Billboard unveils new methodology today for the long-standing Hot Country Songs, Hot R&B/Hip-Hop Songs and Hot Latin Songs charts. Each receive a major consumer-influenced face-lift, as digital download sales (tracked by Nielsen SoundScan) and streaming data (tracked by Nielsen BDS from such services as Spotify, Muve, Slacker, Rhapsody, Rdio and Xbox Music, among others) will now be factored into the 50-position rankings, along with existing radio airplay data monitored by Nielsen BDS. The makeovers will enable these charts to match the methodology applied to Billboard’s signature all-genre songs ranking, the Billboard Hot 100.
On the surface, this seems like a good idea. After all, the country singles chart included both sales and airplay data for decades, until
switching to airplay-only in 1989. Declining availability of retail singles made this change necessary.
Since the digital market emerged, I’ve been an advocate for bringing sales data back into the mix. There have been a few songs that were very popular with country audiences that radio didn’t embrace, like “I am a Man of Constant Sorrow”, “Hurt”, and “Not Ready to Make Nice”, but were mainstays on country video outlets and sold plenty of digital downloads alongside impressive album sales. The digital singles market also indicated the budding popularity of acts like Miranda Lambert and Eric Church, who have since become core radio acts.
So what’s the problem with the change? This:
The immediate beneficiaries of this week’s methodology change are Taylor Swift, Rihanna and Mumford & Sons.
Swift, who holds down the top two slots on Hot Country Songs with “We Are Never Ever Getting Back Together” and “Red.” Her new country radio single “Begin Again” jumps 37-10. The pop-crossover No. 1 title ranks at No. 36 on Country Airplay (but also gets points associated with its pop-crossover play) and No. 1 on Country Digital Songs, while “Red” is absent from the Country Airplay list, but ranks No. 2 on Country Digital Songs. “Begin Again” appears at No. 29 on Country Airplay and No. 3 on Country Digital Songs.
There are so many problems here. First, and probably worst, pop airplay is now counting for the country genre chart. This week’s “#1 country song” would’ve been #36 if the methodology hadn’t changed. A song that was most notable for being the first song that country radio refused to play by Taylor Swift, because it had no business being on country radio in the first place. It is not a country hit that crossed over to pop. It’s a pop hit that failed to cross over to country.
#2 isn’t even a country single. It’s an advance download track previewing Swift’s new album. It will drop like a stone next week, much like it will on the Hot 100, where it enters at #6. But the Hot 100′s breadth is able to absorb tracks like this more easily, and it is almost impossible to get that high without at least some radio support. The #2 country single of the week wasn’t played on country radio this week.
Billboard says it’s modeling the new genre charts after the Hot 100, much like the way the genre album charts mirror the Billboard 200:
The move to the Hot 100-based formula will ensure that the top-ranked country, R&B/hip-hop, Latin and rock titles each week will be the top titles listed on each genre’s songs ranking. This will be in line with how the Billboard 200 albums chart aligns with the albums charts for each corresponding genre. Because of the switch to new methodology, the week-to-week movements on the charts for some songs (in either direction) could be quite dramatic.
Until now, only country stations contributed to the Hot Country Songs chart, or R&B/hip-hop stations to Hot R&B/Hip-Hop Songs; the same held true for Latin and rock. The new methodology, which will utilize the Hot 100′s formula of incorporating airplay from more than 1,200 stations of all genres monitored by BDS, will reward crossover titles receiving airplay on a multitude of formats. With digital download sales and streaming data measuring popularity on the most inclusive scale possible, it is only just the radio portion of Billboard chart calculations that includes airplay from the entire spectrum of monitored formats.
Big mistake. Albums sales are album sales. If x sells more than y, it’s higher on the album chart. Apples to apples. Each genre singles chart has its own idiosyncrasies, reflecting the different ways that music is received by the audience.
Despite all the new methods of delivery, country music’s primary method of distribution remains the radio. It may be the only thing left that is identifiably “country” in mainstream music. The vast majority of country artists do not pursue the pop market in lieu of the country market. At most, they pursue pop as well as country, but usually wait until the song’s a hit at their home format first.
The big crossover hits of years past – “Need You Now”, “You’re Still the One”, “Before He Cheats” – would’ve done very well under this new format, but would likely have spent more time at #1 when they were dominating top forty radio and the song was already a recurrent at country stations. Instead, they went #1 on the country chart when country radio was playing them, then flew up the pop charts a few weeks later, while a new single was hitting the country market.
