Too big for his britches

chas smith R.I.P. · From: Encino, CA, USA

What I thought was interesting about this review, was that, given the amount of money behind him, the Times didn't give him a good review.--cs

POP MUSIC REVIEW

Too big for his britches

Kenny Chesney's rock-excess trappings may be an outgrowth of his stardom, but they are a poor fit for his country sensibilities.

By Richard Cromelin, Times Staff Writer

Entertainer of the year is the most coveted award in country music, but is that the best thing for a musician to aspire to?

Take Kenny Chesney, the reigning title-holder at both of the major country academies. The Tennessean's concert at Staples Center on Friday was so fixated on entertaining the packed arena that it didn't have any room to breathe, and no way to touch the heart.

Chesney, who came to the attention of the non-country world with his surprise marriage to actress Renée Zellweger last month, made his entrance after an audio-visual buildup worthy of KISS, riding high above the audience on a swing that carried him from the rear of the arena and deposited him on the stage.

From there it was exaggerated, bigger-than-life gesturing as the hip-swiveling, high-fiving, teeth-flashing, kiss-blowing dynamo and his band scampered around ramps and platforms.

This has been Chesney's approach since he hit the big time a couple of years ago. It distinguishes him from more stationary peers such as Tim McGraw and Alan Jackson, and since it made him country's biggest box-office draw last year, he obviously sees no reason to tinker with it.

It makes him the ultimate illustration of the personality crisis country music has been suffering since the early '90s, when Garth Brooks shook everything up by harnessing the genre's traditions to rock-show scale.

Brooks was able to retain country's core elements amid the spectacle, but those who followed were less successful at combining the flash and volume with the plain-spoken intimacy and blue-collar sensibility that defined country for decades.

Chesney's music itself was more disconnected than ever from country roots, betraying no flavor except arena vanilla. As a songwriter, he often tries to tap that legacy on his records, but he rarely allowed himself to display it on stage. There was a good half an hour of calisthenics before he finally stopped and actually focused on conveying a lyric, on "The Woman With You," a tender and detailed portrait of a multi-tasking spouse.

There were a few similar moments, but overall they were swamped by the overkill Chesney's abundant energy was channeling into evoking a spirit of camaraderie and escape, tied to a prominent Caribbean imagery in song and visuals that made him seem more Nassau than Nashville, like a supercharged Jimmy Buffett. With his reveries about carefree days and parties at night, he seemed to be creating some epic kind of beer commercial.

Along those lines, Chesney likes to go for the casual moment, and he's been known to let his pal Peyton Manning, the football star, join the band on stage with an unplugged guitar. In that spirit, he unwisely turned over an extended stretch late in the set to Uncle Kracker, who might be a good buddy and a fun duet partner (on Chesney's hit "When the Sun Goes Down") but is an awful singer and hapless performer.

The sad thing is that Chesney actually went to the trouble of writing and recording a low-key, intimate album of personal reflections and character sketches. But he released "Be What You Are" this year as a low-key side project and performed only one song from it Friday, an acoustic version of "Old Blue Chair."

It's too bad he doesn't have enough faith in his artistry or his audience to risk being touching rather than entertaining for more than a few minutes.

Maybe Chesney feels a little heat on his heels in the form of Gretchen Wilson, who preceded the headliner after an opening set by rock-leaning Texas singer-songwriter Pat Green.

Not only has Wilson matched the 3.5 million sales total of Chesney's "When the Sun Goes Down" album with her debut "Redneck Woman," but she's also stirred up the status quo by presenting a proudly rowdy alternative to country's demure divas.

Wilson was straightforward and feisty as she celebrated the traits and values of the marginalized redneck lifestyle, and she was confident enough to ask the audience to listen to a couple of songs from her next album. One, "Ain't You Glad They Ain't All California Girls?" got a cheer when it took a dig at Paris Hilton.

Now that's entertainment.

Ray Minich · From: Bradford, Pa. Frozen Tundra

I miss the days when you could hear the vocal artist take a breath. The current music envelope (as seen in any .wav editor) has no breaks. It's so full as to never give the mind a rest (i.e. audio fatigue) during the listening process. Seems that's what they're trying to accomplish visually too.

[This message was edited by Ray Minich on 20 June 2005 at 10:37 AM.]

Ron Page · From: Penn Yan, NY USA

What a sorry state we find country music in today. FM country has now become 100% intolerable to my ears.

Just another chapter in the sad story.

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HagFan

Herb Steiner · From: Briarcliff TX 78669, pop. 2,064

The antidote: listen to Jim Loessberg's radio show. He's got a thread under "Announcements."

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Herb's Steel Guitar Pages
Texas Steel Guitar Association

Charlie McDonald · From: out of the blue

What interests me is the space the writer devoted to it, big britches or not. It's bound to create interest in him one way or another.

Off topic here, Chas: I don't find 'The Room of Ancillary Dreams.' Did you have an album of solo steel out in the 80's?
Chas

chas smith R.I.P. · From: Encino, CA, USA

Charlie, 'The Room of Ancillary Dreams' is a Harold Budd piece, from a few years ago, and the steel was mixed in as an occasional "exhale". It was strictly "color" and not the focal point.

