So, new camera. I have to be honest, I'm still trying to get a handle on it with focusing and lighting, but it's a good set-up (and hopefully one I won't have to sink much more cash into). As it is, I dug this album. Certainly a lot more than the other two disasters I listened through today... oh yeah, the storm's coming. Stay tuned!
I've written a number of times about how modern country music, particularly that which has had some appeal to the mainstream, has lost something of its edge and texture in favour of catering to a larger audience. Now, I've reviewed a few of these acts who have either gone straight towards pop country (this is your Keith Urban or Taylor Swift) or towards what's been branded 'bro-country' (this would be your Luke Bryan and Billy Curringnton, for example). Now what needs to be stressed is that, in country music, this shift towards the mainstream has happened a few times before - it happened in the 80s, it happened in a big way in the 90s (although there were a lot more factors in that particular shift, given the rise of alternative rock and Garth Brooks) - and it's happening again today. And at each point in these shifts towards popularity and a subsequent loss of culture, there has been pushback in the form of what some have deemed 'neotraditionalist country'. This is country music that harkens back to the bluegrass and traditional country of the 50s and 60s, and there have been some highly successful acts who have led the charge here, like Alan Jackson, George Strait, Randy Travis, Tracy Byrd, and (to a much lesser extent) Vince Gill. Now as somebody who likes country on both sides, both moving towards the mainstream and those who would prefer to maintain the homegrown culture of the past, I can see both positives and negatives in the neotraditionalist country movement. After all, it's a good thing to know your history, and I certainly prefer this sort of culturally-minded country music compared to the offensive pandering put forward by the Nashville album-producing machine. That being said, if you stay too close to the well of the music of the past without innovation, you can occasionally run into stagnation. Fortunately, this hasn't happened (a big sigh of relief from me), and thus, it goes without saying that I'm fond of the neotraditionalist country movement. But for a while, I was starting to get concerned that there wouldn't be that push back in country music against the mainstream that would achieve sort of success. Would I be forced to retreat into alternative country or outlaw country to find any country music with texture and culture and quality anymore? Fortunately, outside of the mainstay stalwarts, we do have a newer country act who's willing to bear the torch of neotraditionalist country music, and he comes from an unlikely source: Chris Young. For those of you who don't know, Chris Young started his career quite young when he was encouraged to try out for Nashville Star, a country-oriented version of American Idol. And when he won, it'd be the reasonable assumption this guy would immediately start making the sort of polished pop country that gets popular... And that didn't happen. Chris Young pulled something of a 'Kelly Clarkson' in the country music scene and began working to take control of his own career, particularly in songwriting and artistic direction. It definitely helped matters that Chris Young has a great voice that is born to sing traditional country music: rich, powerful, impressively deep, and loaded with heartfelt emotion. And after several assorted successes (including several number one songs and the critical hit 'Gettin' You Home'), he's finally come roaring back with his new album A.M. this year. So, how did it turn out?
