To continue Country Universe’s celebration of the nineties, I’m throwing in a nineties edition of iPod Check. The rules are simple: put your iPod on shuffle and list the first ten songs to pop up that were released in the nineties. They don’t have to be singles, and they don’t have to be country.
I’ve listed my ten songs below. Share yours in the comments, and check your shame at the door! (I’ve got 1994’s “Hakuna Matata” on my iPod, but sadly, it did not come up in shuffle.)
1. Sara Evans, “There’s Only One”
2. Michael Jackson, “Remember the Time”
3. Shania Twain, “You Win My Love”
4. Martina McBride, “O Come All Ye Faithful”
5. Dixie Chicks, “Am I The Only One (Who’s Ever Felt This Way?)”
6. Original Broadway Cast of Rent, “Seasons of Love”
There’s a small pool of mainstream country artists whose careers I watch intently, patiently awaiting the day their material catches up to their incredible talent. Darius Rucker falls into this pool, but if “Come Back Song” is any indication of his sophomore album, due out in October, it’ll be another few years before he hits that magic moment.
Sonically, “Come Back Song” is refreshingly groovy with a mostly acoustic arrangement, and the melody in the chorus has some serious spice. That’s enough context for Rucker, a skilled and intuitive vocalist, to pump life into the song. He brings to it a rich performance and a blast of personality, much like he’s done with all of his previous singles.
But I ask of you, lady readers: would you take back a man who apologizes with the words “my bad” and “get back,” or who laments the fact that he has to now sleep alone on his king-sized bed? Would you even take him seriously? Surely not after he compares himself to the “backside of a mule.”
Lady Antebellum’s key strength is delivering gritty, tangible emotion that can breathe life into the glossiest of production and the vaguest of lyrics. That’s what elevates “Need You Now” to an aching confession, and that’s how, on a song that compares innocence to a condiment, Hillary Scott’s vocal performance alone manages to tell an evocative story.
“Our Kind of Love” has no such redeeming quality. Scott and Kelley’s performance is uncharacteristically dull, lacking the kind of chemistry and energy needed to sell a song about loving with reckless abandon. The lyrics are trite to the point of silly (“You wear a smile like a summer sky just shining down on me and you”) and unlike most songs in the trio’s catalogue, the production and melody are uninspired and oddly disconnected from the artists. And while I still think Scott’s vocal imperfections do more as a whole to help than hurt her, I have no tolerance for the dissonance you hear in the third chorus on “never knowing what we’re gonnna find,” especially in a studio recording. To that point, the whole song feels a little bit like a half-hearted demo.
The most frustrating thing about this choice of single is the oversight of three far superior up-tempo songs on Need You Now, the best of which is “Perfect Day”. In it, the trio skillfully blends the breezy joy missing from “Our Kind of Love” with just a tinge of wistfulness – a delicious, potent combination. More of that and less of this, please.
Written by Dave Haywood, Charles Kelley, Hillary Scott & Busbee
Nashville takes over Vegas this Sunday for the 45th Annual Academy of Country Music Awards, and it could actually be an interesting night. Eight acts are vying for Entertainer of the Year, one trio is poised to sweep the show, and a certain artist’s performance may solidify her as Music Row’s Lady Gaga. We’ll find out for sure Sunday at 8 pm Eastern, but in the meantime, we’ve picked ‘em and predicted ‘em. Sound off in the comments below.
Entertainer of the Year
Should Win:
Kenny Chesney
Toby Keith
Brad Paisley – Tara
George Strait – Kevin
Taylor Swift
Carrie Underwood
Keith Urban
Zac Brown Band – Dan, Leeann
Will Win:
Kenny Chesney
Toby Keith
Brad Paisley
George Strait
Taylor Swift – Dan, Tara, Kevin, Leeann
Carrie Underwood
Keith Urban
Zac Brown Band
Kevin: While I suspect that this will be the end of her impressive awards show victory lap, Swift should easily win this award. Does she deserve it? Probably. If I was an ACM voter (traditional member or willing to go vote online), I guess that I’d vote for George Strait, though my favorite among those with a real shot at this is Carrie Underwood.
