Lady Antebellum, "We Owned the Night"

Lady Antebellum's recent hit "Just a Kiss" benefited from a memorable hook that helped to cover up the fact that, at its heart, it was nothing more than a crossover-friendly piece of pop-country radio fodder like any other. Follow-up single "We Owned the Night," from the group's upcoming third album Own the Night, sounds like little more than a charming mandolin line searching in vain for a great song to call home, and it's not long before even that characteristic is overwhelmed by slick rock guitars.

"We Owned the Night" has hardly any hook to speak of, and it doesn't even have a chorus. A song with a better-developed storyline might be able to function with such components, but in this case, such omissions take away any semblance of song structure. That leaves us with a song that aimlessly plods around in circles, offering little reward for the listener who sits through all of it. In listening to this song, it's amazing to note how quickly it lets the listener's mind wander away from it.

Without a doubt, such lazy construction stems from the fact that the song's sole purpose of existence is to carry Lady Antebellum's career from one radio hit to the next. It will be forgotten in a short time, but by then they'll have another hit on the charts to take its place. This song is not built to last. Unfortunately, it doesn't quite work as a temporary diversion either. "We Owned the Night" is an effort too carefully calculated and obviously hit-focused to be genuinely entertaining.

LADY A'S SCORE: 4

(Scores are given on a scale of 1 to 10)

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Scotty McCreery, "The Trouble with Girls"

Songwriters: Philip White, Chris Tompkins

Though Scotty McCreery has often been cited as a Josh Turner soundalike, his new single "The Trouble with Girls," sounds like it owes more to Rodney Atkins. No, that is not a compliment. "The Trouble with Girls recalls Rodney Atkins at his weakest. (Think "Chasin' Girls")

Scotty possesses a genuinely strong singing voice. But, oh Lord, they keep giving him the lamest songs ever. It was already going to take me a long time to forgive him for the grammatically-awkward snoozefest of "I Love You This Big" (which I hated... THIS big). But sadly, "The Trouble with Girls" finds Scotty once again attempting to sell a set of lyrics that are - for lack of a better description - barftastic.

It seems ironic to criticize a song by a 17-year-old artist for being in some way "immature," but this is just so juvenile that it's nauseating. It's three and a half minutes of "Aw shucks" country boy bunkum ranging from "Spent my whole life tryin' to figure out just what them girls is all about" to ruminations on how said girls are just "so dang pretty." Once again, I can't get over the suspicion that a pocket rhyming dictionary played an integral part in the songwriting process. Two verses in, the song erupts into a dynamic string-laden power ballad. Now it just sounds like it's trying to appear more meaningful and groundbreaking than it actually is, as if to cover up the fact that it says absolutely nothing of consequence. Thus, the song is unsalvagably drowned in syrup.

When I saw Scotty on American Idol, I was this close to becoming a fan. I honestly thought this kid was going to be good. But I'm beyond disappointed with the material the label's been giving him. I can't stay on board if he's just going to be a vehicle for endless saccharrinity to be foisted upon us.

SCOTTY'S SCORE: 3

(Scores are given on a scale of 1 to 10)

Chris Young, "You"

Songwriters: Chris Young, Luke Laird

He set expectations high with the beautifully-sung "Tomorrow," but the new Chris Young Single is a mixed bag. With this release, Chris attempts to tap into the vein of the sultry country-soul that is James Otto's specialty.

"You" is definitely a sonically palatable offering, with a strong lead vocal and an enjoyable arrangement that mixes steel guitar with trills of dobro. But there's something missing: A hook. The song could have benefited from a much more clever central phrase than "I've never had anything that makes me feel like I do about you," which gives the song its equally forgettable one-word title.

A great hook is an important characteristic, especially if the song itself is essentially fluff. There's nothing wrong with a good fluff song, but every good fluff song needs some defining characteristics to pin an identity on, which "You" simply doesn't have. It's two mintues and forty-six seconds of a handsome deep-voiced guy singing to you, with some nice-sounding instrumental back-up. But beyond that, the song leaves little lasting impression.

Is it a total trainwreck? No. But the way it is, "You" is a middling cut that sounds more like pleasant album filler than a strong single for radio.

