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Amanda’s Radio Single Round-Up: Part 2

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Rachel Wammack, “Damage”

The debut single from Sony Nashville powerhouse Rachel Wammack is a lyrical masterpiece. Wammack sounds a bit like Carrie Underwood, and her voice is one of the main assets that makes this song so great. Another exemplary facet of this song is how well she sells the emotion of the song and tells a riveting, compelling story. As someone who has had her fair share of experiences with love, I really connected to “Damage”, enough to where I was in tears by the end of the song. The only minor issue is the production, as I think a bit more steel guitar would be very beneficial. I doubt this will be a hit as country radio generally refuses female artists, actual country music or anything of remote substance, but I’m rooting for Rachel. This song deserves to be a hit. Rachel should be proud of herself for this song, as it is fantastic. In a just world, she’d be a star.
GRADE: 8.5/10

Carlton Anderson, “Drop Everything”

Speaking of a just world, Carlton Anderson should also be a star. The debut single from Anderson is the type of music that should be on country radio.  The song details the narrator approaching a girl at the bar who is having trouble with her boyfriend, when the narrator asks her to “drop everything” and come home with him.  Although a bit weak lyrically and thematically, as we’ve heard this story half a dozen times, what the song lacks, it more than makes up for in the other categories. Sonically, it’s awesome. For those of you who have been introduced to country music through Sam Hunt, Kane Brown, and FGL, that thing you’re hearing is called a fiddle, and it sounds amazing. The production sounds like something straight out of Jon Pardi’s playbook, and that’s a compliment coming from me considering that I am a huge fan of his. Carlton is an excellent vocalist; take Josh Turner’s voice and bump it up a few octaves, and you’ve got Carlton Anderson. On top of those strong points, I’m willing to argue that this is the most fun song that has hit mainstream country radio in months. It’s one of those infectious songs that will have you singing along in no time at all. Unfortunately, I don’t look for this to be a big hit, due to the people running that Mickey Mouse operation so affectionately called “country radio”, who don’t think the general listening public actually want to hear country music. Newsflash: we do. Since Carlton Anderson leans more squarely towards early-mid 2000’s neotraditional country goodness instead of pop bullshit, he will be one of the few male artists country radio will most likely ignore, and that fact really sucks, because in a just world, he would be a major star. While radio isn’t likely to eat this up, fans of Pardi, Turner, and actual country music in general will love this. Because THIS is what we should be hearing on country radio, not Kane Brown, Bebe Rexha, Sam Hunt, and the like.
GRADE: 7.5/10

Walker Hayes, “90’s Country”

Can we please trade this guy for the 2011 version of Walker Hayes? My personal hands-down winner of “Worst Album of 2017” (I dare you guys to listen to “Boom.” and tell me how far you get through it. Just kidding. But I am curious.) and runner-up of “Worst Song of 2017” (He would have won if not for the monster impact of Sam Hunt’s “Body Like a Back Road”; don’t get me wrong, Sam Hunt’s abomination is horrible, but what Hayes put out last year was one million times worse) for the god-awful “You Broke Up With Me”. After the seemingly commercial failure of “Boom.”, Hayes is back with a song about 90’s country music—which has absolutely fucking nothing to do with 90’s country music. It’s another mindless pop song with a ton of name drops. I can imagine Hayes and Shane McAnally’s meeting regarding this song went something like this:

Walker Hayes: Yo Shane!
Shane McAnally: What Walker?
WH: You know what would be a great idea for a country radio hit?
SM: Whatcha thinking about, Walker?
WH: A lot of people seem to be nostalgic for the country music of the 90s. I know! Let’s name drop a bunch of song titles and set them to a beat! It’ll be great, Shane! Just great!!
SM: *Sees dollar signs*
WH: *Googles “popular 90s country hits*
5 minutes later, this clusterfuck of a song is born.

Basically, Walker Hayes just name-drops a bunch of country hits from the 90s, and some of the lyrics are just so cringe-worthy (girl, you know you think my tractor’s sexy). However, kudos to Hayes for referencing “Jukebox Junkie” (a semi-obscure Ken Mellons hit) and for the song being catchy. With that being said, “90’s Country” still sucks.
GRADE: 1/10

RaeLynn, “Tailgate”