Around '82, when my playing skills were more marginal than they are now, I recorded an EP, 'Santa Fe', for Cold Blue Music, that was part of a series that has since been re-issued as, The Complete 10-inch Series from Cold Blue. http://www.coldbluemusic.com/
Then after Cold Blue went 'belly up', Jim was reduced to eating dehydrated soup and turf builder, I recorded and released an album, 'Nakadai' in 1987 that had steel guitar pieces on one side and a couple with my ensemble on the other. Steel guitar, vibraphone, marimba, microtonal chimes, bowed rods hammered dulcimer and various detritus.

The release of the 'Nakadai' coincided with the marketing blitz for cds and the overpowering onslaught of new age music. It died a very lonely death. However, the plan is to re-release it next spring and include a steel piece that I did for a Curious Music Compilation that was released in 1993.

Jim Phelps · From: Mexico City, Mexico

Say & think whatever about Kenny Chesney, but at least he's got a steel player... and an excellent one, Jim Bob Gairett.

Keith Cordell · From: San Diego

Modern "country" is to this past decade what hair metal was to the late 80's. All flash, very little substance. And it ain't country, just because it has a twang on the vocal.

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GFI D8 Non-Pedal, Peavey Delta Blues, Goodrich H10K VP, Modded Vox V-847, Ibanez DD1000 Digital Delay, Dunlop Lap Dawg bar

Donny Hinson · From: Glen Burnie, Md. U.S.A.

Chesney's got the energy and sex appeal that the young audiences want! (They could care less about honest and serious emotions in a song.) Young people just wanna party.

Gretchen Wilson's "rowdy and feisty image" may be different from the standard-fare we're used to nowadays, but it's certainly nothing new. Tanya Tucker was doing the same thing decades ago, and is still probably more "rowdy and feisty" than Gretchen.

Leslie Ehrlich · From: Saskatoon, Saskatchewan, Canada

Is this why some people call him Kenny Cheesy?

Jim Phelps · From: Mexico City, Mexico

Charlie McDonald · From: out of the blue

Maybe there's something more to Chesney, as he can be congratulated on getting the babe Renee Zellweger.

Chas,
To hijack the thread again; Nadakai might be it, as '87 is about right, though what I heard may have been from Santa Fe (where we were living shortly thereafter. I remember the New Age well. As a contemporary of mine said "New Age? I'm interested in old age.") It was more like 'Afar.'
Your playing skills may have been 'more marginal' to you then, but it was that sound--spacious steel--that made me want one. I may have to settle for 'Ten Miles Out of Desert Center.' We all have to move on.

Did you build the six-string (pictured in the interview and in the '4-string/5-string bass' thread)? I seem to recognize some of the side plates.... I'd appreciate an email from you; I read with great interest the interview.
Chas

[This message was edited by Charlie McDonald on 21 June 2005 at 06:46 AM.]

Ron Page · From: Penn Yan, NY USA

Yeah, well, if babes and money make you a great country singer, then he's it for sure.

To me he's just another act that tried to suck traditional country in with a debut COUNTRY album, and then reality set in. Why do they bother with that 1st traditional sounding album anyway? Just go right to the young "country" stuff and spare us the bait & switch.

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HagFan

Frank Parish · From: Nashville,Tn. USA

Chesney worked for me for 18 months before his break and the record deal playing a single 5-9 on lower Broadway back around 90-91 I think it was. He was very withdrawn, quiet, hardly ever spoke to anybody at all back then and never drew a crowd either. Back then we had to have somebody on stage at that time of day and he was available and didn't call in sick much. I guess I should say he didn't run anybody off but he never really brought anybody in the place either. I will say that was the hardest time of day to draw a crowd because that's when the working bunch goes home and the partiers don't come out until a little later. Whatever he has become has been through some training I would think after knowing him that long and seeing him interact with the customers. I think him and Tim McGraw are the luckiest guys in "country music." When you can make that much money and get a woman like Faith or Renee I'd say that ain't half bad!

Ron Sodos · From: San Antonio, Texas USA

......especially with no talent and sounding like s**t.

[This message was edited by Ron Sodos on 22 June 2005 at 02:17 PM.]

Chip Fossa · From: Monson, MA, USA (deceased)

But what does that say about Faith and Renee?

Who cares? I don't.

Go your way. I'll go my way.

I think, by now, most here on the forum, understand and know what they like. And, no surprise here, it's not the "new" stuff.

To me - the new ones sound just like clones of the rebuffed real artists that blew the doors open - Beatles-Byrds-FlyingBurrito Brothers-Poco-Eagles-Commander Cody - ALL snubbed in Nashville at one point.

BUT NOW - HEY GANG!!!! - All those nice folks [that control our lives] are gonna lettuce play OUR STUFF.

AHEM!!!!

Leigh Howell · From: Edinburgh, Scotland * R.I.P.

