The Past Pulse Of Mainstream Country Music [February 2002]

Hello everyone! You didn’t read that headline wrong. The Past Pulse of Mainstream Country Music is indeed back! I am not a full-time writer at Country Perspective but I have come back to do this piece every week. I missed it and I know people were disappointed to see it go again. With the recent revamping of the current pulse, it’s a fitting time to come back. Thanks to Josh for letting me come back!

Anyway, this is the past pulse of mainstream country music. Every week, I will take a look at the Billboard Country Airplay Chart (or, “Hot Country Songs” as it used to be called) from years ago and grade the top 30 songs. Each week will be a different year. The grading format I will use each week is every song will receive one of the following scores: +5, +4, +3, +2, +1, 0, -1, -2, -3, -4, -5. These will then be tallied up for an overall score, or pulse of the past top thirty country songs, with the highest possible score being a +150 and the lowest possible score being a -150. The grade I would give it determines its Pulse score. The grading key: 10 [+5], 9 [+4], 8 [+3], 7 [+2], 6 [+1], 5 [0], 4 [-1], 3 [-2], 2 [-3], 1 [-4], 0 [-5].

The goal of this exercise is to evaluate the past state of mainstream country music and determine if it was better or worse compared to now. To see the full list of the top 30 country airplay songs for this week, click here. This week I will take a look at the top 30 songs of the Billboard Hot Country Songs from February 9th, 2002.

  1. Steve Holy – “Good Morning Beautiful” 0
  2. George Strait – “Run” +3
  3. Brad Paisley – “Wrapped Around” +2
  4. Alan Jackson – “Where Were You (When The World Stopped Turning)” +4
  5. Brooks & Dunn – “The Long Goodbye” +2 
  6. Jo Dee Messina & Tim McGraw – “Bring On The Rain” +2
  7. Tim McGraw – “The Cowboy In Me” +2
  8. Garth Brooks – “Wrapped Up In You” -2
  9. Aaron Tippin – “Where the Stars and Stripes and the Eagle Fly” +2
  10. Martina McBride – “Blessed” -1
  11. The Dixie Chicks – “Some Days You Gotta Dance” +2
  12. Tracy Byrd – “Just Let Me Be In Love” +1
  13. Joe Diffie – “In Another World” +2
  14. Toby Keith – “I Wanna Talk About Me” -5 [Worst Song]
  15. Rascal Flatts – “I’m Movin’ On” +4
  16. Sara Evans – “Saints and Angels” +2
  17. Chris Cagle – “I Breathe In, I Breathe Out” +3
  18. Kenny Chesney – “Young” 0
  19. Trace Adkins – “I’m Tryin'” +3
  20. Phil Vassar – “That’s When I Love You” +1
  21. Blake Shelton – “All Over Me” +1
  22. Tommy Shane Steiner – “What If She’s An Angel” +1
  23. Toby Keith – “My List” +3
  24. Cyndi Thomson – “I Always Liked That Best” +1
  25. Lee Ann Womack – “Does My Ring Burn Your Finger” +4 [Best Song]
  26. Emerson Drive – “I Should Be Sleeping” +1
  27. Steve Azar – “I Don’t Have To Be Me (‘Til Monday)” +2
  28. Carolyn Dawn Johnson – “I Don’t Want You To Go” +2
  29. Kevin Denney – “That’s Just Jessie” +3
  30. Travis Tritt – “Modern Day Bonnie and Clyde” +4

The Past Pulse Of Mainstream Country Music: +48

So as you can see, the music in mainstream country from the past definitely defeats the charts of today. It’s interesting to see how trends can affect certain songs in mainstream country music though. There was definitely an influx of pop sounds in country during this time, only back then they didn’t hit you over the head with it.  The country was actually more prominent than the pop sound! Unbelievable, I know.

Anyway, the more pop leaning production on some tracks is what really holds them back from higher scores. Either way however, there’s only one outright terrible song here with Toby Keith’s “I Wanna Talk About Me.” You thought “Dirt Road Anthem” introduced rap into country? Think again. The only other bad songs here come from Garth Brooks and Martina McBride. The former is annoying as all heck and the latter is just too overproduced for my tastes. Still, not terrible.

