Country music has changed. This book explains what got left behind.
Off the Charts is Gene Johns’ answer to today’s mainstream country scene—a collection of songs and artists that never made the playlists, never topped the charts, but never abandoned what makes country music real. Built from the Essie Country “Song of the Week” series, this book highlights music rooted in tradition—steel guitar, fiddle, storytelling, and voices that sound like country, not something borrowed from another genre. These are the songs Nashville ignores.
These are the artists radio doesn’t play.
These are the tracks that still sound like country music.
If you’ve ever wondered where the real country music went—this book shows you.
Now available on Amazon–to view on Amzaon click HERE
Essie Country—real country music, the way it’s supposed to sound.
Before we get to the songs, we need to talk about the state of country music today. Because if we are being honest, a lot of what’s called “country” now wouldn’t have made it past the front door years ago
The Roots of Country Music
On November 28, 1925, George D. Hay—an announcer and program director for Chicago’s WLS radio station and its National Barn Dance program—introduced Nashville to its own version of the Barn Dance on WSM Radio. That program would eventually become the Grand Ole Opry, establishing Nashville as the center stage for country and western music and anchoring the country music industry that grew there. From that point forward, Nashville became the heart of country music.
Country music has evolved significantly since the early days of the Opry. Nashville helped bring the fiddle, steel guitar, and the unmistakable twang of Southern artists to a national audience. Today, however, Billboard’s Hot Country Songs chart no longer reflects the talent and musicality of traditional country music. Instead, what I call “fake” country has dominated the chart—and much of the industry—for the past 15 years.
What “Off the Charts” Really Means
The phrase “off the charts” usually describes something exceptional—something that exceeds expectations and stands above the rest. But that is not how I use it here.
Today’s Hot Country Songs chart is filled with music that borrows heavily from pop and hip-hop. This shift is not accidental. It reflects a deliberate effort by industry executives and producers to reshape country music by blending it with more commercially successful genres. I understand the business side of that decision—pop and hip-hop sell. But the result is that many outstanding traditional country artists are left off radio playlists, and in turn, kept off the charts.
Defining Pop, Hip-Hop, and Neotraditional Country
Before going further, it’s worth defining what I mean by pop, hip-hop, and neotraditional country music.
Pop music is a broad, ever-evolving genre designed for mass appeal. It typically features a strong, danceable rhythm, repeated hooks, and a familiar verse-chorus structure. Modern pop often relies on
electronic production, including synthesizers and programmed beats, and frequently blends elements from other genres such as rock, dance, and even country. At its core, pop music is defined by its wide audience and commercial accessibility.
Hip-hop is a rhythm-driven genre built around lyrical delivery, most commonly in the form of rap. It combines spoken or chanted lyrics with beat-based production and emphasizes flow, timing, and expression. Hip-hop can reflect a wide range of themes, including personal experiences, storytelling, social commentary, and entertainment, all delivered over a strong rhythmic foundation.
Neotraditional country is a style of country music that deliberately returns to the sound, instruments, and storytelling of classic country (1950s-1960s) while still being recorded and produced in a modern era. It is modern music that sounds like real, traditional country—built on twang, steel guitar, fiddle, and honest storytelling—rather than pop, rock, or hip-hop influences.
What Country Music Is—and Isn’t
Country music, by contrast, has its roots in the rural Southern United States. Traditionally, it combines storytelling with melody and is supported by instruments such as the fiddle, guitar, and steel guitar. A true country song highlights vocal authenticity, emotional honesty, and an immediately recognizable sound.
In its early years, country music also embraced Western ballads—giving rise to the term “Country and Western.” Over time, that label was shortened, and Western ballads largely disappeared from the mainstream.
A close look at today’s country radio and television reveals just how strong the pop and hip-hop influence has become. The fiddle and
steel guitar are often missing. The twang is softened—or gone altogether. In their place are pop vocal phrasing, electronic production, and sounds that would be more at home on a Top 40 pop chart.
The Industry Shift
I don’t necessarily blame the artists. The industry is a business, and its goal is to generate revenue. I understand that. But if this hybrid
sound is what the industry wants to promote, then call it what it is. Create a new genre—call it pop country, or something else entirely—but don’t pass it off as traditional country music. And don’t let it dominate country radio, Billboard’s country charts, or define the genre.
Despite this shift, many legitimate country artists are still producing outstanding traditional music. You just won’t hear most of them on mainstream radio. They can be found instead on platforms like Spotify, iTunes, iHeartRadio, and Amazon Music. In fact, I’ve compiled a list of more than 500 real country artists, included later in this book.
Meanwhile, today’s mainstream version of “country” continues to be promoted by organizations like the Academy of Country Music, Country Music Television, and the Country Music Association as the best the genre has to offer. In my view, that is a misrepresentation—and a betrayal—of traditional country music.
