Country music from a fan's point of view since 2008
1959: Billy Bayou — Jim Reeves (RCA Victor)
1969: Daddy Sang Bass — Johnny Cash (Columbia)
1979: Baby I’m Burnin’ — Dolly Parton (RCA Records)
1989: She’s Crazy For Leaving — Rodney Crowell (Columbia)
1999: Right On The Money — Alan Jackson (Arista)
2009: Already Gone — Sugarland (Mercury Nashville)
2019: Speechless — Dan + Shay (Warner Nashville)
2019: Good Girl — Dustin Lynch (Broken Bow)
If popular culture is to be believed, it seems the 1990s is the hottest decade right now. Most of the ‘new’ television shows are reboots of classics from the era, including Full House and Will & Grace, with the originals casts reprising their roles. In popular music, if you were a major player 20-25 years ago, then its suddenly fashionable to return with new music and slews of concert dates.
In country music, this trend extends to the return of Faith Hill and Shania Twain with their first new music in more than a decade while Garth Brooks is wrapping up his massive three-year tour this month in Nashville. Even Dixie Chicks came home to the United States with their first tour in ten years. What’s old is new again or rather the music that defined my childhood is suddenly hip again.
It would be a stretch to place Tracy Lawrence at the same level since he was never a global superstar or wheeled much influence on an international stage. But he was one of the most consistent and traditional artists in his day, with a catalog that more than stands up to anything released by the artists who may have eclipsed him in status.
To celebrate this resurgence, Lawrence has released Good Ole Days, which recognizes what he refers to as a ‘hunger for the music from my era.’ The album pairs him with modern day country artists singing his hits. The whole concept does seem like a gimmick, a cash grab for the gullible fan unaware they are likely only lining the pockets of the executive who dreamt up this project. But really it’s a chance to finally hear country’s current class sing real well-written songs for the first time in their careers. I jumped at the chance to review this album simply so I could hear how these artists sound when forced to interrupt the actual country music. I’ve always had a theory that there is talent there if these artists had the proper vehicle to show it off.
This is the proper vehicle because instead of the artists making these songs their own, with their typical non-country producers and such, they have to stick within the confines of the original arrangements, including the steel, fiddle, and twang. Without the ability to hide, every weakness would be on the table.
Luke Bryan tackles Lawrence’s 1991 debut “Sticks and Stones” and handles it well. I wasn’t impressed with Jason Aldean’s take on “Just Can’t Break It to My Heart,” his voice was a bit too dirty, but the energy was good.
I remember reading in Quotable Country, on the dearly-departed Country California, Justin Moore says if he had a say he would make an album in the vein of I See It Now. He goes back a bit further here with “Alibis” and knocks it out of the park. Moore is a great country singer and it’s a shame he has to reside in this current climate.
Dustin Lynch sounds exactly like a young Lawrence on “Texas Tornado,” which is kind of scary. His performance isn’t excellent, but it’s damn close. I was surprised Miranda Lambert, who has been known to belt this out in concert, wasn’t singing it but that could’ve been label politics.
Probably the newest artist featured here is Luke Combs, who just hit number one with “When It Rains It Pours.” There’s no mistaking he’s a country singer and he easily pulls this off. The same is true for Chris Young, but he sounds like he’s just going through the paces on “If The Good Die Young.” If he had just let go the results could’ve been incredible.
The legend of Tim McGraw is he moved to Nashville on May 9, 1989, and has always said he’s more of a storyteller while Keith Whitley is a singer. I agree wholeheartedly, but his performance of “Time Marches On” is bland. In contrast, Easton Corbin shines on “Paint Me A Birmingham.”
Kellie Pickler’s talent is wasted on “Stars Over Texas,” which finds her regulated to singing the chorus. As the sole female voice on the whole album, you would’ve thought she’d be allowed more of a presence. I didn’t care for her vocal either, which makes her sound like a little girl.
There are two new songs in the mix. Brad Arnold, the lead singer of Alternative Rock band Three Doors Down (think ‘Here Without You’) joins Lawrence on the title track, which is being billed as his “country music debut.” The song, which also features Big & Rich, is a faux-rock disaster. The military-themed fiddle drenched ballad “Finally Home,” which features Craig Morgan, is better but not really for my tastes.
