if you listen to “dirt road anthem” by jason alden, you can hear nothing…. If you listen to “green river” by waylon, you can hear the sorrow in his voice. if you listen to “weary blues from waitin” by SR., you can hear the pain in his voice. I think that most people that visit this site are like me in that we support music that has a meaning to it. all those pretty boys in baseball hats have CMT, Radio, Billboards, and so on. but it seems as tho SCM.com is all we have. thats why i get on this website daily just to see whats going on and what im missing out on. the only thing that everyone lacks is exposure.
its about damn time… i am a huge supporter of the “underground” movement. “Outlaw You” is a remarkable composition, and an instant Song of the Year candidate. Regardless of the outcome, “Outlaw You” gives voice and some enfranchisement to the scores of country fans fed up with the status quo, and the way Music Row has taken the Outlaw history of country, and exploited for marketing purposes something I’ve been saying around here for almost two years now. What we can fight for is balance, equality, and choice. It’s always been there, and always will be. Pop isn’t going anywhere in country music folks. Time will tell of what the outcome of this song’s release will be. Some very likely with smirk at the use of the Bleeding Cowboy font, but if there was an instance when it was called for and appropriate, this would be it. It is nothing special, but with a low budget approach, simply using some photos and fonts, it helps convey the message without eroding the natural emphasis of the song. There has been a battle going on for the heart of country music, and I’ve been frustrated that the artists on our side seem to refuse to fight. I called for artists to call out these “New Outlaws” when it seemed like only bloggers and fans were willing to pipe up. Shooter has reached out to me to let me know Saving Country Music was one of the inspirations behind this song. This isn’t an anti-“New Outlaw” song, it is an uplifting song about being true to yourself, using the “New Outlaw” movement as a backdrop, and an example.Ĭritics of Shooter, of which there are many, will find their holes in this song, possibly saying this is an attempt to exploit the anti-Nashville backlash that can be found growing throughout the county, and on sites like this one, to possibly create publicity for his XXX movement. Even if you like the current “New Outlaws”, even if you’re not in tune enough with the New Outlaw movement for the words to bite with truth, even if you hate Shooter Jennings, the universal message to be true to yourself and what’s inside of you is still effective. I guess it is pretty predictable that I would eat this song up, but what takes a good song and makes it great is a universal theme that in some way enhances the human experience by the end.
In the middle, the sound empties for emphasis, as Shooter gives an Outlaw history lesson with his best asset, his soulful voice, buoyed with heavy breathing and rising passion. The lyrics are undeniable witty, poignant, and pointed, and Shooter uses an extended chorus to create tension to give the title lyric of the song optimum payoff. 357’s: a mix of country and Southern rock, starting off with fiddle and banjo, but then favoring the heavier guitar sound, and a rapid-fire lyrical approach. The song is structured similar to Shooter’s pre- Black Ribbons‘ era sound with the. This is Merle Haggard telling CBS Records executive Rick Blackburn “ “Who do you think you are? You’re the son-of-a-bitch that sat at that desk over there and fired Johnny Cash.” It rises to the level of these historic moments in country music history because it not only contains bravado, it also contains class, and truth. This is Alan Jackson launching into George Jones’ “Choices” at the 1999 CMA awards. This is Charlie Rich burning the envelope with John Denver’s name in it on the 1975 CMA awards. This isn’t just another anti-Nashville protest song. Simply put, this is a shot right to the gut of Music Row, and specifically, this crop of “New Outlaws” (Justin Moore, Josh Thompson, etc.) invading country music. The simple fact is that it came, and country music is better off for it.Īhead of Shooter Jennings’ January release of his new album Family Man, he has released the song an accompanying video for the composition “Outlaw You”. I’m not exactly sure where this came from, and I don’t care who it came from.
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