A Clear Example
Take Carrie Underwood as an example. After winning American Idol, she rose quickly to stardom and became one of the most successful artists in the genre, with numerous number-one hits and massive commercial success.
There is no question about her talent or success. But aside from a few songs like “Jesus, Take the Wheel” and “Before He Cheats,” much of her catalog leans heavily toward pop. In that sense, she represents the shift in country music—what I see as a departure from its traditional roots.
And she is not alone. Artists such as Sam Hunt, Russell Dickerson, Kane Brown, and Dustin Lynch, among others, have contributed to this transformation. Their music may be successful, but it has also helped redefine what is labeled as country.
Finding Real Country Today
I stopped listening to country radio years ago because of this shift. Instead, I’ve turned to streaming platforms, where I’ve discovered a wealth of genuine country talent—often long before the industry takes notice.
Artists like Lainey Wilson and Cody Johnson were on my radar before they gained wider recognition. And there are many more worth discovering, including Zach Top, Randall King, Mo Pitney, Jake Worthington, Brandy Clark, Ben McPeak, Catie Offerman, and William Michael Morgan, among many others.
I will continue to search, listen, and support the kind of country music that stays true to its roots—the kind of music that may never top the charts, but in every meaningful way, remains off the charts.
Off The Charts is available on Amazon. To view the book, click on Off The Charts
Wow! Gas prices are near record highs, and many people say it is a direct response to President Trump’s conflict with Iran. And to think—I voted for him three times!
Okay, that should get liberals and Democrats excited and riled up. But now let me explain my take on today’s high gas prices. By the way, President Trump is doing a great job.
Today’s gas prices, as we all know, are approaching the record highs Americans endured during the Biden presidency. But there is a major difference between the causes—and why one situation is more understandable than the other. And no, it’s not because I’m a huge Trump supporter or a MAGA conservative. It’s because of critical thinking.
The record-high gas prices and inflation during the Biden administration were largely driven by domestic policies and out-of-control Democrat spending during the first two years of his presidency. That is not merely a partisan opinion—it is well documented.
Biden and the Democrat-controlled Congress passed the American Rescue Plan, the Infrastructure Investment and Jobs Act, and the ironically named Inflation Reduction Act. Those massive spending measures contributed to inflation and rising energy prices. Biden’s inflation and high gas prices were largely self-inflicted, unforced errors.
Before the Iran conflict began, inflation and gas prices had started to decline. Trump’s policies, the reversal of Biden-era directives and executive orders, and renewed American energy production helped bring fuel prices down and reduced inflationary pressure.
Then President Trump escalated the long-running conflict with Iran—a conflict that, in many ways, began in 1979 following the Islamic Revolution and the seizure of the U.S. Embassy in Tehran on November 4, 1979, when Iranian militants held 52 American diplomats and citizens hostage for 444 days.
That event marked the beginning of decades of hostility between Iran and the United States. Iranian leaders and Iran-backed groups have repeatedly targeted Americans and American interests.
While estimates vary, hundreds of Americans—and possibly more than 1,000—have been killed by Iran or its proxies since 1979. Among the deadliest attacks were:
• 241 U.S. service members killed in the October 1983 Beirut barracks bombing carried out by Hezbollah, an Iran-backed terrorist group.
• 17 Americans killed in the April 1983 bombing of the U.S. Embassy in Beirut.
For decades, presidents from both parties avoided direct military confrontation with Iran. President Trump chose a different path.
Perhaps the most significant reason for confronting Iran was the threat of Iran obtaining nuclear weapons. With radical religious leaders controlling such weapons, Trump believed military action was necessary to prevent a potentially catastrophic future attack against the United States or its allies.
That decision has consequences, including higher gasoline prices and renewed inflationary pressure. But unlike the inflation caused by domestic economic policy during the Biden years, these economic effects are tied to national security and military conflict.
History shows that wars often bring economic sacrifice for Americans.
During World War II, Americans dealt with gasoline rationing, long lines at stations, limits on pleasure driving, lower speed limits, tire shortages, and restrictions on the purchase of new vehicles.
One might argue that World War II was a global war, not a regional conflict. Fair point. But even the Korean War brought economic pressures at home.
Gasoline prices increased during the Korean War, though not to the levels seen during World War II. Americans also experienced:
• Higher prices for cars and appliances
• Delays in the availability of consumer products
The bottom line is this: higher gasoline prices and rising inflation are part of the economic cost Americans may have to endure to confront what Trump and his supporters view as a serious national security threat.
Not only is it a cost we can endure—it may be a cost necessary to secure America’s future safety.