Good Ole Days is a great concept with lousy execution. These tracks are collaborations between the singer and Tracy Lawrence which doesn’t work on any level. Get rid of Lawrence entirely and turn this into the proper tribute album it’s screaming to be. His nasally twang is insufferable and pointlessly distracting. The lack of female artists in the mix is also troubling, as you don’t need just men to sing these songs.
Grade: B-
1957 (Sales): Fraulein — Bobby Helms (Decca)
1957 (Disc Jockeys): Fraulein — Bobby Helms (Decca)
1967: Turn The World Around — Eddy Arnold (RCA)
1977: Daytime Friends — Kenny Rogers (United Artists)
1987: You Again — The Forester Sisters (Warner Bros.)
1997: How Your Love Makes Me Feel — Diamond Rio (Arista)
2007: Take Me There — Rascal Flatts (Lyric Street)
2017: Body Like a Back Road — Sam Hunt (MCA)
2017 (Airplay): Small Town Boy — Dustin Lynch (Broken Bow)
1957 (Sales): : Fraulein — Bobby Helms (Decca)
1957 (Disc Jockeys): My Shoes Keep Walking Back to You — Ray Price (Columbia)
1967: Laura What’s He Got That I Ain’t Got — Leon Ashley (Ashley)
1977: I’ve Already Loved You In My Mind — Conway Twitty (MCA)
1987: Three Time Loser — Dan Seals (EMI America)
1997: How Your Love Makes Me Feel — Diamond Rio (Arista)
2007: Take Me There — Rascal Flatts (Lyric Street)
2017: Body Like a Back Road — Sam Hunt (MCA)
2017 (Airplay): Small Town Boy — Dustin Lynch (Broken Bow)
1957 (Sales): : Fraulein — Bobby Helms (Decca)
1957 (Disc Jockeys): Fraulein — Bobby Helms (Decca)
1967: Laura What’s He Got That I Ain’t Got — Leon Ashley (Ashley)
1977: Don’t It Make My Brown Eyes Blue — Crystal Gayle (United Artists)
1987: This Crazy Love — The Oak Ridge Boys (MCA)
1997: There Goes — Alan Jackson (Arista)
2007: Take Me There — Rascal Flatts (Lyric Street)
2017: Body Like a Back Road — Sam Hunt (MCA)
2017 (Airplay): Small Town Boy — Dustin Lynch (Broken Bow)
1957 (Sales): Whole Lot of Shakin’ Going On — Jerry Lee Lewis (Sun)
1957 (Disc Jockeys) (tie): Fraulein — Bobby Helms (Decca)
My Shoes Keep Walking Back to You — Ray Price (Columbia)
1967: My Elusive Dreams — David Houston & Tammy Wynette (Epic)
1977: Don’t It Make My Brown Eyes Blue — Crystal Gayle (United Artists)
1987: Make No Mistake, She’s Mine — Kenny Rogers & Ronnie Milsap (RCA)
1997: She’s Got It All — Kenny Chesney (BNA)
2007: More Than a Memory — Garth Brooks (Big Machine/Pearl)
2017: Body Like a Back Road — Sam Hunt (MCA)
2017 (Airplay): Small Town Boy — Dustin Lynch (Broken Bow)
1957 (Sales):Young Love — Sonny James (Capitol)
1957 (Jukebox): :Young Love — Sonny James (Capitol)
1957 (Disc Jockeys): Young Love — Sonny James (Capitol)
1967: Where Does The Good Times Go — Buck Owens (Capitol)
1977: Moody Blue — Elvis Presley (RCA)
1987: Straight to the Heart — Crystal Gayle (Warner Bros.)
1997: A Man This Lonely — Brooks & Dunn (Arista)
2007: It Just Comes Natural — George Strait (MCA)
2017: Body Like a Back Road — Sam Hunt (MCA)
2017 (Airplay): Seein’ Red — Dustin Lynch (Broken Bow)
He covers the Travis Tritt classic:
1956 (Sales): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)
1956 (Jukebox): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)
1956 (Disc Jockeys): Heartbreak Hotel — Elvis Presley (RCA)
1966: Distant Drums — Jim Reeves (RCA)
1976: One Piece at a Time — Johnny Cash (Columbia)
1986: Whoever’s In New England — Reba McEntire (MCA)
1996: My Maria — Brooks & Dunn (Arista)
2006: Settle For a Slowdown — Dierks Bentley (Capitol)
2016: H.O.L.Y. — Florida Georgia Line (Republic Nashville)
2016 (Airplay): Mind Reader — Dustin Lynch (Broken Bow)
1955 (Sales): I Don’t Care — Webb Pierce (Decca)
1955 (Jukebox): I Don’t Care/Your Good For Nothing Heart — Webb Pierce (Decca)
1955 (Disc Jockeys): I Don’t Care — Webb Pierce (Decca)
1965: Is It Really Over — Jim Reeves (RCA)
1975: Rhinestone Cowboy — Glen Campbell (Capitol)
1985: Modern Day Romance — The Nitty Gritty Dirt Band (Warner Bros.)
