Florida Georgia Line
Written by Cary Barlowe, Sarah Buxton, Jesse Frasure, Tyler Hubbard, and Brian Kelley
Apparently, this is the real second single from Florida Georgia Line’s new album. “Anything Goes”, which we reviewed last month, was just a promotional single to preview the album.
I didn’t think it was possible for the real second single to be worse than that record.
“Sun Daze” is much, much worse than that record.
“Somewhere in My Car”
Written by J.T. Harding and Keith Urban
First off, let’s give Keith Urban a tremendous amount of credit for his sleight of hand song craft here.
The core of “Somewhere in My Car” is another one of those “drive out late night with a girl and get a little crazy” numbers that we’ve heard a million times before. But Urban uses a clever framing device, with the protagonist being a lonely man who doesn’t want to go home, because all that’s waiting for him are the memories of when he and she were…cue “drive out late night with a girl and get a little crazy” chorus.
Written by Brandy Clark, Bob DiPiero and Shane McAnally
The most successful records Toby Keith has had lately have been about drinking or about being American. It’s easy to see the title of “Drunk Americans” and assume that Keith is stitching the two themes together in an act of cynicism.
That assumption would be wrong. Shockingly wrong, actually. I dare say that “Drunk Americans” manages to elevate both the drinking song and the patriotic song by bringing the two together. It’s so sharply written that I planned to document all those great songs Toby Keith has written lately that never got sent to radio, but amazingly, he didn’t write this one.
“‘Til it’s Gone”
Written by Rodney Clawson, David Lee Murphy, and Jimmy Yeary
There were a lot of great singer-songwriters that didn’t quite make it to stardom in the nineties, especially once the market was saturated. It’s good to see that some of the best ones are having success as writers, like David Lee Murphy, who has a hand in the latest Kenny Chesney single.
“Prize Fighter” (with Kelly Clarkson)
Written by Jessi Alexander, Sarah Buxton, and Ross Copperman
Yes, it’s been more than seven years since Trisha Yearwood has released a proper single. Yes, it was worth the wait.
“Prize Fighter” is uplifting, inspirational, and powerful. It showcases Yearwood’s still flawless voice, an instrument that is effective at every setting between whisper and shout, and is always properly calibrated to the material it delivers. It’s a credit to Kelly Clarkson that she can even keep up with Yearwood, and her contributions to the track are complementary, if not entirely necessary.
Sundown Heaven Town
Tim McGraw returning to form is the musical equivalent of reconnecting with an old friend, where spending a little time with them suddenly reminds you why you were such good friends in the first place.
Sundown Heaven Town is McGraw’s strongest album in ten years, his best since 2004’s award-winning Live Like You Were Dying, which I still consider his strongest collection to date. In the years since that collection, he’s been chasing trends more than setting them. Each album had its strong moments, but always fewer than the previous one. His simple formula – find a great song, sing it with enthusiasm, and keep the clutter in check – got lost along the way.
It’s not a coincidence that all of his recent awards attention have been for collaborations, usually with artists who hit the scene well after him. He’s been chasing trends, not setting them.
“Something in the Water”
Written by Chris DeStefano, Brett James, and Carrie Underwood
If anybody’s going to sing a song about the power of the water to cleanse your soul, it should be Carrie Underwood. Her voice and her presence on record are enough to wash country listeners’ ears clean from all the dreck we’re being assaulted with these days.
Underwood previews her upcoming hits collection by revisiting a theme that she’s explored before, but with a wisdom and maturity that can only come from life experience. “Something in the Water” shifts the transformative experience of “Jesus, Take the Wheel” into the first person, a sign, along with her co-writing credit, of how much more personal ownership she now takes over her work. So as great as that first hit was, it’s the new release that throbs with urgency and intensity, moving the spiritual experience from something philosophical into something viscerally real.
Florida Georgia Line
Written by Felix McTeigue, Chris Tompkins, and Craig Wiseman
A piece of trash so shamelessly awful that it is beyond parody. Beyond comprehension. Almost beyond comment.
To observe that Florida Georgia Line’s work barely qualifies as country music seems pointless, given that it barely qualifies as music in the first place. It’s noise. Loud, irritating, soulless, pandering, patronizing noise. This record is so bad that it should end with an apology and a voucher for time lost that the listener can never get back.
Written by Marv Green, Hillary Lindsey, and Troy Verges
Tim McGraw’s been getting his groove back lately. Much of his new album, Sundown Heaven Town, recalls the sound of his biggest turn-of-the-century hits without sounding dated.
“Shotgun Rider” is a great example of this, having that wistful, floating on air quality that made “Just to See You Smile” and “For a Little While” so infectious. Sure, he’s singing about riding around town in his truck with a pretty girl. Hardly groundbreaking lyrical territory these days.
Written by Andrew Dorff, Mark Irwin, and Josh Kear
Brooks & Dunn made an entire career out of honky tonk puns and play on words. “Neon Light” is a throwback to those songs, with Blake Shelton previewing his new album with a song built around there being “a neon light at the end of the tunnel.”
To his credit, Shelton plays it subtle, with the song not having that arena-in-mind noisiness that has come to define today’s country music. But the song never quite gets out of first gear, either. Sure, the song didn’t need power chords and hair band chants. But it certainly would benefit from more aggressive fiddle and steel guitar.