Switched on Pop - Cowboy Carter: This Ain't Country

Episode Date: April 2, 2024

Beyoncé's Cowboy Carter is her foray into country music, but this isn't just dirt roads, blue jeans and whiskey. Her country music distills all of American pop: blues, gospel, R&B, soul, house, hip-hop and yes, country. If this ain't country, what is? Learn more about your ad choices. Visit podcastchoices.com/adchoices

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It's free for iOS users. Welcome to Switch Dunpop. I'm songwriter Charlie Harding. And I'm musicologist Nate Sloan. Beyonce has just 12 hours ago. Yes. Released her album Cowboy Carter, her foray into the world of country music.

And I have something very bold to say about this album. Okay. Hit me. This is not a country album. Dun, dun, dun. Check out sweet honeybuckin. Bunkin. This ain't country.

How about spaghetti? Country country, petty, petty, petty. All the same to me plain jeans spaghetti. No sauce, no sauce. Too soft, too soft. This ain't country. And what about tyrant? He's a tyrant.

Every time I ride it. Every time I ride it. Make it look so good. Try to justify it. This ain't country. No, it's not country. This is way more than a country album. This is an album which is using the sound palette of Southern America and all of its history,

but not exclusively making top 40 country radio music. It's so much more. We have the sounds of primarily black music, blues, rock and roll, gospel, soul, definitely country, as well as influences from the British invasion, rock counterculture, and contemporary genres like House, Jersey House, and Trap. And yeah, okay, sure, it is country. I mean, we've talked already about the first two release singles, Texas Holden. 16 carriages.

I've got banjo, chain gang music. And there are songs on Cowboy Carter, which use the cliches of country music. your domestic life narratives like in her song, Protector. And I'll lead you down that road if you lose your way. I'm going to be a protector. It has the trope of Made in America

Brands name dropped into a song. Okay. For example, Levi's Jeans, which features Post Malone. Of course, if you're going to make a country, album, you need to have murder ballads like her song, Daughter. Your body laid out on these filthy floors. Your blood stains on my custom couture.

And we hear the timbers of country music. Here, sort of the Spanish guitar of maybe sort of original cowboy. Quick question. Yeah. Are Levi's jeans made in America? Ooh. I'm wearing a pair right now. Check the tag.

All right. Stand up. Stand up. This is why it's good to record in person once in a while. Let's see. What are your boxers? Get in there, Joel. Don't be afraid.

It doesn't say. What do you mean it doesn't say? I can't read it. I got Levi's on too. We are not sponsored by Levi. Turn around. Turn around. Just said, well, San Francisco, California.

Where's your tag? There's no tag. They're trying to, there's some and there's a conspiracy of foot. Okay, okay. So we have some of the hallmarks of country music, sure. But this album, as I said, is way more than country, and Beyonce makes it very clear. She states at the beginning this thesis in her song, American Requiem. This is an American Requiem.

What is a requiem, Nate Sloan? Ah, I'm so glad you asked. A requiem is a piece composed in memoriam of a person. Yeah. And often it follows a kind of mass. structure. I don't think that's quite the case here. But it is something that is a tribute, a memorial. It's usually sad. It's a great musical tradition. Going back to Wolfgang Amadeus Mozart. Yeah. Rod his own mass famously as he was dying. Yeah. This is not a mass. I think this is

more a remembrance. She says from the very top that there are big ideas buried here. And she is is going to unearth all of these American musical ideas of the past and of the present and mash them all up together. Them big ideas are buried here. Big ideas, yeah. No, someone might say, I'm totally wrong here that no, no, no, no, she is saying that she's making a country album. Just listen to the second verse of American Requiem. She's singing in a twang saying, if this ain't a song, country, I don't know what is.

Yeah. And so I obviously am making a provocative statement. I don't think she's saying, this is top 40 country radio, the sound of country as it is today. I think she's saying that country is way more expansive than it is thought to be. Right. You could invert that statement from the beginning of the episode, this ain't country. Country ain't this. Country is more than you think.

and this album is going to investigate that. Okay. I also love how she's sort of like anticipating the criticism a little bit. Oh, yeah, all of it. Am I too country? Am I not country enough? Yeah, yeah. I'll always be somewhere in between.