CHRIS'S SCORE: 5
(Scores are given on a scale of 1 to 10)

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Joey + Rory, "Headache"

Songwriters: Rory Lee Feek, Joey Martin Feek, Wynn Varble

Uh-oh. Joey feels a headache comin' on.

There you have the central hook for the new Joey + Rory single from their upcoming new album. Long story short: Husband wants to go fishing with his buddies on the weekend that he promised to stay home with his family (which would entail tending to a rather lengthly "honey-do" list), and his wife is backhandedly attempting to talk him out of it.

Lines like "I hope you have more luck fishing than you do when you get home" could come across as overly bitter and threatening if given the wrong vocal treatment. But when Joey delivers the goofy tongue-in-cheek verses, you can almost hear the sly grin on her face as she's singing. Of course, it doesn't hurt either that the boot-stomping rhythm and cheeky steel guitar hook is extremely catchy.

So, it's another fun and charming single from country music's most effortlessly likeable husband-and-wife duo. Curiously, radio still hasn't bitten on them yet, but any lack of airplay will be compensated by endless rotation on my iPod.

JOEY + RORY'S SCORE: 8
(Scores are given on a scale of 1 to 10)

Steel Magnolia, "Bulletproof"

Songwriters: Lori McKenna, Chris Tompkins

The #4-charting 2009 single "Keep On Lovin' You" so far remains the lone Top 20 chart entry for Can You Duet winners Joshua Scott Jones and Meaghan Linsey. What they need now is an aggressive single that will get them firmly entrenched in radio playlists. However, their new single "Bulletproof" doesn't appear to have much potential to be that song.

This is not a cover of the LaRoux pop hit of the same title. Rather, "Bulletproof" is a song about a woman who is totally over her ex-boyfriend, and is now roaming about enjoying her newfound single freedom, not worried about anything because she's... well... "Bulletproof."

While there is some palpable vindictiveness in lines like "This could never shatter me/ Don't smother me with sympathy/ What makes you think I'm not over you?" the problem is that there's a lack of focus among the lyric as a whole, and it hardly scratches below surface level - disappointing, considering the song was written by such talented tunesmiths as Chris Tompkins ("Before He Cheats") and Lori McKenna. The verses read like a play-by-play account of how the narrator spends her time, with little insight into why she acts the way she does, and few hints at what she's really feeling inside. It's hard to appeal to a listener's emotions through such rudimentary lyrics, or to fully engage a listener in such a shallow, underdeveloped story.

With such stale lyrics, the plodding melody and recycled Dann Huff production seem like minor issues in comparison, but such characteristics only further serve to make "Bulletproof" a weak single offering by all accounts. The disappointment is compounded by the fact that Josh and Meaghan have demonstrated that they each possess genuinely strong voices. The issue has often been a need for a strong lyric that's truly worthy of such talent.

If anything, "Bulletproof" is an indication that Steel Magnolia still hasn't found that special song yet.

STEEL MAGNOLIA'S SCORE: 5
(Scores are given on a scale of 1 to 10)

The Band Perry, "All Your Life"

Songwriters:  Brian Henningsen, Clara Henningsen

What a beautiful arrangement!  What a sweet melody!  What a lovely performance!

Lyrics?  Kind of boring, especially considering that this is coming from The Band Perry - a sibling act who seems to thrive on off-beat lyrics.  Their past output has included death threats, images of a mother burying her daughter, as well as a few lines that made little sense, but that were fun to sing along to nonetheless.  So it comes as a bit of a disappointment that their new single "All Your Life" mostly sounds like a run-of-the-mill "wanna find true love" song with verses that ring a bit cheesy.  Example:  "Would you catch a couple thousand fireflies/ Put 'em in a lamp to light me world?"  That makes the song sound more like album filler than a potential hit single.

After two sweet-but-insubstantial verses, there's a sudden jolt to the system with a bridge that is actually interesting:  "Lately I've been writing desperate love songs/ I mostly sing them to the wall/ You could be the centerpiece of my obsession/ If you would notice me at all."  That portion of the lyric carries a much deeper emotional resonance in comparison to the paint-by-number construction of the preceding verses.

