George Strait May Have Had His Last Concert But That Doesn't Mean He Is Exactly Done With Country Music Forever…

In his review of George Strait's 29th studio album in The Dallas Morning News, music critic Hunter Hauk recalls a conversation he had with Strait producer Tony Brown, who hoped Strait would move in the direction of Willie Nelson in his second act. That he would “forget what the radio trends dictate and go deep down into stylistic rabbit holes.” As exciting as that would be — can you imagine Strait’s rich baritone layered over a stripped down, Dave Cobb-produced track? — that isn’t exactly how Strait made his way to the top, a fact that Hauk is quick to note.

Nelson and Strait are unarguably two of Texas’ greatest contributions to country music, but stylistically they couldn’t be any more different. Both are wildly successful, universally beloved and could sell out venues until they’re 110 years old and about to croak on the stage. We’re not sure about Strait’s stance on pot, but we’re guessing that’s not the only point on which these two differ dramatically.

Strait has never been much of a songwriter, admittedly, so there’s still plenty of that thematic nonsense that's so popular in country music right now. That can be attributed to writing appearances from country’s most in-demand songwriters, including Brandy Clark and Shane McAnally, Dean Dillon and Jamey Johnson. Tracks like “Stop and Drink” and “Goin’ Goin’ Gone” indicate that George Strait has fallen victim to recording too many songs about drinking beer and good ol’ boy stereotypes.

It’s easy to see that consistency has and always will be Strait’s formula for success. A song recorded by Strait in 2015 sounds just like a song recorded by Strait in 1997, and that isn’t a bad thing. He is doing more writing on this album, including co-writing “Let It Go” and another track on the record with his son Bubba Strait, and co-writing credits on three other tracks. Perhaps on the next album we’ll see Strait experimenting with an alt-country vibe or some bizarre psych-folk, but you probably shouldn’t hold your breath.

Back to that Willie Nelson comparison, though. In moments, you certainly feel like Strait might walk down that path. He takes a sort of watered-down detour into outlaw country with “Rock Paper Scissors,” a tale of a divorced woman scorned. There are times when Cold Beer Conversation almost feels like subliminal messaging, indicating that Strait is looking for a harder, more classic sound. We can hope that is a sign for the future, but it is most likely just a nod to the country music that has always, if ever so subtly, influenced his own signature sound.

Cold Beer Conversation is ultimately a safe but well-done and very listenable endeavor. Strait does have a leg up on Nelson in that he hasn’t spent the last five decades ruining his vocal chords with decades of joint-smoking. It’s highly likely that in 15 years he’ll sound just like he did at AT&T Stadium last year, and his voice then didn't sound markedly different from the one that changed country forever in the 1980s.

Do You Think That George Strait Will Follow In The Steps Of Willie Nelson Or Is He Going To Disappear & Live Out A Good, Retired Life Away From All Of The Crimson & Glamour Of Country Music?

Tell Us What You Think!

Article Source: The Dallas Observer

Photo Source: Mike Brooks