Most of you probably know this already, but for the past seven years, I’ve been a staff writer for My Kind of Country. In honor of the blog’s 10th anniversary, I wrote the following reflection editorial:
Do you remember where you were exactly ten years ago? Barack Obama has just defeated John McCain to win his first of two-terms as our 44th President. The United States was beginning to feel the effects of the Great Recession. On our radios, a hot new group out of Georgia was dominating the charts. This week in 2008, Zac Brown Band logged their first of two consecutive weeks at #1 with their debut single “Chicken Fried.” On the album’s chart, it was Taylor Swift’s just-released Fearless, logging its third consecutive week at #1, with no signs of slowing down.
In the country blogosphere, J.R. Journey launched My Kind of Country. Our little blog was born ten years ago tomorrow on Dec. 8, 2008. On that day, J.R. wrote:
Welcome to the My Kind Of Country blog. Here, you will find reviews, editorials, and discussions about the country music we love – our kind of country. The idea is simple: rather than write lots of negative reviews about the new music that’s coming out – because let’s face it, much of what comes out of Nashville and your country radio dial is crap – we are going to write about the music we love. The music that moves us, drives us, and makes us laugh and cry; the music that touches us. Not that we will spend our time posting fangirl gushes about a select group of artists that are among our favorites. To the contrary, we intend to post about the music we love and tell you why we love it, and of course, how we think it could be improved upon.
It’s been an ambitious mission from the start. Erik wrote our first album review, a glowing critique of LeAnn Rimes’ Family, on Dec. 10. Our first spotlight artist? Oh, that was Miss Leslie and her Juke-Jointers in January 2009. Through the years we’ve seen many writers retire their individual perspectives on country music, from our friends Erik, Rainbow, Chris Dean, Megan Morrow, and Razor X to our fearless leader himself, J.R.
I won’t begin to assert I’m an historian on all things MKoC. I joined the team in June 2011 after I had become enamored with their Spotlight Artist coverage of Emmylou Harris in April. After reading a few of their reviews, I digitally downloaded her solo albums from the 1970s and composed a post on my own blog, entitled “New Artist Obsession: Emmylou Harris.” I had included a link to their coverage, which garnered the attention of J.R. and Razor X. I had no idea how impressed J.R. would be with my work, nor was I gunning for anyone’s attention. Shortly thereafter he sent me an email and asked me to join the team, an honor I accepted happily and excitedly. My first post was a single review for Julie Roberts’ “NASCAR Party” that ruffled a few feathers with her publicity team. I then contributed two single reviews to their Randy Travis coverage that month, among other reviews, and was off to the races.
But this isn’t solely about me. My Kind of Country has and always will be about a passionate group of fans sharing their thoughts and perspectives on country music with a critical ear. Two of our longest contributing writers, Razor X, and Occasional Hope, became members of the team in Feb. 2009. Razor’s first post, “Rediscovering Forgotten Gems” found him taking a look back at albums, with a focus on Randy Travis, he had the urge to revisit. Occasional Hope introduced herself to readers through “Finding Country,” in which she shared how she came to love country music. Paul W. Dennis joined just before I did in 2011. The 9513 had just shuttered and J.R. asked him to continue his Country Heritage series with us. His first post was “Country Heritage: Gary Stewart – A Short Life Of Trouble (1944-2003).”
A while back, a friend had asked me if they could take a look at work on MKoC and even proceeded to print it out in order to read it (yes, I also thought that was strange). In doing so, he made a comment I’ve never forgotten. He said the blog had a really great title and I instantly knew what he meant. He didn’t say it, but he was referring to the idea that as a group of writers we’re each sharing the country music we love individually, writing pieces that reflect our love of the genre, not just getting assigned albums and singles we may or may not care enough about to compose a thoughtful post. I hadn’t looked at it that way, but he was correct in every sense of the word.
I also often think about how hard it is to keep a blog going and just how many have come and gone in the ten years we’ve been alive. It’s easy for readers to overlook the fact that our positions as staff writers aren’t our full or even part-time jobs. MKoC is a labor of love we create out of passion for country music. It takes a village to keep a blog vital, which is why The 9513 and Country California have ceased publication. Engine 145 only ended once Juli Thanki received a prestigious position with The Tennessan, which has led to exciting opportunities for her in 2019. Ken Morton, Jr’s That Nashville Sound is still going strong and Country Universe is still around, after 14 years, albeit in an abbreviated form.