Leeann: I predict Swift, though I don’t know if the backlash against her will thwart my prediction. Then again, the fan voting debacle will likely still work in her favor. I’ll throw my personal vote to Zac Brown Band, since I’ve really dug their live performances that I’ve seen on television. They seem like natural entertainers.
Dan: Fan-voted = Taylor Swift, with a possible Underwood repeat. But Swift hasn’t been as interesting post-Grammys. So I’ll also go with our resident grassroots heroes, ZBB.
Tara: One of the most rewarding aspects of being a five-year Underwood fan has been watching her stage presence gradually become as killer as her vocals, resulting in a powerful combination. I’d love for this to be properly recognized, and rationale seems pointless now that the EOTY race is a glorified internet fan war…but I can’t ignore that Underwood spent most of 2009 off stage. I’m going with Paisley.
Top Male Vocalist of the Year
Should Win:
Kenny Chesney
Brad Paisley – Tara, Dan, Leeann
Darius Rucker
George Strait
Keith Urban – Kevin
Will Win:
Kenny Chesney
Brad Paisley – Kevin, Leeann
Darius Rucker – Dan
George Strait – Tara
Keith Urban
Dan: It feels like Paisley’s winning streak may be just about up, which is a shame, since this year has actually been stronger material-wise for him than the years for which he’s won. Honestly, as much as I hate to say it, Jason Aldean had a bigger year than any of these guys.
Tara: Paisley and Strait were the only two who impressed me in 2009, and Paisley’s material feels fresher and more interesting. But I agree with Dan that his winning streak has probably run its course, so I’ll go out on a limb and say Strait will be the one to edge him out.
Kevin: I agree with Dan but suspect that there isn’t another nominee with enough momentum to upset the status quo in this race. If I’m wrong, I hope it’s because Urban or Strait pull it off.
Leeann: I think Paisley just might have another year of winning left in him.
Top Female Vocalist of the Year
Should Win:
Miranda Lambert – Dan, Leeann
Reba McEntire – Kevin
Taylor Swift
Carrie Underwood – Tara
Lee Ann Womack
Will Win:
Miranda Lambert – Kevin, Leeann
Reba McEntire
Taylor Swift – Dan
Carrie Underwood – Tara
Lee Ann Womack
Tara: It’s really a toss-up between Lambert and Underwood for me, with personal preference and investment swaying me towards the latter artist. I’m eerily optimistic that the ACM voters will stick to the truest sense of the award’s title – as I adamantly believe they should – and sidestep Swift.
Kevin: This is the first time in my twenty years as a country fan that I’m rooting for Reba McEntire to win Female Vocalist, though I wanted her to win Entertainer every year she was nominated in the nineties. Consider me smitten by “Consider Me Gone.” As always, I’d be happy with an Underwood victory and I wouldn’t mind Womack or Lambert, either. I’m guessing that Lambert will actually win, given her widespread appeal among ACM voters and the fact that she’s had a big radio and retail breakthrough during the voting period.
Leeann: The Academy seems to like Lambert pretty well. Since this has been her biggest year to date, it’s hard for me to imagine that she won’t be rewarded for it.
Dan: I’m going to cautiously predict that Swift’s CMA win will carry over to ACM, but Underwood has been reliably successful, and Lambert’s got stronger momentum than ever. The latter is also my favorite mainstream act at the moment, so it’s a no-brainer that I’m rooting for her to take it.
Top Vocal Group of the Year
Should Win:
Lady Antebellum
Little Big Town
Randy Rogers Band
Rascal Flatts
Zac Brown Band – Dan, Tara, Kevin, Leeann
Will Win:
Lady Antebellum – Dan, Tara, Kevin, Leeann
Little Big Town
Randy Rogers Band
Rascal Flatts
Zac Brown Band
Leeann: Lady A has the hype and momentum that makes it impossible for me to bet against them. I’d sure love to see ZBB prove me wrong ,though.
