country music

A couple of commenters have raised questions about progressiveness in country music. Today, I want to suggest that there are progressive voices, at least in Americana, roots, and alt country music, but those voices are limited. They are almost always white, and usually populist and male. There are a few women in country who arguably identify as feminists. None of these artists are evangelical Christians like some major label country musicians, but faith imagery permeates much of their songwriting. It is often used in visions of a Utopian future, or it takes on a perverse meaning.

There's a script for women in commercial country music that doesn't necessarily coincide with more mainstream stereotypes and assumptions about women. If you've ever heard Carrie Underwood's ubiquitous 2007 single, "Before He Cheats" (lyrics), you'll recognize the tropes.

Of course there are exceptions, but the ideal country woman is often blond (and white), feisty, world-wise, and hot. She is deeply possessive of her man, and aims to squelch competitors for his affection. She gives the appearance of working-class roots even if she didn't grow up working class, and she's equally comfortable talking about guns (Miranda Lambert's "Gunpowder and Lead"), Jesus (Underwood's "Jesus Take the Wheel"), and heterosexual romantic relationships (Dixie Chicks' "Cowboy Take Me Away").

One of the newer variations on these themes is the girl group Pistol Annies (Miranda Lambert, Ashley Monroe, and Angaleena Presley). Check out the first single of their August LP, Hell on Heels (lyrics):

Toby Keith is back with a brand new ode to God and country called "Made in America" (lyrics):

Americana artist Gillian Welch has always included southern Christian imagery in her work. Though not native to the South, her music is at its most comfortable when it explores the tragedy and violence of working-class survival in the region. Welch and partner David Rawlings write and record sparse songs unlike any others. In part, this has to do with Rawlings' masterful guitar work, but it also stems from Welch's unuusal singing voice. 

See "The Way it Goes" from new album, The Harrow and the Harvest (lyrics here): 

My name is Kristin Rawls, and, yes, I am a preacher's daughter. I'm in my early 30s, and I was raised in an unusual blend of Protestant traditions. The preacher (my dad) grew up in the Southern Baptist church, got "saved" during the Pentecostal-influenced "Jesus movement" of the 1970s and ultimately settled in a mainline (not fundamentalist) tradition. My family practiced a confusing mix of them all. The result? I became pretty cynical about the the whole thing.

This blog series is named after blueswoman Michelle Malone's song, "Preacher's Daughter" (transcript here):

Sure, Poison may have had a hit with "Every Rose Has its Thorn," and the Portlander in me will always love Elliott Smith's "Rose Parade," but no other genre pays tribute to music's favorite flower quite like country. So, without further ado, here's a mix of classic country crooners singing their rose-studded hits. Track list after the jump!

In honor of Mother's Day, today's Adventures in Feministory is about one of the "mothers" of country music and modern guitar playing: Mother Maybelle Carter.

It's taken me more than a decade to come around to Lucinda Williams. When I was in middle school, my dad came suddenly into my room and put a CD in my stereo with no explanation. I set down my alg/trig homework and watched him carefully. He finally said, just before the music started, "Listen to this song, Kate. I've never heard anything so...gripping." And then he sat with his eyes closed until the song was over. And that was the first time I heard Lucinda Williams. I'm not even sure now what the song was, but that's the thing about Williams' music: many of her songs could be the most gripping song my dad (or anyone) has ever heard. I did not agree at the time, but remembered her name in association with her affect on my father. Now, on the event of her 10th studio album being released, I finally get it.

It's been awhile since we made a BitchTapes devoted to country music. I thought today might be a good one to re-visit the kick-ass ladies that have rocked the country music scene.



Tracklist after the jump!

I've been in Austin, Texas for the past week, and the highlight of my hectic live show calendar has been Calliope Musicals, a young, up-and-coming indie country/folk band started by Carrie Fussell and Matt Roth less than a year ago. This is exactly the kind of thing indie fans swoon over: the chance to say we knew them back BEFORE they went mainstream and got picked up by the radio (patooie). So fall in love with them, quick!