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He was gone by then, according to Wiki he was in the band from 92-98. He was at Cowboys from 96-99.I was in a band that opened for Lone Star, would have been in '99, I can't remember where, it was either the Wildhorse in Orlando or at the Dallas Cattle Baron's ball. I wonder if he was in it then?
Yea, I played at Cowboys a couple times in 2000. The band I was in lost a couple people right at the time the Coupland dance hall house band was disbanding, so we grabbed a couple of them guys, they were playing with us at the time we played there.He was gone by then, according to Wiki he was in the band from 92-98. He was at Cowboys from 96-99.
Blake Shelton, Luke Bryan, and Thomas Rhett are the opposite of innovation and impact. I doubt if their fans will be listening to their music 50 years from because it's so here today/gone tomorrow. The bandwidth has gotten smaller. Bing Crosby is timeless they still play his Christmas album.Define innovation and impact. And, the acceptable proportion of the two to qualify.
Something could be a big thing fifty years ago but if new generations of listeners aren't consuming it, then the "timelessness" isn't really apparent.
Is Bing Crosby "timeless"? Is anyone listening to Bing these days who was born in the last half-century?
When I'm out and about these days I hear the music of my high school and college years (MTV hits, alt-rock) in stores. It's not because it was "timeless"--it's because people my age are programming Muzak and stores want to cater to folks in my demographic. I do not hear Hank Williams when I'm at the grocery store. I do hear Fastball.
Why do you say that? Is that based on how you feel about the music, or any kind of measurable data?Blake Shelton, Luke Bryan, and Thomas Rhett are the opposite of innovation and impact. I doubt if their fans will be listening to their music 50 years from because it's so here today/gone tomorrow. The bandwidth has gotten smaller. Bing Crosby is timeless they still play his Christmas album.
Bands of that era rose to prominence under a set of economic factors which no longer exist. Their particular success is essentially, un-repeatable in today's ecosystem. They are bands running on fossil fuel, and that fuel is not available to new bands the way it was 20-50 years ago.I know, right? And they embrace a fantasy in which the big name bands they loved in their youth are still touring! Oh, wait....
I refer to it as Facebook songwriting. Instead of communicating something thoughtful it's just a play by play account of someone's day:I think "modern" country is the output of a Super Computer in an industrial park on the outskirts of Nashville. It takes all the data variables and concocts a hit song.
Hank died the year before I was born, and I was only 9 when Patsy's plane went down.
At some point will the millions of people who have been listening to them for the past 15 or so years realize this and stop listening?Their music is commercialized, calculated, and void of any meaning. Music like that doesn't last.
Patsy was the original queen of the Nashville Pop Machine. Syrupy strings, and over production for the pop masses.Hank died the year before I was born, and I was only 9 when Patsy's plane went down.
And yet I'd be most pleased to listen to these folks, over most of what is coming out of the Nashville Pop Machine.
How many of the "Country" songs of 2018 will still be remembered in 2065?
While this is fair....
That was an interesting time. I mean, not only her, but there were flat out, no denying pop/rock acts on country radio/charts in the late ‘50’s/early ‘60’s.True, I like her stuff but it doesn't sound much like the Carter family to me.
Anyone remember discussions at the time: "Why don't the Beatles sing with Accents?" They spoke with them, sometimes tried to tone that down but the vocals were not fouled up with fake UK accents.its just pop rock with southern accents.