But even if the lyric is a bit wonky, "All Your Life" earns points for a light, restrained arrangement with an enjoyable helping of banjo and mandolin.  Kimberley Perry's lead vocal is restrained with a raw and unpolished quality that gives it character.  So it's an enjoyable record to listen to, even if the lyric could have been more air-tight.  Still, without a set of lyrics that's consistently interesting from start to finish, Team Perry is one base shy of a home run.

THE BAND PERRY'S SCORE:  6
(Scores are given on a scale of 1 to 10)

Eric Church, "Drink In My Hand"

Songwriters:  Eric Church, Michael P. Heeney, Luke Laird

No album by a self-proclaimed country music "outlaw" could ever be complete without the requisite drinking song, now, could it?

Eric Church has it covered with his new single "Drink In My Hand," from his recently-released third album Chief.  In terms of lyrics, "Drink In My Hand" doesn't cover much ground that hasn't already been covered.  If you're Johnny Paycheck, you tell your boss man to "Take This Job and Shove It;"  If you're Jason Aldean, you flip him off and say "Screw you, man;"  And apparently, if you're Eric Church, you tell him to "shove that overtime up his can."  The awkwardly-placed line "You be my Lois Lane, I'll be your Superman" sounds like it could have been culled from Blake Shelton's insipid "Honey Bee," while a dance floor reference a tattoo "playin' peeky-boo on your back" recalls a certain slightly-creepy Brad Paisley hit.

And yet, in listening to Eric's vocal performance, he seems fully convinced that "Drink In My Hand" is the greatest song ever.  He comes impressively close to making me believe him.  Uneven lyric aside, what makes "Drink In My Hand" work is the way it bottles all the energy of a live show into one three-minute musical package.  The production is predictably loud and rocked-up, but it still doesn't drown out the wit and personality in Eric's delivery as he "ooh ooh ooh"s his way through the song, and bends his notes around the wildly catchy melody. 

If Eric Church sounds like he's having this much fun singing the song, then what can we do but have fun listening to it?  All things considered, Eric Church has effectively delivered an upbeat, rowdy, and oddly-charming party anthem that somehow succeeds in spite of itself.

ERIC'S SCORE:  7

(Scores are given on a scale of 1 to 10)

Miranda Lambert, "Baggage Claim"

You have to give Miranda props for originality.  I can honestly say I've never heard of a baggage claim used as a metaphor in a song before.  Unfortunately, just because something is original doesn't always mean that it works.

There are definitely plenty of things to like about Miranda's new single, the first from her upcoming new album Four the Record.  Miranda's vocal is rife with all her signature spunk and sass.  In a pleasantly sparse musical arrangement, acoustic strumming meets funky guitar riffs meets hand clap section, making for a single that is easy on the ears at the very least.

Unfortunately, while the toe taps along contentedly, the brain struggles to make sense of the lyrics that are coming out of Miranda's mouth.  The central metaphor strains to be clever, without success, while its drawn-out nature only compounds the weakness.  The song's overall concept is murky at best, while the central idea is only vaguely defined, such that even a catchy "Come and get it" hook can't quite pull it all together.  Sonically, it's entertaining; but lyrically, it's just confusing.

Despite its positive characteristics, "Baggage Claim" is a rare misfire from a usually consistent performer.  Here's hoping that "Baggage Claim" will prove to be only a slight stumble for Lambert, while her further upcoming releases (both as an solo artist and as a Pistol Annie) find her hitting her stride once again.

MIRANDA'S SCORE:  5
(Scores are given on a scale of 1 to 10)

George Strait, "Here for a Good Time"

Songwriters:  George Strait, Bubba Strait, Dean Dillon

George Strait's current Top 20 hit isn't quite a classic on the same level as some of his best eighties and nineties material.  But after the long and slow chart climb of the depressingly unoriginal "The Breath You Take," "Here for a Good Time" is a welcome return to form for the country music legend.

The song title gives you a pretty good clue as to the song's theme, but fortunately it's not a rowdy anthem in the vein of Jason Aldean's "My Kinda Party" (which would be a sign of the apocalypse coming from George Strait).  It's a song about the shortness of life, and the narrator's resolve to kick back and enjoy it while it lasts.

