matty005
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Post by matty005 on Jun 10, 2014 11:52:01 GMT -5
I agree with you, but I am the exception then. I am a HUGE AJ fan and love FGL and I in fact like this song for what it is. With that said, I do agree with you on your point. But I think that is how the business works. People aren't buying Alan's CDs as much any more... they're in it to make money and they want to appeal to an audience that is most likely shell out money to buy the CDs. First week sales of Alan Jackson's The Bluegrass Album, released 24 September 2013: 22,000 (via Billboard) First week sales of Jerrod Niemann's High Noon, released 25 March 2014: 14,000 (via Roughstock) Total sales of Alan Jackson's The Bluegrass Album two months after release (the week ending 24 November 2013): 82,000 (via Billboard) Total sales of Jerrod Niemann's High Noon two months after release (the week ending 25 May 2014): 45,000 (via Roughstock) [I'm aware of the track sales differential, which should be chalked up to the airplay differential between the two. But matty005 mentioned CD sales, so I thought the most recent numbers were instructive. Moreover, considering the amount of money that goes into radio single promotion, I have to wonder if the return on the investment in Jerrod Niemann's airplay is anywhere near the return on the investment in Alan Jackson's current album promotion.] Good points, but I guess my point is that the style of music is hard to sell. AJ is a legend so he still sells. Same with George. But this type of music that sells (FGL, Luke, Blake) are selling. Of course you have not so big acts who don't sell as much, (Jerrod, Tyler Farr, Cole Swindell) but you also had that in the 90s. You had Garth and AJ, and George and Shania and Faith selling HUGE. But you also had acts who were singing that similar styles to those guys but not selling as much (Tracy Byrd, John Michael Montgomery, Collin Raye). Edit: I wish they could play both styles still. Because we know that this style is going to live on at least a little while still. Unless mus1cr0w and his yet to be revealed prediction come true.
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Deleted
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Post by Deleted on Jun 10, 2014 16:42:54 GMT -5
Edit: I wish they could play both styles still. Because we know that this style is going to live on at least a little while still. Unless mus1cr0w and his yet to be revealed prediction come true. It's no longer "yet to be revealed"...his prediction was based off Dot Records' signing of new girl duo Maddie & Tae. I agree with him that they sound very promising but I can't see how a single act will change the direction of "country" music and sway the agenda of corporate radio. Like you said, the "bro" stuff is what's selling right now so even if Maddie & Tae bring about a 90's country vibe and get a lot of critical acclaim, that doesn't mean that FGL, Luke, Thomas Rhett, etc. are going to stop selling so well and being big hits with the younger crowd.
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mus1cr0w
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Post by mus1cr0w on Jun 10, 2014 21:14:54 GMT -5
Maddie and Tae are about to torpedo this junk. Watch and see.
It won't be subtle.
Mus1cr0w
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Kat5Kind
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Post by Kat5Kind on Jun 11, 2014 10:45:18 GMT -5
Maddie and Tae are about to torpedo this junk. Watch and see. It won't be subtle. Mus1cr0w Being vague helps no one.
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dajross6
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Post by dajross6 on Jun 11, 2014 10:51:32 GMT -5
AJs album sold better than Jerrod's, but Jerrod's single sells way better than anything on that AJ album (unfortunately). And as much as I hate to say it, the single sales are what bring in more fans, and better buzz which translates to airplay. It's a cycle that is going to continue until the medium shifts, which I'd love to have happen soon, but doesn't seem to have an end in sight. Single sales are really hurting the traditional country format I think - pop/rap country sells better, brings a younger crowd to radio, and makes advertisers happy. Back even in the early 2000s (pre-mp3 Itunes popularity), radio stayed closer to the conservative roots that built it. I miss those days, because seeing more and more rap/rock/pop in country music really changes what most of us grew up on.
I honestly believe that if traditional music made a single sales comeback and made those stations profitable, the chart would split in two like pop did. Unfortunately many of the traditional leaning listeners aren't in that 18-35 age group that advertisers want. That's what makes stations money, and that's what will be played - what that special age group wants to hear. The problem is that the music is rap and pop and overall not that great to this fan. I understand people like this song and other songs similar to it, but it's tough to keep country fans like me interested in the format with this nonsense on the radio.
