In July, Nielsen SoundScan released its sales figures by mid-year. The best selling 2.7 million records, the album was the soundtrack to the animated film “Frozen”. Second, selling nearly two million fewer copies was self-titled album Beyoncé. Third, it is not far behind, Eric Church was “The Outsiders,” released in February. At No. 7 was “Crash My Party.”
Luke Bryan If you read about all the mainstream press, or independent survey websites like Pitchfork, or if you’re just out of touch with the movements of pop stars Nashville, you could be forgiven for not knowing who these guys are. Bryan and Church are both pushing forty, and have released five albums each. They are neither teenagers nor grizzled veterans, but they are perfect examples of how Nashville has built a model for the pop song, with its verse-chorus-bridge architecture standard, which has lasted longer than the other genres that have traditionally used the form.
Until recently, country music was seen as the music stylistically retrograde-conservative conservative states. But the truth is more complicated. In the nineties, Garth Brooks was mixing stadium rock songs in their country. He was also singing about gay rights, something that took a Top Ten rapper to do two decades.
In 2000, when pop stars were unlikely to write songs about domestic violence, the Dixie Chicks Top Twenty scored a hit with “Goodbye Earl,” a cheerfully ruthless narrative about two friends who poison an abusive husband. And Taylor Swift is one of many artists from the countries that incorporate caps hip-hop and R & B in their live performances, a favor which is often not returned by their peers in other genres. Country refuses to die because it is not particularly specialized-that is an ecumenical church that supports all stakeholders.
Church and Bryan, like almost everyone under forty who currently works in Nashville, only a few items need to be noted that countries before they are other things: one, half vowel accent, South trend and a emphasis on realistic narrative. Acoustic guitars are common in the catalogs of both artists, but not more than the work of many indie-rock musicians. When Eric Church Talladega sings about in the song of the same name, “The Outsiders,” which could confirm the idea that the country is destined to Nascar Nation.
The song mentions whiskey and one of the most famous race tracks of Nascar, and has a nostalgia for the recent past that seems endemic in the country: “We laugh and live, drink and wishing and thinking, as the checkered flag waved, insurance would like to stay in Talladega “But music is both classic rock and country.; several solos are hidden behind even tenor of the Church.
The title track reveals how porous the borders between countries and genders are incorporating. The song opens with finger-picked guitar arpeggios that sound more like Dire Straits Mark Knopfler who like the crack of a traditional flat picking guitar player disk. Several waves of majestic hitting guitar chords and choruses of “oooh ooh Whooah” gathered monitoring. The music is not completely aligned with lyrics like “Our women are hot, and when our skin is stained saddle and rode in the pouring rain. We are the junkyard that stray cats are dogs; keep the wind at our front, and hell in the back.
“Melody feels more like” We Will Rock You “than Johnny Cash. Around 3’15 “, there is an instrumental part two bars face off against one another, it could have been raised from the progressive rock band Yes, and then the song builds to a crescendo that jumps forward a decade, sounding like a bridge early Metallica record. Cowboy hats have become camouflage. Whatever, more or less, you can go on a country album if you play well and do not use abstract images.
Bryan and Church are two star-type normal intermittently scruffy and not given to a stage of signature or video equipment. Church is more complex narrative material, while Bryan sticks to tales of the good life that rest comfortably in an album titled “Crash My Party.” One of the songs emotionally shadier Church’s “Homeboy” (2011).
Accompanied largely by acoustic guitars, leaving mostly bravado aside, the Church sings to a family member who seems to be culturally mixed up: “You were too bad for a small town square with his hat hip-hop and pants on the floor “the skirts of characters with the law, while the Church plays in the title word and sings the praises of a traditional life problem.” is no shame in forty workers, house, toddlers, little story of small town. If you ever do anything for me, do it for me, brother-let’s go home, boy.
“Their main argument is” we both know who you are. “If this sounds vaguely conservative or even a bit racist, it is impressive that the Church sings about the clash of cultures at all. His tendency to discuss domesticity and the family unit does not exclude all variations of these options may incur, giving his version of a more comprehensive social country look that many expect. In Nashville, at its best, observation trumps preaching.
Bryan’s new single is especially free in style-the song could have bounced between Atlanta and New York conference before returning to Music Row. “Roller Coaster” on a summer adventure, is a degree of regional inflection removed to be a hit for almost any pop star: One Direction, P nk, Bruno Mars. The chorus ends with a classic explainer Nashville, making sure no loose metaphors is released into the world. “I have known that kind of feeling would last longer than that week not impressed and hardly breathing He arrived on Sunday, and that’s .
Now she’s got me twisted like an old rollercoaster beach “Bryan sings higher and with less accent Church.; in “Roller Coaster”, composers Michael Carter and Cole Swindell leaving the commercial target of making a song that suits a video of attractive young contemporaries, but it works, when heard and not seen as the kind of nostalgia that could be about 1969 summer as easily as on 2014.