"Here for a Good Time" earns points for a cool-sounding arrangement that includes some organ chords and a catchy beat, while still including the fiddle and steel sounds that are among George Strait's hallmarks.  George offers a laid-back, yet fully engaging performance, which pairs well with the singalong-friendly melody.  Mercifully, it stops short of throwing in a cheesy singalong chorus at the end.

It doesn't exactly break new ground lyrically, though it does feature a few clever turns of phrase here and there, but "Here for a Good Time" finds George Strait as loose as he's ever been.  It's a very good single, but I'm still hoping that the rest of the new album will be, not just "very good," but great.

GEORGE'S SCORE:  7
(Scores are given on a scale of 1 to 10)

Sonia Leigh, "My Name Is Money"

Songwriter:  Sonia Leigh

Country superstar Brad Paisley put his cleverness to good use with his 2005 hit, "Alcohol."  With that left-of-center composition, he played the role of a character who could "make anybody pretty," or "make you believe any lie."  Singer-songwriter Sonia Leigh, signed to Zac Brown's Southern Ground label, utilizes a similar personification technique with "My Name Is Money," in which the so-called "root of all evil" is given a voice of its own.

With a gritty, attitude-driven vocal performance, Sonia makes a series of bold, brash declarations of what she - "Money" - is capable of.  "I can make a woman weak/ I can make a small man stand tall/ I can start wars, and I can put an end to 'em all."  She may seem to be talking big, but we well know that every one of those boastful assertions is true.  "My Name Is Money" displays a level of poetic ingenuity and cleverness that sets it far above most of what's coming out of Nashville these days.

Smart songwriting meets a dynamic performance on this track.  Sonia seems to revel in the unique destructive power that her character "Money" possesses.  Hearing her vocal delivery is like a sonic equivalent to watching a film actor portray a character that you just "love to hate."  She's backed by a catchy, country-rock arrangement that rocks and twangs in all the right places, working together with her raspy vocal to bring the track to life.

Obviously, this single might as well not even exist as far as mainstream country radio is concerned, but the fact that such sharp material is often rejected speaks volumes for the reason why country radio has become such a boring listen.  When you've been overexposed to the bland and uninspired fare that often passes for country music today, a refreshing talent like Sonia Leigh is a breath of fresh air indeed.

SONIA'S SCORE:  9
(Scores are given on a scale of 1 to 10)

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Christian Kane, "Let Me Go"

Songwriters:  Casey Beathard, Tom Shapiro

Though one of his biggest claims to fame is acting on television programs such as Leverage, Angel, and Into the West, Christian Kane's other major pursuit has long been singing country music.  His first U.S. single release, a somewhat over-the-top party anthem called "The House Rules," failed to make a major impact on the country charts.  Now he returns with a follow-up single for another go at the charts.

"Let Me Go" is a fairly straightforward by-the-book tale of a restless soul who's "nothing but a drifter," and who tells his woman that he's ready to hit the road.  It begins by detailing the setting in which the exchange takes place between the two lovers, which helps to raise interest in the story at the beginning.  But the lyrics never really get sufficiently interesting.  Christian is dealing with a well-worn theme - a man torn between his woman and the open road.  By offering a simple surface-level telling of the story, the song fails to approach the theme from a fresh angle of its own.  Thus, what's here feels too familiar to be genuinely engaging.  The story takes a turn near the end as the woman implores her man to "Let Me Go," as in go with him, thus reversing the song's title phrase.  That development, however, ends up feeling gratuitous and tacked-on, not adding much interest.

As if to compensate for the lightweight lyrical material, producers Bob Ezrin and Jimmy Lee Sloas lay on the heavy rock guitars, but this is one instance when the hard rock edges don't do the song any favors.  It nearly masks the fact that Christian turns in a strong performance on this track, sounding fully invested in the lyrics.  It's a redeeming quality that might have saved the song had it been able to shine without so much distraction.

This single has its strong points, but ultimately the train just doesn't quite leave the station.  "Let Me Go" simply lacks enough unique defining characteristics to merit much repeat listening.