The best songs here are pretty easy to pick out as well. I know it’s been polarizing for some but I always was moved by Alan Jackson’s song. The always excellent Travis Tritt and Lee Ann Womack of course delivered quality songs as well. Hell, even Rascal Flatts had a great song with “I’m Movin’ On,” and it’s surprisingly one of the most outright country ones here.

If you have any questions as to why I gave a song a certain grade feel free to ask me. Also, let me know what you guys think of the chart in the comments!

The Hodgepodge: What I’d Like to See From Country Music in 2016

A new year brings forth the desire to reflect upon the past year. What went well, what went poorly, what can we learn, and how can we improve. That’s sort of the universal mindset for most of us in early January, and that’s the mindset I’m going to use for this first Hodgepodge of 2016. Last year had quite a bit of buzz worthy events in country music from Keith Hill’s comments regarding females on radio to Chris Stapleton’s rise and triumph at the CMAs. But instead of looking back at the year that was 2015, I want to approach this as how can we build on what happened in 2015 to make 2016 a great year for country and Americana music.

These aren’t predictions or theories of what I think may happen. These are merely my hopes for what I’d like to see happen. This is how I’d like to see country music (primarily mainstream country music) move forward in 2016. I realize some of these hopes may be outlandish and not as realistic as others given the culture of country music right now. The overall goal of this first Hodgepodge is to get a discussion moving about country music in 2016.

More Traditional Country Music on Radio

The success of Chris Stapleton as 2015 came to a close should not be taken lightly. Stapleton’s Traveller was released to critical acclaim, and his three CMAs in November proved traditional sounding country music still had popular appeal. Kacey Musgraves continued her commitment to traditional country music with Pageant Material. While her sophomore album didn’t quite have the same success as Stapleton this year, Musgraves still has some popular appeal maintaining a steady headlining tour in support of the new album. And, of course, Sturgill Simpson has signed on with a major label and may release an album this year.

Traditional newcomers like Mo Pitney, Jake Worthington, and William Jake Worthington EPMichael Morgan have released singles and EPs that have impressed critics. Jana Kramer found success with her single “I Got The Boy”, a ballad that calls back to the sounds of 90s country. And The Dixie Chicks, one of the top acts in country in the past 15 years, has announced a reunion tour which could result in new music. I hope more and more artists with a traditional leaning style come out of the woodwork, including full length albums from several of the aforementioned artists. The demand for more traditional country music is high, and the supply appears to be growing. I’d like to see more traditional country music on the radio, especially if Stapleton’s “Nobody to Blame” charts well.

A Radio Split

The mere fact that Billboard has recently added a new country chart solely dedicated to radio play (the Hot Country Songs chart takes streaming and digital sales into account) tells me that radio is still an important media source even in this digital age today. If traditional country music does gain more popularity while singers like Sam Hunt, Luke Bryan, and Kelsea Ballerini continue to spew pop garbage onto country radio, I think the argument for radio split could be reignited. Putting traditional singers on their own format with newcomers and legends alike will allow fans to listen to that music on radio without having to wait for “Break Up in a Small Town” and “Home Alone Tonight” to play first.

Bigger Spotlight on Americana and Indie Country

Dave Cobb winning a CMA award for Chris Stapleton’s Traveller was huge. Cobb has produced many critically acclaimed albums for artists like Sturgill Simpson and Jason Isbell. Those two artists have gained more popularity in their own independent music world. And as Saving Country Music suggested, Miranda Lambert dating indie rocker Anderson East could lead to more eyes on the indie music side of things. 2015 saw many non-mainstream artists have number one albums and earn new fans. Even Kacey Musgraves pushed her new music to Americana radio. Americana radio could grow this year, giving these true artists a much deserved audience increase.

137650_4657More Females on Radio

In the wake of Keith Hill’s tomato comments, we saw Kelsea Ballerini get a number one single. Newcomer Cam peaked at number 2 with “Burning House” on the Airplay Charts, and Carrie Underwood had a few singles find some great, if still underwhelming, chart success. Mickey Guyton’s “Better Than You Left Me” received more radio adds upon its release than any other artist ever. More awareness was brought to the disparity between male and female artists in regards to radio play, and I hope 2016 continues the trend of bringing more females onto country radio. There’s a talented pool of women who are ignored.