Little did J.R. realize in his inaugural post when he wrote: “much of what comes out of Nashville and your country radio dial is crap.” He never could’ve known the assault on the very ideals of commercial country music that was coming down the line with bro-country and whatever the heck you call what’s followed in its wake. It’s ironic, at least to me, that the peak years for country blogging have coincided with the continued release of literally the worst music our beloved genre has ever produced. At least we’ve learned there are alternatives and still some pretty awesome music being made if you know where to look.
I know this post is long, but heck, you only celebrate your tenth anniversary once. We would not be here if it wasn’t for our continued passion for country music, but even more importantly, our readers. Thank you for continuing to make us and our writing a part of your lives. Please continue to comment and engage with us on our posts. We always love reading and responding to whatever you have to say.
Onward.
Three more names cemented in bronze: the class of 2012
March 7, 2012As winter slowly turns to spring and the chill begins to exit, a celebration is brought fourth where more than a century of tradition is whisked back into the spotlight, if only for a brief time.
The importance of this commemoration knows no bounds as the past and present collide to bestow an honor upon three worthy individuals whose contributions have been revolutionary.
This recognition, which concludes with a medallion ceremony later in the year, elevates greatness, yet sparks fierce debate among those who object to this honor coming too soon or far too late.
But one ideal will always rise victor – the highest professional honor in country music is induction into the Hall of Fame. And in 2012, that prestigious mark of upmost respect shines a light on Hargus, “Pig” Robbins, Connie Smith, and Garth Brooks.
In three unique and different ways, each inductee has left a stamp on country music not likely to be erased with time. Through his paino-playing on iconic songs such as “Don’t It Make My Brown Eyes Blue” and “White Lightning,” Robbins has redefined the essence of the studio musician.
With “Once A Day,” a little tune pinned by Bill Anderson, Smith did the impossible – becoming the first female artist to log eight consecutive weeks at #1. That feat, accomplished more than forty years ago, has yet to be topped.
And Brooks took our notion of what a concert tour could be, turned it on its head, and ran with it.
Hargus “Pig” Robbins
I must admit that before this morning, my young age prevented me from knowing Robbins and his contributions to country music. But after listening to his introduction by Kix Brooks, I found familiarity with most of the songs he played on.
Especially this day and age, with digital sales rendering the dust jacket obsolete, the ideal of the studio musican has nearly gone out the window. No longer do we care who backs up our favorite singer as long as said artist releases new music.
But the studio musician is the backbone of all music. Without session players, as they’re also called, albums would never be released. We need these professional musicians who can learn a song on a dime (often without sheet music, thanks Kix) and execute them flawlessly.
Robbins was one of those such people and arguably one of the best the genre has ever seen.
Connie Smith
Unless you are far too close to mainstream country music, the release of Long Line of Heartaches last August brought fourth much joy. It was Smith’s first album since 1997 and an excellent reminder of country’s rich past.
At 70, Smith sounds better today than most female singers in the business. I was recently scanning the television channels when I came across The Marty Stuart Show on RFD-TV. A homage to all the great variety shows from the 60s and 70s, The Marty Stuart Show is a shining example for classic country music in a world in which country rock knows no bounds.
Marty’s guest that evening was none other than Smith, his wife. For half an hour she took to the stage and sang from Heartaches. She performed more than half of the album and even brought her three daughters on stage for “Take My Hand.”
The show can be “hicky” at times, but Smith’s voice shined loud and clear. It was so nice to have an outlet from which to see her perform and I knew I was witnessing something special.
My first vivid memory of Smith came in 1997 when I watched her perform on the Grand Ole Opry from my grandparent’s living room. I don’t remember what she sang, but I remember it airing after she married Stuart. Being young and naive, I didn’t understand what I was watching and thought she looked “tough.”
The next time I remember paying attention to her was during a duet of “Once A Day” live on the Opry with Martina McBride in 2005. That performance is on YouTube and very good, although Smith steals the show (as she should have).
Like Jean Shepard last year, Smith’s induction is long overdue. Her importance to country music may be quiet in comparison to the likes of Loretta Lynn, Tammy Wynette, and Dolly Parton, but she belongs with them in a class of her own.
With a better understanding of her importance, and a deep love of Heartaches, I now can say I’m a bonafide fan.
Garth Brooks
Being a 90s kid, (oh how I loathe that term), I have the most vivid memories of Brooks. It’s funny, as a child, I first came to know him trough his famous stage show and always viewed him as larger than life; some unapproachable giant force. His image of flying over rafters and gliding on his back through rows and rows of fans only magnified it for me.
I remember, once, not “getting” him. This idea of his popularity being something overblown. I don’t know when I woke up and got a clue but it came pretty fast.
