Published on Jul 6, 1997
In the world of country music, only a few names are as common as
major rock stars’. One of them is Brooks & Dunn, whose recent
hit “My Maria” catapaulted them into superstardom. A song which
successfully bridged the gap between rock and country their cover
of this song had people who normally hate country music doing
double-takes.
Their most recent album
Borderline is a fine example of nouveau country, but it also
shows the natural limitations of the music.
If you pick up this album expecting all songs to sound like “My
Maria,” you will be sadly disappointed with the remaining ten
tracks. However, try to keep an open mind, and you will be in for
an enjoyable experience. Cuts like “A Man This Lonely” and “I Am
That Man” show why Kix Brooks and Ronnie Dunn are at the top of
their game. The songwriting is excellent, as is the musicianship.
The album’s closer, “White Line Cassanova,” is a freight train
chuggin’ at you full blast, and when it hits, it feels great.
What makes this group stand out for me are the sparing use of
two traditional country “items”. First, the vocal hiccup that so
many artists feel obliged to use – I happen to hate ir, and was
relieved that Brooks & Dunn don’t use it often. Second, pedal
steel guitars. Sure, they’re here, but they seem to often take a
backseat to the singing and other instruments. The pedal steel can
be a pretty guitar if not used in excess – and I have not heard
many pedal steel players who can claim to use moderation.
But while
Borderline shows how country music has matured into the
popular music form it is today, it slao shows one problem that has
been at the heart of country music since the beginnings: reliance
on cheatin’ songs and stereotypes. Songs like “Mama Don’t Get
Dressed Up For Nothing” do put a fresher twist on things, but
others like “More Than A Margarita” fall back into the broken heart
drowned by booze ‘n’ blooze tracks. As for the stereotypes – if I
were to claim that country music was redneck music (which I’m not –
so don’t send threatening e-mails), I’d be at the top of the list
for a public lynching. But Brooks & Dunn can write a song
called “Redneck Rhythm & Blues” and it’s cool. Guys, got some
news for you – it’s not just Southerners who listen to country
these days.
Borderline also may not appeal to people who long for the
old days of country music – e.g., Hank Williams, Willie Nelson,
Merle Haggard, Patsy Cline… you get the drift. I guess if I were
heavy into country, I could understand people’s opposition to the
music’s evolution. But as music exists, music evolves, and I think
the music’s progress has led it to increased popularity – which
isn’t a bad thing.
Brooks & Dunn can glorify in the fact they have crafted a
fine album here, but I would challenge them to try to break some of
the stereotypes that country music has. If they can do this, than
the success of
Borderline can only be seen as a beginning.