CHRISTIAN'S SCORE:  5
(Scores are given on a scale of 1 to 10)

Justin Moore, "Bait a Hook"

Songwriters:  Justin Moore, Rhett Atkins, Jeremy Stover

I'm just gong to put it out there.  I've never had much tolerance for the whole "Country boys are awesome - city boys are wusses" subgenre of country music.  In contrast to what the chest-thumping backwoods barbarians would have us believe, there's actually a lot about country music that can appeal to city-dwelling individuals, and there are plenty of city folks who like country music.  It short-changes the entire genre to paint the country culture as a sort of exclusive club.

The lyrics of "Bait a Hook" indicate that, in Justin Moore's world, the suitability of a potential new boyfriend hinges on his proficiency in hunting and fishing, ability to skin a buck, and capacity to down copious amounts of liquor.  In addition, possession of a frou-frou Prius or similar hybrid vehicle results in automatic disqualification.  Don't know who Jack Daniels is?  You're out, buddy!  Justin Moore scornfully laughs at the pitiable urban fool his ex-girlfriend has left him for.  As he confidently declares himself "not even worried," because she'll "come runnin' back," it's downright irritating.

Am I the only one who finds it frustrating that virtually all Justin Moore can think to sing about is how country he is?  Aside from "If Heaven Wasn't So Far Away," which was actually rather good, Justin's single releases have constantly seen him trying to sell the same one-dimensional character over and over again.  It's getting very old very fast, and it frankly wasn't even all that interesting to begin with.

I can't get behind this.  I just can't.

JUSTIN'S SCORE:  4
(Scores are given on a scale of 1 to 10)

Martina McBride, "I'm Gonna Love You Through It"

Songwriters:  Ben Hayslip, Jimmy Yeary, Sonya Isaacs

I was pleasantly surprised to see Martina McBride release something as unique and unexpected as "Teenage Daughters," not to mention disappointed that it wasn't a bigger hit. (Number 17 isn't bad, but seriously... come on, country radio)  Follow-up "I'm Gonna Love You Through It" is a little more typical of what we've come to expect from Martina in recent years.  It's another power ballad, likely to be touted as 'powerful' and 'uplifing.'  This time it's about cancer.

A disease that claims so many lives is definitely something worth writing and singing about.  But cancer songs have at times been known to toe the line between genuine poignancy and just plain schmaltz.  "I'm Gonna Love You Through It" carries a genuinely sweet sentiment in that it focuses primarily on the emotional support provided by a man whose wife is diagnosed with breast cancer.

But what I don't like about the song is the handling of the recorded product.  The song begins with soft piano and cello notes, crescendos to a full-blown string section, and then predictably ends with Martina belting it out for all it's worth.  It's a fact:  Martina has done this kind of thing a lot, and it gets old after a while.  Just try listening to this song right after listening to "Anyway."  The two are nearly indistinguishable.

"I'm Gonna Love You Through It" is a good song, but it would be more enjoyable if the studio recording managed to distinguish itself on a greater level from all the other Martina power ballads that have come before it.  At any rate, when Martina's first new album under Republic Nashville is finally released this fall, I'll be hoping to hear a little more edgy "Teenage Daughters"-esque material.

MARTINA'S SCORE:  5
(Scores are given on a scale of 1 to 10)

Pistol Annies, "Hell On Heels"

Songwriters:  Miranda Lambert, Ashley Monroe, Angaleena Presley

It was quite a surprise when country star Miranda Lambert having fallen into the good graces of country radio, and become one of the genre's biggest stars, introduced her new side project performing as part of the trio known as the Pistol Annies.  Miranda's fellow Annies are Ashely Monroe and Angaleena Presley, the former of whom is an talented but underappreciated country crooner who attempted to break into mainstream country music a few years ago, only to be rejected by country radio.

Though Miranda Lambert is obviously the most famous of the Annies (as reflected by the fact that she is often seen in the foreground in publicity shots, with the other two relegated to the background), it's nice to see that this debut single does not sound like Lambert and the Backing Two.  All three ladies shine as they take turns at the mic, rotating lead vocal duties on different verses, while blending their voices together in harmony during the chorus.