I've been a huge fan, and compile my favorite 10 songs every week (since 1995). I'm not lying when I say I'm about done with this simple list that I've enjoyed doing for nearly 20 years because the format plays songs like this. It's hard to find 10 songs I like anymore, or even songs I would consider country. But I don't want the format to change because of me, I want the format to change because traditional country music is wonderful and needs to be heard. I don't mean to rant, but come on and listen to this song and tell me it's okay for the country format. Good for those people that enjoy "Donkey"; I hope in the next couple years when I'm through with the radio that the chart is full 40 songs just like it for y'all to enjoy.
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Zazie
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Post by Zazie on Jun 11, 2014 16:36:23 GMT -5
^ I imagine my top 10 on any given week would look a lot like yours. But I don't see the great evil being done by a #44 smash super-hit. FlaGa's Cruise, there's one that had a bad effect. Going back some years, Shania Twain's You Win My Love, now that one brought out the worst in country radio. I ought to make a list of songs I think brought country music down. I could make a list of "bad influences" and, if I created one, I imagine that every song on it landed in the top 3.
There have always been #44 songs I didn't like, and not a single one of them ruined country music or country radio. Why should I see this one any differently? OK, it hasn't peaked yet, and it might yet reach the (gasp!) top 20; but to read people's posts on Jerrod's song I would think he was the devil incarnate.
It's like holding Colt Ford responsible for the collapse of country radio. Or that wonderful song by Rehab a few years back. Bartender's Song. Yep, that started it all.
And yes, Donkey is pretty bad.
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sabre14
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Post by sabre14 on Jun 11, 2014 17:07:32 GMT -5
^ I imagine my top 10 on any given week would look a lot like yours. But I don't see the great evil being done by a #44 smash super-hit. FlaGa's Cruise, there's one that had a bad effect. Going back some years, Shania Twain's You Win My Love, now that one brought out the worst in country radio. I ought to make a list of songs I think brought country music down. I could make a list of "bad influences" and, if I created one, I imagine that every song on it landed in the top 3. There have always been #44 songs I didn't like, and not a single one of them ruined country music or country radio. Why should I see this one any differently? OK, it hasn't peaked yet, and it might yet reach the (gasp!) top 20; but to read people's posts on Jerrod's song I would think he was the devil incarnate. It's like holding Colt Ford responsible for the collapse of country radio. Or that wonderful song by Rehab a few years back. Bartender's Song. Yep, that started it all. And yes, Donkey is pretty bad. "Donkey" is pretty bad, and country radio today makes this song more doable as a legit single, with promotion, adds, and everything, but I don't think that this will be spawning "Donkey" like tunes all over the chart. You brought up Colt's singles and Rehab's song; you can also look back to many others like "That Thang", "Top Down", "Family Tree" by Her and Kings County, or the masterful "Bobbi With and I" (I'm being sarcastic just so no one thinks I've gone off the deep end) as songs that didn't kill country music even though you'd like to think they were capable of. "Donkey" isn't even Bro-Country to me. It's a total parody song that is meant to be a stupid joke. It's pretty sad that this song is at country radio and whether it's peak is 14 or 40, I'm hopeful and fairly confident that this will not bring on other's like it. Maybe the key for song's like this working is if they only come around once in a blue moon and not every month. I think the real problem is songs like "Cruise" which you also mentioned that I, like you, believe have had a bad effect IMO.
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McCreerian
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Post by McCreerian on Jun 11, 2014 17:11:12 GMT -5
In other words let's hope this ass doesn't breed...
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Marv
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Post by Marv on Jun 11, 2014 18:38:25 GMT -5
My new and 100% UNDISPUTED champion in the pathetic and totally unnecessary race for the worst country single of the bro-country era has to be the biggest steamin', smokin' heapin', eye-watering, nosebleed-inducing and most repulsive pile of donkey poop in the history of (you pick the state).
