rsmatto
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Post by rsmatto on Jan 27, 2014 21:26:18 GMT -5
Given that Sam also cp-wrote Billy C's "We Are Tonight" and "Come Over" I doubt that he hates that Keith cut it. The disappointment/sadness he has for the song is probably because he was under the assumption that the song would end up on his own album (that his co-writers and publishers originally promised). He's a new signee to the UMG label so I can't imagine he'd have ill-will towards them either. He probably is very proud of what it turned out to be and wanted to have it as an artist. I can understand that. I have an 'acoustic' version of it. It's very good and very similar to KU's own version (which Zach Crowell produced). I can even picture where Keith asked Zach to play him some stuff that he's been working on or is excited about and when he played "Cop Car" Keith wanted to cut it right there and then and then the publishers (Zach's) gave it to KU, as he's a superstar and they'll make more $$ more quickly than if it was held for Sam's own album that <i>may</i> come out by fall. That's VERY likely in this case. All in all, twitter wasn't the smartest place for him to post those thoughts and he likely should've not said anything publicly and just voiced his concern for this ever happening again now that he IS signed to a label. One other thought is this is all 'fabricated' to create a buzz about Sam Hunt and to create a hip-hop style beef that's really not a beef at all, again they're both UMG artists. Great point Matt. Twitter was an awful place to voice his frustration if that was the case. Using the word "stolen" though I think really was a horrible choice of words that made him come off in a bad light. I hope to hear from Sam in the future on this and hope this was just a simple knee jerk reaction. Pretty sure it was a poor, poor, poor choice of words from Sam Hunt. If his UMG album has other stuff from his 'mix tapes' he's released, that really suggests an artist who could be a big star (even if he's very in the pop-side of the country/pop fence). |
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Post by countrymusic20 on Jan 28, 2014 0:18:37 GMT -5
I am not sure what to make of it either. I remember Sam seeming supportive when Fuse was released. It's not like Keith could just record the song without the writers' permission. The only things I can think of (for why Sam is upset) is that maybe he didn't like the performance in itself...perhaps the Keith/Gary Clark Jr. guitar solo at the end upset him? Or maybe it has something to do with the video? The other thought that came to me is perhaps a dispute with his publishing company. Maybe Sam wanted to hang on to "Cop Car" but the publishers pitched it to Keith anyway? Or it could maybe be possible that Sam is having a dispute over songwriting royalties with whoever he works for? I really don't know. In any case, Sam's tweet just bothers me. Twitter doesn't seem like the appropriate place for a comment like that. I don't think Keith has done anything wrong here, but Sam's tweet seems to imply that Keith is at fault for something, or at least that's how I interpreted it and how I felt after I read it. Sam should explain what is going on, rather than just throwing cryptic comments onto his social media pages. Seems like a good way to make enemies, imo. Music Business 101 - An artist only needs to get licensing from one of the publishers on a song to cut and release that song. Sam Hunt wrote cop car with Zach Crowell and Matt Jenkins. Sam didn't have a record deal when Keith expressed interest in cutting Cop Car. Sam wanted to keep Cop Car for a potential future record deal, but apparently Zach and Matt's publisher (Combustion) decided not to take the chance on waiting on whenever a Sam Hunt record deal might ever take place, and Combustion told Keith they would license the song to him if he cut it. Word on the street is that Keith called Sam and asked for his blessing to cut the song - and Sam told him NO, and Keith cut it anyway. Sam's bitterness is somewhat understandable coming from a guy that has been in Nashville trying to get a record deal for several years now. But Sam's inappropriate twitter reaction today is just another bad decision made on his part. He has refused to take it down off twitter ... it's still on his twitter page right now. Erratic decisions like this are part of the reason why such a talented writer and performer like Sam has had such a hard time getting a record deal in Nashville. He just made an awkward situation at his new record label UMG an extremely awkward situation. There is an interesting study in self sabotage here somewhere.. |
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Deleted
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Post by Deleted on Jan 28, 2014 0:27:08 GMT -5
^Thanks for the insight. That's very interesting then. I can certainly understand why Sam feels so passionate about the song and why he would want to hold on to it. I wonder if he would still be able to record his own version? (I'm not saying he will or should; just speculating on whether it is possible or not, that he could put it on his debut album, whenever that comes out). Do you know who Sam's publisher is?
