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Album Review: George Strait - Here for a Good Time

Having been a successful country hitmaker for three decades, George Strait has at times been known to toe the line between consistency and repetition. That said, it's heartening to see that his 39th studio album finds him making new artistic strides, and delivering some of his strongest and most interesting work to date.

Kickoff track "Love's Gonna Make It" isn't exactly anything earth-shattering, but the catchy tune serves as a pleasant introduction to a very strong album. Though he had a former tendency to fill up his albums with cuts by established Nashville songwriters, Here for a Good Time includes a large portion of self-written material, with Strait and son Bubba claiming writing credits on seven of the album's eleven tracks. Strait also co-produces the album with longtime producer Tony Brown. As it turns out, putting his own pen to paper pays off, as it brings about an album characterized by a mature perspective.

The album deals with many oft-covered country music themes, but offers a take that is fresh and original, with "Drinkin' Man" being a foremost example. "Drinkin' Man" presents a sympathetic first-person portrayal of a man who grapples with alcoholism from his teen years onward, often dealing with the thoughtless remarks of those who underestimate the seriousness of his problem. The song emphasizes the struggle between willpower and weakness, summed up in the insightful hook "That's a hell of a lot to ask of a drinkin' man."

"Shame On Me" falters slightly by leaning a little too heavily on a hackneyed expression (similar to "The Breath You Take"), with the song's central phrase being "Fool me once, shame on you.... Fool me twice, shame on me." However, the song earns points for affording a level of self-realization to its narrative character as it applies the common expression to a marital relationship plagued by repeated infidelity.

Naive visions and dreams collide with cold hard reality in the Jesse Winchester composition "A Showman's Life." The stark portrayal of the ups and downs of show business ranks as one of the best lyrics on the album, as well as one of Strait's finest vocal turns, with Faith Hill's beautiful smoky background vocal elevating the track further.

"A Showman's Life" exemplifies the reflective tone that runs throughout the album, making it a work of notable cohesion. These are the songs of a man who's lived life, and learned some hard lessons firsthand. Thus, he invests a lived-in authenticity in his performances. Album highligh "Poison" finds the narrator looking back with regret on bad choices made in life, and reflecting on the ongoing consequences. The sparse acoustic and steel-driven arrangement adds to the song's punch. Then the clever and catchy title track steps in as a pleasant mood-breaker, in which Strait reflects on the shortness of life, and resolves to enjoy it while it lasts. The album closes on a high note with "I'll Always Remember," which finds the legend looking back fondly on thirty years in the music business, and reflecting appreciatively on the support of his loyal fans.

It's when George Strait draws on his experience and expanded perspective that he shines the brightest. That personal hands-on approach is a large part of a what makes Here for a Good Time one of his most substantially enjoyable and rewarding efforts.

GEORGE'S SCORE: 8

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

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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)

Album Review: Deborah Allen - Hear Me Now

Singer-songwriter Deborah Allen enjoyed a run of country hits in the early eighties, some of which achieved modest pop crossover success, with her best-known hit being "Baby I Lied." But she's also made a name for herself in songwriting, achieving cuts by a wide range of artists from Brooks & Dunn to Patty Loveless to Fleetwood Mac.

Though some of her early eighties hits have somewhat dated arrangements that haven't always aged well, her new album Hear Me Now is a fun, entertaining mash-up of genre styles - Approximately 60% country, 20% pop and rock, 20% gospel, and 100% Deborah Allen. Though electric, acoustic, and steel guitars, as well as fiddle and organ all make an appearance, the most unique and interesting instrument of all is Deborah's voice - raw, gritty, powerful, and so expressive.

Highlights include the just-found-true-love celebration "Hands On," which combines an unshakably joyous melody and performance with a subtle layer of sexiness. She travels similar lyrical territory with the following two tracks, but offers different musical variations. It goes from the light airy pop-country sound of "Hands On" to the soft bluesy vibe of "All Because of You," while "Never Gonna Run Out of Love" sounds like one big funky groovy jam session.

