The Hodgepodge: Blake Shelton, He Doesn’t Have a Way With Words

Creepy Blake

This past weekend social media was abuzz over Blake Shelton. It wasn’t the tabloids talking about his relationship with Gwen Stefani and whether if it’s on the rocks. That’s just a standard weekend. No, this was something else entirely. Apparently some tabloids and vindictive fans decided to dig through Blake Shelton’s old tweets. The results turned up some pretty damning words from the country superstar. Here’s some screenshots of a couple of them:

Stupid Blake Tweet #1

Stupid Blake Tweet #2

The first one is obviously homophobic and the second one is racist and islamophobic. There’s actually more offensive tweets, but I think these two get the point across enough. There’s no need to be spreading anymore ignorance. Yesterday Shelton issued a statement apologizing for the tweets, which you can read by clicking here. Ironically also issued on Twitter, I can imagine Shelton got quite the talk from his label for this incident. These are obviously the not the type of “jokes” anyone should be making, let alone a major country artist who is regularly on national television. For fans outside country music, Blake is one of the first people they will think of when they think of country music. Yes, this sounds ridiculous to us that Shelton is one of the first you think of when you think of country music. But it’s the (sad and frustrating) truth. One thing many will point out is the date of the tweets, which are 2010 and 2011. Two things in regards to this point. One, it shouldn’t be dismissed because they’re old. Two, I understand that at this time the culture was different and the greater public might have been more receptive to these attempts at jokes. If any of you watch South Park, they regularly made these offensive-based jokes at this time (granted they were much more clever and actually funny).

Now I could spend an entire post talking about how dumb these tweets are and how Blake Shelton continues to taint the reputation of country music in different ways. I could talk about how this reinforces negative stereotypes of the genre. But it feels like I’m beating a dead horse. I think we can all pretty much agree at this point that it’s well established that Blake Shelton is a certified moron with a loud mouth and little regard for decency (in music and society). There’s a reason we did not review his album: it would have been a waste of time and energy when there’s so much more music out there worth reviewing. Talking about Blake Shelton is pointless because he’s going to do what he’s going to do and nothing we say will affect it. So while Blake Shelton’s management team deletes thousands of his tweets (they’ve already deleted about 10,000 of them) and tell the judge of The Voice to mind his manners so he can get his corporate paydays, I decided to do something constructive. I wrote a little song about the ex-husband of Miranda Lambert. It’s called “He Doesn’t Have a Way With Words” (A Parody of “She’s Got a Way With Words”). Enjoy…

He Doesn’t Have a Way With Words


When you put it all together

You figure out dumb has four letters

I should have known that when I heard “Boys ‘Round Here”

But he tweeted it out for me

After little second guessing

It was a pretty easy lesson

Hell it’s clearly spelled out in front of me

And now I understand perfectly


He put the sell in sellout

He put the foot in his mouth

He put the pop in country

He put the red-red-red-red-red in redneck (redneck)

He put the ache in headache

He put the ass in classless

He put the creep factor in album covers

Yeah he doesn’t have a way

He doesn’t have a way with words

Yeah he doesn’t have a way with words


Little words like bad and fads

Pompous, egotistical, rude

Yeah all the words that represent Blake

They got a whole new meaning now


He put the sell in sellout

He put the foot in his mouth

He put the pop in country

He put the red-red-red-red-red in redneck (redneck)

He put the ache in headache

He put the ass in classless

He put the creep factor in album covers

Yeah he doesn’t have a way

He doesn’t have a way with words

(insert stupid oh-oh-ohs here)

Yeah he doesn’t have a way with words

(insert even more stupid oh-oh-ohs here)


[Add the chorus and more oh-oh-ohs here until your label tells you that hits their song length quota]


[End the song with generic, mediocre guitar riff]

Upcoming/Recent Country & Americana Releases

  • Tomorrow is a big day for releases! The following albums are out tomorrow:
    • Dolly PartonPure & Simple (I’ll have a review of this one really soon)
    • BJ Barham – Rockingham 
    • John Paul WhiteBeulah 
    • Lydia LovelessReal
    • Drake WhiteSpark
  • Next week Jack Ingram will release his first new album in seven years, titled Midnight Motel
  • Matt Woods will be releasing a new album on October 7 titled How To Survive 
  • The Mavericks are set to release a live album this fall and will be releasing a new album in April 2017. These are the first releases through their self-created label and first since leaving Valory Music (Big Machine)
  • This past weekend I saw The Reverend Peyton’s Big Damn Band perform at a concert. It was an entertaining and fun show (go check them out). During it they passed along the news they will be releasing a new album “this winter.” We’ll keep an eye out for an official release date

Throwback Thursday Song

Darrell Scott – “It’s a Great Day To Be Alive” – Everyone associates this song with Travis Tritt, who made it famous and gave it a big platform. But it’s a Scott song and I’ve always liked his more restrained performance of the song (ditto “You’ll Never Leave Harlan Alive”). You can never go wrong listening to Scott.