Dan: Little Big Town’s new single has me thinking I’ll probably be gunning for them again soon, but for now, I’m with Zac Brown Band.
Tara: I have a feeling the coming year(s) is going to be Lady Antebellum’s year o’ accolades, so I’d like to see the equally deserving Zac Brown Band pick this one up while they still have some momentum.
Kevin: This is becoming a habit. Predict LA, root for ZBB. This was so much easier when the Dixie Chicks were in the running.
Top Vocal Duo of the Year
Should Win:
Brooks & Dunn
Joey + Rory
Montgomery Gentry
Steel Magnolia
Sugarland – Kevin, Tara, Leeann
Will Win:
Brooks & Dunn – Dan, Tara, Leeann
Joey + Rory
Montgomery Gentry
Steel Magnolia
Sugarland – Kevin
Kevin: A sympathy vote might give B&D one more trophy, but it seems that both the CMA and ACM see this award as one that is passed down from one duo to the next, and not very often at that. I wonder if they will be calling this “The Sugarland Award” like it was once called “The Judds Award” and “The Brooks & Dunn Award.”
Leeann: I’d love to see Joey + Rory win, but I know it wouldn’t actually be fair if they did. So, I’m not officially picking them here. I’m pretty sure this one will go to Brooks & Dunn as a parting gift, though they’d be totally undeserving at this point. Really, Sugarland is probably the duo that makes most sense. It’s just too bad I’m not more personally invested in them, though I’ve warmed up a bit.
Dan: Sugarland have been off the radar since “Joey” trailed off months ago, and I still remember how ACM stuck with Brooks & Dunn that one year even after CMA had passed the torch. So I see the veteran duo winning again in a shrug. I’m indifferent, personally.
Tara: I keep going back on forth on this one. I want Brooks & Dunn to win, but I can’t rationalize it. I think the ACM voters may feel the same.
Top New Artist of the Year
Should Win:
Luke Bryan
Joey + Rory - Kevin, Dan, Tara, Leeann
Gloriana
Will Win:
Luke Bryan - Kevin, Dan
Joey + Rory
Gloriana – Tara, Leeann
Kevin: It’s categories like this that make me feel out of touch with contemporary country music. I love Joey + Rory, but can’t see them winning. Who’s bigger now, Bryan or Gloriana? I’m taking a guess here.
Leeann: I’m like Kevin. I love Joey + Rory, but don’t imagine they’ll have enough votes to win. So, between Bryan and Gloriana, I’ll flip a coin and predict the latter.
Dan: Given the fan vote, I imagine this award will boil down to whether or not Taylor Swift has been urging her peoples to back Gloriana like she did with the AMAs. She hasn’t tweet-commanded it, and that’s as much research as I’m willing to do on the subject. So I’ll go with Bryan.
Tara: My best guess is that there’s enough fan overlap for Swift’s votes to lift Gloriana to victory.
Album of the Year
Should Win:
Brad Paisley, American Saturday Night
Lady Antebellum, Lady Antebellum
Miranda Lambert, Revolution – Tara, Dan, Leeann
Carrie Underwood, Play On – Kevin
Zac Brown Band, The Foundation
Will Win:
Brad Paisley, American Saturday Night
Lady Antebellum, Lady Antebellum – Kevin, Dan, Leeann
Miranda Lambert, Revolution – Tara
Carrie Underwood, Play On
Zac Brown Band, The Foundation
Kevin: I’m expecting a Lady Antebellum sweep. They’re just ridiculously popular right now. But I could see any one of these five winning. I revisit the Underwood set more than any of the others.
Leeann: I can’t ignore Lady A’s popularity right now, but I’d love to see Lambert be recognized for one of my two favorite albums on this list, Paisley’s album being the other one.