1995: I Like It, I Love It — Tim McGraw (Curb)
2005: Mississippi Girl — Faith Hill (Warner Bros.)
2015: House Party — Sam Hunt (MCA)
2015 (Airplay): Hell of a Night — Dustin Lynch (Broken Bow)
We didn’t get a chance to run this before the end of the year, but we figured our readers wouldn’t mind reading Paul’s year in review a little late. — Razor X
1. Rosanne Cash – The River & The Thread
This album came out fairly early in the year, and yet I was fairly sure it would be the best new album I would hear in 2014. Elegant and insightful would be the terms I would think best describe this album.
2. Working Man’s Poet: A Tribute to Merle Haggard
So timeless are the songs are the songs of Merle Haggard that even marginal talents such as Jason Aldean and Jake Owen couldn’t mess up the songs. If fact I would regard Aldean’s take on “Going Where The Lonely Go” as he best recording he’s ever made. This tribute album is largely composed of modern country artists (Toby Keith, Parmalee, Dustin Lynch, Kristy Lee Cook, Randy Houser, Joe Nichols, Jake Owen, Jason Aldean and James Wesley) with Merle’s son Ben thrown in for good measure and Garth Brooks on the physical CD available at Walmart. The two tracks by Thompson Square (“You Take Me For Granted”, “Let’s Chase Each Other Around The Room”) are given a playful reading and are my favorite tracks, but every artist keeps the spirit of the Hag alive with these songs.
3. Kelly Willis & Bruce Robison – Our Year
The follow-up to Cheater’s Game dishes up another nice serving of real country music with more focus on newer material but with some covers including a nice take on the Statler Brothers classic “I’ll Go To My Grave Loving You” .
4. Jerry Douglas – Earls of Leicester
An instant classic, this album is almost a theatre piece with various stellar musicians cast in the roles of the members of the classic Flatt & Scruggs lineup of the 1950s and 1960s, doing a program of classic Flatt & Scruggs material. Starring Jerry Douglas on dobro, Barry Bales on bass, Shawn Camp on acoustic guitar and vocals, Johnny Warren – fiddle, Tim O’Brien – mandolin, & Charlie Cushman – banjo and guitar. Johnny Warren is the song of longtime F&S fiddler Paul Warren.
5. Carlene Carter – Carter Girl
Carlene Carter pays tribute to her musical heritage with a classic collection of Carter Family tunes plus a pair of original compositions. These recording have a modern sound that differs from, but is true to, the spirit of the originals.
6. Ray Price – Beauty Is
I wanted to call this the best album of 2014 and if Ray had been in top vocal form I would have, but this is the swan song of a dying man who knows the end is but months away. The album is elegant and heartfelt, in many respects a valentine to his wife of many years.
7. Jeff Bates – Me and Conway
For as popular as Conway Twitty was during his heyday (think George Strait), he has been almost entirely forgotten. A tribute to Conway Twitty is long overdue and while I think a multi-artist album would be nice, if it has to be a single artist tribute album, there is no one better to do it than Jeff Bates, whose voice can sound eerily similar to that of Conway Twitty. The album is about half Conway Twitty songs and half new material including the title track. My favorite tracks are the title track, “Lost In The Feeling” and Jeff’s duet with Loretta Lynn on “After The fire Is Gone” .
8. Mandy Barnett – I Can’t Stop Loving You: The Songs of Don Gibson
Mandy is a masterful singer, if somewhat addicted to slow songs. Don Gibson was a top-drawer song writer, as well as a soulful performer. This album, initially available as a Cracker Barrel exclusive is proof that when you pair great songs with a great singer that very good things can happen. Don’s been gone for over a decade so it’s nice to see someone keep his songs in front of the American public.