I'm usually not a fan of songs that use a pun (in this case "hell on heels/ hell on wheels") as a title hook.  But in this case it works because the content of the verses is consistently interesting such that that pun doesn't have to pull all the weight on its own.  In "Hell On Heels" the ladies let us know in no uncertain terms that they are merciless maneaters and gold-diggers on the hunt for new victims, while also recounting tales of past flings with unfortunate men.  It's the same sassy attitude that Miranda has become famous for.  All three ladies play the part fabulously on a record that seethes coolness.

But the praise must halt for a moment, as there is one problem with this single.  It's not in the lyrics, nor in the voices, but in the arrangement.  Specifically, it sounds like their drummer doesn't quite know what he's doing.  The percussion on this track is wild and noisy, and it detracts from the cool swampy country groove the song has going.  It doesn't totally sink the record, but it does hinder it from being as great as it could have been.

Still, there's clearly a whole lot of talent in this trio.  "Hell On Heels," is mighty good, but at the same time it seems like it might be only a tease.  Maybe they're giving us something really good to whet our appetites for now, while holding something truly outstanding up their sleeves for later.

It's an exciting thing to think about.  Either way, "Hell On Heels" is still one heck of a good single.

PISTOL ANNIES' SCORE:  8
(Scores are given on a scale of 1 to 10)

Ronnie Dunn, "Cost of Livin'"

Songwriters:  Ronnie Dunn, Phillip Coleman

Ronnie Dunn's second post-B&D single is a great deal better than his first.  In discussing his current release "Cost of Livin'," many critic's have cited the tune's potential to become the song of 2011, similar to "The House That Built Me" in 2010.  Such predictions are not off base, as "Cost of Livin'" carries a level of understative poignance similar to that which made Miranda Lambert's career hit reasonate across the board with such a wide audience.

"Cost of Livin'" is sung from the perspective of an unemployed man applying for work.  It begins with him giving the usual facts about himself, but the lyrics build in intensity.  The song conveys the desperation of this man, as well as his strong work ethic and willingness to do whatever it takes to provide for his family.  Backed by little more than an acoustic guitar, Ronnie sells the lyric with the conviction of one who's been in such a situation himself.  While "Bleed Red" fell victim to the trap of overdramatizing, "Cost of Livin'" utilizes a much simpler approach, and the result is much more rewarding.

Will it match, or even outdo the chart success of its predecessor?  Hard to say, though it's already managed to crack the Top 30, which is a good sign.  Chart prospects aside, however, "Cost of Livin'" is a remarkable artistic triumph that any artist would have just cause to be proud of.

RONNIE'S SCORE:  9
(Scores are given on a scale of 1 to 10)

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Taylor Swift, "Sparks Fly"

Songwriter:  Taylor Swift

Truth be told, I would probably like "Sparks Fly" even better had its single release not come after I had been jamming to "Mean" for months prior.  It was a pleasant surprise to hear such a fun hoedown of a song so effortlessly country from an artist who typically favors polished pop-country sounds, but the overtly personal nature of the lyrics, combined with the tell-it-like-it-is attitude, were both classic Swift.

"Sparks Fly" could be considered a return to form for the pop-country superstar.  It's more of the kind of material we come to expect from her - a ode to youthful infatuation, polished with the most charming and catchy pop hooks.  In this instance, Taylor is falling for a handsome young man whom she known is "a bad idea," yet she 'sees sparks fly whenever he smiles.' 

Songs of this nature often succumb to dull lyrical content.  In Taylor's songwriting catalog, a "White Horse" or a "Fifteen" may occasionally be offset by a less-fortunate "Today Is a Fairytale" or "Picture to Burn."  But where she often succeeds is in supplying deeper hues of color to the scenes she portrays, as opposed to leaning on shallow cliche phrasing.  "Sparks Fly" utilizes some interesting imagery in telling its story, including engaging lines such as "The way you move is like a full-on rainstorm/ And I'm a house of cards."  That's fairly deep for a song whose foremost ambition is putting the listener in a good mood.  A nuanced and expressive lead vocal on Taylor's part finishes things off nicely.