I would love to live in a world in which we can enjoy female voices on country radio. Carrie, Miranda, Ashley Monroe, Kacey Musgraves, Aubrie Sellers, Ashley McBryde, Sunny Sweeney, Margo Price, Angaleena Presley, Brandy Clark, Lori McKenna, Ashley Campbell, Lee Ann Womack, Sara Evans, Reba, Cam, Carly Pearce, Rachel Wammack, Tenille Arts, Tenille Townes, Mickey Guyton, Maren Morris (arguably), Maddie and Tae, and Runaway June are all awesome, unique, and should have a place on country radio. We need to hear more from the strong female perspective on country radio, and the ladies I just listed would be the ones to deliver on that promise. RaeLynn could be a great addition to these ladies, as she did give us the awesome “Love Triangle” in 2017. However, this perspective shown to us in “Tailgate” is exactly what we don’t need. In short, this is just female bro-country (and to mention, “Tailgate” was written by one of the ever-so-lovely founders of bro-country, Tyler Hubbard himself, and bro-country has-been Canaan Smith as well). (The extent of female bro-country is demonstrated even further with the video, which will most likely make your blood boil, fair warning). Honestly, RaeLynn, bro-country is so 2013. This shit should have gone away at least four years ago. RaeLynn is talented, but you sure wouldn’t know it from this offering. “Tailgate” is absolutely terrible and immature, and is honestly not even worth your time.
GRADE: 0/10

Lauren Alaina, “Ladies in the 90’s”

Guys, this is it. We have officially hit below rock bottom in mainstream country music. This right here is one of the worst songs you will hear all year, right next to Bebe Rexha and FGL’s “Meant to Be”, Morgan Wallen/FGL’s “Up Down”, and Kassi Ashton’s “Taxidermy”. This is the kind of shit that makes Walker Hayes listenable, and makes Sam Hunt sound like George Strait. And what a damn shame this is, because last year, Lauren Alaina delivered one of my favorite albums of 2017 with Road Less Traveled. This is nothing short of horrid and embarrassing, and is sure to piss off any true fan of country music. I would rather listen to “Body Like a Back Road” on repeat for an entire month than to ever here this clusterfuck again. The lyrics and production of this thing are bottom of the barrel. “So I can sing all night long, acting like I’m Britney”? Really, Lauren? Girl, have some pride. Referencing Britney Spears in a country song just shouldn’t happen. Like Walker Hayes, Alaina references and name-drops some of the most cliché songs of the 90’s (although Cowboy Take Me Away is amazing and Fancy isn’t half bad either). But unlike Hayes, she doesn’t stick to just country—she references straight up pop songs—in what is supposed to be a country song. Also unlike Hayes, this isn’t catchy at all. It’s flat-out horrible on all ends. The production sounds like a cross between some song you’d hear on a Disney Channel tween program and the annoying background music at Chuck E. Cheese, when you’re stuck at your little cousin’s birthday party with a horde of sugar-crazed, pizza-stuffing, screaming, bouncing off the walls six-year-olds. Lauren, if your heart will always be stuck in the 90’s, why don’t you build yourself a time machine and take yourself back. Maybe Lee Ann Womack, Trisha Yearwood, and Patty Loveless will teach you how to make some quality country music. I was previously a fan of Alaina’s before this and her duet with the scourge of 2018 mainstream country, Kane Brown, and I am extremely disappointed. Look, I’m all for more women on country radio. I’d love that. I’d love if country radio was dominated by women. But I’m begging you, people on social media and people on country radio, for the love of God, Please. Stop. Trying. To. Make. “Ladies. In. The. 90’s”. A. Thing. Instead of rallying around this steaming heap of trash, we should be rallying around the Pistol Annies and their great new single, “Got My Name Changed Back”. This song is absolutely horrible, and Lauren Alaina is much better than this. Hopefully, the album will be much better, but when this is what you’ve got to work with for a lead single…and you say yourself that it is your “favorite single you’ve ever done”…it doesn’t look too promising.
GRADE: 0/10

Reviews

Amanda’s Radio Single Round-Up: Part 1

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Amanda’s Radio Single Round-Up — Part 1

Tenille Arts, “I Hate This”

The debut single from Canadian-born Reviver Records recording artist Tenille Arts is definitely a solid one. “I Hate This” blends a voice reminiscent of Carly Pearce with a heavily acoustic-based production, complete with prominent dobro. Lyrically, it’s very relatable: the song is describing a relationship in which the couple is taking a break, and it’s nearly killing the narrator, as she still loves her boyfriend and hates this period of separation. The softer production and solemn emotional content of the song really make “I Hate This” a great song, and a great choice for a debut single. Of course, it probably won’t be a mainstream hit as country radio unfortunately doesn’t take too kindly to females and their commercial success in the format, but please don’t let their closed-mindedness stop you from giving this one a listen. It truly is as good of a song as you’re going to get from the mainstream these days. I can’t wait to hear more from Arts.
GRADE: 8/10