Non-Country Suggestion of the Week

The Traveling Wilburys – “End of the Line” – Next to The Highwaymen, this was the most star-powered supergroup of all-time. Made up of Bob Dylan, George Harrison, Tom Petty, Roy Orbison and Jeff Lynne, this group only put out one album with the five of them and another with only four (Orbison passed way after the first one). But that one album is pretty terrific and it’s amazing that this much talent was in one group.

Tweet of the Week

I make the same face, Margo.

iTunes Reviews from Pissed off Justin Moore Fans

Angry Justin Moore fans

I’m going to be honest. I’ve never been a fan of Moore’s music and thought it was disingenuous attempts at being outlaw country at best and annoying bro country at worst. But he did stick to sounding country. On his new album his sound takes a turn and his fans aren’t happy as you can see. Just another mainstream country fan base swindled by their favorite artist.

The Hodgepodge: Updates and Changes with Songwriting Royalties

Doug Morris, Sony CEO

There’s been a few updates over the past week with respect to songwriting royalties. I haven’t really dug into them yet to offer much commentary on the updates, but I do offer my initial thoughts at the end of the post. I’m sure there will be a follow-up post to these changes as I better understand them.

100 Percent Licensing

Last month, I somewhat broke down the new proposal at the Department of Justice called 100 Percent Licensing. Essentially, 100 Percent Licensing was proposed to give each songwriter or publisher who worked on a song 100% licensing control for the song. Before, if two people worked on a song, Person A essentially had licensing power over the part of the song he or she contributed (a verse, chorus, or melody), and Person B had licensing power over his or her own contribution. And together, Person A and B would have to come into an agreement for the whole song to be included on a service like Pandora. However, what 100 Percent Licensing proposes is that Person A or Person B can have full control over the song and be able to deal the song with Pandora without the other person’s permission.

The DOJ ruled last week in favor of what they call “Full Works Licensing.” The DOJ wrote in a statement:

“We discovered that there was significant disagreement in the industry about what rights must be conveyed by the blanket licenses (as well as other categories of licenses) that the consent decrees require ASCAP and BMI to offer,” the DoJ writes. “Some argued that, in order to effectuate the purpose of the consent decrees, the blanket license must grant licensees (also called ‘users’) the right to publicly perform all songs in the ASCAP and BMI repertories. Others believe that the blanket licenses offered by ASCAP and BMI instead confer only rights to the fractional interests in songs owned by ASCAP’s and BMI’s members and that music users must obtain separate licenses to the remaining fractional interests before playing the songs.”

The DOJ ultimately came to the conclusion, “We think the evidence favors the full-work side.” Performance Rights Organizations like BMI and ASCAP and others like David Israelite, president and CEO of the National Music Publishers’ Association have spoken out against the ruling. Israelite calls the ruling “a massive blow to America’s songwriters.”

“The interpretation that the consent decrees demand that all works must be licensed on a 100% basis is both unprecedented and disastrous to the songwriting community,” he said. “The decision represents a misunderstanding of copyright law and directly violates the legal guidance given by the Register of Copyright. The defiance displayed by these career antitrust lawyers in ignoring the legal opinion of the Register of Copyright is shocking.”

BMI and ASCAP issued a joint statement proclaiming that the ruling “will cause unnecessary chaos in the marketplace and place unfair financial burdens and creative constraints on songwriters and composers.”

It appears that the new ruling won’t go into effect for another year, giving the organizations and stakeholders time to figure out how to conduct business within the scope of the new full works licensing. The full statement from the Department of Justice can be found here.

NSAI Calls Out Sony

Another big movement within songwriting and streaming is Sony blocking and contesting songwriters during the recent proceedings with Copyright Royalty Board. As songwriters and publishers fight for larger payouts from streaming, Sony has been contesting them, siding with digital streaming services. In fact, Sony is the only major label stepping in and opposing the publishers and songwriters on the matter.

In an open letter to Sony CEO Doug Morris, Nashville Songwriters’ Association International (NSAI) Executive Director Bart Herbison asks Morris and Sony to step out of the proceedings.