I didn't think anything could make '1994' sound like 'I Go Back', or 'Truck Yeah' sound like 'Whiskey Lullaby', or 'That's My Kind Of Night' sound like 'Living And Living Well' by comparison, but congratulations are in order for our newest inductee into the Country Music (allegedly) Hall Of Shame.
Listening to this while watching the lyrics @ YouTube was a megacolossal waste of thirty-seven seconds which I'll never get back before I mercifully prevented my eardrums from any further abuse.
To quote the title of a John Anderson tune from 1998, Somebody Slap Me for listening to this at all, even a horrendous 40-second piece of 100 certified crap such as this.
thanks goodness the ladies of the format including scintillating newcomers such as Kacey Musgraves and the beyond-wonderful Sunny Sweeney haven't abused their respective fanbases with insulting 'country music' such as this.
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dajross6
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Post by dajross6 on Jun 11, 2014 18:43:05 GMT -5
Yeah I probably came off a bit wrong with believing "Donkey" is going to ruin radio, because any one song is not capable of doing that. It's the overall machine of spitting out non-traditional music which sells well that equates to younger listeners and thus more advertising money for radio stations. I fundamentally understand that radio is a business first and foremost, but that is a sad realization when the music you like doesn't fit into what is evolving inside your favorite genre. I don't blame people for liking songs or types of music, I'm just unhappy about how it's come about on country radio. Whether Donkey peaks at #44 or #1 doesn't matter in the grand scheme of things.
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McCreerian
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Post by McCreerian on Jun 11, 2014 19:10:24 GMT -5
If this thing peaks at #44 it will restore a tiny bit of radio's credibility for rejecting it! If it goes top 10, then it means the Music Row Terrorists have won!
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14887fan
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Post by 14887fan on Jun 11, 2014 21:29:10 GMT -5
Wouldn't take it if it was free.
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McCreerian
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Post by McCreerian on Jun 12, 2014 12:12:23 GMT -5
There is a full page article and interview about "Donkey" with Jerrod in today's Billboard! www1.billboard.biz/bbbiz/photos/pdf/2013/BCU_06122014.pdfJerrod Niemann Hopes His ‘Donkey’ Will Kick Ass The sound of a braying mule, followed by a blanket of banjo arpeggiation, provided the opening for years to the syndicated music-and-comedy TV show Hee Haw. That “ee-haw” sound is back, reteamed with a banjo, in the new Jerrod Nie- mann single “Donkey.” As with Hee Haw, where the cartoon animal sported a straw hat, “Donkey” is hardly awash in sober contemplation. “It’s not one you want to sing at a funeral,” says Niemann with a smile. Nope. This “donkey, donkey” rhymes with “honky-tonky” and provides a come-on to the ladies for a little “rollin’ in the hay, hay.” It’s dumb, but it’s catchy as hell. “My goal was to make people smile a little bit, and also the word ‘donkey’ is just funny in itself,” says Nie- mann. “We needed a song about a donkey.” The donkey and the mule (the latter term is often used interchangeably with donkey, though a mule is the offspring of a donkey and a horse) carried negative connotations in country’s past. Hee Haw was loathed in some circles because of its silly one-liners and its use of rural stereotypes the genre was trying to play down. The mule also symbolized the back-breaking farm labor that country artists historically tried to escape by mak- ing music. As singer-songwriter Fred Wilhelm notes, that imagery provided a key line — “We left our sweat all over that land behind a mule we watched grow old” — in a 1970 George Jones single, “Where Grass Won’t Grow.” The mule has played a role in the title of two songs with deep country ties: “Mule Skinner Blues,” associated with Jimmie Rodgers, Bill Monroe and Dolly Parton; and “Mule Train,” a 1949 Frankie Laine pop hit that Tennessee Ernie Ford appropriated for the country chart. The word “donkey,” however, has never appeared in the title of a top 15 record on Billboard’s Hot Country Songs chart, though Wilhelm predicts that dry spell will end: “We’re going to kick down that door.” If so, “Donkey” will do it with one similarity to “Mule Train”: a vocal effect is central to the recording. On Ford’s record, lead guitarist Merle Travis re-created the sound of a cracking whip through pursed lips. On “Donkey,” David Tolliver — a member of the former duo Halfway to Hazard — does his own vocal im- personation of a mule. And that odd talent is the main reason “Donkey” exists in the first place. “David makes the most unbelievable donkey sound,” says songwriter Kyle Jacobs (“Dust,” “More Than a Memory”). And Tolliver — Dtox, as he’s sometimes called — kept making that sound during a writing session with Jacobs and Wilhelm at Curb Music Publishing in Nashville. They were working on another song at the time, and Wilhelm took a short break. When he returned, the braying had turned into a “donkey, donkey” joke, and they started goofing with a rhyme scheme. While they were jamming on it a bit, Jacobs’ song plugger, Curb Publishing senior creative director Colt Cameron, came in and made a video of them. When some people saw the video, they were insistent it be turned into a full song. Jacobs likewise played the “donkey, donkey” chorus at a few patio parties he attended with his wife, Kellie Pickler, and the reaction was always the same: Finish that song. Making it work was an issue. The chorus was fun, but what do you do with a mule and a honky-tonk? “Fred Wilhelm actually is the one who saved the day. He was superman,” says Jacobs. “He came in with this rappish kind of verse, and all of a sudden it got real. Especially with ‘George Jones took a John Deere tractor/My donkey gets there faster.’ We were like, ‘Oh, my gosh, are you kidding me? Alright, what the hell?’ ” When the song was finished, engineer Matt McClure, who co-produced Lee Brice’s “I Drive Your Truck” with Jacobs, was insistent that “Donkey” would only work if they attacked it full bore. So they booked Ocean Way — a rather expensive studio for a demo session — and McClure spent two more days adding loops and effects to drive it home. Finding the right artist for a borderline novelty was the next task. Based on “Save a Horse (Ride a Cow- boy),” they considered Big & Rich a possibility. There was also some talk with Warner Bros. about Blake Shelton, though they’re uncertain if he ever heard it. A busted songwriting session in early 2013 proved fortuitous. Niemann, Brice and Josh Thompson were working on a song when Brice got a call from home and needed to leave. Niemann and Thompson ended up going to the Tin Roof on Demonbreun Street in Nashville to watch the BCS National Champion- ship Game on TV, and they bumped into Dtox, who told Niemann he needed to hear his song, “Donkey.” “I said, ‘Why? You think I’m a jackass?’ ” recalls Niemann. “He said, ‘Well, if it fits, wear it.’ ” The demo made Niemann laugh. He was skeptical about recording it, but he put it on his iPod to play as a joke for people on the bus in the coming months. “It stopped everybody in their tracks every time,” he says. So he decided to cut it. The original version kicked off with a few lines about a DUI. Niemann asked the writers to find another, less offensive way into the song, and a minor car wreck provided the answer. Producer-bass player Jimmie Lee Sloas was both enthusiastic about the song and challenged by it. “He actually called Matt and said, ‘How am I supposed to beat this demo?’ ” notes Jacobs. “But he and Jerrod made it their own.” They got Tolliver to work his donkey magic in the studio, though it wasn’t as easy as it seemed. Dtox agreed to come in one morning, but partied late the night before and didn’t show. Four or five hours later, he texted an apology, confident that they’d found someone else to do the part. “A guitar player maybe, but a donkey sound — you don’t just call the musician’s union and say, ‘Who have you got who’s a master of the donkey call?’ ” dead- pans Niemann. “Well, he came in the next day and of course, he did a great job.” Tolliver, Niemann and studio veteran Russell Terrell also did plenty of lay- ered, intricate background vocals, mixing pure sounds and electronically altered parts, periodically changing the sound behind the “donkey, donkey”/“honky- tonky” rhyme scheme, as it gets repeated 11 times during its three-minute ride. Arista released Niemann’s High Noon album on March 25, and when he rolled into Joe’s Bar in Chicago a month later, the audience had glommed onto “Donkey.” “People were screaming ‘Donkey’ the whole show,” he says. “We’re going, ‘What in the world?’ So we just knew something was there.” Sony issued “Donkey” to radio on May 5, and it has bucked its way to No. 44 on Country Airplay in its fourth charted week. Niemann has passed a few videos to Jacobs of fans dancing crazily to “Donkey” — as with Hee Haw, there may be some “neigh”-sayers in the industry, but the public seems to get it. “I like polarizing music, because it makes somebody feel something,” says Niemann. “I’d rather someone hate it than be indifferent.”