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.indulgecountry
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"You left a mark on my face // And brought a dozen red flags in a vase"
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Post by .indulgecountry on Jan 28, 2014 0:49:25 GMT -5
The video was alright, but I was a little disappointed in it. The editing could've been a lot better - gave off a cheap, amateur feel to the whole thing imo. Aside from that, the visuals were fine and the plot translated well (as to be expected from such a specific story-type song), but I did wish the finished product was a bit better.
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Post by countrymusic20 on Jan 28, 2014 0:49:31 GMT -5
^Thanks for the insight. That's very interesting then. I can certainly understand why Sam feels so passionate about the song and why he would want to hold on to it. I wonder if he would still be able to record his own version? (I'm not saying he will or should; just speculating on whether it is possible or not, that he could put it on his debut album, whenever that comes out). Do you know who Sam's publisher is? A publisher only has the right to control the 1st licensing of a song. After a song has been cut and released it can then be recorded by anyone. So yes, Sam can put all the hit songs he has written on his own record if he wants to. Last I heard, Sam was published by a couple of investors - not an established publisher - but that could have changed at this point. |
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rjz
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Post by rjz on Jan 28, 2014 7:51:23 GMT -5
I love the video! Love the black and white, the actors are believable (and good look-not too overtly 'pretty'-they look real) and it tells the story perfectly.
It certainly accomplishes the task of taking me back and remembering young crazy years, gently questioning authority and (most of all) also the newness and spontaneity of young love :)
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jsb
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Post by jsb on Jan 28, 2014 9:44:27 GMT -5
Looking through Sam Hunt's twitter feed @samhuntmusic it seems that Sam may have manufactured this crisis. Perhaps for some attention or buzz? If that's the case, this could blow up on a young aspiring artist no matter how much talent they possess. Who do you think pulls more weight at UMG and within the greater country music community, Sam or Keith?
All of the below listed tweets take place after KU obtained the rights to and recorded Cop Car.
Samples of what Sam tweeted or retweeted on his account in recent months.
March 6th Notes KU mention of Sam Hunt on Idol
May 7th Looks Like Cop Car won't be KU's first single
July 29th Writing with Zach Crowell (co-writer and co-producer of Cop Car) Jerry Flowers (KU bass player)
August 9th Retweets KU's Cop Car preview
August 22nd Going to see KU live in Birmingham tonight
September 6th Going to checkout KU play Cop Car live in Nashville tonight
September 9th Go download KU's version of Cop Car from itunes
September 11th KU will perform Cop Car on the View today
October 24th KU will perform Cop Car on Kimmel tonight
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sabre14
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Post by sabre14 on Jan 28, 2014 17:00:41 GMT -5
I love the video! Love the black and white, the actors are believable (and good look-not too overtly 'pretty'-they look real) and it tells the story perfectly. It certainly accomplishes the task of taking me back and remembering young crazy years, gently questioning authority and (most of all) also the newness and spontaneity of young love :) I agree. It's not too often that a music video closely paints the picture I had in my mind listening to the song. The close up shots of her eyes with the blue and red lights was awesome. The actors were very believable and did a great job showing the emotion while the video was playing out. Hopefully this Sam Hunt controversy can be handled properly and not overshadow the chart run for "Cop Car". I think Sam, Matt Jenkins, and Zach Crowell had such a cool unique concept for a song, and the video just made it that much better for me. |
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Post by Deleted on Jan 29, 2014 0:25:52 GMT -5