In 1997, when I was also first learning about Smith, my grandfather turned 75. So my mom had an idea – I would sing “Much Too Young (To Feel This Damn Old)” at the party. I’m not a singer or guitar player, so I did my best to pull it off. I remember having to learn the song for weeks before hand and feeling pretty cool that I could use the word “damn.” It was a special moment and I can still see myself sitting on the stool in the middle of the dance floor.
That same year, like the rest of the world, I tuned into the famous Central Park concert. Being young, I really had no idea the magnitude of what that show really symbolized for country music. I remember how happy everyone was that Garth was sticking only to old material.
Watching from my grandfather’s basement, I can see clear as day, his inability to get the VCR to work so we could tape the show. I was mad but it was just so cool to be able to watch it. Funny thing, when he brought Billy Joel on to sing “New York State of Mind” I had never heard of him (or at least really knew who he was). I always thought he should’ve been wearing a cowboy hat.
Apart from his concerts, yes I also saw his 1998 show from Ireland, and a concert of my own in 1996, I have vivid memories of Brooks’ music. More than any other artist, he was a true marketing genius.
Getting a new Garth Brooks album was always a treat because there would be multiple covers and “first editions” to choose from. I have first edition copies of Sevens, Double Live, The Magic of Christmas, and Scarecrow.
I remember listening to a radio show, in 1998, when they played every cut off of The Limited Series with commentary from Brooks. It was so cool, at that time, to think he was releasing a boxed set of his material with one new cut on each album.
I also rushed out and bought everything he had for sale during his “Wal-Mart Only” years. Sure, you could say I’m a sad sap for buying into all this, but for some reason you had to – it’s Garth Brooks. (Along those same principles – I also own In The Life of Chris Ganes).
In his day, Brooks had it all. The mammoth concert tours, hit singles, and everything in between. And with Trisha Yearwood he had the tabloid love affair we all love to speculate about (did they hook up in the 90s or not?).
But the truly remarkable aspect of Brooks’ career are the songs. It isn’t very often that an artist can back up their success with such memorable and iconic records. There isn’t a single superstar today – from Kenny Chesney, Carrie Underwood, and Taylor Swift, to Brad Paisley, Keith Urban, or Tim McGraw who can match Brooks song for song. His is music of substance, class, and grace.
For instance, on 9/11, I remember singing “The Dance” to myself on the way home from school. When I got home, the first song I turned to was “The Change.”
There isn’t anyone who can match him. I remember people would take the day off from school or work to stand in line at their local CD store on Garth Brooks release day. His albums were events.
But Brooks’ induction came so soon, ahead of the more deserving Randy Travis and Ricky Skaggs (who he singled out in his speech), because of one aspect – touring. His concerts were revolutionary for elevating the stage show to heights previously unknown in country music. Like his albums, his shows were happenings.
Before Brooks, you didn’t have fans rushing online at 10:00am to secure their seats to a show. Country artists may have seen sellouts aplenty, but never in places like the Staples Center and Madison Square Garden. He brought country music to a whole new level; one not surpassed until Chesney’s stadium shows in the 21st century. Brooks drew the blueprint that made the mammoth country shows we all go to today, possible.
All and all, If Brooks is anything, he’s his own man. He was the first to announce a retirement (via a silver covered Country Weekly cover in 2000) at the height of his fame, and remains the staunch holdout for a presence digitally. He doesn’t even have any vintage clips on YouTube.
But like any great artist, the songs will always live on. I was listening to my local country station just last week and what came on? None other than “If Tomorrow Never Comes.” Singing along to his first #1, it felt comfortable, right. Just like his entrance into the Hall of Fame.
Looking Ahead
As we look back at the legacy Robbins, Smith, and Brooks bring to the Hall, the debate over future inductees rages on. Brooks may have gotten in ahead of his time, but no one exemplifies the “90s boom” better and as the forefather of the country spectacle, he made the stadium shows of today doable.
But here’s my list of who should welcome the exit of winter’s chill in some upcoming March and allow us to have a celebration in their honor:
Modern Era Category (In order of importance):
Veteran Era Category (In order of importance):
Tags:Alan Jackson, Alison Krauss, Anne Murray, Brooks & Dunn, Clint Black, Connie Smith, David Allan Coe, Dwight Yoakam, Garth Brooks, Gene Watson, Hank Williams Jr, Hargus "Pig" Robbins, Jim Ed Brown, John Anderson, Johnny Paycheck, June Carter Cash, Kenny Rogers, Marty Stuart, Patty Loveless, Randy Travis, Ricky Skaggs, Ronnie Milsap, Rose Maddox, Tanya Tucker, The Browns, The Judds
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