All right. Let's look at how she does it. Let's do it. All right. So first of all, she is knighted by the living legends of country music on this album. Yeah. That was one of the first things I noticed. Okay, so a little bit of context.

Yeah, I have to come clean. I haven't listened to any of this. I just completely exploited you. Yes. you woke up at some ungodly hour and listened to this album and gathered your thoughts. Yeah. And I just slept blissfully and then rolled in here to your home studio and was like, all right, Charlie, tell me about this record.

Yeah. But I did do the hard work of briefly glancing over the track list. And I did notice some of these icons that you're talking about. Willie Nelson is on this album, the voice of Outlaw Country. You turned into K&TRI Radio, Texas, home of the real deal. Linda Martell is on this album. album. One of the first female black country breakout stars. Genres are a funny little concept, aren't they?

Dolly Parton is on this album. The boundary pusher of country music that everybody agrees to love. Hey, Miss Honeybee, it's Dolly P. So those are some pretty good country bona fides. Yeah, and all of them are introducing Beyonce's songs in a sort of radio-like format. So that's a flex. Yeah. Yeah, man, I wish we could have Willie Nelson announce every podcast.

Really, every time I just show up somewhere, he could be like, and here's Nate Sloan walking into the room. K&T Radio. So hard to think of many more living legends than that than you could put it on this album. Right, right, right. Okay, so she's got the living legends on this album. Yeah. She also quotes her deceased musical ancestors, specifically the Black Fourbearers.

of American music. Like blues icon, son house, godmother of rock and roll, sister Rosetta Tharp. Guitar, great Chuck Berry. And one of Elvis's greatest inspirations, Roy Hamilton. So we've got living legends. We've got deceased legends in these snippets of recordings from them. Anyone else showing up here?

Yes, she specifically has brought in many of the current rising stars of black American country music. Okay, cool. Artists like Tanner Adele, Britney Spencer, Tierra Kennedy, Raina Roberts, and Shabuzi. And that's, I guess, in addition to some of the people we talked about on Texas Holden and 16 carriages, like Rian and Giddens, Justice West. Yes, yes, yes. Yeah, Robert Randolph. Yeah. These are just the featured singers.

In fact, as of this recording, the full credits are not available. So I'm very eager to go and study who the musicians are, who are the players in the band. I don't know who most of them are right now. So there's many more. There's also a collaboration with Miley Cyrus, who famously was in the world of country music, moved into the world of pop music. I'll be a shotgun rider till the day I die. There's a collab with Post Malone, which we talked about. briefly.

You know I'd like to be a vice day. So I can nod that ass all day long. There's also Willie Jones who is known for really blending the world of trap and hip hop with country music. I'm going down south just for fun I am the man I know it. And everywhere I go I have my face. And I guess Rumi Carter, yeah, yeah, one of her children is featured in a voice note on the album. Mom, the one will be right.

You know how I feel about this. I'm not a fan. Doesn't count as an actual feature. Not a fan. Oh, no, no, no. Hold on. I don't want to make you seem like too much of a curmudgeon. You're not a fan of someone getting credit for being a collaborator when they are part of a voice note.

You don't mind the voice note thing, do you? I'm not honestly sure anymore. Oh, jeez. I think I am a curmudgeon. Just leave the kids. Get the kids out of there. Get the kids out of the studio. It's a beautiful song.

It's a beautiful song. Okay, fair. Fair enough. No kids and grandmothers in the studio. Sorry, go ahead. Okay. This is way more, though, than just who she brings in, who she is citing directly through those little samples, who is introducing her songs.

The way that she is making a statement about this expansive view of country is all in the music. Right? Yeah. Let's visit a handful of the songs that bend American genres into her vision of Cowboy Carter. I want to start with, yeah, yeah, yeah. Nate, this song has everything. It samples from so many eras of American music. From the beginning, we have a very obvious sample of Nancy Sinatra's boots were made for walking from 1966.

Nancy, of course, was the daughter of Frank Sinatra. And the original song was inspired by Frank Sinatra's line in a film, Four, for Texas, in which her father says, Tell me them boots ain't built for walking. Huh, you never knew that. Nancy Sinatra flips the script, says these boots, are made for walking, makes a pop feminist song about taking power in a male-centric world. One of these days, they're going to walk right over you. Yeah.