Really, really great video for this song. I love the shots of Keith and the band in that barn. This is one of the best videos he's done in a while, although I really did like the one for "For You" as well. "'Til Summer Comes Around" is still his best video (and song), though, and it'll be almost impossible to top that. I also really liked the "Sweet Thing", "Days Go By", and "I Told You So" videos. Speaking of "Days Go By", I heard that at the campus fitness center today when I was working out! :) Anyway, back to the Sam Hunt thing for a moment... The whole Sam Hunt thing has been ALL OVER my Twitter this afternoon. First, there are three writers credited on Cop Car so it's not like it was 'stolen' from him alone. It wasn't stolen from him alone, but I did some sleuthing and Sam tweeted a while back that the story in "Cop Car" was a personal experience for him and his girlfriend at the time, so it was obviously his idea to write this song. Thanks to countrymusic20 and rsmatto for filling in the story. The disappointment/sadness he has for the song is probably because he was under the assumption that the song would end up on his own album (that his co-writers and publishers originally promised). I can even picture where Keith asked Zach to play him some stuff that he's been working on or is excited about and when he played "Cop Car" Keith wanted to cut it right there and then and then the publishers (Zach's) gave it to KU, as he's a superstar and they'll make more $$ more quickly than if it was held for Sam's own album that may come out by fall. That's VERY likely in this case. Definitely makes sense. Zach (who co-produced "Cop Car" with Keith and added BG vocals) and Combustion pitched a bunch of songs to Keith, and he wanted to cut "Cop Car". A superstar cutting your song? That's a win. Like Matt said, of course they were gonna give it to Keith...that can make them money and quite quickly. And it seems that Sam wanted to keep this one for himself, though. Sam could turn out to be a big name himself but that's not a given, and who knows if/when he'll get an album out? I would guess that Sam is probably more upset with Zach Crowell/Combustion Music and possibly Matt Jenkins as well, rather than Keith. But it's still probably more bitter than sweet when Sam hears Keith singing it. |
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Post by Deleted on Jan 29, 2014 20:04:16 GMT -5
Apologies for the double post, but I wanted to make an update on the Sam Hunt situation. A Google News search of "Sam Hunt" reveals a Taste Of Country article based on Sam's tweet, and a Google News Search for "Keith Urban" reveals a similar article from The Boot. However, when I clicked on the links, nothing came up other than pages titled "Sam Hunt News" and "Keith Urban News", and the 2 write-ups were nowhere to be found, so I am assuming that both sites took them down sometime this afternoon.
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Markus Meyer
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Post by Markus Meyer on Jan 29, 2014 20:39:26 GMT -5
Apologies for the double post, but I wanted to make an update on the Sam Hunt situation. A Google News search of "Sam Hunt" reveals a Taste Of Country article based on Sam's tweet, and a Google News Search for "Keith Urban" reveals a similar article from The Boot. However, when I clicked on the links, nothing came up other than pages titled "Sam Hunt News" and "Keith Urban News", and the 2 write-ups were nowhere to be found, so I am assuming that both sites took them down sometime this afternoon. Somewhat off-topic but I'm pretty sure ToC an The Boot are more-or-less the same site. |
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Post by Deleted on Jan 29, 2014 20:40:42 GMT -5
Somewhat off-topic but I'm pretty sure ToC an The Boot are more-or-less the same site. Yeah, they are now. I was aware of that :) I'm surprised that they just didn't merge into one site. |
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onebuffalo
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Post by onebuffalo on Jan 30, 2014 12:07:02 GMT -5
I would love to hear Sam Hunt complain when the 'mailbox money' comes in.
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justme60
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Post by justme60 on Jan 30, 2014 13:20:06 GMT -5
I read that Sam Hunt already has the song CC on an album of his and I just heard his version. I can see why he's upset.....Keith's version sounds a heck of a lot better, IMO. All it is, is pure jealousy on Mr. Hunt's part.
Keith's version is so full of passion that Sam Hunt's lacks. Nobody, IMO, can deliver a love song like Keith Urban.
I agree with countryhistorian, I bet he'll spend that money without hesitation!
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bamafan2102
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Post by bamafan2102 on Feb 2, 2014 3:45:49 GMT -5
I remember when Sam played QB for UAB. They were constantly doing little stories on him in Birmingham about his music aspirations. He seems to be doing just fine as he has had a couple of huge hits (Cop Car being one of them) and SiriusXM The Highway is playing the heck out of his single. I must admit it is pretty good.
As for Cop Car, it's probably my favorite song on Fuse along with She's My 11. Haven't seen the video but will look it up.