This new chart methodology is bad enough as it is now. But what will happen when the labels realize the only way to have a #1 country hit is to get your song to be a pop hit, too?
There are so many other problems with this, including the increased challenges of breaking new country acts and the likelihood that digital single releases will now become more strategic than ever. (Remixes! Acoustic versions! Buy them separately so they each count as their own sale!)
I guess I just don’t see the point of having a country chart at all if it isn’t going to measure just the country market.
The title of Taylor Swift’s new single is oddly appropriate, as her label hits the reset button at country radio.
“We are Never Ever Getting Back Together” was apparently too pop for her genre home base, though it will certainly continue to dominate top forty for a good long while. Country radio is now getting its own single, and it’s quite the genre exercise.
It follows in the same coffee shop folk vein as recent success “Ours.” Lyrically, it’s little more than a picturesque diary entry. It’s sweet and goes down smoothly, but as Swift continues to grow older, it’s becoming more troublesome that her sense of self-worth and happiness is always inextricably linked to whatever man is currently the object of her affection.
I wanted to hear more from the girl in the first verse who is rediscovering what she likes for herself, be it a pair of shoes or a song on her iPod. She sounds far more interesting than the girl who can’t possibly think she’s funny because the guy before her didn’t think she was funny, but this new guy thinks she’s funny, so maybe she really is funny!
Maybe my memory is failing me, and I’m not terribly familiar with Swift’s work beyond the radio
The list of nominees for the 46th annual Country Music Association Awards has been released. Eric Church had a big breakthrough this past year, and such is reflected in the nominee list – Church leads the pack with five nominations. Power couple Blake Shelton and Miranda Lambert follow with four each, including a shared Song of the Year nod for their co-write “Over You.”
What’s your take on this year’s field of CMA nominees? Whose nominations were deserved, and whose were not? Who got snubbed? Share your thoughts in the comments section.
The live presentation airs Thursday, November 1 at 8pm Eastern on ABC-TV. The Country Universe Staff Picks & Predictions will be released the week of the show. Feel free to join us on show night for some live-blogging fun!
Entertainer of the Year
Who’s in: Kenny Chesney
Who’s out: Keith Urban
No real surprises here. This year we swapped out Urban for Chesney, but all of these nominees have been here at least once before.
Female Vocalist of the Year
Who’s in: Kelly Clarkson
Who’s out: Sara Evans
Well, I was hoping for some new blood in this category, and that’s definitely what I got. Pop crossover star Kelly Clarkson scores her first nomination in the Female Vocalist field, displacing Sara Evans. There will likely be some amount of upset over Clarkson receiving such an accolade, as she had one #21-peaking country hit in the past year with “Mr. Know It All,” but has yet to release a full-length country album. And…that makes her one of the top five leading female vocalists in the country format? Okay…
Male Vocalist of the Year
Who’s in: Luke Bryan, Eric Church
Who’s out: Kenny Chesney, Brad Paisley
Bryan and Church’s recent career strides are rewarded
://www.countryuniverse.net/wp-content/uploads/2012/08/Taylor-Swift-We-are-Never-Ever-Getting-Back-Together-150×150.jpg” alt=”” width=”150″ height=”150″ />Building a Taylor Swift single around the vocal is like building a hamburger around the bun.
On some of her most successful recent singles, Swift had mastered the art of not getting in the way of the song. Alternating between sparse productions like on “Ours” and creative ones like “Mean”, Swift’s songwriting was showcased in the best possible light, and her limitations as a vocalist didn’t work against her.
“We Are Never Ever Getting Back Together” is a huge step backward. It makes two critical errors. The first and most fatal is it’s far too dependent on coos and ooh-ooh-oohs, and Swift is simply terrible at singing them. Not satisfactory, not mediocre. Flat out terrible. Then there is the further error of alternating the singing with her talking like a snarky teenager, which is irritating in its juvenility.
It doesn’t help that she’s not working with a strong composition to begin with, but if she’d downplayed the sarcastic delivery and grating vocal runs, this would be a decent record. As is, it’s only listenable for its sheer audacity, a novelty that wears off quickly after a handful of listens.