It is embarrassingly disingenuous that Sony would attempt to hide behind its claim to “increase the headline rate” when in fact its proposal to the CRB would actually lower the rates songwriters currently receive from digital interactive streaming services. Warner Brothers, Universal and other record labels have chosen not to attempt to suppress the rates digital interactive services pay to songwriters.

The big argument is that labels like Sony and Universal can benefit financially from an artists’ tour and merchandise sales while a songwriter only receives royalty payments from his or her song. David Israelite has also been vocal about Sony’s involvement.

With one major change from Full Works Licensing and a possible change in the works with CRB, we could in fact see a shift in the way the music industry conducts itself. If songwriting royalties are diminished through streaming, then chances are that we’ll be subjected to far more committee songs written for popular appeal. That’s essentially what we see on country radio today as it is, but moves like this could further marginalize the solo or independent songwriter, and could detract potential songwriters.

While a service like Spotify or Apple Music have playlists for “Americana” or “Independent Folk” for music fans to explore away from the mainstream, these are still playlists that need to be sought out and aren’t necessarily advertised. And if a label like Sony is getting in bed with streaming services to favor the labels, then they could easily “encourage” Spotify to advertise a playlist of Sony artists on Spotify’s main page or within Apple Music’s suggested playlists. The labels have money and that money allows them to wield their power for personal gain. And working to have streaming services give the labels more money, not the songwriters, only intensifies that power cycle.

Upcoming/Recent Country and American Releases

  • Tomorrow’s a big day for releases in country music:
    • Cody Jinks‘ I’m Not the Devil
    • Kelsey Waldon‘s I’ve Got a Way
    • Justin Moore‘s Kinda Don’t Care
  • BJ Barham of American Aquarium will release a solo album called Rockingham next week on August 19.
  • John Paul White will release Beulah on the 19th.
  • Lydia Loveless will release a new album on the 19th called Real.
  • And Dolly Parton will also release her new album on the 19th called Pure & Simple.

Throwback Thursday Song

“Diggin Up Bones” by Randy Travis 30 years ago this week, Randy Travis’ debut album Storms of Life hit Number 1 on Billboard’s Country Albums chart. So this week’s throwback song is a number one hit for Travis from that album.

Non Country Suggestion of the Week

Gov’t Mule The Tel-Star Sessions Rock band Gov’t Mule recently released an archival album called The Tel-Star Sessions, which include early and never-before-heard recordings from the band. Gov’t Mule is set to go on tour with Blackberry Smoke with the first show tonight in Portland, ME.

Tweet of the Week

When I saw that “Fix” was number 1 on the Airplay charts, I went to Twitter seeking out tweets complaining about the song. When my search for “Chris Lane Fix Sucks” had no results, I complained on Twitter, and our friend Cobra from Hope For Country Music fixed the search problem.

Two iTunes Review for Chris Lane

Screen Shot 2016-08-10 at 6.14.50 PM

Screen Shot 2016-08-10 at 6.15.03 PM

Both of these reviews were left under Chris Lane’s new album Girl Problems. Whether it’s the whole album or simply “Fix,” both reviews apply.

Album Review – Dave Cobb’s ‘Southern Family’


Coming into 2016 there was no album with more hype and anticipation than the Southern Family concept album. How could you not be excited for it? The entire album was conceived and produced by Dave Cobb (as well as being released via his own label Elektra Records), the man behind some of the hottest and most critically acclaimed albums in country and Americana over the past few years. He especially became a talked about name in music after producing Jason Isbell’s Something More Than Free and Chris Stapleton’s Traveller in 2015. Isbell’s album went number one in four different genres, won two Grammys and we awarded it Album of the Year. Stapleton’s album was universally praised, dominated the 2015 CMA Awards and racked up a couple of Grammys too. Throw in the all-star cast of artists set to take part on the Southern Family album and it’s pretty easy to see why there was so much for hype for it. So after all of this buildup and anticipation, does Southern Family live up to the expectations? For the most part, it absolutely does and features some absolute stunning performances.

Southern Family begins with “Simple Song,” a reflecting and somber song. John Paul White, the former one half of the Civil Wars, performs the song and fits perfectly with it. His voice really adds desperate emotion to the song that lifts it to another level and really allows the listener to connect with it. Jason Isbell follows up with “God Is A Working Man.” Isbell explores the relationship southerners have with God, family and working hard. It very much encapsulates the life of the average southerner. Fans of Isbell’s earlier material will really enjoy this one, as it definitely feels more in the vein of his earlier work. “Down Home” is about the value of home and what it truly means. It’s not about the place, but the moments and people you share it with. Cobb’s cousin Brent Cobb performs this song and I’ll admit at first I really didn’t connect with this song much, but it has grown on me with more listens. I guess this is because while a lot of this album sounds roots-y, this song sounds more mainstream.

