Tag: country

Beyonce and Dixie Chicks | Daddy Lessons

Here’s Dixie Chicks and Beyoncé collaborating on a live performance of Beyonce’s “Daddy Lessons” at the 2016 CMA Country Music Awards. The track is from the 2016 Lemonade album. Rolling Stone reports that “according to a story by the AP, Beyoncé submitted ‘Daddy Lessons’ for nomination in the (Grammy) country category, but the Academy’s country-music committee shunned the song.”

Starting in A minor, the tune shifts to D major for a bridge at 4:00, then back to A minor at 4:35.

Steve Goodman | You Never Even Call Me By My Name

From our follower @EJGleske, a former DJ and chronic videographer, comes a tongue-in-cheek country tune called “You Never Even Call Me By My Name” by Steve Goodman (1971). The tune attempts to cover every known country music lyric cliche — no easy task.

@EJGleske explains: “Goodman was known perhaps best for ‘City of New Orleans,’ which was known most by Arlo Guthrie‘s cover version, but that’s not his best song. ‘A Dying Cub Fan’s Last Request’ and ‘Chicken Cordon Bleus’ hit my spot, and when I want to wow folks who know not who Goodman is, I introduce them to ‘Talk Backwards.’

Steve wasn’t only about songs written from the funny bone; his ballads, from ‘City of New Orleans’ to ‘I Can’t Sleep’ to ‘If She Were You,’ tell a story in vivid detail, his voice and picking painting the most marvelous pictures.

Steve was a singer-songwriter’s singer-songwriter. His songs were covered by, well, everyone…from Baez to Denver to Guthrie to Kristofferson to Nelson and on down the line. Bumping into John Prine on the same circuit as often as he did, it was our good luck they collaborated on a number of songs. Many of them come at us with the full force of both men’s wit, which brings me to my submission. Goodman and Prine set out to write the ultimate country song, and put every hook and cliche of the genre into one thick mess. The obligatory modulation is at 1:54, and it works on all levels, musically and as satire.”

Jimmie Rodgers | Kisses Sweeter Than Wine

“Kisses Sweeter Than Wine,” originally a hit for folk singer Pete Seeger and The Weavers in 1950, was released by Jimmie Rodgers in 1957, reaching #7 on the pop charts. The Weavers’ version featured beautiful four-part harmony throughout, as well as a unique recurring piccardy third at the end of each verse. But the pop-friendly release by Rodgers featured a much faster tempo, a much harder swing, and multiple key changes.

This variety show performance of the tune starts at 0:50, with direct half-step modulations at 1:49, 2:11, and 2:37.

Merle Hazard | (Gimme Some of That) Ol’ Atonal Music

Weekend bonus mod: Merle Hazard is billed as “America’s foremost country singer/economist.” According to his website, his songs have appeared in The Economist and the Financial Times; on the PBS NewsHour and on radio; and in college classrooms.

Hazard explains: “I love Tom Lehrer and Cole Porter. In some ways, they are my natural musical home, more than country. I listened to a lot of Tom Lehrer and Top 40 pop, growing up. The name ‘Merle Hazard’ is first and foremost a pun on the economic concept of ‘moral hazard.’ It is also a tip of the cowboy hat to the Merles who preceded, particularly Merle Travis and the late, great Merle Haggard.”

“(Gimme Some of That) Ol’ Atonal Music” (2019) modulates at 1:36 and 2:22.

Hank Snow | I’ve Been Everywhere

“I’ve Been Everywhere” is a song which was originally made popular upon its initial Australian releases (with Aussie place names) in 1959 and 1962. In 1962, the song was also a #1 US country hit by Hank Snow — with multiple half-step modulations at 1:12, 1:37, and 2:03.

More recently, Johnny Cash had another country hit with the tune in 1996, with several TV ad placements; the video is posted second. However, Cash’s version has no modulations.

Dolly Parton | Here You Come Again

Dolly Parton‘s biggest crossover pop/country hit of the 70s was likely this 1977 release, “Here You Come Again.” Written by NYC-based megahit composer team Barry Mann & Cynthia Weil, the tune peaked at #1 on the US Billboard Hot Country Singles chart and #3 on the US Billboard Hot 100 chart. Modulations are everywhere, hitting at nearly every verse/chorus intersection.