Back in the nineties, radio remixes became widely prevalent in the pop, rock, and R&B formats. You couldn’t just send a song to radio as is, and call it a day.
Instead, programmers would get the same song in five different versions. Top 40 Mix, AC Mix, Dance Mix Edit. All the same song at the core, I suppose, but when the only thing left from the original is the artist’s vocal, it’s hard to know what the core of the song is.
I think if we can give Blake Shelton the award for Male Vocalist in 2010, we might as well start thinking about giving it to Billy Currington in 2011. He’s giving Shelton a run for his money in putting out milquetoast material that’s elevated into listenable by a charming vocal performance.
“Let Me Down Easy” is not going to appear in one of those deluxe coffee table books of song lyrics. Coffee napkin, maybe.
It’s hard to tell when Miranda Lambert is being herself and when she’s posturing. I think on “Heart Like Mine,” she’s doing both, which makes my head heart a little bit.
The chorus is solid, the second verse about her father and her brother are quietly revealing and fully believable. I love the message about Jesus and how he’d very well love her just the way she is.
There hasn’t been a great song in this vein for a good long while. The last one might have been “The River and the Highway.” It’s the classic lover’s triangle: the man, the woman, and the impossible dream.
In this case, it’s the man who is chasing his dreams and cannot settle down, and it’s the woman who won’t wait around while he’s left her behind. It’s structured well enough that you can’t anticipate if they will reconcile by the end of the song, if the man will give up the dream or the woman will chase it with him.
Karmic retribution for every boring vocabulary lesson I ever bored my students with during my years as an English teacher.
I’d call this Jo Dee Messina’s B-material, but I’m pretty sure she’d have passed on this one, even though she’d sing it a lot better. I get that Ashton Shepherd is bringing country back to country, but a dull vocal isn’t improved by exaggerated twang. It just sounds forced.
I am not one who typically embraces extremes, but I must make an exception for Johnny Cash’s recording of “Ring of Fire.” It’s the definitive version; it’s an untouchable. Sure, some people have made valiant attempts, even changing things up so as not to try to mimic Cash, but make it their own, and I even like some of these other versions. None of these other efforts, however, has surpassed or even come close to touching Cash.
I don’t think there’s ever been a song that I’ve wished remained an instrumental as much as this one, as the gorgeous instrumentation, especially the fiddle, is the very best example of what the title claims.
But alas, our reigning Entertainer of the Year insists on tackling the title with lyrics, and it doesn’t end well. It doesn’t even begin well, with the ridiculous notion that country music is where you need to go to hear that Jesus is the answer, as it’s not afraid of rubbing folks the wrong way by saying so in a song. Michael W. Smith and countless Winans have made a career out of doing so without ever recording a country song.
Copyright © 2025 | MH Magazine WordPress Theme by MH Themes