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Post by jonathanalan on Feb 2, 2014 9:50:51 GMT -5
I listened to Sam's version of the song on his website after hearing his remarks about the performance. Although it's just a rough demo, his voice isn't anything I would find myself wanting to listen to.
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DJ General
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Post by DJ General on Feb 3, 2014 15:17:41 GMT -5
Keith Urban performed his new single ‘Cop Car’ at the 2014 Grammys, but one of the songwriters isn’t happy about seeing it at the big show.
Sam Hunt is listed as a co-writer on the track, but took to social media to make a startling allegation that the song was ‘stolen’ from him. Hunt confirmed to Taste of Country that he wrote ‘Cop Car’ with 2 other people. The story told in the song is actually his story.
“I sort of tweaked a few parts,” Hunt told Taste Of Country in early January, “but the basis is the same. I won’t go into it too much, short of ‘inspired by’ some events that happened to me a few years ago in Alabama.”
Once the singer and songwriter saw Keith Urban hit the stage to sing ‘Cop Car’ at the Grammys, he vented his frustration on Twitter.
Hunt released his own acoustic version of the song on his ‘Between the Pines’ album. He is also responsible for writing Kenny Chesney’s song ‘Come Over,’ as well as Billy Currington‘s ‘We Are Tonight.’
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onebuffalo
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Post by onebuffalo on Feb 3, 2014 15:27:07 GMT -5
Keith Urban performed his new single ‘Cop Car’ at the 2014 Grammys, but one of the songwriters isn’t happy about seeing it at the big show. Sam Hunt is listed as a co-writer on the track, but took to social media to make a startling allegation that the song was ‘stolen’ from him. Hunt confirmed to Taste of Country that he wrote ‘Cop Car’ with 2 other people. The story told in the song is actually his story. “I sort of tweaked a few parts,” Hunt told Taste Of Country in early January, “but the basis is the same. I won’t go into it too much, short of ‘inspired by’ some events that happened to me a few years ago in Alabama.” Once the singer and songwriter saw Keith Urban hit the stage to sing ‘Cop Car’ at the Grammys, he vented his frustration on Twitter. Hunt released his own acoustic version of the song on his ‘Between the Pines’ album. He is also responsible for writing Kenny Chesney’s song ‘Come Over,’ as well as Billy Currington‘s ‘We Are Tonight.’ Which has been discussed on this and the previous page of this thread. |
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Zazie
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Post by Zazie on Feb 3, 2014 17:06:57 GMT -5
I see this song is at #30 on the Monday MB update. I didn't see the late Sunday update, and I'd like to know if this got to #30 by Sunday night, or not until Monday morning -- would someone who saw the Sunday evening update please let me know? I appreciate it.
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Post by Fanofctrymusic on Feb 3, 2014 17:21:45 GMT -5
LW 34 TW 31 KEITH URBAN Cop Car
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DJ General
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Post by DJ General on Feb 3, 2014 21:58:50 GMT -5
Keith Urban performed his new single ‘Cop Car’ at the 2014 Grammys, but one of the songwriters isn’t happy about seeing it at the big show. Sam Hunt is listed as a co-writer on the track, but took to social media to make a startling allegation that the song was ‘stolen’ from him. Hunt confirmed to Taste of Country that he wrote ‘Cop Car’ with 2 other people. The story told in the song is actually his story. “I sort of tweaked a few parts,” Hunt told Taste Of Country in early January, “but the basis is the same. I won’t go into it too much, short of ‘inspired by’ some events that happened to me a few years ago in Alabama.” Once the singer and songwriter saw Keith Urban hit the stage to sing ‘Cop Car’ at the Grammys, he vented his frustration on Twitter. Hunt released his own acoustic version of the song on his ‘Between the Pines’ album. He is also responsible for writing Kenny Chesney’s song ‘Come Over,’ as well as Billy Currington‘s ‘We Are Tonight.’ Which has been discussed on this and the previous page of this thread. Never once saw an article. Just people making brief theories. And I never once saw Hunt's quotes about how the song is his own...  |
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.indulgecountry
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"You left a mark on my face // And brought a dozen red flags in a vase"
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Post by .indulgecountry on Feb 4, 2014 0:15:00 GMT -5
Which has been discussed on this and the previous page of this thread. Never once saw an article. Just people making brief theories. And I never once saw Hunt's quotes about how the song is his own... I still don't see an article, given that you posted no link to it.  |
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justme60
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Post by justme60 on Feb 4, 2014 15:32:44 GMT -5
There were articles on Taste of Country/The Boot, but they have all been taken down.
