Little Big Town
Written by Hillary Lindsey, Lori McKenna, and Liz Rose
Beyond their lush four-part harmonies and their incorporation of Fleetwood Mac’s influence into the country idiom, perhaps Little Big Town’s greatest talent is choosing singles that completely sabotage their momentum at radio. They’ve followed up a top 10 hit with another top 10 exactly twice in thirteen years, and it’s almost unfathomable that “Girl Crush,” the second single from Pain Killer, will receive a warm reception in the current radio climate.
That’s a shame, really, since it’s one of the band’s strongest efforts.
“Little Red Wagon”
Written by Audra Mae and Joe Ginsburg
The bizarre handling of the singles from Miranda Lambert’s Platinum continues unabated with the arrival of “Little Red Wagon.” After leading off with far-and-away the two worst tracks on the album—the aesthetically and politically regressive “Automatic” and the empty bombast of “Somethin’ Bad”—then tagging “Smokin’ and Drinkin’,” an understated collaboration with Little Big Town, as the set’s next single before abruptly pulling the plug without explanation, Lambert’s team have declared “Little Red Wagon” as Lambert’s official third single. It’s been a long, strange ride thus far— one that smacks of the kind of nonsense typically reserved for veteran artists signed to Curb Records or to Sara Evans, rather than to an artist who is actively being pushed as one of the format’s superstars.
“Baby Be My Love Song”
Written by Jim Collins and Brett James
Easton Corbin was a refreshing arrival at country radio when he first hit airwaves a half-decade ago, toeing the line between what was commercially viable and what was interesting with hits that brought some added warmth and personality to familiar radio tropes. He kicked off his career with an “I’m so country” song and a summer song that were both listenable and likable, even utilizing enough audible fiddle and steel for him to be tagged as a “traditionalist.” Since then he’s scored a string of radio hits with material that has been enjoyable, but not especially challenging or compelling. Is the best yet to come?
Written by Don Sampson and Wynn Varble
Simply put, “Mom” is the best single that Garth Brooks has released since the first term of the Bill Clinton administration.
Got your head around that yet? Good. Now process this: The best single Garth Brooks has released since the first term of the Bill Clinton administration is a Bonnie Tyler cover.
“Eat Sleep Love You Repeat”
Written by Ryan Bizarri and Walker Hayes
I don’t think anybody does “Aw, Shucks” country better than Rodney Atkins.
Whether that’s a compliment or an indictment depends on your level of appreciation for simple-minded sincerity. Personally, I find it endearing when it’s done reasonably well.
“Mean to Me”
Written by Scooter Carusoe and Brett Eldredge
Winning a major award seems as good a time as any to pay closer attention to an artist. Brett Eldredge collected his New Artist award at last week’s CMA Awards while his current hit, “Mean to Me”, was already ascending the charts.
Let’s get real here. We know going in that nothing can happen in 3 minutes and 50 seconds to make us say, “Hey, he totally deserved to win over Brandy Clark.” But “Mean to Me” does indicate that he’s a lot closer to Dierks Bentley or Kip Moore than he is to any of the interchangeable C-list acts that are singing about drinking and girls with their bare feet on the dashboard.
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.