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onebuffalo
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Post by onebuffalo on Jun 12, 2014 14:30:14 GMT -5
^I don't know if we should thank you for posting that.
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sabre14
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Post by sabre14 on Jun 12, 2014 16:51:33 GMT -5
Dramatic reading of "Donkey" by Jerrod.
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McCreerian
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Post by McCreerian on Jun 13, 2014 18:29:47 GMT -5
Jerrod Niemann Addresses Critics, Talks Pitbull Collaboration "People who are getting real upset maybe just don't know as much about country music as they think" Read more: www.rollingstone.com/music/news/jerrod-niemann-addresses-critics-talks-pitbull-collaboration-20140613#ixzz34Z5dUJmE Follow us: @rollingstone on Twitter | RollingStone on Facebook By Joseph Hudak June 13, 2014 2:30 PM ET The two Number One singles Jerrod Niemann has notched in his career could not be more sonically different. "Lover, Lover," which hit the top spot in 2010, is an acoustic-driven almost-coffeehouse jam, while his latest Number One, "Drink to That All Night," is custom-built for the dance club. And Niemann, who celebrated the success of "Drink to That All Night" yesterday at a Number One party at the Tippler lounge in Nashville, is proud of that diversity. In the Club: Country's Fascination With EDM "I'm thankful that the two widest array of songs are successful, because I love being a part of all that's different," Niemann told Rolling Stone Country prior to meeting reporters and receiving the multitude of milestone plaques that are doled out at such uniquely Music Row celebrations. It's those musical differences, however, that have also set country fans at odds. While some revel in the progressive sound of "Drink to That All Night," others lament its non-traditional nature, which will only intensify as a remix of the song with rapper Pitbull begins to gain traction. Niemann and Pitbull filmed a video for the new version of the song last week in Miami. "Some of the hip-hop guys have these hardcore attitudes or you hear stories about them, but he was just beyond a nice guy. There is something really special about his presence," said Niemann, who is unfazed by any blowback generated by his thumping "Drink to That All Night" or his even more polarizing new single, "Donkey," which rhymes and raps "donkey" with "honky-tonky" in the chorus and name-checks George Jones in the verses. Niemann, a knowledgeable country music historian who co-wrote the Chris LeDoux tribute "Good Ride Cowboy" for Garth Brooks — he has "Lefty," in honor of Lefty Frizzell, tattooed on his arm — looks to his forebears for reassurance. "When Willie Nelson wrote 'Write Your Own Songs,' and then he and Waylon did it, I never thought that they were getting flack from country fans," said Niemann, taking a sip of a Moscow mule, dubbed a Moscow "donkey" on the cocktail menu for the afternoon party. "But when you hear, 'Hey, Mr. Purified Country, is your head so far up your ass that you don't realize we're in a world where we all belong?' you hear that they were getting enough complaints that they wanted to sing about it. So that gives me confidence to realize that you have to be somebody, to be yourself." Niemann cites "The Devil Went Down to Georgia" and "Uneasy Rider," by the Charlie Daniels Band, and Johnny Cash's "A Boy Named Sue" and "One Piece at a Time" as now timeless songs that flipped the Nashville script by relying on the staccato spoken word over singing. "If rap had never existed, nobody would say anything [about today's rap-influenced country] because these songs already exist in our past and are classics. People are just looking at it in the wrong way," he said. "The people who are getting real upset maybe just don't know as much about country music as they think." Still, he appreciates the passion of vocal trad-country fans who take to the Internet to blast Niemann and his party-ready peers. "The fact that they care enough about it to get online and be mean, that means they care about it that much. And it's hard for me to really get mad about it, because I know how much music means to me." He's equally candid when it comes to his thoughts on the much-maligned "bro-country" trend. "I'll be honest. When I first moved to town, I would have hated it. Well, hate's a strong word; I would have strongly disliked it. Because I had the [mindset] then that even if it ruins my career, I'm going to fight for the tradition of country music no matter what," Niemann said, recalling those lean