These boots are made for walking, and that's just what they'll do. One of these days, these boots are going to walk all over you. So here's what Beyonce does to it. Hello, girl. Hello, fellas. You're pretty swell. Those petty ones can't fuck with me. Why?

Because I'm a clever girl. I am just remembering that the song was featured in the film Austin Powers. Bring in Defampant. Beyonce was also in the sequel to Austin Powers. Right. Interesting. The spy who shagged me. Or was she in GoldMember?

I think Gold Member. That's the third one. I don't believe we've met. It's me. Foxy. Foxy Cleopatra. We have to get our Austin Powers chronology. Right.

I mean, people expect. lot from us, Charlie. I mean, people expect a lot from that film. I mean, it's iconic. It wasn't good. But what's so cool is that Beyonce's boots aren't just made for walking all over a man. They're made for walking all over American music. Where she goes next, she blends this song into a sort of like Motown-type vibe in the style

of Stevie Wonder's uptight. Yeah. Yeah, there's almost like a tension between this kind of upbeat, triumphant music and then some of the darkness of these lyrics, like a whole lot of red in that white and blue. Like, that is a kind of revolutionary statement about the legacy of racial violence in the United States. Yeah. But it's like pop into finger snapping music at the same time. So you're like, damn, this is not pulling any punches.

This is just the beginning. I mean, then when we get into the refrain of the song. She's picking up with vibrations. He's looking for swing sensations. Beach Boys. Layered. I'm picking up good vibrations. She's giving me to excitation.

She has mashed up good vibrations with Nancy Sinatra's boots are made for walking. Kind of a weird combo, but it actually works. Maybe because they each have these descending chromatic lines, like the Nancy Sinatra bass song is like, and then the good vibrations is like, so it's like, they're kind of in the same musical world a little bit. But it's still very, you're like, wait, what? Where did that come from? Both of them have a lot of tension in them. The chromaticism, there's discomfort in the music, and the way that she's citing good vibrations has this sort of dark tinge because she's talking about housing policy and

equity. She's talking about not being able to make it in this country, not having enough money, and we're talking about good vibrations, sort of attention of the maybe the expectations of American exceptionalism. I'm buying what you're selling, Charles. I'm not selling anything. This is all Beyonce. And she just goes on to quote and quote, end quote.

There's a quick citation of Love is Strange by Mickey and Sylvia. She references Christina Aguilera's jeaning a bottle. And Migos' Walk It Like I Talk It. She screams like Tina Turner. She tells the band to hit the drums. in the style of like James Brown. Yeah, I love that. When I count the four, I want everybody to lay out and let the drummer go.

Come on. God, I'm such a sucker for musicians requesting instruments and then they suddenly appear. It's like, cannot get enough of that. What else do we have here? Tom's, please. That would be another thing. I would like to have Willie Nelson introduce every time I walk in the room. And anytime I say, Tom's, please, I immediately get a dribble.

Willie Nelson plus Tom. Well, I'd like to introduce Nate. So, Tom, please. You know, sorry, what were you talking about? I like this evoking the past of the sort of like radio announcer kind of style because she also has a moment where she references this important circuit that she says that she's playing on. This is an old-timey reference. Yeah, the Chilin Circuit.

This was like the unofficial tourway for black musicians through most of the 20th century. A loose network of juke joints and saloons and sometimes even. brothels strung out across the whole United States, but especially concentrated in the southern part, named after the crackling fried pork that would be served at many of these establishments, and where so many famous acts from Ray Charles to James Brown really got their start before blowing up, today doesn't really exist in the same way, but you can still find maybe traces of it in certain places like Mississippi and Alabama. And some of these have sort of been turned into living museums, which is pretty cool.

But yeah, not a reference you hear in a lot of contemporary music, the Chitland Circuit. And she's saying it with the sound of a slapback delay, which was very popular in the 1950s as a way of creating a bigger sense of space. So all of these amazing citations, including citations of Place. We've got Texas. Beyonce's from Texas. Correct. Gary, Indiana.

