1970 | Peak: #40
It’s interesting to note the stark contrast between the uplifting “glass-half-full”-type songs Dolly often favors today with the much darker fare she often recorded in the sixties and seventies. “Daddy Come and Get Me” is one of Dolly’s most thematically-distinct story-songs, telling of a woman placed in a mental institution by her cheating husband.
Listen:
Leeann Ward:
As wrong as it may be, the consistently gorgeous arrangements and Kimberly Perry’s compelling vocals almost make up for the lyrical deficiencies found on The Band Perry’s debut album. As it has been with all their singles so far, The Band Perry’s story of style being greater than substance continues with this promising group’s latest single as well.
Those blessed dirt roads make a return once again on Jason Aldean’s latest single, sans the hick-rap this time around. “Tattoos On This Town” is a simple small-town nostalgia trip that should fit in nicely with the current trends on country radio, and no doubt supply Aldean with another chart-topping hit. It comes as a pleasant surprise, however, that this particular offering displays a notable level of creativity while largely managing to steer clear of the clichés.
There isn’t much to love about The JaneDear Girls’ debut album (or their radio singles for that matter), and that’s putting it lightly. It’s a set characterized by uninspired, derivative songwriting, not to mention screechy vocals and tin-eared production choices. (John Rich – Who’da guessed?) But there was one song on the album that almost made all the other songs look good by comparison. Surprise! It’s their new single.
1983 | Peak: #1
The 80’s keyboard is like a cheese grater grating extra cheese onto the pizza that is “You Look So Good in Love.” To the modern ear, it imbues the song with an unintentional levity even before George gets to his third-verse recitation. Throw in the über-earnest chorus – not to mention the video – and the thing becomes just about impossible to take seriously.
From his upcoming fall album release, Guitar Slinger, Vince Gill releases a quiet song that gorgeously portrays a man who is at peace with his impending death. While his loved ones are distraught from the thought of losing him, he assures them that he is not afraid of the prospect and, in fact, welcomes it:
The closest he’s come in two albums to capturing his old uptempo spark. Maybe that’s because he’s found his banjo again, and it pokes some much-needed holes in the thick layer of polish. Or maybe it’s because he dares to be a little lusty – “waiting on the sun to go down,” his passion rising like (nice touch) a lake in heat.
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