexism, harassment, misogyny. And as if we don’t have enough battles, now we have to fight to get equal play on the radio. The entertainment industry has got to be one of the most difficult industries for women, because we are faced with so many double standards. We decide to have children and suddenly we are asked about how we can handle having a child and a career. Or the public is more concerned with who designed our dress rather than what inspired our craft.

But circling back to “take women out,” just think of those words: “TAKE WOMEN OUT.” 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.

I highly recommend reading this; when I read it, I immediately wanted to check out her music. When I did, I found songs from each of her first three albums that I enjoyed. I would not have known about her if she hadn’t spoken up about this. Her fourth album for Last Gang Records, Faded Gloryville, comes out today, and I will have a review soon.

Why Lindi Belongs on Country Radio

Lindi Ortega is not seeking airplay at all. Up to this point, she hasn’t released anything with widespread mainstream appeal and seems to stick to her “individuality” that she values so much. I would argue that that is exactly why she belongs on the radio. I have seen comments on other sites by Canadians who say she doesn’t even get played up there. What do we hear every time we turn on a show like The Voice? They want uniqueness, originality, individuality, etc. I hear Blake Shelton talk all the time about turning on the radio and immediately recognizing someone’s voice. If uniqueness is what we’re going for, Lindi Ortega should be getting radio airplay. She has the most distinct female sound in country music.

Tracks I Recommend

Lindi has a lot of dark material, and I am not always a fan of dark albums, so I don’t prefer to listen to everything on all her albums. Having said that, most of it is good, and if you have a taste for it, you will like most of it. These tracks are my personal preferences. Also, just like with Ashley Monroe, her new album is off limits.

1. Murder of Crows–Cigarettes and Truckstops
2. Little Lie–Little Red Boots
3. Cigarettes and Truckstops–Cigarettes and Truckstops
4. When all the Stars Align–Little Red Boots
5. Angels–Little Red Boots
6. Bluebird–Little Red Boots
7. The Day You Die–Cigarettes and Truckstops
8. Tin Star–Tin Star
9. I Want You–Tin Star

Listen to Little Red Boots

This was my first introduction to Lindi’s remarkable and distinct voice. Like I said, I hear Dolly Parton and Stevie Nicks. Certainly not a bad comparison.