Home of the Jackson family. Yes. And New York City. New York City. I don't know what's it You're from New York City I now live in New York City Yeah, we're from New York City

Who she married to? That guy What's his face? Jay Z. Oh yeah, yeah, yeah Sean Carter Brooklyn, yeah Yeah, okay

New York City Okay, right, checks out Yeah, I feel like their family owns a significant portion of New York City Is it like the idea? They like, I think they like to project that they do, I don't know if this actually At least culturally they do

Yeah And in this way, I think that this album, as much it has country in Americana has a lot in common with hip hop. The idea of naming your roots, saying where you're from, quoting your influences, sampling them.

This doesn't sound like a hip-hop record, but it's definitely in the culture. Man, she, Beyonce is just like with this album, Cowboy Carter and Renaissance, the previous one, it's like, she's going like full historian. This is just like spectacles on, like taking out the books, underline in the thing. She's like in her professorial era or something. It's really wild. Elbow patches, reading glasses.

It's like taking you to school with each one of these albums. I mean, God, we could talk about the song for hours. There's so much like thick, thick reference in history. I love it. It's like this commentary on the history of American music as it's also adding to that lineage through its own sonic experimentation and innovation. I mean, is this a gift for Switchin' Pop? Is she in her switched on pop era?

Yeah, it definitely feels like a gift to us. Keeping this show alive. Thanks, B. Yeah, all right. Let's take a quick break when we come back. There's so much more music that I want to look at, and specifically how she crosses genre and cites the entire world of American music. Attention, Spotify.

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and let's get emolver for susentia. We just traveled all over American music, indeed. And she demonstrates so many different kinds of genre of mashups on this album. Let's take a listen to a few of them, like on the song, Spaghetti. It begins with Linda Martel

restating the thesis of this album. Genres are a funny little concept, aren't they? Yes, they. are. That miace virgo shit. In theory, they have a simple definition that's easy to understand. But in practice, well, some may feel confined.

And Shabuzzi adds his voice too. And from here, I am expecting a spaghetti Western. Yeah. Spaghetti Western referring to a style of filmmaking pioneered by directors like Sergio Leo, often starring Clint Eastwood, and they would film them in Italy for, I think, budgetary reasons. And then they would overdub all the voices later. And they were, like, kind of sparse and hyper-violent and, like, kind of this, like, dark spin on the classic John Wayne Western. And many of them featured soundtracks by the legendary composer Ennio Morricone. And that, I don't know, that sound,

that high kind of lonesome whistle that takes you right there so that's cool. And those are the kind of the sounds that are soundtracking the beginning of her song, Spaghetti. Stylized with two eyes at the end. This is Act 2. Yeah, every time there's an eye,

there's always two eyes of all the songs. I don't know how we're supposed to pronounce. Spaghetti. Spaghetti works. There's some other more difficult ones. I'm now realizing that referencing spaghetti westerns is also a kind of way of saying like Americana, as much as it

comes from real roots and culture also is a fabrication and a commercial good that is imported and exported all over the world. Italian made films citing American music. What is country? And she's going to push the boundaries of what that is on this song because we don't get a spaghetti western kind of thing. No. Your Levi's jeans made in, I'm pretty sure they're made in China.

Just got it through. We're going to come back to that. I got to see your ass one more time. Country, Petty, Petty, Petty. All the same to me playing James Spaghetti. No sauce, no sauce, too soft, too soft. They sautti, they shookin like curry, one hand on my host of, then pass it to Hover. Wow.

Damn. She's got flow. She can rap. Yeah. Oh, yeah. That was fire. Yeah. And so, like, thinking kind of the modern version of the spaghetti Western is, like,

drills, hip-hop. That's kind of a cool idea. It's all so considered, too. You know, actually in the song before this daughter, she sings in Italian, almost like as a lead-in to this song about to arrive. Wild stuff. And so what do we have? Like, spaghetti, western hip-hop, never heard that before.

Have you ever heard Riverdance House music? Oh, God. I mean, when I was in tour in Scotland with our friend Gideon, I did encounter some pretty hip remixes of traditional Celtic songs sung in Gaelic with house beats. Shout out to the Scottish band Nightward. So yeah, maybe not unprecedented, but certainly surprising to encounter on Cowboy Carter. Right.

Okay, so we have a guitar playing a sort of line that would traditionally be played on a Celtic fiddle. Okay. Celtic music, it's one of the important ingredients, the creation of American old-time music, fiddle tunes, and country. And then she's mashing it up with a house beat. Okay. So we have spaghetti hip hop. Yeah. We have Celtic River Dance House music.