Written by Taylor Swift, Max Martin & Johan Shellback
Since bringing back Recommend a Track proved so popular, I’m resurrecting another CU oldie but goodie: the iPod check.
I’ve only recently discovered the Most Played feature on iTunes, since it never had any relevance until iPods were large enough in memory to sync all of my music. So going back to early 2011, I have a lengthy list of the songs I’ve played the most.
So today’s iP0d check: List your most-played song from twenty different country artists.
You can access this info by going to your own Most Played list and adjusting the number of songs on it – I use 500 for mine – or you can just go to Music and sort by number of plays. Or you can just pick twenty artists at random and list your most played song for each. We’re easy here. (This would also work in Spotify, from what I hear.)
Alan Jackson – So You Don’t Have to Love Me Anymore (40)
Crystal Gayle – Why Have Your Left the One You Left Me For (39)
George Strait – Meanwhile (39)
Lee Ann Womack – I May Hate Myself in the Morning (39)
Aaron Tippin – Whole Lotta Love on the Line (38)
I’m surprised that some of my most played artists overall, like Dolly Parton, Randy Travis, and Tim McGraw, don’t have that one big song that I play excessively. Also, at least half of the songs above aren’t what I would call my favorite song by the given artist. How about you?
Decades before Taylor Swift found her way from country to pop radio, Sonny James scored the first teenage love crossover hit, setting up a long-running career that would eventually earn him a slot in the Country Music Hall of Fame.
Sonny James hails from Alabama. His birth name, James Hugh Loden, and he grew up in a musical clan that performed as the Loden Family. In the band, he used the handle Sonny Loden, and his father quickly noticed that his son's talent meant the band could perform full-time. Now dubbed Sonny Loden and the Southerners, they played radio stations and dance halls across the south, until the marriages of his bandmate sisters set in motion the band's demise.
Sonny went back and finished high school, and after a brief military stint in Korea, he returned to professional music, signing with Capitol Records. The label suggested the stage name Sonny James, and the young singer made a name for himself on radio and television spots, while also scoring modest country hits.
His big break came with the smash hit “Young Love”, a sweet song about teenage devotion that skyrocketed to gold-selling status in 1956. It topped the country chart for nine weeks, and reached #2 on the pop chart. On the latter tally, its success was limited by Capitol's inability to meet demand for the 45. Actor Tab Hunter reaped the benefits of this, and had the #1 pop single despite radio preferring James' version.
During this period, James became known as the Southern Gentleman through his various television appearances, and he joined the Grand Ole Opry cast for a time, beginning in 1962. Throughout the early sixties, he recorded for a handful of different labels before returning to Capitol in 1963. It was with his second stint at the label that he achieved his greatest success, scoring a stunning string of hits that included sixteen consecutive #1 singles. In 1971, he earned a star on the Hollywood Walk of Fame.
He switched to Columbia in 1972, and for a brief period, radio played hits from his new label while also spinning records that Capitol continued to release after his departure from their roster. As with many artists from his era, the hits slowed down as the seventies came to an end, and he reached the top ten for the 43rd and final time in 1977, with the appropriately titled, “You're Free to Go.”
James retired in 1983, but made his first television appearance in more than two decades in 2006, as he accepted his induction into the Country Music Hall of Fame. He continues to reside in Nashville, and he makes occasional public appearances for special events.
I want Taylor Swift to write a song about Miranda Lambert: “Why ya gotta be so loud?”
Everything about “Fastest Girl in Town” is a disaster. It's one of those rare songs that manages to try too hard and be too lazy at the same time.
The production and the “look at me, I'm so tough and wild” vocal? They try too hard. Thrashing guitar solos that never go anywhere, grit and growl that don't match the off-the-Wal-Mart-rack lyrics. She's trying to top the energy of “Gunpowder & Lead” and “Kerosene”, but the underlying tension that made those records work is nowhere to be found here.
That's because of the lazy songwriting, which is no longer the exception when it comes to Miranda Lambert. It's the rule. This fastest girl in town is a mere caricature of the rough-edged down-home image that Lambert's managed to box herself in with. Even Gretchen Wilson wouldn't have tried to get one over on us with lines like “You’ve got the bullets, I’ve got the gun. I’ve got a hankering for getting into something”, and she built an entire song around a Skoal ring.
