I think someone’s in a little songwriting funk. The #37-stalled “Dead Flowers” had intriguing lyrics but a generally bland sound; this one has the inverse problem. The melody and production are reminiscent of Little Big Town’s best rustic country-rock, and there’s a much more commanding hook here than “Dead Flowers” had, but the effort is compromised by throwaway lines like the chorus’ closing “And I don’t know why, white liar.” Don’t know why what, MirLam?
Anthony Smith is likely better known as a songwriter than a recording artist. As a well established songwriter, he’s written songs for Trace Adkins”I’m Tryin’”, “Chrome”), George Strait (“Run”), Tim McGraw (“Kristofferson”), Montgomery Gentry (“What Do You Think About That”), Trisha Yearwood (“Who Reinvented the Wheel”), and countless other big name stars. As a recording artist he has struggled, releasing his 2002 If That Ain’t Country to some positive critical reception, but ultimately met with limited commercial success. In an attempt to revive the singing part of his career, Smith has recently signed with Stroudavarious Records, which has released the offbeat rocker, “Bringing Back the Sunshine”, as the upcoming album’s lead single.
Jeez, talk about your “Good Artists Gone Bad.” Alan Jackson’s latest manages to take two things I really like – honky-tonk music and silly song titles – and make them seem duller than a bad Learn-To-Type program.
It’s almost the kind of song Tim McGraw’s “Back When” once poked fun at, actually, except the subject matter here is the progression of technology, and this doesn’t even feel like enough of an effort to warrant spoofing. I mean, there’s not much to say about a song whose first three minutes basically break down to, “I kind of like my plasma T.V….but also, I kind of like whippoorwills.”
You may already recognize this song from Brad Paisley’s 5th Gear album. But then again, you may not, since it’s not especially memorable, anyway. Much like Paisley’s “Then”, “It Did” sentimentalizes that life just keeps getting better and better with each progressing milestone (courtship, wedding, baby).
Paisley’s version is superior in production quality while Larsen’s warm voice outshine’s Paisley’s vocals. However, in either case, the melody and lyrics are particularly bland with Larsen’s unimaginative pop infused production managing to turn an already unengaging song into something next to insufferable. Furthermore, this song just wasn’t worth recycling in the first place.
…Or as I’m going to call it, “Michelle Branch copying Taylor Swift copying Michelle Branch.”
For real, though. It’s like the thing has passed through so many levels of self-consciousness that most of the personality just got rubbed out of the mix at some point, leaving behind only a flimsy song and recycled production.
It’s not unpleasant listening, but it’s difficult to avoid comparing to Swift’s similar (and superior) “You Belong With Me,” and even harder to enjoy in the context of Branch’s own body of work, which has seen both pop and pop-country with much more passion, maturity and distinction.
Very interesting. It’s almost like Jamey Johnson decided to try his hand at a typical radio ballad – unspecific narrative about finding fulfillment in a significant other/God, rock bent, oversized electric guitar solo – just to show that he could make even that sound pretty cool.
Good thing the idea worked out. Expectations have become so bloated for Johnson that his career could suffer quite a dip if the follow-up to That Lonesome Song doesn’t manage to woo both critics and consumers again. This single’s savvy blend of commercial trimmings and un-commercial delivery suggests that won’t be a problem.
Collin Raye has always had a voice best suited for ballads. However, at times, he has been known to stretch his vocal boundaries with unique results that have ended up feeling like a signature vocal trademark that, ultimately, works for him. Likewise, he is most associated with his glut of sensitive love songs or overwrought message ballads with strong melodies if not saccharine lyrics.
“She’s with Me” is yet another Ballad, but it deviates from Collin Raye’s typical penchant for overdoing it. Instead, it is a slow, vocally restrained song with a message, but one that is worth exploring.
Atkins’ latest single is pure, straight-up fun without being hokey or over-the-top – a tricky thing to do in country music. Against a pleasing, honky-tonk arrangement, Atkins delivers a clever hook about a misguided attempt at giving up smoking, women and drinking, resulting in the worst 15 minutes of his life. It’s simply a well-crafted bar sing-a-long that doesn’t take itself too seriously:
“Well you could get hit by a truck tomorrow
So you might as well raise a little hell tonight.”
I’ve never been a fan of Contemporary Christian music, mostly because of the bombastic arrangements. I like my religious songs Emmylou or Willie style, with organic production and, if I’m really lucky, a bit of struggle before the redemption.
So it was with great enthusiasm that I dove in to Diamond Rio’s “God is There.” I’ve always loved the sound of this band’s records, even when the material was slight. When the material was solid, like the back-porch bliss of “Meet in the Middle” or tongue-twisting charm of “How Your Love Makes Me Feel”, nothing sounded better.
“God is There” opens promisingly, with a sparse piano accompanying Marty Roe’s voice. It sounds so similar to their best single ever, “You’re Gone”, that it got my hopes up. The opening verse tells of a young girl struggling with an unplanned pregnancy, feeling abandoned and alone.
It’s easy to lose sight of Billy Ray Cyrus the “artist” when 90% of his exposure of late has been alongside pop star Miley Cyrus – whose artistic credibility actually, surprisingly, sometimes surpasses his own. But when Cyrus taps into his core, with songs like “A Good Day,” he reminds us that he’s got a substantial amount of talent, particularly a strong, decent voice.
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