The conflict with Iran, supporters argue, is intended to protect the United States and reduce a long-term threat. If that comes with short-term economic hardship, many Americans believe it is a sacrifice worth making for future generations.
Sometimes freedom and national security come with a price—not only in lives lost, but also in economic hardship. President Trump understood that when he decided it was time to act.
It is time for Americans, regardless of political affiliation, to recognize the seriousness of the threat posed by Iran and to understand why President Trump believed military action was necessary, despite the economic consequences.
“Leadership is tested when the consequences are difficult.”
In recent years, I have noticed that profanity, especially the explosive use of the “F” word, has become a common practice by many, including politicians, singers (especially rappers), comedians, women, and, sadly, teenage girls. Just in case you don’t know which “F” word I am talking about, yes, it’s the one you might think. It rhymes with duck.
I spent nearly 22 years in the U.S. Air Force, including six weeks of basic training. I spent about the same number of years bowling in men’s leagues and participating in men’s bowling tournaments. I worked in a state prison for a year and a half, surrounded by inmates.
All of those environments are known for the freestyle use of four-letter words. So, it’s safe to say I do not have virgin ears. Over the years, I have been around a lot of unfiltered language.
An old saying goes like this: Sticks and stones may break my bones, but words will never hurt me. That saying could not be more wrong. Yes, I think using words like the “F” word and other words of profanity in our everyday conversations does hurt people. Not physically, but in terms of respectability and reputation, because it hurts the respectability and reputation of the one using such language.
I cringe every time I hear a man use the “F” word in mixed company or when it’s used around children or senior citizens who are not used to such language. For me, it shows a lack of class. Athra Albattat, a mental health counselor, states that class is how a person presents themselves to the world. The way they speak is a major factor in class. In my opinion, a classy person has a clean, expansive vocabulary, free of profanity.
I am reminded of what someone once said to a teammate of mine about me. He told my teammate, “Gene has too much class for this league.” I’m not sure what he meant by that, but I seldom used profanity, and when I did, it was probably “dammit,” and I was bowling in a league with a bunch of rowdy guys.
I did not tell you that to elevate my reputation, or to show that I think I am better than anyone else. I use that as an example of how one’s reputation can be tied to what one says or what one doesn’t say in public.
I think one reason the “F” word has become popular to use is that the “F” word is an extremely versatile word. Using inflection with the “F” word gives it many different meanings. It can mean approval, disapproval, agreement, happiness, sadness, anger, astonishment, agreement with, and other connotations simply by how the word is said.
The “F” word is probably the most versatile word in the English language, but that doesn’t mean it is said without a cost. It cheapens language, insults dignity, and diminishes respect.
I recently watched a few episodes of the television series “Yellowstone.” I heard great things about that show, so I wanted to see what all the hoopla was about that show. What caught me by surprise while watching “Yellowstone” was how much profanity there was in a regular public TV broadcast.
The “F” word and other profanities are plentiful in the “ Yellowstone” television series. We have come a long way from the days of the Andy Griffith Show and Archie Bunker, and I don’t think that is a good thing.
I know things change. Our society is smoking less, communicating more, and accepting different lifestyles without prejudice. All of those are good things. But, as a society, we have become indifferent to the classless use of profanity, particularly the “F” word, in public and in mixed company.
I also know that open profanity and the common use of the “F” word are here to stay. But class and respect are still virtues, and perhaps someday, class and respect will govern the flagrant use of the “F” word.
This commentary is not meant to lambaste those who choose to use the “F” word as a common language. Shazam, I’m just giving you, my perspective.
This book is a collection of essays I’ve written about God and Religion. It is a book by a conservative atheist. Yes, there are conservative atheists. I know, because I am one.
I titled this book “Insignificant Thoughts” because I am a nobody. No one cares about my thoughts concerning God and religion, or anything else, as far as that goes. I did not publish this book hoping to change anyone’s mind about their beliefs, but it would be great if it did.
I published this book so my children and grandchildren would know what I thought about God and religion and why I am a conservative atheist.
Now available on Amazon. To view on Amazon, click HERE
Out of My Mind is a compilation of essays I wrote over a relatively short period, except for three reprints from previously published books. This book reflects my thoughts on a long-time friendship, controversial issues, personal anecdotes, country music, a Presidential failure, reprimanding an activist, and God and religion.
Now available on Amazon. To view on Amazon click HERE
Why doesn’t the United States have all government agencies that oversee our national security (the military and Homeland Security), and other vital services from the government, be continually funded at last year’s level, until a new budget is approved?
It is unbelievable that we allow government agencies (including the military) to go unfunded because Congress can’t agree on a budget.
At the very least, if the government is shutdown, fully or partially, Congress should not be funded either. Additionally, the military and Homeland Security should never go unfunded.
Gene-ology.com 