Lambert showed such promise in her early work, which peaked creatively with Crazy Ex-Girlfriend, an album that still sounds fresh and vital today. I stand by my assertion that “The House that Built Me” was a beautiful distraction from the fact that her music went seriously downhill on Revolution. And this, like most of her latest album, is just a mess.
I am tired of the mediocrity, country music, but I'm even more tired with mediocrity being celebrated and elevated with unwarranted praise. Can we please stop telling our artists that their not nearly good enough is better than the best? Maybe they might, you know, work a little bit harder for that slot on radio and that CMA trophy if they actually had to earn it.
It’s about time somebody did a Favorite Songs feature on Shania, isn’t it? I was going to save this article for after we finished covering Shania in our Retro Single Review series, but I decided I just couldn’t wait that long.
Her astounding commercial success speaks for itself, as does her heavy impact on popular music, but I remain of the opinion that Shania Twain doesn’t get nearly enough credit for the artist she was – as a songwriter, or as a vocalist. Her songs were clever, sassy, fun, and often tapped into deep wells of substance underneath all the catchiness. Her distinct perspective was revolutionary for her time. As an interpretive singer, she had a strong knack for finishing off her lyrical creations through her nuanced, dynamically layered performances. Twain's remarkable talent combined with Mutt Lange's musical vision made her one of the biggest record sellers in history. Ever since her heyday, countless young female stars have attempted to emulate her, but the magic Twain herself created with her delicious pop-country confections remains unreplicated.
I tend to become obsessed with one favorite Shania Twain song, and then move rapidly to another, so it’s not easy to assess which songs are my all-time favorites. I’ve resigned myself to the fact that I’ll be doing a lot of second-guessing after this article runs (though I’m fairly confident that my top three selections are set in stone). At any rate, it will still be a fun look back on all the memorable tunes Shania gave us over the years, while also shining a spotlight on a few lesser-known tracks that we might have forgotten about. As always, feel free to share your own favorites in the comments section.
“Party for Two” (with Billy Currington)
Greatest Hits – 2004
I have at times referred to this song as a “guilty pleasure,” but then I realized that it’s such a great fun record that I don’t really feel guilty at all about loving it. Silly “sexy in your socks” line aside, “Party for Two” is fun flirty tune that Twain and Currington sell with charm and enthusiasm. Though more of a pop song than a country song, “Party for Two” is best heard in its country mix, as the pop version with Sugar Ray’s Mark McGrath tries a little too hard to sound pop, demonstrating that Shania often sounded best when still keeping a toe in country territory. “Party for Two” served as Twain’s last Top 10 country hit to date.
“Blues Eyes Crying In the Rain” (with Willie Nelson)
Willie Nelson & Friends – Live and Kickin’ – 2003
Twain’s pop sensibilities certainly have no ill effect on her ability to tackle a traditional country classic with grace and ease, as evidenced by her beautiful cover of this beloved Willie Nelson hit, accompanied by the man himself.
Up! – 2002
Though largely known for her lighthearted frivolous side, “Ka-Ching!” – a deft takedown of commercial materialism – shows that Twain was still perfectly capable of addressing relevant social themes.
“It Only Hurts When I’m Breathing”
Up! – 2002
Though known for her positivity, Twain could still be surprisingly effective at conveying heartbreak. Such is demonstrated by this Top 20 hit in which the protagonist strives to maintain optimism as she moves on after a breakup. Still, the title hook shows that her heavy emotional pain remains constant.
“Love Gets Me Every Time”
Come On Over – 1997
Hey, if you’re going to write a silly, cheesy song, you might as well do it thoroughly and shamelessly. “Love Gets Me Every Time” combines a hillbilly catchphrase with an unshakable two-step-friendly musical hook to make a delightful ditty that just never seems to get old.
“Coat of Many Colors” (with Alison Krauss & Union Station)
Just Because I’m a Woman: Songs of Dolly Parton – 2003
It’s easy to see how Twain’s own impoverished upbringing might give her a special connection to this classic song, and to its timeless theme of love and family being worth far more than material possessions. Indeed, “One is only poor only if they choose to be.” Twain delivers the revered Dolly Parton lyric with authenticity and deep sincerity, while the unique touch of Alison Krauss’s backing vocal elevates the record further.
“You Win My Love”
The Woman In Me – 1995
Written by Twain’s then-husband/producer Mutt Lange, this is the only song on Twain’s last three studio albums that she didn’t have a hand in writing. The lyric is full of clever automobile-related metaphors, while the driving arrangement and the “Rev it up, rev it up ‘til your engine blows” hook practically beg to be blasted out one’s car windows.