Chip. Is the Monson Inn still open?? I Played in Springfield for many years, and worked the Monson inn when Dick Curless played there one nightin 69, and our band backed him. I played the Ranch House Motor inn on Boston Rd for 13 years. 5 nights a week, and had the weekends for other gigs.Worked out very well!!

I had the pleasure of working with some great Steelers up there. Paul Lambert, Pete Duhart, Doug Beaumier, Terry Sutton etc.

Leigh

Jerry Hayes · From: Virginia Beach, Va.

The only thing I can say is "Thank God for the Americana thing" it's the only place where you can really hear the good stuff anymore.....JH in Va.

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Livin' in the Past and Future with a 12 string Mooney Universal tuning.

Chip Fossa · From: Monson, MA, USA (deceased)

Leigh,

The Monson Inn is long gone, but believe it or not, "The Ranch House" is still there and up and running. Has only music on Fri. & Sat.
nights [no surprise here].

I don't go out 'clubbin' anymore, so I'm not sure just what kind of venues play the Ranch House. That 'old spirit' back when you were around simply doesn't exist anymore. There aren't any good clubs to play, or even any clubs to play, really.

I used to see you playing all over the area,
Leigh. Especially at "Billy T's" in W. Springfield. That's when Doug was with you. I sure miss those times.

I'm a day tripper now. When the sun goes down, I usually head home.

Mike Winter · From: Portland, OR

My wife won tickets for Cheesey's Portland show last night. I passed on it, so she went with her best friend. They had "suite" tickets, so there was plenty to eat and drink, plus a good view of the stage. She said both Pat Green and Gretchen were really good, but about six songs into "The Cheesey Show," they couldn't take it anymore and bailed. They both said it sucked BIG TIME and that there was too much emphasis on show and theatrics. (I guess when you're lacking in talent, the only recourse is to rely on theatrics, and tight Wranglers and a big smile. Ho hum...) Anyway, they went to Jubitz to see one of Portland's best country bands -- Cross Country -- the band that Larry Behm plays with.

There's a line from a Willie and Waylon song that says, "The songs you sing today you'll sing tomorrow...if you don't give up the music for the show."

Ron Sodos · From: San Antonio, Texas USA

I gotta clap for you on that one. "No Shirt, No Shoes, No talent" That is FUNNY
I laughed til my sides hurt on that one guys........

Kenny Burford · From: Independence, Missouri USA

IMO today's country radio is not much different from the past. Country radio always played a lot of crappy music and very little great music. I don't care for about 95% of what's being played on the radio today; however, I do like the recent songs, "What's A Guy Got to Do to Get a Girl in this Town," can't think of the artists name, a couple by Derk Bentley, the duet by Brad Paisley and Allison Krauss, "When I Think About Cheatin'," by Gretchen Wilson, and a half dozen other new songs by other various country music artists.

No one has ever complained more about the country music played on radio more than I have; however, I have come to the following position. It really does not matter what country music radio stations play. I play live music and the people who come out to hear me are going to hear what I play, so I have adopted the position, when I hear a great song, such as, "The King of Broken Hearts." I learn it and sing it. That's my way of fighting back against radio programmers who really don't want traditional country music played over the airwaves.

My point being, it's best way to present the heart of traditional country music to fans. As for Kenny Chesney, he's not someone who I care to listen to, but he has managed to get to the top and I respect him for it. Success in any business is more often attributed to discipline rather than talent.

[This message was edited by Kenny Burford on 30 June 2005 at 01:08 PM.]

[This message was edited by Kenny Burford on 30 June 2005 at 01:45 PM.]

Alan Shank · From: Woodland, CA, USA

"My point being, it's best way to present the heart of traditional country music to fans. As for Kenny Chesney, he's not someone who I care to listen to, but he has managed to get to the top and I respect him for it. Success in any business is more often attributed to discipline rather than talent. "

Or aggressiveness, determination or just plain being in the right place at the right time.

Or, willingness to put success above doing the music you'd like to do. I can't really blame singers who start out country and move to the pop side, but I don't buy their music any more.

Real country music is out there; you just have to look harder to find it, and this forum has led me to lots of wonderful stuff, like Bobby Flores, Justin Trevino, Amber Digby, Ed Burleson, etc. etc.

I have relatively recent country CDs in about 50 of my 100-CD jukebox-sytle changer. I can program just those CDs into a Custom set, hit "Random" and almost every song that comes up makes me happy. Thanks to the Forum for that!
Cheers,
Alan Shank

Brett Anderson · From: Arizona, USA

It seems to me Kenny Chesney is trying to become the next Jimmy Buffett. Do we need that? I think not. And i don't think the country boundaries need to be stretched. i know what i like and i buy it on the internet from the artists' sites when possible. and when i see k chesney, or big head and rich, or cowboy troy on the tv i change the channel. and, by the way has anybody heard the recent cd by Gene Watson? Wow! he still sings his butt off. and imo is three times the singer either of the before mentioned will EVER be.