Ultimately, "Sparks Fly" succeeds by staying true to what it is - a pleasant slice of pop-country in a similar vein to her 2010 hit "Fearless."  While "Sparks Fly" might not leave as deep a mark on one's memory as "Mean" before it, it achieves what it sets out to do.  Indeed, Swift has wholly succeeded in crafting a simple feel-good pop-country love song that's every bit as pleasant and infectious as it intends to be.

TAYLOR'S SCORE:  8
(Scores are given on a scale of 1 to 10)

Rodney Atkins, "Take a Back Road"

Songwriters:  Luke Laird, Rhett Akins

Rodney Atkins' current hit "Take a Back Road" finds him traveling down a road that's already been visited many times.  It seems each trip is less interesting than the one before it.

Here's the story:  A guy's stuck in traffic in the city (Oh no!  Any place but the city!) when a classic George Strait song comes on the radio and makes him want to take a country backroad and "put a little gravel in [his] travel," reminding him once again of how cool it is to live in the country.  Thus we have the makings of a surefire hit as wholly predictable and expected as Rodney's thin, weak vocal performance.
"Take a Back Road" is yet another manifestation of the artistic shortcomings that have plagued the majority of Rodney Atkins' career output.  In general, Rodney's lyrical material is built almost entirely around genre stereotypes.  His catalog is dominated by songs about country livin', country values, country roads, you name it.  Each song only scratches the surface of its topic, without expanding on it in any way.  He's dealing with themes that so many have covered before him, but Rodney brings little of his own style or perspective to each theme, save for a catchy rhyme here and there.

Why such consistently shallow, perfunctory treatment?  Because that's what radio wants - Easily digestible lyrics that will neither offend, nor require an outstanding amount of brain function.  He's building his career on the superficial stereotypes that are palatable to today's radio programmers.  But is anybody going to remember these songs years from now, after they've fallen off the charts and yielded place to the next hit song of the week?  Not at all.  The country songs that go down in history as classics are not the songs that are written just for the purpose of cashing in on radio popularity.  Did Dolly Parton write "I Will Always Love You" just because it was what people were clamoring for?  Did June Carter write "Ring of Fire" just to sound catchy?  No, they wrote what they felt.  They didn't just write to satisfy country radio.

Assuming country radio ever pulls out of this terrible quality rut, it would still be a shame to look back on this period in country music history, and to have nothing to remember but a slew of interchangable tunes about trucks, tractors, country living, and what-have-you.  Of course, some may defend such tripe with "It's just a fun song."  But there was a time when country music routinely produced songs that were so much more than 'just fun songs.'  Isn't it a bit sad that when we tune into a country radio station these days, all we can really expect to hear is "just a fun song"? 

In all likelihood, that's the way it's going to stay until artists such as Rodney start striving to be actual artists instead of just hit-making machines.  But as long as radio continues to reward such artists for releasing mindless drivel like this, why would they do anything different?

RODNEY'S SCORE:  3
(Scores are given on a scale of 1 to 10)

The Dirt Drifters, "Always a Reason"

Songwriters:  Ryan Fleener, Jeff Middleton, Justin Wilson

Country music has always prided itself on being music that feels real.  It's a genre of real songs about real people with real lives.  While the modern mainstream brand often comes across as contrived and phony rather than authentic and believable, the tried-and-true themes of genuine country music have refused to die.  One of the best-known manifestations of country authenticity is the drinking song.  The drinking song may provoke some to hurriedly change the radio station with a cry of "Eew, country music," but to one who can see himself in the same situation as the character in the song, it can instantly connect.

The latest continuation of this long-standing tradition comes from a Nashville bar band known as The Dirt Drifters.  With an image and performance style that oozes swagger and masculinity, it's almost surprising that radio hasn't bitten on them yet.  It was a disappointment when their debut single, the fantastic blue collar anthem/ dance floor scorcher "Something Better," sank quietly.  But it's been pulled in favor of a worthy replacement. 

"Always a Reason" addresses the motivating reasons leading each of its differing characters to the local watering hole.  Johnny gets a job, and goes to the bar with his buddies to celebrate.  Meanwhile, Joe goes out to seek solace in the midst of betrayal by his cheating wife.  Far being a hollow tale of nameless, faceless individuals, "Always a Reasons" supplies color to the scene instead of settling for shades of gray.  That added layer of specificity helps the song tap into something universal, causing listeners to relate to the driving emotions of each character, and maybe even to see themselves in a similar scenario.

