http://www.popmatters.com/pm/column/123260-pour-some-sugarland-on-me-why-country-music-is-the-new-classic-rock
Pour Some Sugarland on Me: Why Country Music Is the New Classic Rock
By Steve Leftridge 14 April 2010
In Mark Wills’ 2003 hit “19 Something”, Wills waxed nostalgic about the ‘80s, cataloging Reagan-era American pop-culture touchstones, one of which was “watch[ing] MTV all afternoon”. It was a revealing claim, given what aired on MTV afternoons in the late ‘80s when Wills was a teenager. What he had to have been watching, for the most part, were pop-metal videos, which at that time dominated the Dial MTV charts, which counted down the top ten most-requested videos of the day.
The fact that Wills listened to “Livin’ on a Prayer” and “Pour Some Sugar on Me” for hours on end and that his ‘80s nostalgia takes him back to Adam Curry rather than Ralph Emory, shouldn’t be entirely surprising, however. After all, anyone who spends time with modern country radio understands that the bulk of today’s country hits have way more in common, sonically, with Bon Jovi than they do with George Jones.
Country artists, labels, programmers, etc., have pulled off something of a marketing revolution. It’s an industry that’s fighting for profitable business models, and that is to corner the die-hard classic-rock market. That’s quite a coup, considering the massive shift that has crossed over from rock to country, not just involving ‘70s and ‘80s soldiers like Wills—folks now in their 30s and 40s—but their own children, born in the ‘90s and beyond, who are themselves drawn to the timeless appeal of the big drums, guitar solos, anthemic chants, hedonistic lyrics, giant choruses, and shiny production values that have sold out arenas for the last 50 years.
The accessibility of classic-rock forms defined by an incorporation of country elements is nothing particularly new, since bands like the Eagles and Lynyrd Skynyrd obviously proved such a blend’s viability decades ago. What’s interesting now is not that rock bands straddle a country-rock line that appeals to country listeners, or that country singers can be pop enough to crossover to pop charts the way, say, Dolly Parton occasionally would. What’s remarkable is that we’ve seen such a wholesale metamorphosis of contemporary country music into arena rock that has left only the slightest tokens of anything traditionally “country” in the music at all.