“That Don’t Impress Me Much”
Come On Over – 1997
The sentiment is clear: Shania Twain is not impressed by guys who are overly impressed with themselves. One part sing-along, one part spoken word, with some steel guitar and cowbell hooks thrown in, it all adds up to one heck of a fun record.
Desperate Housewives soundtrack – 2005
It may have been recorded for a soundtrack, but make no mistake about it: A song that compares finding the right man to finding the ideal footwear, noting that “Some you can’t afford, some are real cheap, some are good for bummin’ around on the beach” is classic Shania. A clever song loaded with humorous double entendres, “Shoes” is good for a chuckle any day.
“(If You’re Not In It for Love) I’m Outta Here!”
The Woman In Me –1995
The dance-friendly beat is hooky and infectious, but the content runs deeper. At the heart of the song is a confident female protagonist who refuses to be taken advantage of. If the guy’s not in it for love… she’s outta here. This chart-topping hit established Twain’s distinct songwriting point of view, while helping to power her The Woman In Me album to 12x platinum sales.
“I’m Gonna Getcha Good!”
Up! – 2002
Not really much to say about this one except that, as far as great pop-country hooks go, they don’t come much catchier than this.
Up! – 2002
A kiss-off tune that’s not nearly as bitter as such songs usually are, but that doesn’t make it any less delicious. Twain almost seems to casually enjoy the moment of letting her no-good ex know that she’s done being mistreated by him. She admits “I miss you now and then, but would I do it all again?” The band abruptly stops playing as if to await her answer: “Nah!” Ouch.
“Home Ain’t Where His Heart Is (Anymore)”
The Woman In Me – 1995
It’s a shame this song didn’t make a bigger dent in history. I’ve always considered it one of Twain’s most subtly moving performance as the female narrator mourns the deteriorating state of her marriage; while the song offers no full resolution of the story, save for Twain hoping “If we could only find that feeling once again… If we could only change the way the story ends.”
“Don’t Be Stupid (You Know I Love You)”
Come On Over – 1997
Because it makes me happy. So there.
“Leaving Is the Only Way Out”
The Woman In Me – 1995
The only song on any of Twain’s albums on which she takes sole writer’s credit, this is one of her best songs, as well as one of her countriest. The refrain “If cryin’ is the only way into your arms, then leavin’ is the only way out” is nothing short of heartbreaking.
“You’ve Got a Way”
Come On Over – 1997
Though I would recommend steering clear of the hokey Notting Hill pop remix, “You’ve Got a Way” remains one of Twain’s most beautifully understated, sincere performances on record, with the acoustic arrangement allowing her to positively shine.
“Forever and For Always”
Up! – 2002
A gem of a love song with an effortlessly endearing melody and a deeply heartfelt performance on Twain’s part. Though the song was remixed into an international pop smash, it remains best heard in its country form, in which Twain’s sentiments are driven home by subtle, beautiful strains of banjo and steel.
“Whose Bed Have Your Boots Been Under”
The Woman In Me – 1995
Right out of the starting gate, Shania’s first major hit, and first Lange-produced single release, delivers a powerful punch of her priceless personality. With a bouncy fiddle-driven production, silly rhyme schemes involving the names of the cheating lover’s mistresses, and the delightfully cheesy bridge (“So next time you’re lonely/ Don’t call on me/ Try the operator/ Maybe she’ll be free”), “Whose Bed” is both shamelessly campy and tons of fun as a result.
“Is There Life After Love”
The Woman In Me – 1995
A rare thematic venture on Twain’s part to the wrong side of cheating. She regrets her tryst, but regrets coming forward and confessing it even more, bemoaning “You gave me forgiveness, but you could not forget/ I should never have told you what I’ll live to regret.”
“Man! I Feel Like a Woman!”
Come On Over – 1997
Well of course! Who could leave out one of Shania’s most energetic, free-spirited, entertaining performances of her career?
“Dance with the One That Brought You”
Shania Twain – 1993
An early Twain record from the days before she was singing her own self-written material, “Dance with the One That Brought You” marries twain’s beautifully nuanced vocal performance to a charming Gretchen Peters lyric and a gorgeous piano and steel-driven waltz of an arrangement. It just might be one of Twain’s best moments on record, and yet Mutt Lange had absolutely nothing to do with it. Who’da guessed?