early days when the Kansas native arrived in Music City. "So I went and fought and went through a couple record deals, and what I realized was radio, and rightfully so, they want to keep feeding a younger audience so they have people that listen to it. I think that part of our industry wants to move forward and be progressive and part wants to keep it [traditional]. People think if we go and mix other types of stuff it's ruining it or it's going to end something, but it all goes in phases, it all changes. I really had to evolve a lot in my mind as a music fan to understand certain things, and if you sit there and try to [sound] like Johnny Cash, and Waylon and Willie, you're not going to go anywhere, because that's what made them so great. They can't be replicated." This summer — on July 24th, his birthday — Niemann will hit the road with Keith Urban, a tour that promises to expose the charismatic singer, and his current album, High Noon, to a wider audience. On September 12th he'll headline the historic Ryman Auditorium in Nashville. It's a milestone that ranks right alongside having a Number One song. "The Ryman, or the Grand Ole Opry, they are the only places you can go and play and it's never about you. It supercedes that. You couldn't put enough talent in the building to be bigger than the Ryman," said Niemann, his eyes widening as he again unveils his country-history geekdom. In the end, however, he just wants listeners, whether country fans or not, to give today's sounds an unbiased ear and maybe discover something new. "There are people out there who say, 'Oh, I don't like country music because of this, cause of that,' but the truth is they just need to give it a chance," Niemann said. "If someone heard 'Donkey' and heard the George Jones reference, they may be like, 'Oh, I want to check out George Jones,' and then all of a sudden they download 'He Stopped Loving Her Today,' and now we've got a new country fan. I try to be a gateway drug to get people into country music."
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joey2002
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Post by joey2002 on Jun 13, 2014 19:35:22 GMT -5
"If someone heard 'Donkey' and heard the George Jones reference, they may be like, 'Oh, I want to check out George Jones,' and then all of a sudden they download 'He Stopped Loving Her Today,' and now we've got a new country fan. I try to be a gateway drug to get people into country music." Yeah, I'm sure that the target audience for "Donkey" would catch the George Jones reference, and immediately buy "He Stopped Loving Her Today".
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bluedog6
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Post by bluedog6 on Jun 13, 2014 20:37:42 GMT -5
Jerrod Niemann Addresses Critics, Talks Pitbull Collaboration "People who are getting real upset maybe just don't know as much about country music as they think" "I'll be honest. When I first moved to town, I would have hated it. Well, hate's a strong word; I would have strongly disliked it. Because I had the [mindset] then that even if it ruins my career, I'm going to fight for the tradition of country music no matter what," Niemann said, recalling those lean early days when the Kansas native arrived in Music City. "So I went and fought and went through a couple record deals, and what I realized was radio, and rightfully so, they want to keep feeding a younger audience so they have people that listen to it. I think that part of our industry wants to move forward and be progressive and part wants to keep it [traditional]. People think if we go and mix other types of stuff it's ruining it or it's going to end something, but it all goes in phases, it all changes. I really had to evolve a lot in my mind as a music fan to understand certain things, and if you sit there and try to [sound] like Johnny Cash, and Waylon and Willie, you're not going to go anywhere, because that's what made them so great. They can't be replicated." In the end, however, he just wants listeners, whether country fans or not, to give today's sounds an unbiased ear and maybe discover something new. OMG (and I don't use that lightly) Jerrod just admitted he sold out!!!!! I've never heard someone admit that quite so blatantly. I think I hate this song more now. Wow! Comparing this to "Devil Went Down to Georgia" or "Boy Named Sue" Oh wow! (Yeah, Donkey has such a compelling story line like those other songs do.) Talked about Willie's "Write Your Own Songs" Oh wow! I know Jerrod writes a lot, but he didn't write this one. Maybe he should write his own songs (I know he does, but hopefully my point comes across). Wow! Wow! Wow!