Tenille Townes, “Somebody’s Daughter”

Another Tenille, another debut single. This time around, it comes from Sony Nashville’s Tenille Townes. “Somebody’s Daughter” is the narrator’s account of her observation of a homeless young woman. The lyrics are very heartfelt and strong, encouraging the listener to take compassion on the young woman, as she is “somebody’s sister, somebody’s best friend, somebody’s high school best friend, somebody’s daughter”. Townes reminds listeners that everyone has a story, and the narrator of the song wonders about the subject of the song. While the lyrical content is solid, the production is a bit of an issue. Maybe it’s just me, but the production of this song seems a bit loud and cluttered, and takes away from the message and story of the song. Nevertheless, it’s still solid and still worth checking out.
GRADE: 7/10

Tim McGraw, “Neon Church”

Tim McGraw is back. On the heels of his awesome Damn Country Music, and releasing a duets album with his superstar wife, Faith Hill, Tim has released a new single, the lead single from his upcoming album, to country radio. For starters, the lyrical quality of this song is stellar. The narrator of this song is completely heartbroken, and compares the bar he is sitting at to a church setting. Quite the juxtaposition, and at first glance, McGraw’s song reminded me of Maren Morris’s “My Church”, a song I really enjoyed. The lyrics are very descriptive and interesting, but the production is where this song really falls flat. Much like the aforementioned “Somebody’s Daughter”, the production sounds clunky and cluttered, and to add, really distorted sounding. Whoever produced this should have their producer title taken away from them immediately. This was a great idea for a song marred by terrible production. However, it is still above average and will be one of the better songs at country radio currently.
GRADE: 6.5/10

https://m.youtube.com/watch?v=vIQUfinukh4

William Michael Morgan, “Tonight Girl”

Oh boy. I really wish I had better things to say about this. This is the review I thought I’d never have to write, and after hearing this song, this was the review I dreaded writing. Morgan heavily impressed me with his 2016 debut, Vinyl, which was full of awesome traditional country goodness. Vinyl was hands down my favorite album of that year, and it is still on repeat for me. Seriously, if you have not yet checked out “Missing”, “Lonesomeville”, “Cheap Cologne”, and “I Know Who He Is” (warning, you will need to break out the tissues for that last one), you are missing out on some killer music, and you need to give them a listen as soon as possible. “Lonesomeville” was far and away my favorite song of 2016. Morgan truly set the bar high for himself with those four songs, and with the album in general. Friday marked the release of the lead single of his upcoming sophomore album, so did he live up to his potential? Not even close. This song sounds like literally every other boring male-led generic song on country radio currently. Morgan is capable of, and can do so much better than this, and everyone knows that. Hopefully this is the worst song on the album. Also, what the hell is up with that annoying whistle sound throughout the track? I refuse to believe this is the same guy who recorded “Lonesomeville”. Where is the steel guitar? Where is the fiddle? Where are the heartfelt lyrics we witnessed on his debut album? None of them are here. This is just another boring, pop-ish, dime-a-dozen, generic song. The lyrics are generic, and the production just isn’t good. Morgan is capable of so much more. He could be the next generation’s George Strait, when he is being himself and staying true to his style of music, instead of chasing radio trends. If this keeps up, looks like Jon Pardi will have to fill that role. Even Pardi’s worst songs (cough cough “Dirt on My Boots”) maintain some sort of country element. It truly saddens me that I have to give him this kind of feedback, and this score. I hope for the rest of the album, he will stay true to himself and do what he does best, which is record kick-ass neotraditional country. The last thing we need is another Dustin Lynch.
GRADE: 3/10

Tyler Rich, “The Difference”
Who? Speaking of sounding like every generic male on country radio, here’s a prime example. The dunderheaded folks operating mainstream country radio would like to present you with the 75th example of a faceless generic pretty-boy male singer singing lightweight, boring pop bullshit, because you know, nobody wants to hear actual country singers, female artists, or just artists who prefer substance over style in general. All jokes aside, if you’ve heard one, you’ve heard them all. The one thing that sets this song apart from all soundalikes in the worst way is the horrid lyric in the first verse: “I want you to be my hottie riding shottie, I don’t want nobody’s body but your body, babe”. Whoever thought “hottie riding shottie” was a good idea for a lyric in a song should have their songwriting privileges immediately taken away. This is another creative failure that will most likely be a hit at country radio, unfortunately.
GRADE: 0/10