That’s quite a bit of title for so little song. Late nineties filler rock continues its transition on to the country airwaves, as Steel Magnolia sings a song that could put a Matchbox Twenty fan to sleep.
It’s not so much bad as it is unnecessary. By the end of the song, I’m still wondering, “Why did this need to exist?”
Oh, recreational blogging. One day, it’s as easy as finding a Waffle House exit on a Tennessee interstate. The next day, it’s like trying to digest what you ate there. You do your best, but you never really know when real life might start beckoning you and all your other writer buddies at once, leaving behind a skinnier website than any of you intended to keep.
Which is all good and well, of course; I certainly enjoy all my inadvertent time off, and I’m sure our more tasteful readers enjoy it, too. But Country Universe has always tried to stay on top of the album and singles markets, and in that regard, we’ve got a fair bit of catching up to do.
I guess I like the origin of this song, which has a modern narrator marveling at how an elderly couple has actually managed to endure their whole lives together. It’s a nice little bit of social commentary.
But wouldn’t you know it, the thing quickly devolves into just another “how to live your life” chorus, like “Help Somebody”/”Don’t Blink”/”Voices”/”You’re Gonna Miss This” all over again. Seriously, when did mainstream country become all about old people rattling off sound bites at young people?
I don’t know about y’all, but Dierks Bentley has been on this swift downward trajectory for me ever since his killer trio of “Every Mile a Memory”, “Long Trip Alone” and “Free And Easy (Down the Road I Go)” back in ’06/’07. I don’t know whether his team got spooked by Long Trip Alone‘s low sales and tried to force crowd-pleasers out of him or if he just ran out of interesting ideas on his own. Either way, it’s been a bummer.
Lady Antebellum’s key strength is delivering gritty, tangible emotion that can breathe life into the glossiest of production and the vaguest of lyrics. That’s what elevates “Need You Now” to an aching confession, and that’s how, on a song that compares innocence to a condiment, Hillary Scott’s vocal performance alone manages to tell an evocative story.
John Anderson’s early 1983 hit, “Swingin’”, is the song that propelled his mainstream country music career. The quirky song that chronicled the mundane details of young infatuation is more loved for its unadulterated cheesiness than for being anything akin to a masterpiece. In fact, it sounds delightfully dated today, which only accentuates its cult appeal.
Country, blues and rock ‘n’ roll – mostly the lattter two – combine for a hearty serving of frat boy fun on Jack Ingram’s latest single. “Barbie Doll” has been a fan favorite since its initial release on Ingram’s 1999 set Hey You, but this latest iteration boasts a driving arrangement that may finally get the track on mainstream radio.
The song marries Ingram’s straightforward hook sense to Todd Snider’s rambling barroom-sage style, wringing as much talk as it can out of a pretty slight premise (“dude, that girl you’re checking out is a total B-word”) and culminating in a big group shout-a-long.
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