Single Reviews

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Jimmy Wayne, “I’ll Be That”

May 23, 2009 Tara Seetharam 0

After Wayne’s strangely soft rock-esque single “I Will,” it seemed anything a bit more country and a bit less melodramatic would move him in a positive direction. Meet “I’ll Be That”: a catchy summer track that does just that.

It’s not a particularly interesting song, but by design, it’s not supposed to be. “I’ll Be That” serves its purpose as a pleasing sing-a-long with a decent hook, packed with sweet albeit unoriginal promises: “The one that’ll stand and fight for you/A safe place you can run to/The truth in the words ‘I do’/I’ll be that to you.” Stacked against the crop of male regulars on country radio, Wayne has one of the better, more soothing voices, so the song automatically gets an added boost. Of course, it’s a little difficult to pick Wayne’s voice out from the over-produced chorus, but as clamoring radio releases go, it could be worse.

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Phil Vassar, "Bobbi with an I"

May 21, 2009 Leeann Ward 32

I’ve had to listen to this song several times just to be sure it was real and not just an insane figment of my imagination. But alas, whether I like it or not, it is real and I’m the one who has been charged with the task of attributing words from the English language to this strange composition, which suddenly seems limiting. So, please excuse my casual tone just this once, because I’m going to have to forgo the formal conventions of a review in order to even come close to adequately describing this song.

“Bobby With an I” is about a cross dresser. Bobby is a man’s man during the week, but he turns into Bobbi when the work week is through. He makes such a convincing woman that “you better watch how much you drink/He might look better than you think.” Right.

Despite how others may feel about the somewhat subversive topic, it is actually a redeeming quality of the song. While it’s treated very lightly here, it is still likely to offend the sensibilities of some disapproving country music listeners. However, what offends my sensibilities is the execution of the song in general.

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Taylor Swift, "The Best Day"

May 19, 2009 Tara Seetharam 15

Oh, the irony of this review. The self-appointed Taylor Swift detractor is assigned the one and only song in Swift’s catalogue that moves her to tears. I think that’s what they call karma?

In all seriousness, “The Best Day” is a beautiful, curious illustration of the artist underneath the pop star that is Taylor Swift. Honest and youthfully elegant, it’s not the kind of song that shot Swift to superstardom, but it may just be the kind of song that perpetuates her career after the hype of teen angst and pop-remixes subsides.

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Holly Williams, "Mama"

May 15, 2009 Leeann Ward 2

Justin Townes Earle, son of Steve Earle, has recently received considerable press regarding his beautiful and classy song that pays tribute to his mother. It’s been reported that before he sings the song at a show, he introduces it by saying that his father gets enough credit, but someone who does not is his mother. This is easily true about most spouses or ex spouses of famous people. So, it’s nice when an adult child takes advantage of his/her platform to rectify the oversight, which is something that Hank Williams Jr’s daughter has done as well.

Holly Williams sings a tribute to her selfless mother, simply titled “Mama.” While the song is as simple as the title, it is sweet and intriguingly revealing about her childhood. In “Mama”, Williams thanks her mom for shielding her from the emotional turmoil that undoubtedly plagued her as a result of a broken marriage to the famously rebel rousing, Hank Williams Jr.

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Luke Bryan, "Do I"

May 6, 2009 Tara Seetharam 9

After a string of mega-party anthems, it’s refreshing to see a different side of Luke Bryan, a more sensitive, wistful side that longs for the once “perfect simple kind of loving” that escaped a relationship.

But as relatable and tender as the lyrics of “Do I” may be, the song –the first single off Bryan’s second album– is ultimately not quite as poignant as the story it’s telling. Instead, it falls victim to the kind of standard, monotonous chorus you think you’ve heard before (and probably have, in some form or another) and feels generally flat. It lacks character, soul – almost everything that elevates a simple country song from bland to moving.

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Martina McBride, "I Just Call You Mine"

May 4, 2009 Tara Seetharam 8

Finding a “Martina McBride” among the class of mainstream country artists is rare. When she’s on her game, she effortlessly balances relevance and reverence with timeless material.

That’s why it’s so frustrating to see her dip from this standard, as she does on the lukewarm “I Just Call You Mine.” It’s pleasant and effective, and McBride’s soaring vocals are flawless, even tastefully soaring a little less than usual. But as her signature power ballads go, this one falls just a tad short of stirring emotion.

In theory, I empathize with the subject: most of us know someone, romantic partner or otherwise, who exemplifies the “good” in the human spirit, someone so uniquely special that you’re honored to have him or her in your life. But it’s a tricky thing to realistically describe without feeling weighted down with grandiose professions, and this is especially true when the backdrop is a swelling and not entirely original melody. Perhaps the song would be more interesting if we were given some context: what, specifically, makes this person “a standing ovation after years of waiting”?

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Steve Azar, "Moo La Moo"

May 3, 2009 Kevin John Coyne 2

I can only assume that this song is titled “Moo La Moo” to avoid being confused with the old Billy Hill hit “Too Much Month at the End of the Money.” It’s a shame that choice was made, since “Too Much Month…” is the hook of the song and an eye-catching title to boot.

It would be even more of a shame for this song to be overlooked. Easily the strongest release of Azar’s career, it perfectly captures an experience that countless Americans can relate to: living paycheck to paycheck.

That it manages to do so with dark humor instead of somber commentary is refreshing. It’s a lot closer in spirit to “9 to 5” and “Busted” than it is to “If We Make it Through December.”

He sings, “I don’t know why I’m laughing ’cause it sure ain’t funny,” but it’s hard not to crack a smile at the lyrical wordplay throughout the song. “My checks ain’t bouncing but they sure is shaking. I ain’t broke yet but I sure am breaking. My BLT’s just waitin’ on the bacon.”

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Richie McDonald, "Six-Foot Teddy Bear"

May 3, 2009 Kevin John Coyne 5

Former Lonestar frontman Richie McDonald caused a stir when he left the band. His former bandmates vented in the media, sharing their frustration that McDonald had insisted they move in the direction of domestic songs like “My Front Porch Looking In” and “Mr. Mom.”

To be fair, those songs were huge hits, and there’s always been a place for such records in country music, as Donna Fargo and Barbara Fairchild could easily attest.

“Six-Foot Teddy Bear” continues in the same vein as those Lonestar hits. It’s the tale of a man who leads with his chest at work, a Harley-driving tough guy who turns into a mush once he gets home. He wonders what the guys at work would think of him if they knew that he let his little girls outfit him in Mickey Mouse ears and paint his toenails red.

McDonald’s performance is a mixed bag. He’s never fully convincing as the tough guy, but he’s fully believable as the family man who puts his children’s enjoyment before his own dignity. It’s a pretty realistic portrait of modern day fatherhood, and his joy in playing the role is palpable.

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