Just as the album is threatening to get a little too happy, Deborah takes a different direction with the sad acoustic ballad "Last Time for Everything." She gives a performance that is unpolished and imperfect, but that nails the most important aspect of a great country song - emotional sincerity. Also enjoyable is "Amazing Graceland," an effective tribute to the legendary Elvis Presley, inspired by Deborah's own visit to his hallowed mansion. She gives a nuanced performance with some interesting vocal flourishes, which further elevates the track.

The rocked-up ditty "It Better Be Big" stands out as a bit of an oddity on the album, offering a musical take on the "Big girls need big diamonds" philosophy which may connect more with female listeners than males. Either way, Deborah's rapid-fire delivery is enjoyable, and the song also earns a point or two for creativity in rhyming "Lexus" with "a Rolex the size of Texas." Lead single "Anything Other Than Love," written in response to her stepdaughter's remark that she writes too many love songs, finds an emotionally-bruised narrator who has sworn off love, only to become perturbed when she finds those feelings of infatuation welling up inside of her once again. The danceable two-step style fits the witty lyrics like a glove.

With organic musical arrangements and consistently showstopping vocal performances, Hear Me Now is a fun and engaging listen that is most definitely worth hearing.

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

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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)

Album Review: The McClymonts - Wrapped Up Good

"Are you ready to kick it up?"

That's the first thing you here when you pop in the second album by Australian family act The McClymonts.  It's a fitting indicator of the fact that Wrapped Up Good is largely dominated by an overwhelming tendency to play the catchy card, to varying degrees of success.  Opening track "Kick It Up" doesn't accomplish much, mostly because it sounds like it's trying too hard.  The melody is forgettable, while lyrics demanding truck beds full of beer and ice, and a declaring that "This party ain't for shrinkin' violets," sound too forced to make for a genuinely fun song.  Party songs are all good and fine, but in this case the chemistry doesn't ignite, and it just doesn't quite click.  Meanwhile, the Nathan Chapman-produced title track "Wrapped Up Good" attempts to be a fun, sexy "Let's get it on" number, only to be obliterated by bloated, overwrought pop-country production and overprocessed vocals, which sours the sweetness in the sisters' bloodline harmonies.

Fortunately, things finally start coming together on the third track, "He Used to Love Me" - a track that shoots for catchiness, and actually hits the target.  It begins as a slow acoustic tune as Brooke McClymont laments "I had me a good one, but he got away..." and then the song morphs into an upbeat fiddle-rocker (with a catchy "woo-ooh" hook to boot) as she determines to "Get in my car, track him down."  The track taps into the vein of the almost slightly delusional female narrator who will let nothing get in the way of her getting a hold of true love, and it ends up a genuinely amusing and engaging listen.

A distracting bass line gets in the way of a clever hook, as Brooke deems her on-again-off-again lover "The Boy Who Cried Love."  But we find the girls in good shape all around on "Take It Back," in which a laid-back acoustic arrangement exposes a raw vulnerability in Samantha McClymont's emotional lead vocal.  Similarly, she sings in a hushed whisper as she delivers the slow-burning, beautifully-metaphoric "A Woman Is a Flame."  The two ballads arguably rank as the album's strongest tracks.

But not all of the up-tempos are duds.  An infectious guitar hook turns "Rock the Boat" into a broadly enjoyable earworm of a tune, while the playful steel-laden romp "I'm Not Done with You Just Yet" gives the girls plenty of room to show some spunk and personality.  Without a doubt, it's the album's 'countriest' track as well.

Overall, Wrapped Up Good is something of a mixed bag.  The talent is there, but it shines brightest when it's not hampered down by poor production choices.  But while it has its share of clunkers, the album's best tracks show that when all the right pieces fall into alignment, the results are extremely satisfying.

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

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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)

HEAR IT

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)