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rsmatto
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Post by rsmatto on Feb 4, 2014 16:24:37 GMT -5
There were articles on Taste of Country/The Boot, but they have all been taken down. Because its really a non-story. It's more of a TMZ "OMG" type of deal. |
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justme60
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Post by justme60 on Feb 4, 2014 23:52:31 GMT -5
There were articles on Taste of Country/The Boot, but they have all been taken down. Because its really a non-story. It's more of a TMZ "OMG" type of deal. Well good, I'm glad about that!  |
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davidj
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Post by davidj on Feb 5, 2014 12:19:03 GMT -5
I heard this for the first time this afternoon and was so buzzed about it I ended up writing my thoughts down and it wound up being an a kinda of ... essay! So, if anyone's interested:
Like a great deal of Keith Urban’s hits, ‘Cop Car’ deals with young love. This is a remarkably prevalent sub-genre of love songs in modern-day country music. The so-called ‘Bro-Country’ movement, which has gained widespread attention throughout 2013, often deals with these. The young love theme includes many motifs, most notably cars, girls, partying – but, more deeply, recklessness and the folly of youth. Florida Georgia Line’s 2012 mega-smash ‘Cruise’ is the most famous example of this. However, as many of these artists are young anyway, and their songs seem to be ‘set’ in the present, there is no wistful hint of nostalgia which occupies similar songs by slightly older artists, such as Kenny Chesney, Brad Paisley and Tim McGraw, who ‘set’ such songs in the past, thereby emphasising the nostalgic value. It is in this corner of the sub-genre that ‘Cop Car’ can be placed.
Such recklessness prevalent in ‘young love’ or ‘nostalgia’ songs is readily felt in the song’s narrator: after a calm fade-in which perhaps denotes the couple’s relationship as initially slow and calm (“We thought we had all night/There was no need to rush”) they “drove past that no trespassing sign”. Immediately, therefore, the couple have crossed the literal and moral line and the first hint of danger. There is a further sign of seriousness when the police show up, and the narrator is apprehensive of the consequences: “Your daddy’s gonna kill me/But if I survive tonight…” There is urgency in these lines where the narrator is, either sardonically or seriously, concerned about his welfare. This is immediately contrasted with the sanguine, “I wouldn’t change one thing.”
At this point, there is a foreshadowing of the girl’s subsequent behaviour when he adds, “I know it sounds crazy…” With the chorus, there is the first sign of romance, “There was somethin’ ‘bout the way the blue lights were shinin’/Bringing out the freedom in your eyes.” Interestingly, what would be supposed to be the narrator’s main concern – the arrival of the police car – is suddenly only given peripheral relevance. This is emphasised in the next line: “I was too busy watching you/Going wild, child…”
The mention of “freedom” in the chorus is especially interesting, concomitant as it is with the ‘young love’ theme, and shows how both characters seem to be experiencing the raw sensation of freedom – a liberation which only a potent emotion such as love can bring. Furthermore, they are feeling such “freedom” when facing the police, the very people who can take that freedom away from them. Even more irony can be sensed in this, as the police arrive in a car: such stealers of freedom travelling in a vehicle which – in the traditional custom of rock ‘n’ roll, much of country music and this very song’s ‘young love’ sub-genre – permits freedom, is tantamount to blasphemy. Moreover, it was a car which potentiated the lovers’ adventure, so it is only fitting perhaps that it is a car which curtails it. The planes the two were watching earlier in the song may also suggest freedom, as does the term ‘wild child’. No two words can surely emphasise the ‘young love’ definition more plainly.