9. Ray Price – A New Place To Begin
I am mystified that the tracks on this album went unreleased on an album for so long. During the mid 1980s Ray Price and Snuff Garrett collaborated on a number of successful singles (some of which were used in movie soundtracks) plus some other songs. True, producer Snuff Garrett fell ill somewhere along the line and retired, but Garrett was a big name producer and you would think these would have escaped somehow. This CD features seven chart singles that were never collected on an album, and seven other songs that were never released on an album. Sixteen tracks from one of the masters most featuring more steel guitar than was common for Ray during this period .
10. George Strait – The Cowboy Rides Away (Deluxe Edition)
This album has some flaws including what sounds like auto-tune on some tracks and the standard issue of the album doesn’t warrant a top twenty listing since it has only twenty songs on it. The Deluxe Edition, however, plants you into the middle of a George Strait concert – twenty-eight songs on the two CD set plus the entire 40 song set on the concert DVD with some bonus features. George never did tour extensively and when he hit town, the tickets were expensive and sold out quickly so I never did get to see him live in concert. This set is the next best thing. While the studio recordings are better, this is still worth having.
11. Chris Thile & Edgar Meyer – Bass & Mandolin
This album is a little hard to characterize – it’s not exactly bluegrass, folk, jazz or classical music, but it is all of them and more on the ten featured tunes, all of them co-writes. Meyer plays piano on a few tunes but mostly plays bass. Thile shines on the mandolin. The listener exults in the magic.
12. Sammy Kershaw – Do You Know Me: A Tribute To George Jones
True, Sammy is a distant cousin to Cajun pioneers Rusty and Doug Kershaw, but Sammy’s musical muses were Mel Street and George Jones. Here Sammy pays tribute to George Jones and does it well. My favorite among the dozen Jones hits (plus two new songs) covered is “When The Grass Grows Over Me”.
13. Joe Mullins – Another Day From Life
Joe Mullins has been around the bluegrass scene for a while, but this album was the first of his albums I happened to pick up. It’s very good and I’ll be picking up more of his albums when I hit the bluegrass festival in Palatka, Florida on February 20.
14. Rhonda Vincent – Only Me
Half country/half grass but 100% excellent. I wish that Rhonda would do an entire album of western swing and honky-tonk classics. It was silly to split this up into two six song discs, but I guess that the ears of the bluegrass purists needed protection from the country classics. My favorite track is “When The Grass Grows Over Me” which was also my favorite George Jones song. Rhonda’s takes on “Once A Day” and “Bright Lights and Country Music” are also highlights.
15. Lee Ann Womack – The Way I’m Livin’
It is good to see new music from Lee Ann. I don’t regard this as highly as I did her first few albums, but it is a welcome return to form.
16. Willie Nelson – Band of Brothers
Death, taxes and a new Willie Nelson album are the only things you can really count on seeing every year. This one is up to the usual standards, with Willie having written nine of the fourteen songs on the album.
17. Secret Sisters – Put your Needle Down
I actually liked their debut album better, but this one will appeal more to younger listeners. At this rate they won’t be a secret much longer. Buy it at Cracker Barrel as their version has two extra songs.
18. Sturgill Simpson – Metamodern Sounds in Country Music
A lot has been written about this album, but the truth is that words really don’t adequately describe it. This album requires repeated listening.
19. Dierks Bentley – Riser
I like this album, but I keep expecting more of DIerks Bentley. “Drunk On A Plane” and “I Hold On” were the big radio/ video singles but I don’t think they were the best songs on the album.
20. Cornell Hurd Band – Twentieth Album
In some ways the Cornell Hurd Band is like Asleep At The Wheel, a very versatile band that can handle anything. Both are terrific swing bands but AATW leans more to the jazzy side while the CHB is more honky-tonk and more prone to novelty lyrics. All of their albums are filled with many and varied treasures.
1954 (Sales): I Don’t Hurt Anymore — Hank Snow (RCA)
1954 (Jukebox): I Don’t Hurt Anymore — Hank Snow (RCA)
1954 (Disc Jockeys): I Don’t Hurt Anymore — Hank Snow (RCA)
1964: I Guess I’m Crazy — Jim Reeves (RCA)
1974: I’m A Ramblin’ Man — Waylon Jennings (RCA)
1984: Turning Away –Crystal Gayle (Warner Bros.)