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McCreerian
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Post by McCreerian on Jun 13, 2014 20:42:10 GMT -5
I listened to "Donkey" one time and vowed never again! I have never heard a song that made me just pure angry, but that did it. Reading that article in Rolling Stone and Billboard about it this week made me angry again. Angry that the genre of Country music that I loved my entire life has come down to this song. In School in the 90s I was made fun of for listening to Country while most of the other kids were listening to Rap, Rock, and Pop. I defended Country and didn't care that listening to Dolly, Alan, George, Reba, etc made me less cool in my peer's eyes. I never dreamed as a child that Country music would be the pile of $h&% it is today. Now I find myself listening to authentic Pop and Rock more cause I can't stomach what most Country music this decade other than a handful of artists, none of which come close to Bro-Country and this Jerrod crap!
I know it won't happen but I hope Jerrod is run out of town and never gets a hit again! He is the anti-Christ of Country music as far as I'm concerned!
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Deleted
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Post by Deleted on Jun 13, 2014 20:50:48 GMT -5
I listened to "Donkey" one time and vowed never again! I have never heard a song that made me just pure angry, but that did it. Reading that article in Rolling Stone and Billboard about it this week made me angry again. Angry that the genre of Country music that I loved my entire life has come down to this song. In School in the 90s I was made fun of for listening to Country while most of the other kids were listening to Rap, Rock, and Pop. I defended Country and didn't care that listening to Dolly, Alan, George, Reba, etc made me less cool in my peer's eyes. I never dreamed as a child that Country music would be the pile of $h&% it is today. Now I find myself listening to authentic Pop and Rock more cause I can't stomach what most Country music this decade other than a handful of artists, none of which come close to Bro-Country and this Jerrod crap! I know it won't happen but I hope Jerrod is run out of town and never gets a hit again! He is the anti-Christ of Country music as far as I'm concerned! The first part of your post is everything I'm experiencing, including listening to other genres more than Country. It makes me so angry to see that this kind of crap has monopolized Country music, and the big mainstream artists are defending it, instead of being disgusted. I don't think I'll ever leave Country, but the past few years have left me angry, apathetic and disgusted; it's changed my opinion dramatically.
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austin
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Post by austin on Jun 13, 2014 21:51:20 GMT -5
I actually like this. Do I think it should be a single? No. But it is actually kind of funny if you can just let it go and enjoy the ride.
I am not sure this is going to do so well...his last two singles are radically different from his past stuff, but he hadnt been doing well at radio necessarily so maybe it is a good thing?
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matty005
3x Platinum Member
Joined: May 2012
Posts: 3,423
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Post by matty005 on Jun 13, 2014 23:13:58 GMT -5
I listened to "Donkey" one time and vowed never again! I have never heard a song that made me just pure angry, but that did it. Reading that article in Rolling Stone and Billboard about it this week made me angry again. Angry that the genre of Country music that I loved my entire life has come down to this song. In School in the 90s I was made fun of for listening to Country while most of the other kids were listening to Rap, Rock, and Pop. I defended Country and didn't care that listening to Dolly, Alan, George, Reba, etc made me less cool in my peer's eyes. I never dreamed as a child that Country music would be the pile of $h&% it is today. Now I find myself listening to authentic Pop and Rock more cause I can't stomach what most Country music this decade other than a handful of artists, none of which come close to Bro-Country and this Jerrod crap! I know it won't happen but I hope Jerrod is run out of town and never gets a hit again! He is the anti-Christ of Country music as far as I'm concerned! Shania, Garth, Willie, Kris and Hank were all called the same and that they were ruining country music (take a listen to Tim McGraw's, "Things Change"). I have to wonder if there ever was a time when people didn't complain about the state of country music. I have been a fan of country and have been on the internet since the mid 90s. I remember vividly people HATING Garth and Clint Black and then I remember it again when people said Shania and Faith were ruining country. Now, almost all the people (including me) who love them long for the days of them. It will happen with this type of music too. I know it is frustrating if you don't like the current style of music, but I really don't think anything is going to change it. We can either try to embrace it or find a new style of music to listen to on radio or be happy with your CDs and music on your iPods. But I really think you're fighting a losing battle here. Hope this didn't sound like I was attacking you, McCreerian because I am not at all. This is nothing personal at all (and it's also nothing personal against the others who share his opinion - it's just another view).
