Response to Commixtary

*sigh* It always deflates me a bit when I find out music I share does not bring the same level of excitement and joy to those with whom I share it. I actually had an interesting conversation with Sharon about this. Why this phenomenon (which, after all these years, should really fail to surprise me to the extent it does) seems to affect me more than others (I seem to take it almost personally!) is an interesting character study. But it's probably a topic for another time, another blog.

As I mentioned about a year ago (DanPR), a corner of my brain continues to hang onto this ridiculous notion that there is an Absolute Certainty with respect to the quality of music. I, alone, appear to be in on The Secret, and the extent to which others are unable to share my observations and preferences is the extent to which they have Imperfect Ears. Ridiculous, of course, but there it is (and I think I have the same issue with my attitude towards humour: you'd better like the same Onion articles as me, or God Dammit there's something wrong with you!). So it is probably this mental quirk of mine that perpetually drives me to find some way of conveying to others, in words, the mechanics of exactly what it is in these songs that floats my boat.

Others, however, are not takers. If people listen to a song and it doesn't appeal to them, chances are that those individual components of the song I point out are not going to, either. That is, if they even have the inclination to listen for them. People can not be "re-trained" by me how to listen to music.

So, I say this long preface simply to acknowledge this reality which my intellect grasps, but my heart cannot.

Onto the response...

Overall:
No real thoughts regarding what you recognize (or don't recognize) as differences between Countrypolitan and other styles of country? Just wondering if you have some overall thoughts about this particular sub-genre, with respect to its brothers. It seemed like you were a bit obsessed with the whole "accent" thing. I've wondered the same thing about the British accent that disappears when they sing (really, really weird, I've always thought, considering theirs is the original accent!). I'm not sure what I believe here, but it seemed to drive your analysis of every song on the collection - actually ruining the Mike Ireland song entirely!? - which I think is a unfortunate. I would say that I don't tend to group these singers together, accent-wise, other than to say that they have pretty unique voices. There's definitely a timbre/resonance sort of thing that is really conducive to the phrasing in a lot of country, and maybe that's what you're hearing as "accent" (Mike Ireland and his obvious twang excepting). Sort of like in choral music or heavy metal. Not necessarily "natural" voices used in those instances, but do we consider them "fake?" No, they're what are used for that style. Also, you pretty much charted, song for song, how lyrics were about heartbreak. Yup, you're right. What can I say? Welcome to country music, descended from The Blues.

As far as the songs themselves - there's not much in your comments beyond 1) accent analysis 2) heartbreak analysis and 3) a general statement of appreciation or lack thereof. So there's not a ton of jumping off points for discussion, but here's a few ruminations:

I Know One: I do like your encapsulation of the vantage point of the singer, though I would not have thought Forrest Gump in a million years.
Long Walk Back to San Antone: Agreed! Keep walking! And he's not mad, even. Just simply stating his observation. On the album cover, he's off to the side of the highway, guit-steel slung over his back (at least she left him with that!), preparing for the journey.
Lock Stock and Teardrop: I think T-Clog & Dan thought Sam Phillips was a guy because her name was Sam. And I, at least, thought her voice sounded like Paul McCartney's falsetto. Any "wow-that's Roger Miller?" moments for you? I had you in mind with my "those who might consider him a novelty act" remark.
I Can See Me Lovin' You Again: Indeed, I agree about the arrangement. Some similarities, I think, between the resigned character here and in "I Know One."