Dan: Revolution doesn’t have the punch or consistency of Crazy Ex-Girlfriend, but it’s got some brains, and I like that. I’m expecting a Lady A sweep too, though.
Tara: If my co-bloggers are right about a Lady A sweep, I’ll be pleased to see the trio’s underrated debut album take this award. But frankly, every album in this line-up is substantial, authentic and layered. I’m backing Revolution because it’s the sharpest of them all, created by the artist who has the firmest grasp on her potential.
Single Record of the Year
Should Win:
Lady Antebellum, “Need You Now” – Tara, Kevin, Leeann
Billy Currington, “People Are Crazy”
David Nail, “Red Light”
Zac Brown Band, “Toes” – Dan
Miranda Lambert, “White Liar”
Will Win:
Lady Antebellum, “Need You Now” – Tara, Dan, Kevin, Leeann
Billy Currington, “People Are Crazy”
David Nail, “Red Light”
Zac Brown Band, “Toes”
Miranda Lambert, “White Liar”
Kevin: There’s only one career-changing single in the running here.
Leeann: Ditto to Kevin. But also, it’s my favorite in terms of melody.
Dan: I swear I’m not just being a spoilsport. I know “Need You Now” sounds great, and in many respects it was the single of the year. But I can’t get past how boring Lady A’s lyrics always are. There’s just not a single original phrase in that song, and it puts a damper on my experience listening to it.
Tara: It’s never been my personal favorite, but “Need You Now” finds the trio excelling at what it does best – honing in on specific, raw emotion and expressing it potently and believably. In a category as weak as this one, and with a performance as haunting as Scott’s, “Need You Now” is the clear winner.
Song of the Year
Should Win:
“Cowboy Casanova” – Mike Elizondo, Brett James & Carrie Underwood
“Need You Now” – Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott – Tara, Kevin, Leeann
“People Are Crazy” – Bobby Braddock & Troy Jones
“White Liar” – Natalie Hemby & Miranda Lambert
“You Belong With Me” – Liz Rose & Taylor Swift – Dan
Will Win:
“Cowboy Casanova” – Mike Elizondo, Brett James & Carrie Underwood
“Need You Now” – Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott – Dan
“People Are Crazy” – Bobby Braddock & Troy Jones
“White Liar” – Natalie Hemby & Miranda Lambert
“You Belong With Me” – Liz Rose & Taylor Swift – Tara, Kevin, Leeann
Kevin: I like the writing of “Need You Now” more than the performance, even if it’s just a college dorm knock-off of “I May Hate Myself in the Morning.” I range from indifference to active dislike for the rest of these entries.
Leeann: I think Lady A will sweep these awards, but I doubt that Swift will walk away with nothing. Since she’s most lauded for her songwriting skills, I predict that the Academy will continue the trend in this category.
Dan: “You Belong with Me” combines a memorable melody with telling details. Subject matter notwithstanding, it’s the only one of these songs I take seriously as a composition.
Tara: Unlike Kevin, I think “Need You Now” is better performed than written, but it’s still a great composition. I wouldn’t mind if Swift took this award, though.
Video of the Year
Should Win:
Randy Houser, “Boots On”
Lady Antebellum, “Need You Now”
Brad Paisley, “Welcome to the Future”
Miranda Lambert, “White Liar” - Kevin
Taylor Swift, “You Belong With Me” – Dan, Tara
Will Win:
Randy Houser, “Boots On”
Lady Antebellum, “Need You Now”
Brad Paisley, “Welcome to the Future”
Miranda Lambert, “White Liar”
Taylor Swift, “You Belong With Me” – Dan, Tara, Kevin
Tara: The “You Belong With Me” video is brilliant in that it embodies everything that makes Swift relevant and appealing. I just really wish Paisley’s video had been better directed, because its message is so compelling.
Dan: That Swift video is mega-charming. But Lambert’s is a close second.
Kevin: I’m rooting for the only video I don’t reflexively skip past while channel surfing.
