Rocker Aaron Lewis effectively schools current mainstream country radio on country music. By declaring that what’s being accepted as country music isn’t actually country, he demonstrates what country music is.
“When it hurts this good, you’ve got to play it twice.”
“Record Year” is cleverly written, intertwining turns of phrase with musical references that will satisfy everyone from the casual country fan (Red Headed Stranger) to the scholarly one (New Grass Revival.)
Perhaps this is a song best heard in its proper context.
To his credit, you can tell a Keith Urban record is a Keith Urban record as soon as it starts.
Any singer or songwriter attempting to write the definitive country pride anthem needs to take one long look at this title and walk away.
In an alternate universe, Josh Turner should be square in the middle of a long string of neo-traditionalist hit songs and albums. His baritone was tailor-made for a country song, more so than just about any other male singer in recent memory.
On his newest album, If I’m Honest, Blake Shelton diverts from the album’s generally synthesized sound to take a breather for a lovely gospel gem, which he wrote with Jessi Alexander and Jon Randall.
A baffling mix of romanticism and religious imagery, Florida Georgia Line’s attempt at respectable music only puts their musical incompetence into sharper relief.
One of six popular songs that Trisha Yearwood recorded for The Passion: New Orleans, “Broken” transcends its adult rock origins through its reinvention as Mary’s plaintive wail after the death of her son on the cross.