Besides a solid set of lyrics, the performance earns high marks as well.  Lead singer Matt Fleener has a voice with all the right rough edges on it.  His delivery here does not disappointment - believable, and strong enough to cut through the thick country-rock instrumentation.

Is as good as the all-time classic country drinking songs?  Debatable.  Will it stand the test of time?  We'll see.  Is it a competent, fresh take on a classic theme, not to mention one great slice of barroom country-rock?  Definitely.

THE DIRT DRIFTERS' SCORE:  8
(Scores are given on a scale of 1 to 10) 

Alan Jackson, "Long Way to Go"

Songwriter:  Alan Jackson

Ladies and gentlemen, I give you the single release that will go down in history in Alan Jackson's career as the "bug in my margarita" song.

The record sounds great.  It has all the fiddle and steel that you would expect to hear on an Alan Jackson record.  We hear a few horns near the end of the track that add a nice garnish without overwhelming it or making it sound cheesy.

Then he has to go and sour an otherwise pleasant listening experience with one stupid line.  Ever heard one of those songs that you mostly liked, but that had just one line that just about ruined the whole thing for you?  This is one of those songs.  "There's a bug in my margarita."  Seriously?  You're going to build an entire song around that line, and repeat the line over and over again?

Alan Jackson is in something of a unique position among Nashville artists.  He can release country singles that actually sound country, and that have a cool vintage nineties-style vibe, while still securing radio airplay.  If a new fledgling artist releases such a track, it's most likely he's going to have a hard time getting it played on the radio.  But when an artist of Alan Jackson's stature is in a position to be able to get good country-souding music heard on the radio, the last thing he needs is to start spoiling it with dumb lyrics.

Granted, Alan has built an outstanding career as a self-proclaimed "singer of simple songs."  With his laid-back 'aw shucks' country boy charm, he can sometimes get away with simple songs that other artists couldn't pull off quite as easily.  But there's a fine line between a song that's simple, and a song that's stale, and there are lyrics in "Long Way to Go" that come close to falling on the wrong side.  I'll be generous enough to give Alan an extra point for the good-time groove he has going with "Long Way to Go," and I'll probably find myself enjoying the song as long as it catches me in the right mood.  But with most of Alan's recent single releases being subpar cuts like "I Still Like Bologna" and "It's Just That Way," as well as a lackluster Johnny Cash cover, the fact is that we're still way overdue for another "It's Five O'Clock Somewhere."
ALAN'S SCORE:  6
(Scores are given on a scale of 1 to 10)

Phil Vassar, "Let's Get Together"

Songwriters:  Phil Vassar, Tony Mullins

Ouch.  Just ouch.

In case you were expecting a cover of the classic Disney tune from The Parent Trap... no, we weren't that fortunate.  Phil Vassar's new single "Let's Get Together" is just another in the long line of wannabe summer smashes of 2011, and it's way cheesier than just about any Disney tune.

It goes from his baby brining' him a "big ole bag o' kisses" to the grating hook of "Let's get-get-get together."  The smarmy lyrics leave a bad taste in your mouth by the first chorus.  The song aims for a singalong melody, but doesn't quite make it, and the song fails to sound even the slightest bit catchy.  From start to finish, the entire product sounds like nothing but another factory-assembled summer hit tailor-made for endless airplay, and one that should have been left on the threshing room floor.  Some might retort such a judgment with 'Oh, you're just over-thinking it' and 'But it's just a fun summer song.'  I'm not buying into that.  A bad song is a bad song no matter what form it comes in.
Phil's written a few good songs in his time (of which this does not happen to be one), some of which have become hits for artists like Jo Dee Messina and Tim McGraw.  But his own success on the country charts has become somewhat sporadic in recent years, with his last real hit ("Love Is a Beautiful Thing") being four years ago.  It would be quite perplexing to see him return to the Top 10 with a single as weak as this.

PHIL'S SCORE:  4
(Scores are given on a scale of 1 to 10)