A faceless band with a generic frontman singing a plaintive love song that relies on pounding guitars for its intensity. It's their one hit that gets played everywhere, but nobody buys the album because it's just going to pop up on some late-night hits collection anyway.
(Side note for younger readers: before Now made its way stateside, the only multi-artist hits collections were sold late at night on cable television.)
But it's 2012, and this is a single from someone who's supposed to be country music's premier male singer. That fact alone should make the mediocrity of “Over” quite remarkable.
But who are we kidding? Mediocrity is enough to get you in the winner's circle these days. Blake Shelton's doing well in this climate, and this song will certainly follow his previous singles right up the charts.
But country music is in trouble. Its enthusiastic embrace of Shelton and many of his contemporaries as the best it has to offer sounds an awful lot like its death rattle. When it's no longer expected that our core acts sound country or sound good, how much longer can the genre survive?
Written by Paul Jenkins and David Elliott Johnson