MUSICAL MUSINGS
September 14, 2004
THOUGHTS FROM A P2 COUNTRY LISTENER
As a member of Generation X, I grew up with the misguided notion that two particular musical genres were just evil and not worth listening to: disco and country. I came into my awareness of pop music in the mid-1980s, when the phrase "deader than disco" was in common usage, and we thought only redneck hicks liked that twangy crap.
Now, before you start sending those flaming emails my way, allow me to say that I've totally changed my tune. Starting with Garth Brooks, country became a vital part of my music collection. And in 1998, when the formula of the Billboard Hot 100 changed to allow all the biggest country hits into the Top 40, I started listening to all the country music that came down the pike. Nevertheless, because I didn't grow up on it, I doubt I'll ever be better than a "P2 listener" to country.
Radio consultants are always talking about how the P1s aren't going anywhere; it's the P2s you have to worry about. The P2s have broader musical tastes, and they're never afraid to use their station-switching finger. They also offer the most potential for growth in exclusive listening to your station: "Turn 'em into P1s!", right?
What would it take to turn me into a country P1? For starters, no more songs that sound like they were commissioned by one of President Bush's 527 groups. The Dixie Chicks make great music, so give them another chance. While you're at it, let in some of these Americana stars. Songs with blatant Christian lyrics are fine with me, but no more sappy, mindless dreck like "The Little Girl." These are my terms: country music should be as American as apple pie, it should question lack of common sense where it finds it, but it shouldn't underestimate the listeners' intelligence by oversimplifying the universe. The best country songs have always fallen into one of two categories: story songs that present a complicated situation ("Coward of the County"), and fun, moral-free party songs ("Friends in Low Places").
To further elaborate, I thought I'd offer my humble P2 reviews of a few of the hits country has in store for us this fall.
Kenny Chesney—The Woman with You
If your wife never got back to work after having your kids, wouldn't it give you a bit of an ego boost to know she prefers just being your wife to anything she could've done with her Master's degree? My only question is, when the kids get older and she really does start job-hunting again, how will her resume read? "Gopher, 1999-2008 ... Chauffeur, 1999-2008 ... Company chairman, 1999-2008 ... References: My husband and kids."
Shania Twain with Billy Currington—Party for Two
This new cut from Shania's upcoming Greatest Hits album sounds like an afterthought. It's her formulaic upbeat song, and frankly, those are starting to wear on me. I think her last really good upbeat hit was "Man! I Feel Like a Woman!," and that was five years ago. My prediction: a flash in the pan, like "I'm Gonna Getcha Good!" (At least this song doesn't sport any exclamation points.)
LeAnn Rimes—Nothin' 'Bout Love Makes Sense
I don't think LeAnn has really been given her due at country radio. The only two songs on today's standard gold list are "One Way Ticket" and "I Need You," and neither one does much for me. If you ask me, her two best songs were "Blue" and "Big Deal," but who plays those anymore? In the same way, I'd probably enjoy hearing this song over and over again. But will it become a hit? I doubt it. She's too pop for country and too country for pop, and that won't stop me from being a fan.
Chad Brock—That Changed Me
One thing country music always gets right is its innate ability to portray the universal human experience (or at least the American experience). Somehow you can do the same song over and over again, spelling out the experience of being a kid, then a teenager, then a young adult, then a parent ... if it's well done, as it is here, it can bring tears to a listener's eyes.
Jimmy Buffett with Martina McBride—Trip Around the Sun
Jimmy proved last year that any superstar of yesteryear is only one song away from a comeback, given the right song. "It's Five O'Clock Somewhere" was the right song. But "Trip Around the Sun" will not sustain that success, and even Martina's guest vocals don't do enough to help.
Brad Paisley—Mud on the Tires
Brad Paisley has the perfect country voice: it's just honky-tonk enough to be pure country without being annoying. But for P2 listeners like me, all these male singers blur together. It wasn't until I looked up his stats that I realized how successful Brad has been in the last few years: "He Didn't Have to Be," "We Danced," "Wrapped Around," "I'm Gonna Miss Her," "Celebrity," "Little Moments," "Whiskey Lullaby" ... this is another ready-made hit.
Rachel Proctor—Where I Belong
Radio missed out on a great thing when it dropped "Me and Emily." No, it wasn't a feel-good song, but it was extremely good songwriting. This song, on the other hand, drags along with nary a lyric twist and only one ear-catching chord. Rachel has a sweet, tender way of singing a line "just right"—best exercised softly, since her voice isn't all that powerful. But this song isn't interesting enough to make her voice worth listening to.
Josh Gracin—Nothin' to Lose
Every now and then, we need a song with lyrics that are a challenge to keep up with—like "Ain't Goin' Down ('Til the Sun Comes Up)," or "Sold (The Grundy County Auction Incident)." Coming off the surprisingly great "I Want to Live," Josh is well set up for another smash with this one.
Jeff Bates—Long, Slow Kisses
I got through the end of the first chorus, and I was about to lambaste this song for its lackluster hook when my wife let out a little "whooh!" I turned to look at her and she had this grin on her face. Then she came over and gave me "long, slow kisses" before leaving for work. I'd like to revise my review, please: Jeff Bates has the potential to become the Barry White of country music.
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