Written by Rodney Clawson, Tyler Hubbard, Brian Kelley, and Chris Tompkins
Country music isn’t historically prudish. It covers the topical gambit of love, drinking, cheating, murder and, yes, even passion. Conway Twitty, Alabama, Charlie Rich, even Alan Jackson ,as well as many others, haven’t shied away from memorably singing about sexual intimacy. But their songs maintained a respect for the intimacy, which Jason Aldean’s “Burnin” it Down” grossly fails to do. Instead, the song is high octane graphic with no sense of real intimacy and nothing left up to the imagination.
Brad Paisley has become a fairly reliable competitor in country radio’s annual summer song rodeo. He offers a 2014 entry that is listenable and likable, if not as memorable as last year’s “Beat This Summer.”
Written by Brandon Bush, Kristian Bush, and Tim Owen
It’s not entirely without precedent. When Diana Ross left the Supremes, their first single without her did better than her first solo release. Ringo Starr managed to score two #1 pop hits before John Lennon reached the top as a solo act. Peter Gabriel was supposed to be the indispensable talent of Genesis, but they did better when they gave Phil Collins the mic. Even country acts like Highway 101 and Restless Heart have seen the same phenomenon occur.
Written by Tae Lynn Elizabeth Dye, Maddie Marlow, and Aaron Scherz
“I ain’t your tan-legged Juliet. Can I put on some real clothes now?”
Maddie & Tae give voice to the girls who have become the ornaments in what seems like every uptempo country song of the last ten years. I really could quote the whole thing, line by line, and would have to if I wanted to share everything in the song worth quoting. It’s that good.
If you’re going to keep revisiting the same themes, you might as well take some risks with your delivery.
Kenny Chesney’s new single sounds fresher and more engaging than anything he’s done in a very long time. It’s easy to miss that he’s singing about what he always sings about: nostalgia for growing up in the country with American rock as the soundtrack.
What makes “American Kids” work more than a lot his attempts with this theme is that sounds like he learned something listening to those Mellencamp and Springsteen records. This record oozes charm and mature authority, like he’s finally lived long enough to look back and say, “Hey. We were kinda crazy back then. But we all turned out alright in the end.”
Written by Rodney Clawson, Luke Laird, and Shane McAnally