And how about Fiddle Trap? Like on her song, Tyrant. Oh, she got that water. Hangman got that water. Don't act like you don't know. Gitty up. Gitty up. It's awesome.

I mean, that's cool. The very beginning of this, too, it sounds like almost like tap shoes are providing the percussive element. One, one by one. You hang my steady and you sleep in night Oh yeah, that's definitely tap. That's why, like, what is that about?

I don't know. Someone's going to tell us. Okay. Wow. I don't know. Everything is here. There's so much, the sonic, like, layers are just so rich.

It's very rich. This is a reaction episode. We are listening just half a day. We don't have all the answers. We don't have all the answers. I feel like this is something that, you know, I mean, there's 27 tracks. There's so much over an hour long.

We're just scratching the surface. There's so many things that we could go through. One thing that I don't want to miss, though, are the covers. There's a handful of covers, and I want to highlight a few of them. The first is actually what I hear as an interpolation of a Buffalo Springfield

song on American Requiem, the opening track. It's a lot of talking going on while I sing my song. There's something happening here. What it is ain't exactly clear. I think it's time we stop.

And what's that sound? Everybody look, what's going down. I hear that. What's neat is she's taking this song for what it's worth from Buffalo Springfield, which was a 1960s protest song. And she is using the melody, but changing to production

to actually sound like kind of psychedelic rock. You have a sitar guitar, some really woozy strings, and what it sounds like, Farfisa organs. The sounds of, psychedelia. There's some backwards tape in there as well, perhaps.

Yep. And so, referencing the counterculture era and the time of civil rights, right at the top of this album. Okay, so that's the first one. The next song on the album is Blackbird by the Beatles. I don't know if he's playing this, or if it's a sample. I think it's a sample,

because you can hear the click track. Bird singing in the dead of night. Take these broken wings and learn to What's that doing there? And why is there a click try? Why is there a metronome in there?

Because the original has the metronome. Does it really? Yes. Your mind is blown. What? How did I never hear that before? I'm having like a Mandela effect moment right now. Are you sure that's always been there?

That's always been there. They didn't just put it on Spotify yesterday. Yeah. There's always been a metronome. Okay. I've heard this like someone said it's Paul tapping his foot, but that's definitely a metronome. It's crazy. You might be thinking, well, why did Beyonce cover Blondeau?

It turns out Paul McCartney has explained his inspiration for the song as being in response to the racial turmoil in the United States in the 1960s when he wrote Blackbird. And he had imagined a black girl singing the song in response to racial injustice and looking to the hope of the civil rights movement. So who better to update the song than Beyonce on this project about American Requiem? Yeah. I think it's also important for this moment to arise. You're only waiting for this moment to... I think it's also important to know that the Beatles were a British invasion band who were borrowing so heavily from American music.

So again, she's actually going abroad and looking at American music as a cultural export and realizing that country music are the roots of the Beatles. They played guitars that mirrored Chad Atkins, a great country player, right? That's right, yeah. Like, they were covering early rock and roll that was influencing country music. They wrote some country songs from not very good ones.

Yeah. Hey, don't talk about what goes on that way. No, I'm thinking of what's on help. No, act naturally is on help. And that is a cover. And I will also not stand for act naturally slander. Isn't that Ringo singing? That's one of Ringoes, that's a Ringo classic.

It's not his best vocal. Oh, my God, Charlie. I've agreed with everything you were saying, right? I'm an Octopus's Garden guy. Just a good turn. All right. I think the most compelling cover here, though, is

of course, Jolene, the famous Dully Parkin song. Jolene, Jolene, Jolene, do you notice what she's done here? Is there a METU know? She's changed the lyrics. Jolene, Jolene, Jolene, Jolene, I'm begging of you, please don't take my man.

Oh, yeah. Instead of Jolene, I'm begging you, please don't take my man. Jolene, I'm warning you. Don't take my man. And the verse takes it even further. It's removing all of the sort of pleading aspect. There's sort of no remorse here. There's more of a threat.