Mainstream Country Music Defining Itself/Gatekeepers

The term “country music” is rather arbitrary these days. You have club songs like “Beautiful Drug” and R&B inspired pop songs like “Break Up in a Small Town” sitting in the top 30 of the Country Airplay chart, alongside truer country songs like “Nobody to Blame.” It doesn’t matter what the song sounds like, if it’s labeled country, it’ll be played on country radio. It’s this type of saturation of musical forms which should drive a split. But if the radio split does not happen, country music is in desperate need of a gatekeeper to tell Sam Hunt to take his shitty pop music out of Nashville and onto top-40 pop radio.

Fair Payouts from Streaming

This is more concerned with the music business as a whole, but something that’s important in this day and age. Apple Music, Amazon, Pandora, Spotify and others are growing the availability of online music streaming. We’ve seen several complaints about the low artist payouts that come from Spotify play counts. If music continues to trend toward online streaming options and away from standard radio, then these companies need to find a better way to compensate the artists whose music is played on these services. Or music listeners just need to suck it up and pay $12 for an album if they want to listen to the music uninterrupted.

Upcoming/Recent Music Releases

Josh covered the upcoming album releases earlier this week, but here are few known coming single releases:

  • Trace Adkins’ “Jesus and Jones” goes for radio adds on January 19.
  • Old Dominion’s newest single for radio is “Snapback”
  • Cole Swindell’s newest single is called “You Should Be Here.”
  • Drake White has a new single out called “Livin’ The Dream.” Zack’s first post for Country Perspective will be a review for the song published tomorrow.

Throwback Thursday Song

“Yesterday’s Wine” by George Jones & Merle Haggard. “Yesterday’s Wine” was written by and originally recorded by Willie Nelson in 1971, but I’ll admit that I like Jones & Haggard’s cover better. The song is great, and Blackberry Smoke even has a cover which they recorded with George Jones and Jamey Johnson.

Non-Country Suggestion of the Week


Twenty One Pilots – Blurryface. I listened to a lot of Alternative Rock music over my Christmas vacation and heard “Stressed Out” quite a bit. I hadn’t listened to Twenty One Pilots at all before then, but I was intrigued and liked their album Blurryface. The album was released early last year, but it’s a good one to revisit.

Tweet of the Week

Hard to argue with that.

Two iTunes Reviews That I Don’t Understand

Screen Shot 2016-01-06 at 10.30.04 AM Screen Shot 2016-01-06 at 10.27.56 AM

The top review was left under Chris Stapleton’s Traveller. I don’t understand how you can listen to Chris Stapleton sing and think his voice is the worst thing ever.

The second review was for Old Dominion’s Meat and Candy. The worst album of 2015 deserves some more hating on. I don’t understand how you could possibly compare Old Dominion to Alabama.

Both reviews are just absurd.

Note from the author: I’m happy to take the reigns of The Hodgepodge back from Josh after a short hiatus last year. The end of 2015 was insanely busy for me at work and at home (all good things!). But things have calmed down for now and I’m glad to have more time to write again. 

I omitted the “This Day in Country Music History” for this week. Was this a category you enjoyed to read when I wrote The Hodgepodge last year? If so, I’ll gladly bring it back. If not, I’ll come up with something else to add to the feature. Thanks!

Album Review – Hailey Whitters’ ‘Black Sheep’

Iowa native Hailey Whitters has always had an affinity for music. She grew up in a large family in a small town and found herself drawn to country music, primarily women like The Dixie Chicks, Trisha Yearwood, and Patty Griffin. A trip to Nashville at age 16 confirmed to Whitters that country music was the place to be, and she signed with Carnival Music in 2012. The singer songwriter paid her dues in dive bars worked with producer Derek Wells to bring her debut album, Black Sheep, to life. Hailey Whitters had a hand in writing 8 of the 10 tracks, three of which she wrote herself.