Miranda Lambert sounds absolutely great on “Sweet By and By.” The song is about the value of family and the lessons we can learn from them. The “roots meets gospel” feel really suits the song and Lambert well. After hearing this song it confirmed what I theorized months ago when I heard about this project: Lambert needs to get Dave Cobb to produce her music. Together I think they could create truly wonderful music. If I had to pick a favorite from this album, which isn’t easy mind you, I would have to pick Chris Stapleton and Morgane Stapleton’s “You Are My Sunshine.” As soon as the song starts playing and you hear those bluesy and dirty guitar licks, you know it’s a Stapleton song. What does surprise me though is that Morgane takes the lead on this song and is the focal point. And this is an excellent choice. Morgane absolutely gives me chills with her vocal performance and leaves me chomping at the bit for an album from her. Keep in mind this is a song everyone knows and has heard performed by countless people. Yet I think this might be the best version I’ve ever heard of the song. It’s definitive proof that Chris and Morgane Stapleton are the modern-day Johnny and June.

Zac Brown reminds us all of how great he can truly be on “Grandma’s Garden.” It can be easy to forget after his latest singles and rocky album the talent Brown possesses. It’s a really heartfelt song about a grandson learning from his grandma how to live a fulfilling and happy life and her garden serving as the metaphor. The songwriting on this song not only tells a story really well, but also stirs emotion up in the listener. Not to mention the pedal steel guitar play is tremendous. You won’t find a truer country song. “Mama’s Table” is about the value and memories a mother’s table can hold to a family. While a table is a table to some, for others it can be the family heirloom that goes from generation to generation, symbolizing the unity of a family. Again the storytelling and emotional aspects created by the songwriting is great and Jamey Johnson fits the song like a glove. It’s yet another good guest performance from Johnson as we continue to wait for a new album from him.

Southern Family maintains a pretty consistent sound throughout the album, except on “Learning.” Not a big surprise considering Americana artist Anderson East performs it and fits in the vein of his music. This is not necessarily bad, as blue-eyed soul music is very much a part of southern culture as country music. But it can be jarring for the listener after hearing roots based country for the entirety of the album. Holly Williams turns in an impressive performance on “Settle Down.” The song is about finding a person to settle down and spend the rest of your life with after a life of partying and debauchery and being able to accept the other’s faults. The acoustic based production really works well and the down-to-earth folky tone is right in Williams’ wheelhouse.

There are a lot of emotional songs throughout this album, but none more than “I Cried.” Brandy Clark sings about a woman watching her grandfather die in a hospital bed and then later having to see her grandmother struggle to live alone after her husband has died. And all she could do like any person is cry about it all. It’s one of those songs that just leave you speechless after you hear it. The song tackles death in such a simple, human and real way. It hits you like a punch straight to your gut. This is perhaps Brandy Clark’s best performance ever.

With Southern Family being inspired by the popular concept album White Mansions that featured Waylon Jennings and Jessi Coulter along with others, it’s only fitting their son Shooter Jennings appears on this album. He performs on “Can You Come Over?” and I have to say I’m quite surprised by how much I like it. The rocking steel guitar licks go well with his vocal performance and makes for a pretty fun song. Rich Robinson, founding member of The Black Crowes, brings the album to a close with “The Way Home.” It’s about how true southern culture is still thriving and something to celebrate. Nashville-based choir group The Settles Connection provide the vocals on the song and sound great. And how fitting is it to close this album with a gospel song? Great choice by Cobb to end the album with “The Way Home.”

After listening to Southern Family, you come away with a better understand and feeling of southern culture and lifestyle. It’s very easy to point out the problems that existed in southern culture in the past and the stigma this caused for the south is something that will remain with the culture for years to come. But it’s important to remember the redeeming qualities of the southern culture: family, friends, love, spirituality, home. All of these things southerners should rightly be proud of and point to as their defining qualities that make them great. This album celebrates southern pride with dignity and genuineness that should make any southerner smile. Cobb bringing together all of these artists who clearly understand southern culture, from both mainstream and independent realms, is not only a unifying moment for southern people, but country music in general. That’s something we can all appreciate.

Grade: 10/10