Brooks & Dunn feat. Billy Gibbons, “Honky Tonk Stomp”
Carrie Underwood feat. Randy Travis, “I Told You So” – Tara, Kevin, Dan, Leeann
Kenny Chesney with Dave Matthews, “I’m Alive”
Jack Ingram with Patty Griffin, “Seeing Stars”
Will Win:
Blake Shelton feat. Trace Adkins, “Hillbilly Bone” – Dan, Tara
Brooks & Dunn feat. Billy Gibbons, “Honky Tonk Stomp”
Carrie Underwood feat. Randy Travis, “I Told You So” – Kevin, Leeann
Kenny Chesney with Dave Matthews, “I’m Alive”
Jack Ingram with Patty Griffin, “Seeing Stars”
Kevin: Nice to see Griffin on the ballot, but “I Told You So” is among both my favorite Underwood and favorite Travis singles.
Leeann: Frankly, I’m not crazy about any of them, as long as the B&D collaboration doesn’t get the token vote.
Dan: Wish I liked “Seeing Stars” more. I’d actually probably go with presumptive favorite “Hillbilly Bone” if the song itself didn’t feel like such a Music Row toss-off. There’s charm in the idea and performances, but again, limp lyrics.
Tara: Underwood and Travis’ collaboration is the strongest and most exquisite of the bunch, but it feels a little like old news, with the news of the day being the inescapable (but nonetheless solid) “Hillbilly Bone.”
Look, Nashville’s got its issues. And a song that delves into its yin-yang core of image and art could be interesting, if not entirely original. It could be any combination of honest, clever, biting and entertaining. It could make sense.
Or, it could be sung by Jason Aldean, an artist who’s arguably risen to success not in spite of the industry’s flaws, but because of them. That’s not to say Aldean hasn’t put in the work to become a multi-platinum recording artist; it’s just that claiming to have conquered the evils of Music Row requires a decent amount of artistic credibility, separate and apart from the mass appeal that drives the careers of many Nashville artists. Aldean has shown glimmers of this, but his legacy thus far is a brand of pulsing country-rock that’s heavy on the production and light on the vocal and lyrical substance. Case in point: “Crazy Town.” The song, then, feels more like an ironic autobiography than a commentary.
But put artist context aside, and “Crazy Town” still fails to serve its purpose. A tribute to a love-hate relationship only works if you’re able to show that the love is worth the hate – that there’s a pay-off somewhere amidst the craziness. So what makes the years of free concerts, smoky bars, and “bang, bang, bang”-ing what one can only hope is a guitar worth it? A “honky tonk destiny,” sings Aldean, and we’re left to conjure our own image of the deep fulfillment such a destiny offers. The blanks certainly aren’t filled in by Aldean’s performance, which trades any specific emotion for smothering, empty aggression.
Any way you look at it, “Crazy Town” is an insubstantial miss.
During the Academy Awards show last Sunday, a montage of movie clips honoring the late John Hughes featured a great quote from The Breakfast Club: “When you grow up, your heart dies.” In one line, teenage angst collided beautifully with a universal fear.
In comparison, no lyric in Lady Antebellum’s “American Honey” was written with even half the poignancy or acute understanding of the human spirit; I still haven’t read a reasonable explanation of the song’s odd metaphor. And yet, to me, there’s something about the song that resonates with the same raw, trapped-by-the-certainty-of-time desperation as Allison Reynolds’ tearful proclamation, albeit built on nostalgia rather than fear. Like the movie clip, the song makes me feel.
“American Honey” begs the same question I’ve asked myself since I started writing for Country Universe: why am I able to form such strong emotional connections to songs that are lyrically weak? I’m still exploring the answer, but I do know this: while to many people, country music is about naked truth, to me, it’s always been more so about naked emotion. My favorite country songs and artists have a specific, potent way of capturing sentiment and presenting it deeply, tangibly and honestly – and it isn’t always through a story. “American Honey” would be a far better song if its character were fleshed out, but I’m just as gripped by the coupling of its sweet, wistful melody with Hillary Scott’s convincing performance.