The definition of nostalgia is looking back and perhaps telling of that time, and this is what is suggested in the second half of the chorus: “You were thinkin’ that runnin’ for it would make a good story.” Humour is perceived in the next line, which counterpoints what the narrator believes the girl is thinking with what thoughts are going through his own head, “I was thinking you were crazy as hell.” The girl is thinking of how amusing this story will be when she tells people in the future, while he is spending this moment living steadfastly in the present. This is interesting as most situations in life are lived with the attention placed firmly on the present, like the narrator appears to be doing at that moment, with no suggestion at all that they would be looked back upon one day, which is precisely what the girl seems to be doing. There is a contrast in views here: there’s also dramatic irony in that the incident has obviously made a good story, as the narrator is himself relaying it now. Also, to underscore the sense of recklessness felt in such songs, he considers her “crazy as hell.”
Fittingly, before the chorus closes, we get a metaphor which ties to the law: “And you were so innocent/But you were stealing my heart.” The word “innocent”, of course, is an even further reference to the youth of the character, and despite perceived innocence – arguable, perhaps, as they are both trespassing and therefore breaking the law – she is “stealing” his heart, which is obviously a criminal act and therefore contrasts with her innocence. It may be a humorous co-incidence that she is doing that – as well as a deliberate turn of phrase by the narrator – or it may suggest that the girl is far from innocent and she only appears to be so to him.
The final line of the chorus which contains the song’s title is a beautiful line of incongruity: “I fell in love in the back of cop car.” This is humorous, surprising and climactic: any situation of criminality concludes with the offender being placed in the car. It’s an indication of the end. So it is fitting that it is that at that point that the narrator realises he is in love. In a sense, their evening has been a successful one, as a resolution has occurred. Also, interestingly, he was feeling scared and apprehensive while out of the car but, within it, the place where he has even more reason to feel those things, he felt the total opposite. It is also consistent with what he felt earlier – distracted by the girl and paying no attention to the police or the situation he is in.
The next verse indicates the couple’s sense of fun which occurred prior to the police’s arrival: “Man, they weren’t playin’/They sure threw those cuffs on quick.” There seems to be a danger again. The girl’s sense of the unpredictable and recklessness, as with the song’s sub-genre, is also referenced again in that she “tried to sweet talk ‘em/They didn’t fall for it/But I did.” This is amusing, of course, as it is not the narrator who the girl is trying to sweet-talk: the narrator is almost a bystander, just as he was when he witnessed her frolics earlier in the song. Her joviality is again indicated when she asked the policeman for a cigarette and the narrator laughs, conclusive proof that he does not feel in any way concerned about the situation, though the policeman obviously does as “he got mad and slammed the door.” Both boy and girl, in fact, are far from unfazed, as “We talked and we laughed.”
With a repeat of the bridge, (“You’re daddy’s gonna kill me…”) now even more relevant than it was before, he realises that he “wouldn’t change a thing”, and that he is indeed glad the police got involved as it brought him to the realization that he is in love with the girl. This is exhibited with the turn of phrase, “By the time they let us go/I was already gone”. The song then climaxes with an electric guitar solo, perhaps indicating the narrator’s emotional zenith and the “freedom” this girl has made him feel.
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justme60
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Post by justme60 on Feb 5, 2014 21:27:01 GMT -5
Davidj...I loved it!
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matty005
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Post by matty005 on Feb 7, 2014 22:52:58 GMT -5
Maybe it's just me, but why does this song sound like it's on AM radio when the video plays on TV? Does anyone else notice that or is it just me?
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justme60
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Post by justme60 on Feb 7, 2014 23:00:55 GMT -5
Maybe it's just me, but why does this song sound like it's on AM radio when the video plays on TV? Does anyone else notice that or is it just me? I would think it is the Cop's talking on their radio you are hearing! Ever seen cop's on TV and when they are talking on their radios when they make a stop and it sounds stat icky? |
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matty005
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Post by matty005 on Feb 7, 2014 23:15:47 GMT -5
Maybe it's just me, but why does this song sound like it's on AM radio when the video plays on TV? Does anyone else notice that or is it just me? I would think it is the Cop's talking on their radio you are hearing! Ever seen cop's on TV and when they are talking on their radios when they make a stop and it sounds stat icky? I'm not sure if that's it. It just sounds like it's not in HD. |
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