When CACs didn't have black people to steal Rock music from, it died in less than 30 years

IllmaticDelta

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This is facts.

The big rock station out here converted to country a while ago.

And what's funny is every time I turn on the country station I'm like, why are all these country singers sounding like mumble rappers. :mjlol:

Don't forget "Country-Soul(R&B)"

Article from 2017


• “Tennessee Whiskey” plays well with songs in the country, Americana, singer-songwriters, rock, R&B, and soul genres.
• Stapleton’s music has a close relation to Etta James and other R&B/soul legends.
• “Tennessee Whiskey” has 146 million spins to date at Pandora.
• Stapleton has 4.4 million artist stations, 5x his Facebook likes and 19x his Twitter followers.


Chris Stapleton, whose third album, From a Room; Volume 2, was released today, struck cross-genre Pandora gold with his cover of “Tennessee Whiskey,” a song that first hit the top ten in the ’80s. In baseball, “Tennessee Whiskey” would be called a five-tool player. In high school, it would traverse a diverse handful of cliques. In other words, “Tennessee Whiskey” is so Pandora: a song that’s spun alongside the music of myriad genres because Pandora’s algorithms can predict which songs go together and be liked by a particular listener.

Turned into a soulful ballad by the Kentucky native, “Tennessee Whiskey” was written by Dean Dillon, a former recording artist who penned dozens of songs for George Strait, and Linda Hargrove, a ’70s recording artist. David Allan Coe was the first to record the song in 1981. Two years later, “Tennessee Whiskey” was a hit for the late, great George Jones. Over two decades later, Stapleton put his stamp on the classic by infusing elements of soul and R&B into his country roots. Rolling Stone critic Will Hermes called it correctly in the first sentence of his review of From a Room:Volume 1, “Chris Stapleton is a soul singer.”

On the surface, there appears to be no relation between “Tennessee Whiskey” and soul and R&B artists such as Etta James and Otis Redding. The songs tell a different story, however. Take James, for example, a singer whose own career spanned R&B, soul, blues, jazz and rock. Listen to “Tennessee Whiskey” and then listen to James’ “I’d Rather Go Blind.” Both songs have the 12/8 rhythmic meter, are in the key of A, and have a chord progression often found in classic gospel and soul music. Stapleton and James have a similar singing style, too. The two are incredibly similar (as has been noted previously). So, if you like “Tennessee Whiskey,” you’re probably going to like “I’d Rather Go Blind,” and vice versa. Pandora knows as much. Nearly as similar is James cover of “Misty Blue” — country singers Wilma Burgess and Eddy Arnold each recorded hit versions the ‘60s — that appeared on her final album, 2011’s The Dreamer.

 

IllmaticDelta

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Black Keys?


they were eating hard off that North Mississippi (Hill Country) type blues

hill-country-blues.jpg


 

ColdSlither

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I feel like there are economic reasons for this too. I think the Black Keys alluded to it when they went on Joe Rogan. Most of the great bands of the 20th century were WORKING CLASS. The Beatles, Rolling Stones, Joy Division, The Smiths, Nirvana, I can keep going. Even the artsy fartsy bands like Talking Heads came up at a time when art school was relatively cheap.

You need at least 2 people with instruments, a home to practice in/hone your talents and a local music scene to come up in. Music has been gutted from public schools and rich people don't send their kids to 20k a year private schools so they can start a rock band. The current economic paradigm favors solo artists: hip-hop producers, bedroom pop artists, ambient/drone, house music/EDM, singer/songwriter (aka sad white girls with guitars), etc.

K-Pop groups only exist because money is deliberately poured into them There's a reason why the UK (a country that still puts money into the arts) has a thriving post-punk and jazz scene while the U.S rock scene fell off.
I think this reason, and the OP's, are a good perfect storm for the state of rock music.
 
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