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Retro Single Review: Shania Twain, “When”

January 2, 2012 Kevin John Coyne 2

1998 | Peak: #14 (Canada); #18 (U.K.)

The closest thing in Twain’s catalog to a lost hit, “When” was released as the follow up to “You’re Still the One” in the United Kingdom. Twain even shot a video for the song, which consists mostly of her playing in traffic while dressed like an angel.

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Retro Single Review: Tim McGraw, “Just to See You Smile”

January 2, 2012 Kevin John Coyne 3

1997 | Peak: #1

Smarter and more incisive than nearly everything else in heavy rotation back in the day.

McGraw plays his cards to close to his chest that upon first listen, you may only pick up on his unconditional love and selflessness toward the girl who’s been stringing him along for all these years.

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Retro Single Review: Tim McGraw, “Everywhere”

January 1, 2012 Kevin John Coyne 3

1997 | Peak: #1

The moment where Tim McGraw discovers subtlety and finds it suits him quite well.

“Everywhere” is the title track from the album that established McGraw as a credible artist, and its release was demanded by radio, which gave it considerably heavy airplay as an album cut.

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Retro Single Review: Shania Twain, “You’re Still the One”

December 2, 2011 Ben Foster 7

1998 | #1

As the story goes, “You’re Still the One” was inspired by media speculation that Shania Twain’s marriage to Robert John “Mutt” Lange would not last. Twain and Lange decided to respond to the criticism in song. The result was a song that become a monster crossover hit, a staple for weddings and anniversaries for years to come, an instant standard of nineties country and pop music, and one of the songs that would go on to define Twain’s unique and outstanding career.

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Retro Single Review: Tim McGraw, “Maybe We Should Just Sleep On It”

November 30, 2011 Dan Milliken 2

1996 | Peak: #4

A sound sentiment stuffed in a sound-impaired package.

The generic “moody” 90’s production does some of the damage, as does a patchwork melody that can’t seem to connect its phrases. But you can also  hear McGraw still ironing out his vocal technique, as his likably nervous tremor in the verses meets a series of clumsy trills and some pitchy “baby”s and “maybe”s.

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