1994: Third Rock From The Sun — Joe Diffie (Epic)
2004: Days Go By — Keith Urban (Capitol)
2014: Burnin’ It Down — Jason Aldean (Broken Bow)
2014 (Airplay): Where It’s At (Yep, Yep) — Dustin Lynch (Broken Bow)
1954 (Sales): I Don’t Hurt Anymore — Hank Snow (RCA)
1954 (Jukebox): I Don’t Hurt Anymore — Hank Snow (RCA)
1954 (Disc Jockeys): I Don’t Hurt Anymore — Hank Snow (RCA)
1964: I Guess I’m Crazy — Jim Reeves (RCA)
1974: I Wouldn’t Want To Live If You Didn’t Love Me — Don Williams (Dot)
1984: Let’s Chase Each Other Around The Room — Merle Haggard (Epic)
1994: Third Rock From The Sun — Joe Diffie (Epic)
2004: Days Go By — Keith Urban (Capitol)
2014: Burnin’ It Down — Jason Aldean (Broken Bow)
2014 (Airplay): Where It’s At (Yep, Yep) — Dustin Lynch (Broken Bow)
I have to admit to receiving the news of another Merle Haggard tribute album with a distinct lack of enthusiasm. It seemed unnecessary coming on the heels of Suzy Bogguss’ excellent Lucky and the artist line-up seemed uninspired, especially when compared to that of 1994’s Haggard tribute Mama’s Hungry Eyes, which featured like Randy Travis, Willie Nelson, Vince Gill, Radney Foster and Emmylou Harris, to name a few. I had serious doubts if half the artists on the just-released Working Man’s Poet had more than a vague awareness of who Haggard is before participating in this project. Some of them seem to have been selected primarily because they are on the roster of Broken Bow Records, which released the album. Others, like Joe Nichols and Randy Houser actually seemed to belong on such an album.
Reservations about the artist line-up aside, there is much to enjoy about this album and it even serves to illustrate that even relatively unexciting artists can rise to the occasion when given decent material to perform. I never expected to particularly enjoy anything by Thompson Square, for example, but their two contributions “You Take Me For Granted” (one of my favorite Haggard tunes) and “Let’s Chase Each Other Around The Room” are among the best on the album. Former American Idol contestant Kristy Lee Cook also turned in a solid performance on “Today I Started Loving You Again”, as did Dustin Lynch on “That’s The Way Love Goes”.
It was no surprise that Randy Houser’s versions of “Misery and Gin” and “Ramblin’ Fever” and Joe Nichols’ performances of “Footlights’ and “My Favorite Memory” were all excellent, but I was a little disappointed by Toby Keith’s rendition of “Carolyn”, which is marred by an intrusive string arrangement. “Pancho and Lefty” was always more of a Willie Nelson vehicle rather than a Haggard one, so I thought it was a little strange that it was included here. It’s performed by Luke Bryan and Dierks Bentley with Bryan doing all the heavy lifting — singing Willie’s part. I don’t care much for the arena-rock style production but I was impressed with Bryan’s vocal performance. He is an artist I could actually enjoy if he chose his own material more carefully. It would have been nice if Dierks had been given another song to perform in addition to this one.
Another curious choice was the obscure 1980 track “Make Up and Faded Blue Jeans” — my least favorite on the album, performed by Jake Owens who sounds as though he is in way over his head. I tried very hard to set aside my intense dislike of Jason Aldean and fairly evaluate his two contributions, “Going Where The Lonely Go” and “Are The Good Times Really Over.” The results are a mixed bag; he rises to the occasion on the former, but falls flat on the latter. Haggard’s son Ben also makes two appearances with “Mama Tried” and “Sing Me Back Home”. His voice is pleasant to listen to but he lacks his father’s vocal chops.
The CD version of the album includes “The Bottle Let Me Down”, but since it is performed by Garth Brooks, it was omitted from the iTunes version. I didn’t realize that when I downloaded the album, but I can live without it.
Although I still prefer the Mama’s Hungry Eyes album, I enjoyed Working Man’s Poet much more than I thought I would. It was worth purchasing, even if it did mean giving Jason Aldean space in my iTunes library.
Grade: B+
After several years of the reign of redneckus maximus, we’re now to the point of trucksong overloadus, way past selfus parody-us, and nearing complete-us crappus. How does mainstream country music crawl out from under this pile of cartoonish crap it has buried itself in? I don’t know. My fellow writers don’t know either. But we know these are truly terrible songs.
