Jessica Simpson’s second country single is a good deal better than her first. It’s still conversational in style, but instead of trying to convince a guy to come on over, she’s trying to convince a friend to turn away an abusive boyfriend.
The steel guitar still sounds like window dressing, but her performance is closer to sincere than it is to cloying this time around. When singing the chorus, she sounds quite a bit like co-writer Rachel Proctor, who had the memorable hit “Me and Emily” that explored similar themes. The ending tag, “Take it from me, I’ve stood there in your shoes”, is gratuitous, but overall, it’s a decent single.
Written by Victoria Banks and Rachel Proctor
Grade: B–
Listen: Remember That
Buy: Remember That
This is definitely country for the Carrie Underwood generation. The chorus sounds kind of like a cross between “Jesus, Take the Wheel” and “Just a Dream” – it’s got that “this is important, so let’s yell it” feel. But I do like the verses; it’s nice to hear her just chill and deliver some lyrics.
One more quibble, though – does anyone else think she cuts off her phrases kind of strangely? It’s like she slurs her words and pitch at the end of some words – probably a residual habit from her days singing Britney knock-offs.
Still, not horrible. There are some good moments here.
I’ll have to listen to the recording, but her performance of it on the Opry was pretty rough to my ears.
Let’s not bring up her horrible Opry appearance…
This song, in all fairness, is a decent one. I think it is her best bet to crack the top 10, although honestly, I don’t see it happening. There is only one thing that is SERIOUSLY flawed about her recording this song: she claims to have been in an abusive relationship. She really needs to shut up unless she is willing to be truthful, otherwise she is just going to suffer.
This is a great song & Jessica does it proud. Love Jess & her album!
Stephen,
I’m not exactly sure what you are referring to, but I think it would be best to take her claims at face value rather than dismissing them as untrue. Otherwise, you’re headed down a dangerous road of counteracting the redeeming element of the song–the appeal to leave abusive relationships.
Do we know that the last line is her own addition? It sounds like it could just be part of the song, which she didn’t write.
Stephen,
Are you refering to the song or something that Jessica has said in real life? If it’s something that she’s said in real life, I refer you to my above comment. If you were talking about the actual song, it’s common for people to sing songs about things that have not actually happened to them.
I believe I read somewhere she was quoted as saying she was in an abusive relationship herself.
But different people have different definitions of abusive …
That’s because abuse occurs in various forms. While physical abuse is what is most visible and likely what people automatically think of when the word “abuse” is used, emotional abuse can be just as destructive and should be no less tolerated.
It seems like everyone has tried to copy Shania Twain. From Jessica Simpson to american idol singer Underwood to so many other new acts.
They are all shania wannabes without the goods or charisma.
That which we call a Jake by any other name would smell as Jakely…
how in the world is this any comparison to Shania Twain there is none. Where are you coming from Kenny. I gotta go listen to it befor i can have a say.
vp, I was talking more about her first single that uses the name of the biggest female album of alltime,Come on over, by Shania.
Just had a listen and to me it actually sounds like she has some emotion, and that’s all its got going for it. I found the lyrics were very choppy and sort of just put there, there’s no real flow to them. I haven’t seen her perform this only heard it just now and it sounds like she sing with pouting lips, like how she poses for pictures, maybe that’s where the phrases get cut off strangely Dan, (the pouting lips) I think a B- is being very generous.
I listened to the entire album on the day it came out; it could (and perhaps still can) be streamed from her CMT artist page. All I can say, is it was a painful listening experience. As much as I disliked “Come On Over”, I came to realize that it was one of the better tracks on the album. The title track, written by Dolly was the next best track, though I really did not care for that either. The rest of it was the same old cookie-cutter kariaoke poptry that every other new female artist seems to be putting out these days. I’m amazed that anyone is taking her seriously at all.
I’ve been listening to country music all my life and I can’t remember a time when so much of the music was so bad. And I’m not just referring to Jessica.
Oh boy, more Shania vs. young new starlets.
I’ve only listened to the album once…but this, I thought, was the strongest song on the album. I felt that her emotions were coming from a real place whereas other songs she didn’t sound sincere. I’m not sure if this will be a top 10 hit…more than likely I’ll say it’s AT LEAST top 20. But out of all the songs on the album, this is a good one to release as a single.
I heard the co-writer Victoria Banks perform this recently as part of Canadian Country Music Week festivities. It sounded great out of her mouth but then again Come On Over (which she also cowrote) sounded better by VB too.
Take from that what you will…
Kevin, you really think Jessica Simpson sounds like Rachel Proctor on the chorus of this one? Because I think Rachel Proctor’s version of this song shows that she (RP) has the sweeter, fuller and more resonant upper register. To my ears, Simpson’s voice sounds strained, thin and tight during the chorus (which is something I would say marks most of the songs on her album). I don’t think it did her or the song any favors for Simpson to sing this song a half-step higher than Rachel Proctor’s version.
I also think the production on this one is rather distracting. The choices of instrumentation closely resemble those on Sarah McLachlan’s “World on Fire” (and the tempo of this song is similar, too). But then on the bridge it’s as if Brett James and/or John Shanks suddenly decided it was an Evanescence Goth rock song. Totally unnecessary.
Dan: As Rachel Proctor’s version of this song attests, the “take it from me, I’ve been there in your shoes” tag is indeed in the original composition. I agree with Kevin that it is a gratuitous insertion of first-person voice in a song whose focus should remain lifting up and inspiring others.
Leeann, I never saw your response. My apologies. I was referring to an interview she did where she said she’d been abused but then refused to give any details about the relationship. I realize it could be true and it would be difficult to talk about if it is, but I find it extremely difficult to believe because of the convenience of it all.
There she goes again, just singing words, no feelings, no soul. Abused? she’s a constant lier. fake, fake, fake
There’s actually emotion in her singing of this song. I never like to hear her belting because her voice sounds strained and forced when she does it, like she’s trying to do something that’s not suited for her voice. The last line is relaly touching too, like she lived it. Whether or not she actually lived it in real life, she sure sounded convincing in the song.