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14887fan
Diamond Member
Joined: November 2013
Posts: 11,258
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Post by 14887fan on Jun 14, 2014 10:24:53 GMT -5
"People who are getting real upset maybe just don't know as much about country music as they think" Well this is about as dense of a comment as I've ever seen from an artist.
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phil1996
4x Platinum Member
Joined: October 2009
Posts: 4,834
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Post by phil1996 on Jun 14, 2014 12:28:24 GMT -5
Jerrod Niemann is a good artist...stop acting like he's the second coming of Bin Laden...jeez. It's one bad song. If you listened to some of the songs he's recorded (Bakersfield, Space, Refill, Old School New Again to name a few) then I'm sure you'd respect the guy a little more. I hate this song, but I'm not gonna crucify the guy for it.
He didn't wanna follow up a hit like James Otto did (For You flopped) Or like David Nail has (Turning Home, Sound of a Million Dreams, probably Kiss You Tonight) or like Jerrod did himself two years ago (Only God Could Love You More) He wants his name and his songs to be heard. I have no problem at all with that.
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joey2002
6x Platinum Member
Joined: January 2009
Posts: 6,372
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Post by joey2002 on Jun 14, 2014 14:51:20 GMT -5
I have to wonder if there ever was a time when people didn't complain about the state of country music. I think George Strait and Alan Jackson said it best, nearly 15 years ago, with "Murder On Music Row". Those lyrics are even more relevant today, as country radio keeps distancing itself away from traditional country.
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matty005
3x Platinum Member
Joined: May 2012
Posts: 3,423
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Post by matty005 on Jun 14, 2014 14:54:49 GMT -5
I have to wonder if there ever was a time when people didn't complain about the state of country music. I think George Strait and Alan Jackson said it best, nearly 15 years ago, with "Murder On Music Row". Those lyrics are just as relevant today, as country radio keeps distancing itself away from traditional country. Yes, but isn't that what all types of music do? They change and evolve? Is their an uproar that Rock music isn't traditional? R&B? I am not a huge fan of those genres so I don't know if that's the case. But I don't understand why so many country music fans expect things to stay the same. * * I understand fans WANTING things to stay the same, but is that a realistic expectation?
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Post by Spacey_Kacey on Jun 14, 2014 14:58:09 GMT -5
I have to wonder if there ever was a time when people didn't complain about the state of country music. I think George Strait and Alan Jackson said it best, nearly 15 years ago, with "Murder On Music Row". Those lyrics are just as relevant today, as country radio keeps distancing itself away from traditional country. Wasn't Patsy Cline criticized for not being country? And perhaps with a little more reason John Denver despite his numerous country awards. Of course compared to today's stuff, these are country sounds. Meanwhile, I like a good deal of music from the 90s, and though some argue the cutoff date being around 1993 or 1994 - I still like a lot of stuff from after that point. Cutoff points differ severely. "Murder on Music Row" is extremely relevant today but its relevancy in the 90s seems to pale in comparison. I wasn't around, but I assume it had at least some sliver of relevance back then for certain. But how much is the real question?
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H.
5x Platinum Member
Joined: June 2014
Posts: 5,447
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Post by H. on Jun 14, 2014 15:08:19 GMT -5
I like this song.
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onebuffalo
Diamond Member
#LiteralLegender
I am One Buffalo.
Joined: June 2009
Posts: 26,694
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Post by onebuffalo on Jun 14, 2014 15:10:52 GMT -5
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Kat5Kind
Gold Member
Joined: May 2014
Posts: 768
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Post by Kat5Kind on Jun 14, 2014 15:16:48 GMT -5
I haven't even heard this one yet. If I have I wasn't paying attention (probably talking, haha. It's what I do best!) I don't think I want to hear it either.
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