Yeah. And I think the ultimate flex of this cover is that not only she changing the lyrics, she introduces a whole new musical material. It's a bold thing to mess with a classic like that, but it feels like... I don't know. It works. And I suppose she has Dolly's a full endorsement. Premature on this, like literally kind of giving her license beforehand. So she did her due diligence, I feel like. Yeah. And the vocal is, the vocals throughout. The vocal laying. She's

singing a lot on this album. Even more than Renaissance. It's like, you really hear what she can do. Well, because a lot of the production is stripped back, more sick, and so on. So yeah, highlights the voice a little more. A lot of rich harmonies throughout. And we're hearing new kinds of textures. Obviously, she has done a song like Daddy Lessons, which is a country like song on Lemonade. Right. With his gun, oh, my daddy said jute. Oh, my daddy says shoot.

The amount of twang that we're hearing, the amount of just sort of new vocal style, like the amount of blues and the gliding between notes in her vocal, it's great to just see the range of her abilities. I'm gonna stand by me, Joe. This tour is gonna be fire. Well, okay, that's the thing about this album, man, is that this, it's not that it's all academic, let me put my elbow pads on. And, like, this is a serious record in which it's debating whether or not country music is this or that.

This record is fricking fun. There's so much joy on this album. And in fact, she says just as much on the song, Just For Fun, with Willie Jones, a forerunner in blending trap and country music. I'm going down south just for fun. I am the man. Where I go, I hide my face. From the Cowboys in Clovis in a rodeo circus I came here for a reason

But I don't know the purpose It's all under the surface She's going down south just for fun Yeah, she's playing with the genre She doesn't totally know the purpose She's having fun with it Maybe this song is a bit serious But you hear the joy

All over this record Look at that horse Look at that horse Pretty is hell on that, Jarrell, down in a sparse. Yo, purse. Book it. Bock it.

Do it again. A-O-T-Y. I ain't when. I ain't stung about them. Take that shit on a chin. Come back and forth. It's not just all fun. She's making a statement here.

A-O-T-Y. Album of the year. I ain't when. Is it time? Absolutely. Right? I would say that this is one of the most creative album. Like, the year is young, Joe's.

We could retire our show. Just like, really, it's like, this is a gift. Yeah. This is a gift of American music. There's so much to explore. I'll make one case for why I think this deserves Elm Load the Year. Yeah. Not only is she mashing up all of these sounds and showing us this great history lesson,

but she's making totally new things in the process, which is the process of making music, right? It's like borrowing from your forebears and making something new. One thing that she's done a lot, actually, both on part one and part two of this trilogy. is to completely play with formal expectations, structures of songs. There are so many songs on here that have part one, part two, part three, that don't follow our sort of nice verse, chorus kind of structure.

American Requiem has multiple parts. Two hands to heaven has multiple parts. Sweet Honeybuckin has three distinct sections. So she's making a record which I think you can go out and dance to. I think you can think to. I think you can make love to. And you can't look at my Levi jeans right now. You've read my mind.

Get that ass over here. And yet she's doing it by by creating whole new structures of music. not playing to the nice sort of verse chorus expectations that we have. And so there are so many reasons why people are hopefully going to vote for this for a year, but I'm not holding any cards here. I love this thing. All right. Wrap it up.

AOTY. Tom's please. I think we should take our word at it. This ain't country. This ain't country. It is so much more than country. It is self-consciously sampling the roots of American music. It's just as much hip-hop as it is country.

is just as much soul as it is a country. This makes a case for house music as country. This makes a case for all of American music as part of the country tradition. It's an American record and maybe the future of country music. Switchdown Pop is produced by Rihanna Cruz, edited by Art Chung, engineered by Brandon McFarland. Iris Gottlie does our illustrations at Bacar does community management. Our executive producers, Nashirwa, were a production of the Vox Media Podcast Network, and New York Magazine's Vulture.

You can subscribe to New York Magazine at NWRWR, mag.com slash pot. We are switched on pop at all of the social channels and on our website, switched on pop.com. We have a newsletter. You can subscribe to that in our feed down below or on our website. We talk on the box. We talk a lot more about the insights of music that are happening behind the scenes at the show.

I can't imagine the things that we have totally missed on this record, right? We're going to study this for a year. So consider this a first impression. Maybe we'll come back with a 27 part series. I don't know. Also, I'm sorry, Rumi, forgive me. I love you. I don't know what I'm talking about.

Oh, yeah, thank you. All right, you make amends. This has been fun. Thank you so much for listening. Until then. Thanks. Thanks for listening.