Second, what were you thinking rating “Smoke A Little Smoke” as an A-? That was the weirdest song I’ve heard recently on country radio and I just don’t feel like the topic was really appropriate for what country music means to most people. Ballsy? I’m ok with ballsy. But talking about getting high on mainstream country radio just seems to be a little out of line. Maybe they should save that for their garage jam sessions.

I hope the Band Perry puts out another single that hooks me like “If I Die Young.” Their first single made me want to change the station constantly, but I always leave the dial when this one comes on. I don’t get tired of its melody and her soothing vocals. I hope they stick around.

I don’t know if I’ve left country music, or if country music left me, but I was just grateful we stopped tuning in before it got any worse. These aren’t even songs that are being composed anymore; they’re just generic lists of buzzwords guaranteed to win over an uncritical audience with an enthusiasm for vapid sounds.

“John Wayne, Johnny Cash and John Deere,” really? Come on, you’re not even trying. And I’m pretty accepting of list-based songs, incidentally. Patty’s “Think About Elvis” was a lot of fun, and Garth’s “AHBA” even toed the same line as these pandering jingles but managed to construct a coherent thought along the way.

“Sunshine”: C+ (It’s that kind of track that sounds irresistible depending on the weather, to me. Some days it can be consummately anthemic, others completely void of blood. By Azar’s standards this is subpar, but not a complete loss.)

“If I Die Young”: B+ (I agree with the central critique of your review, but would rate it higher in that the poetic-leanings of this track’s lyrics are refreshing to hear amidst an admittedly messy and at times overly ambiguous theme. This is the kind of track that can prove to have staying power beyond its chart run as it is dissected and scrutinized under musical microscopes with regards to its poetic devices and hermeneutics. Hence the superior grade.)

“Drop on By”: B- (Strong vocals, but not enough to elevate this track to having some degree of chronic shelf life.)

“Smoke a Little Smoke”: A (An exceptionally honest track, both musically and lyrically. It’s tragic that a song with a theme such as this is considered ballsy, but with that the unfortunate reality, this is about as rewarding a listen as you’ll find among the current crop.)

“Roll With It”: B- (Corbin again offers an impressive vocal performance reminiscent of Strait’s, but loses points for tackling a well-worn-out laying-on-the-beach theme, which fails to convince me that Corbin’s ascent to stardom hasn’t been a fluke given he has relied on the most overused themes that pander to the least discerning listener thus far. Here’s hoping “This Far From Memphis” follows and becomes another chart-topping hit, which will begin to persuade me otherwise.)

“Ain’t Much Left of Lovin’ You”: B (Plenty of potential in his debut offering, but lacks that “something more” to keep listeners staring at him with gravid interest.)

“How I Got to Be This Way”: F (And Moore’s career standing declines to 0-4 with yet another overproduced chunk of commercial pyrite that sounds more like something out of a “School of Rock”-themed karaoke party went wrong than anything. Someone’s been listening to “Teacher’s Pet” one too many times, and still failing to capture even a scintilla of its charm and energy.)

“Turning Home”: B (I agree that the emotional gravitas here is poignant and pure, and makes for an excellent performance. As far as the production is concerned, it can’t help but put me to sleep much like Jerrod Niemann’s “What Do You Want” does, but it still works as a rewarding album track. Single, not so much, and the fact it has already absconded the charts suggests I’m not alone there.)

“Way Out Here”: F (Excuse me while I toss this way out here, off this balcony! :P )

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