The song has an extra layer of believability for me because Scott and I are the same age – in that awkward, early 20s era of life where you’re just old enough to feel the gravity of adulthood, but young enough to feel like you can reach back and touch your childhood. In the nearly two years since I graduated from college, time has flown by faster than I’ve ever known it to, so much so that thinking about it sometimes takes my breath away. Scott’s delivery on “I just want to go back in time” mirrors that exact feeling.
I firmly believe that if a piece of music moves you, it has value. What songs with subpar lyrics have struck an emotional chord with you, and why?
There’s been many a discussion this past month about what makes an artist most effective: is it vocal nuance or personal connection? Is it songs with explicit absolute truth or implicit absolute emotion? They’re interesting topics to explore, but somewhere in between the analyses, we’ve lost sight of –and perhaps even appreciation of– the artists who have the potential to make our analyses futile. Because some artists actually have it all.
Let’s be real: “Groovy Little Summer Song” isn’t near James Otto’s most memorable, well-written material. It’s not as infectious as his mega-hit, “Just Got Started Lovin’ You,” nor as impassioned as the lesser-known “For You,” and his soulful phrasing seems to eat up some of the words. But “Groovy Little Summer Song” is an incredibly refreshing re-introduction to an artist who can deliver both rich, distinctive vocals and pure, raw sentiment. Otto may be simply asking a DJ to crank up a cool summer tune, but he still manages to color his performance with shades of believable soul, technical substance (the falsetto is a treat) and authentic summer bliss.
It helps that country radio rarely hears groovy little summer songs, making this one a breath of fresh air against its island-flavored and often one-dimensional peers. Otto’s summer is a little slower-burning and smoother than that of Kenny Chesney, Zac Brown Band, Jack Ingram or…Rascal Flatts. It’s a little more contemplative and a little more intoxicating. Country radio’s tried-and-true themes could stand to gain a splash of emotive soul.
As we sift through the crop of mainstream country acts this year, let’s remember to keep an eye on Otto. Like Sunset Man, his upcoming album has the potential to make him a contemporary example of an artist whose strengths are multi-faceted. And we need more of the kind.
Written by Al Anderson, Carson Chamberlain, and James Otto
There’s a fascinating, frustrating divide between Underwood’s ability to conjure and express her emotion. It’s fascinating because when the divide comes down, the result is magic – but frustrating because it takes some digging around to find these moments of commanding personal conviction, which typically come in the form of live performances. As ironic though it may be considering her mass-exposed start on Idol, it often feels like the only way to really know what Underwood is all about is to pursue her.
But Play On works to breaks this pattern, as best illustrated by “Temporary Home,” Underwood’s most emotionally-invested studio recording to date. Using the familiar three-prong story structure, the song visits three characters that are each holding out hope for a better tomorrow, and culminates poignantly in the religious belief that we are just passing through earth on our way to a permanent home in heaven. Lyrically, the characters are more symbolic than they are three-dimensional, but Underwood compensates by layering the broad strokes of hope in each story with a range of tangible emotions: fear, pain, peace and doubt. Her vocal interpretation is stunningly precise, most notably on the resolve in the teenage mom’s proclamation (“someday we’ll find our place here in this world”), and the falter in the dying elderly man’s reassurance (“I’m not afraid because I know…”).
Ultimately, “Temporary Home” acts as a story of shared humanity – and here’s the thing: for the first time in Underwood’s career, it feels like her story. It’s not the narrative that powers this song, but the depth and strength of her personal conviction. From the inclusion of neglected members of society to the intricate shades of fully-invested emotion to the telling last line –“this is our temporary home”–, the song provides a glimpse at the person behind the artist. It’s a refreshing departure from a catalogue of superbly interpreted but somewhat impersonal singles, and hopefully a sign of an artist who’s learned that your music becomes that much richer when you’re willing to share yourself with it.