10. “Something ‘Bout a Truck” – Kip Moore
Georgia native Moore first landed on the Hot Country Songs chart last year with “Mary Was The Marryin’ Kind”, a decent little throwback of a song. When that tanked, he came back (and not surprisingly hit big) with this loud, obnoxious and cliche’-laden song, a song so lowest common denominator and devoid of intelligence that even Craig Morgan would have passed on it.
– J.R. Journey
9. “Must’ve Had a Good Time” – Parmalee
No. Thank. You. How can anyone call this mess even remotely country? Just when you think you’ve heard it all, something comes along to make the rest seem like the second coming of Hank Williams, Sr. Every year I think we’ve hit rock bottom and then we go further and further down the black hole. I now understand why people give up listening to country radio.
– Jonathan Pappalardo
8. “Telescope” – Hayden Panettierre
A ridiculously bad pop song like a parody of bad country radio yet somehow it has made the jump from TV’s Nashville (where I gather it’s supposed to be a bad record) to being a bona fide minor hit with both sales and radio play. This seems like the ultimate indictment of modern radio programmers.
– Occasional Hope
7. “Good Girl” – Carrie Underwood
The horrible echoey production and shouted vocals make this unlistenable.
– Hope
Frantic, spastic, shout-y, and a good dose of forced rasp. Couldn’t she have found a better influence than Steven Tyler? He’s clearly no good for this girl. Any chance I can pick up the tab for his goodbye shoes? Please?
– Jonathan
6. “Cruise” – Florida Georgia Line
The only thing worse than this pair of deebags hitting a major breakthrough in their career with a piece of drivel like this will be the countless deebags-in-training that will be inspired to emulate Florida Georgia Line’s success. From the butchered grammar lyrics to the singers’ affected twang and dog tags around their necks, these guys are a legit training manual on how to be scuzzy deebag losers.
– J.R.
5. “Dancing Away With My Heart” – Lady Antebellum
We get it already. You haven’t seen each other in ages. Now move past this chance meeting and see where life takes you from here. Just maybe, there might be an interesting story in there somewhere. That is, if you can get over not having seen each other in ages and move beyond this anti-climatic dance floor run-in. Give it a try, you can’t get much worse. Right?
– Jonathan
This isn’t offensive to my ears like some of the songs on this list, it’s just so damn boring. Aren’t we on the twelfth floor yet?
– J.R.
4. “She Cranks My Tractor” – Dustin Lynch
For every “Big Green Tractor” we get…this. I want to respect Dustin Lynch, but he isn’t helping his case by writing, recording, and releasing an ode to having an orgy with farm equipment.
– Jonathan
3. “Family Tree” – Her and Kings Country
Features an actual, very bad rapped section, badly constructed lyric. This almost unbelievably terrible song fortunately failed to make any headway for the Warner/Elektra group.
– Hope
2. “Kick It In The Sticks” – Brantley Gilbert
Wow, country radio sure has changed, yeah? The thought that Gilbert could get this pumped up nonsense up the charts (it stalled at 29, thank goodness, but in a re-release – it didn’t chart in 2010, wonder why?) is flat-out disgusting. I can stand my share of pop/country or rock/country type songs, but this is taking it to a whole new level. “Kick It In The Sticks” should be “Kick Him to the Curb.”
– Jonathan
This one was too awful even for country radio, which is quite an indictment. Heavy rock accompaniment to a song about country living, with very bad rock-style vocals from Brantley who sounds as if he has laryngitis. Unfortunately I think he meant it to sound that way. I also do not find the George Strait namedrop remotely credible.
– Hope
1. “Truck Yeah” – Tim McGraw
Don’t judge a book by its cover, but in this case judge a song by its title. When you’ll do anything to stay relevant, like record this junky play on words, you’re nothing more than desperate. “Felt Good On My Lips” and “It’s a Business Doing Pleasure With You” are bad, but this is inexcusable.
– Jonathan
I have no idea what McGraw is thinking. Having escaped the malign clutches of Curb I had hoped he would be free to record some decent material, but instead he comes up with this witless semi-rap trash, which is completely without merit of any kind. Some people don’t deserve artistic freedom.
– Hope
My Kind of Country 