“Let it Go”
Written by Keith Gattis, Bubba Strait, and George Strait
George Strait is country music’s Frank Sinatra.
What he does looks effortless and spawns countless imitators, but none of them can actually replicate what makes him special.
“Crash and Burn”
Written by Jesse Frasure and Chris Stapleton
Thomas Rhett’s new single has backup vocals blatantly ripped off from the Sam Cooke classic, “Chain Gang.”
I repeat: Thomas Rhett’s new single has backup vocals blatantly ripped off from the Sam Cooke classic, “Chain Gang.”
“Hard to Be Cool”
Written by Rob Hatch and Jason Sellers
I’m always rooting for Joe Nichols. He’s got a smooth twang, two qualities that usually don’t go together. He’s made some solid music over the years, too.
What gets him in trouble is his strange tendency toward songs that walk the line between clever and corny. He seems to be drawn to songs that come up with an interesting concept, but never get around to building a compelling song around it.
“I Cheated on You”
Written by Brent Anderson, Brandy Clark, and Forrest Whitehead
“I Cheated on You” is likely to be the best country single of 2015 that barely gets heard south of the Canadian border.
Terri Clark’s latest single is perfectly structured, has an edge that can come only with maturity, and tells such an obvious country cheating tale that it’s amazing that it’s never been told this way before.
Written by J.T. Harding, Josh Osborne, and Trevor Rosen
This is Shelton’s best single an a good long while.
It’s smooth and seductive, without sounding overly coy or even the least bit tacky. The Sangria angle is used well both literally and figuratively, and the lyrics are creative enough that they don’t run the concept into the ground.
“Tonight Looks Good on You”
Written by Rhett Akins, Dallas Davidson, and Ashley Gorley
Great artists start trends, and when everybody else is catching up to what they started, they’ve already moved on to something fresh.
Jason Aldean is not a great artist.
“Hell of a Night”
Written by Jaron Boyer, Zach Crowell, and Adam Sanders
I’m starting to believe that the “bro-country” movement doesn’t even exist, and it’s really just an attempt to ascribe meaning to a trend as old as Music City itself: lazy songwriting.
“Love Me Like You Mean It”
Written by Kelsea Ballerini, Lance Carpenter, Josh Kerr, and Forest Glen Whitehead
This sounds like a demo recording for a Taylor Swift album that will never be recorded.
Credit to Kelsea Ballerini for co-writing her single and for not getting vocally lost in the shuffle of a fairly busy production. I suppose there’s some promise underneath all of the proceedings here, and there’s nothing inherently awful about any of it.
But it takes a special kind of narcissistic charm to pull off a laundry list of requests for a potential beau, and she has neither the outsize personality or outsize list of demands to pull this off. It would’ve worked better if she’d gone the vulnerable angle instead of the “I mean business” one, which she simply doesn’t have the assertiveness to convincingly convey.
It’s so milquetoast that it’s more like “Take it or Leave it” than “Love Me Like You Mean It.”
“Kiss You in the Morning”
Written by Larry Michael White and Justin Tyler Wilson
Launching a new artist with this generic a single does a tremendous disservice to their budding career.
“Kiss You in the Morning” sounds exactly like everything else on the radio. It covers the most well-trodden lyrical ground in today’s country music. Ray’s a decent enough singer and the production is controlled, so it’s not memorable for being bad. Trouble is, it’s not really memorable at all.
Shania Twain is returning to the road for the first time in more than a decade, and she’s calling it her farewell tour.
Well, technically, she’s calling it the Rock This Country tour, but it’s being marketed as both her return to and retirement from the road.
I should be all over this. She’s one of my favorite all-time artists, and I loved her tour in support of Up!, which I still consider her best album.
But even though I enjoyed her Vegas television special last month, and even though any set list would be stacked with songs that I love, I’m honestly not that interested in seeing the show.
This is for a simple reason: She’s not touring in support of new material.
I think I’m in the minority on this one, but I don’t like it when an artist only plays their hits from the past. There’s something sterile about it, as if artistic vitality has been left in the rear view mirror and the artist is just attempting to recreate a time that has already passed.