Photo by Buffy Burton
Written by Luke Laird, Zac Maloy & Carrie Underwood
of patriotism are more prevalent, and arguably more acceptable, than others. It’s refreshing, then, to see Paisley offer a solid albeit frivolous departure from the conventional with “American Saturday Night,” a proud depiction of America as a nation whose identity is molded by not one, but numerous cultures:
“You know everywhere has something they’re known for
Ah, but usually it washes up on our shores.”
True to form, Paisley takes this slice of truth and serves it with gigantic dollops of whipped cream: French kisses and cold Coronas, toga parties and Italian ice. And that’s what makes it work. With bouncy production and Paisley-style wit (“Live from New York…”), the playful song calls for no more than a playful look at American life. It doesn’t feel ignorant or negligent because it’s clearly meant to be simplistic. Whereas Rodney Atkins’ “It’s America” promises and fails to deliver a substantial look at what defines our nation, Paisley delivers exactly what’s expected on “American Saturday Night,” and effectively, no less. If it prompts the discerning listener to think more deeply about what makes this mixing bowl nation so great – well, that’s just icing on the cake.
Written by Ashley Gorley, Kelley Lovelace & Brad Paisley
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It’s no secret that in country music, some expressions of patriotism are more prevalent, and arguably more acceptable, than others. It’s refreshing, then, to see Paisley offer a solid albeit frivolous departure from the conventional with “American Saturday Night,” a proud depiction of America as a nation whose identity is molded by not one, but numerous cultures:
“You know everywhere has something they’re known for
Ah, but usually it washes up on our shores.”
True to form, Paisley takes this slice of truth and serves it with gigantic dollops of whipped cream: French kisses and cold Coronas, toga parties and Italian ice. And that’s what makes it work. With bouncy production and Paisley-style wit (“Live from New York…”), the playful song calls for no more than a playful look at American life. It doesn’t feel ignorant or negligent because it’s clearly meant to be simplistic. Whereas Rodney Atkins’ “It’s America” promises and fails to deliver a substantial look at what defines our nation, Paisley delivers exactly what’s expected on “American Saturday Night,” and effectively, no less. If it prompts the discerning listener to think more deeply about what makes this mixing bowl nation so great – well, that’s just icing on the cake.
Written by Ashley Gorley, Kelley Lovelace & Brad Paisley
Grade: B+
Listen: American Saturday Night
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In theory, Bucky Covington covering a rock song isn’t a bad idea – when at his best, he has a natural, believable southern rock edge to his voice. But you wouldn’t know that from listening to his version of “Gotta Be Somebody,” which finds his voice oddly processed and uncharacteristically dull.
The main issue is that the bite and passion that surge through the repetitive chorus in the original Nickelback version are largely if not completely absent from Covington’s version, leaving it stripped of raw emotion. If you can’t sing a song about your willingness to wait forever for your soulmate with a fighting desperation, why sing it at all? The arrangement is also quite jarring as a result of the country “re-vamping” of the song, and this is no more apparent than in the instrumental breakdown – with a smothered fiddle – before the bridge.
Covington’s always been the kind of artist who shines with the right material, so here’s to hoping he wises up and makes smarter musical decisions in the future.
To continue Country Universe’s celebration of the nineties, I’m throwing in a nineties edition of iPod Check. The rules are simple: put your iPod on shuffle and list the first ten songs to pop up that were released in the nineties. They don’t have to be singles, and they don’t have to be country.
Look, Nashville’s got its issues. And a song that delves into its yin-yang core of image and art could be interesting, if not entirely original. It could be any combination of honest, clever, biting and entertaining. It could make sense.
It’s no secret that in country music, some expressions
In theory, Bucky Covington covering a rock song isn’t a bad idea – when at his best, he has a natural, believable southern rock edge to his voice. But you wouldn’t know that from listening to his version of “Gotta Be Somebody,” which finds his voice oddly processed and uncharacteristically dull.
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