When a song could double as a compilation title for the artist in question, it’s hard not to go in with clear expectations before you even hear it. Eye-catching title aside, this is not new territory for Gary Allan. If anything, it’s his most charted territory.
So you get what you expect here. A wailing vocal with some ragged trimming, driving electrical guitars, and a lyric about being despondent but digging it.
I’ve gotten so used to being bored by mainstream country music that listening to “Little White Church” was a bit of a jolt. Thematically, it’s essentially the country spin on “Single Ladies (Put a Ring On It)”, though it could hardly be called derivative.
I’m having trouble singling out what I like about the song the most. First, it’s refreshing to hear those harmonies again, which quite frankly make Lady Antebellum sound like amateurs in comparison. But the instrumentation is just as fresh as the harmonies. They both zig when you expect them to zag. Hand claps appear out of nowhere but don’t sound out of place. There’s a guitar riff before the final verse that just sounds so frickin’ cool, but before you can fully digest it, the vocals are back and suddenly incorporating a dry whisper. It sounds pretty frickin’ cool, too.
There’s been many a discussion this past month about what makes an artist most effective: is it vocal nuance or personal connection? Is it songs with explicit absolute truth or implicit absolute emotion? They’re interesting topics to explore, but somewhere in between the analyses, we’ve lost sight of –and perhaps even appreciation of– the artists who have the potential to make our analyses futile. Because some artists actually have it all.
Let’s be real: “Groovy Little Summer Song” isn’t near James Otto’s most memorable, well-written material. It’s not as infectious as his mega-hit, “Just Got Started Lovin’ You,” nor as impassioned as the lesser-known “For You,” and his soulful phrasing seems to eat up some of the words. But “Groovy Little Summer Song” is an incredibly refreshing re-introduction to an artist who can deliver both rich, distinctive vocals and pure, raw sentiment. Otto may be simply asking a DJ to crank up a cool summer tune, but he still manages to color his performance with shades of believable soul, technical substance (the falsetto is a treat) and authentic summer bliss.
Wynonna once sang about driving down an old road that “can take you back to the place but it can’t take you back in time.” The road she longed for doesn’t exist in physical reality, but as Tim McGraw observes in his new single “Still”, they do exist in your mind, provided you allow yourself the quiet and stillness needed to travel down them.
This is the part of the review where I should continue waxing philosophical and pretending there is a professional distance between myself and this song, that the “A” grade that follows is based on a purely objective and thoughtful analysis of the record’s components and how they come together. That would be a lie.
The truth is that my memories are my only tangible connection to most of the significant people and places in my life, and while the details may differ from what McGraw describes in this song, the process of reconnection is the same. I just need to be still, to allow the quiet and alone that are needed to go back in time again.
I had such a negative reaction to “Strange” that it kept me away from the new Reba McEntire album at first. So imagine my surprise when the second single from Keep On Lovin’ You, “Consider Me Gone”, turned out to be my favorite single from her in thirteen years.
Everything that “Strange” wasn’t, “Consider Me Gone” was: introspective, self-assured, fully believable and completely adult. It left me more receptive to McEntire’s music than I have been in a long time, so I eagerly dived in to the title track, which is now the latest single.
While it doesn’t approach the perfection of “Consider Me Gone”, I must say that it’s still a good deal better than the bulk of this legend’s output. It’s really unfair to compare her to the newer acts that dominate the radio. Among the women, only Carrie Underwood is in her league as a vocalist, and she doesn’t have the thirty years of life experience to draw upon that Reba does.
When did being able to sing reasonably well cease to be a requirement for country music?
Nashville mythology claims it all comes down to the song, but the singer and the production have always been just as important components in great country records. Generally speaking, country singers have always been able to…sing. Even the ones that weren’t distinctive or sounded like the latest George Strait clone were able to carry a tune.
With all due respect to Lady Antebellum, I’m tired of this nonsense. This song isn’t sung well, and it’s certainly not interesting enough to warrant suffering through the painful mediocrity of the lead vocal. As for the harmonies? Give them all the Vocal Group trophies you want – heck, Rascal Flatts has five of them – it doesn’t change the fact that there’s no discernible difference between this band and a faceless group of backup singers helping a solo artist out in the chorus. The metaphor that the entire song is built around is applied to so many different things as to render it meaningless.
We proceed.
#20
Taylor Swift, “You Belong with Me”
Teen-pop perfection, bursting with personality and unshakable hooks. – Dan Milliken
#19
Keith Urban, “‘Til Summer Comes Around”
There’s nothing quite as lonely as a carnival that has shut down, except for being alone at a carnival, surrounded by everyone but the love who has left you behind. – Kevin Coyne
#18
Lady Antebellum, “I Run to You”
Sheer passion and pulsing energy from start to finish. – Tara Seetharam
Here’s hoping you haven’t gotten completely burned out on countdowns yet. 2009 was hardly a favorite musical year for many of us, but amid each year’s glut of throwaway items, there’s always a good’un or two (or forty). The following is the first installment of our Best Singles of 2009 list, which will conclude tomorrow morning. Best Albums will follow next week.
As with the Singles of the Decade feature, this countdown has been compiled through combination of four equally weighed Top 20 lists by Kevin, Leeann, Tara and myself. An inverted point system was applied to the individual rankings (#1 on a list meant 20 points, while #20 on the list meant 1 point). The songs were then ranked together by number of total points, greatest to least. The final result is another rather stylistically diverse set.
As always, we hope you enjoy the countdown, and welcome all the feedback you can muster. Happy New Year!
#40
Lady Antebellum, “Need You Now”
The trio puts a country spin on an old school pop sound, but without forsaking raw emotion. The highlight of the song is Hillary Scott’s smoky performance, which draws out all the anguish and regret you’d expect from a desperate, 1 AM lover’s call. – Tara Seetharam
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