Black Sheep begins with “Long Come to Jesus” which Whitters wrote with songwriting veteran Matraca Berg. The country rocker is a first person take of how Whitters, once again, falls for a guy even though the red flags fly high for everyone to see. She knows that her family and friends don’t agree with what’s happening and that there’s a “long come to Jesus waiting on the other side” of this journey. The production is rather safe on this song, but it works nicely as an album opener. Whitters’ voice carries a Texas like attitude that fits nicely with the lyrics. As I listened to the album, I heard a lot of Kacey Musgraves, Lee Ann Womack and a little Miranda Lambert in Hailey Whitters. “City Girl” is one of the two songs Hailey Whitters didn’t write, but the song feels genuine as she grew up in a town of 600 people. The song idolizes rich city girls who dress fancy and have unlimited credit cards to go out and do stuff while she sits at home in the middle of nowhere. It’s a different song than you’d expect in country music as the song carries little pride for the small town home life.

“Late Bloomer” is somewhat autobiographical for Whitters. The lyrics say it’s okay if you’re a late bloomer in life whether it’s the growth spurt or figuring out your life plan. The lyrics aren’t cheesy given the subject matter, but it’s the production that shines on this track. The slide guitar licks in the chorus of this ballad compliment the song well. This is followed by the title track, which encourages one to embrace their differences. “Black Sheep” is a heavy country rocker with a great, biting vocal performance. “Who really wants to be white as snow? The thing about black is the dirt don’t show,” she sings in the chorus. The metaphor works well in the song. On “Low All Afternoon,” Whitters sings to a woman who’s been rejected by her man. This woman was “the other woman” in this man’s life, and now he’s ready to settle down and removes her from his life. A piano drives this ballad and Hailey Whitters’ sings at a higher register that sounds great. Martina McBride is slated to record a version of this song on her next release.

Whitters gets deeply personal with “One More Hell.” A song written in the wake of her brother’s death, the song details how she wishes to raise one more hell with him before going to heaven. The lyrics are painfully honest with the first verse essentially ripped out of her personal diary. “I’ve heard that in time the pain will go away. My tears will all dry up and I’ll smile when I hear your name. Mama’s not right and daddy’s still mad, he says he wants to kicks God’s ass. ‘Cause he says it ain’t right that he took you so fast.” I applaud the brutal honesty in the lyrics because that’s what makes the story connect. The acoustic production aids the song nicely behind Whitters’ great vocal delivery. “One More Hell” is far and away the best song on the album.

“Heartbeaker” is another country rocker full of bad girl attitude. She sings of a man who carelessly plays with her heart. If he keeps it up, she claims she can also be a heartbreaker to him as well. There’s a sense of familiarity in this song, not even in the subject matter, but also the production. It’s not a bad delivery of the song at all, but there’s not much originality in this song. On “People Like You”, Hailey Whitters sings to a friend who’s broken and scarred just like herself. The lyrics encourage this friend to not be afraid to show vulnerability when they’re together. It’s a nice ballad with good sentimental lyrics.

“Pocket Change” is another hell raising rocker about not putting up with being toyed around with. She doesn’t want to be anybody’s pocket change and wants to leave town. There’s a big classic influence in this rowdy honky-tonk song that sounds great. The lyrics are bit repetitive, but the production is a standout. Black Sheep wraps up with “Get Around.” This song is an honest look at the girl who gets around. They beat around the bush with phrases like “word gets around that I get around” and “it ain’t easy being easy.” It’s a tender ballad that shines a light past the surface of this girl.

Overall, Black Sheep is a solid debut effort from Hailey Whitters. Production-wise, the album sounds very safe. Don’t get me wrong, the instrumentation is good and is a nice blend of country and rock, but there weren’t many chances taken in that area of the album. Black Sheep carries a sound that is all too familiar, yet it works and has a slight air of freshness to it, mostly due to the lyrics of the songs. Hailey Whitters’ strength is in her songwriting and Black Sheep offers up many great well-written stories and songs. There’s a great sense of maturity and life experience in the lyrics. Hailey Whitters is one to keep your eye on and Black Sheep is an album worth listening to.

Grade: 8/10