“You’re Still the One”
Come On Over – 1997
I love this song so, so much. An unabashedly sincere vocal, shimmering production, and a lyric that encapsulates the firm commitment, pride in having overcome obstacles, and deep, genuine love of a couple that has remained together against all odds and expectations. While I’ve long believed that commercial success does not equate to quality, I still say that this song was a massive hit because it deserved to be a massive hit. A timeless, universal sentiment that touched pop fans and country fans alike, “You're Still the One” is pure pop-country perfection.
“No One Needs to Know”
The Woman In Me – 1995
The best country songs are those that rely, not on words themselves, but on the feelings that the words and melodies tap into. “No One Needs to Know” absolutely radiates with the giddiness and joy of a newfound love that only the narrator herself is to know of (which suggests that Taylor Swift is not kidding when she cites Twain as a major influence). The infectious, stripped down acoustic arrangement, complete with dobro and steel chords, is a pure and simple delight.
Up! – 2002
Twain has long been known for her incessant positivity – a consistent thread that ran throughout the Come On Over and Up! albums in particular, but was nowhere more concentrated than on the title track of Up! It comes as a fist-pumping pop-anthem on the red disc; a sprightly banjo rocker on the green disc. “Up!” is a hugely lovable ball of energy either way. The production pulses with urgency as it underscores Twain’s spirited performance. No matter what it is that’s got you down, Twain shouts “Up! Up! Up! There’s no way but up from here!” until she has you believing it too.
“Any Man of Mine”
The Woman In Me – 1995
Is there any other song in her catalog that so thoroughly sums up everything one could love about Shania Twain? The energy of this performance leaps out your speakers, along with boot-stomping rhythm, the awesome fiddling, and all the signature Twain wit in the humorous lyrics. I’m not the least bit ashamed to admit that the line dance breakdown just might be my favorite part.
It was a bold artistic move and a substantial risk at the time of its release, yet it helped blaze a trail that female country artists are still following today. But even when bringing it down to a personal, individual level, there are simply few other Shania Twain songs, hits or not, that put a skip in my step like this one does. Shania's cheeky delivery makes me smile. The lyrics make me laugh. The beat makes me want to dance. Any way you look at it, this song hits me just right.
The critic in me respects it. The fan in me adores it. Now if you'll excuse me, I think it's time for some kicking, turning, and stomp-stomping…
Does country radio still have room for a song about drinkin' and cheatin'? How about one sung by a female artist?
Enter Arista newcomer Kristen Kelly, currently making waves at radio with her debut single “Ex-Old Man,” which she co-wrote along with nineties star Paul Overstreet. The premise is simple. Husband cheats on her with her best friend. She calls it quits with her man, and hits the bar, assuring us in no uncertain terms that “There's a damn good reason for this drink in my hand.” The lyric and performance are brash and bitter with an undercurrent of vulnerability as Kelly fumes over the double betrayal. (“I was cryin' on her shoulder, he was cheatin' on me… She never let on that it was her stealin' his love”)
In a country radio environment where there are far too many bells and whistles, it's a refreshing change of pace to hear a new artist taking a back-to-basics approach – revisiting a classic yet often ignored country music theme, with a simple drum and acoustic guitar-driven arrangement that actually makes the song feel like country music (Overstreet and Tony Brown take producer's credit). At the same time, the jaunty acoustic chords and hand claps are subtly infectious, setting the toe tapping in short order.
It's encouraging to see that this single seems to be getting some attention at radio. If Kelly's lyrical material remains strong, she along with fellow rising talent Jana Kramer could potentially act as an effective counterbalance toward the polished, hook-heavy country-pop of Swift and Underwood and company, imbuing some welcome variety into country radio's pool of female talent.
Proof positive that what T. Swift pulls off only looks easy.
Because in theory, this should work better. Very relatable – if vanilla – premise, and melody with some real hooks. And these vocalists could probably out-sing Swift technically, right?
But the humanity, the vulnerability, the joyful spark that could have driven this micro-romance home – they’re simply absent, in lyrics and performance. It’s fine, but it’s flat. It’s here, but then it’s gone, and it’s whatever.
Own the Night, thy legacy cometh quickly. (But not swift…ly. K anyway:)