The Band Perry, "If I Die Young"

After gaining a modest amount of airplay with the cute-but-frivolous "Hip to My Heart," the Perry siblings are back with their follow-up single - a melancholy ballad about young death and the shortness of life.

On the positive side, the production is pure perfection.  "If I Die Young" mixes a pop-like melody with an arrangement that is heavy on fiddle, banjo, and mandolin, backed by a gentle drum beat that is just soft enough to underscore the track without being a distractions.  Kimberly Perry's vocal performance is full of nuance and emotion.

If I were judging vocals and production alone, this song would easily be a ten.  Unfortunately, however, there are a few lyrical loose ends.  The song begins with the narrator expressing her burial wishes, then it moves on to images of a mother burying her baby, and ends with comments on how people are often not fully appreciated until they are gone.  Though the song is full of poetic lines that are all interesting, and any one of them would make a great song on its own, there is no narrative binding them all together.  The song's ultimate point remains unclear.  Nevertheless, writer Kimberly Perry demonstrates remarkable potential as a songwriter, since she displays a knack for crafting verses that pack a great deal of emotional punch.  In addition, the spectacular production makes this easily one of the best-sounding singles of 2010.

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

WATCH THE VIDEO

Bomshel, "Just Fine"

Turn on your radio. Listen as "Just Fine" opens with a blazing fiddle intro. Dive for the volume knob when your ears are barraged with the sound of cacophonous, bass-heavy production. Raise your eyebrow in confusion as you try to make sense of the lyrics. Now, change the radio station, as the song has now hopelessly derailed.

Bomshel has been through a lot in the past few years. After having to replace original member Buffy Lawson, they have finally been able to release an album without it getting shelved, but have only achieved spotty success at radio. Members Kelley Shepard and Kristy Osmunson have talent and potential that cannot be denied, but their music has often suffered from poor production, not to mention the annoying habit of pandering to the tastes of female country radio listeners.

Their current single, "Just Fine," is possibly their biggest bust yet. The song's lyrics are nothing but a giant pile of cliches, and the storyline goes absolutely nowhere. Kelley and Kristy are barely audible over the loud and gimmicky country-rock production. The production is so overblown that the song is not even fun to listen to.

Due to the weak lyrics and poor production, the only hope for the song is the spunk and sass in the girls' performance, but that's still not enough to save it. "Just Fine" remains one big mess. For Bomshel, it's only the latest in a string of disappointing singles.

BOMSHEL'S SCORE: 3

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

HEAR IT: http://www.youtube.com/watch?v=uw0RK-ThDpw

LeAnn Rimes, "Swingin'"

This seems like an odd time for LeAnn to be releasing a covers album, and not just because she released one back in 1999. As much as it pains me to admit it, LeAnn has clearly lost the upper hand in the slugfest of blonde bombshells struggling for country radio domination. She barely missed hitting number one in 2006 with "Something's Gotta Give," but she has not re-entered the Top 10 since then (Though she nearly did so with 2007's "Nothin' Better to Do"). At this point in her career, it's important for LeAnn's new music to get as much attention as possible if she wants to get back into the spotlight. Covers albums are generally not very effective at drawing attention, since many people tend to dismiss them as uninteresting. But LeAnn has made it clear that Lady and Gentlemen is no ordinary covers album. It is entirely composed of classic country love songs, most of which are from the 80s, and all of which were originally recorded by men. In covering these songs, LeAnn is not necessarily doing them by the book, but rather she is putting her own unique twist on each one.

The album's first single is LeAnn's version of "Swingin'," a shamelessly flirty John Anderson hit from 1983. It is starkly different from the original. Not surprisingly, she had to tweak the lyrics so that they would make sense when sung by a woman. Instead of singing about Charlotte Johnson, LeAnn sings about Charlie Johnson. The production takes on an entirely new style. Gone are the horns and organs from John Anderson's original country-pop version, having been replaced with the pedal steel. Producer Vince Gill does some fancy guitar work on LeAnn's version, which spices it up a bit. LeAnn even increases the song's tempo, spitting out the verses in a rapid-fire delivery.

LeAnn's take on "Swingin'" is definitely no pointless copy of the original. But now, here's the million-dollar question: Does it work? It works like a charm! Some of John Anderson's fans may be put off at hearing LeAnn mess with one of their old favorites, but she does a bang-up job on it. LeAnn and her producer put a unique, original, and totally fun new twist on a familiar classic. But what really brings the track to life is LeAnn's peppy, energetic, and flirtatious vocals. I know that John Anderson's fans will slaughter me if I say that LeAnn's version is better than the original, but it comes pretty darn close, to say the least. If the rest of Lady and Gentlemen is as clever and interesting as the first single, then this is one covers album that is definitely worth checking out.

LEANN'S SCORE: 9

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

SEE THE OFFICIAL MUSIC VIDEO

Justin Moore, "How I Got to Be This Way"

When I heard the opening line of Justin Moore's current single - "I rolled my Daddy's truck off the Dicksonville curve/ After drinkin' my fifth beer" - my first thought was, "Oh dear, where is this song going?" But the lyrics took a turn in the right direction. The song's narrator describes the many mistakes he made in his young manhood, from letting himself be deceived by a dishonest man to breaking a young girl's heart to running up too fast behind a horse and getting kicked. The chorus is flat-out and honest: "Yeah, I've done some pretty stupid things, but hey/ I'm a little bit harder/ And a whole lot smarter/ That's how I got to be this way."

I can't give Justin extra points for poetic language, but this song is likely better off without it. Such blunt simplicity is not always easy to pull of, but it works in this instance. "How I Got to Be This Way" is a straightforward piece about how the mistakes we've all made and the hardships we've endured have shaped our character and turned us into the people we are today. Justin sums up the song's message by saying "That's what it takes to make a man out of a kid." All of us have done a few stupid things in our life (I remember almost getting kicked by a horse once!), so anyone can relate to this song.

The biggest problem with this song is that it suffers from unnecessarily loud production, as well as a rather uninteresting melody.  While this song is based on a worthy concept, the execution is definitely not perfect.

Up to this point, Justin's songs have ranged from average to just plain awful, and while this single is not spectacular, it is a marked improvement over "Backwoods," and at least a small step in the right direction.

JUSTIN'S SCORE: 6

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

HEAR IT

Patty Loveless, "Drive"

Patty's new song "Drive," which she wrote along with her producer/husband Emory Gordy, Jr., is a charity single meant to raise awareness of Chronic Obstructive Pulmonary Disease (COPD), the disease that her older sister Dottie succumbed to at the age of 48.

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When the purpose of a song is to draw attention to a debilitating disease, I would often expect the artist to deliver a melodramatic tragedy. Thank you, Patty, for not doing that. On the contrary, "Drive" is a fun, upbeat, and positive number. The lyrics urge the listener to enjoy life's moments to the fullest. Granted, there are a few vague lines that are not particularly special ("Live life/ Breathe it in/ Don't stop; don't quit... Breate deep and drive") However, it is noteworthy that the lyrics mention breathing a number of times, and COPD is a disease that greatly hinders one's ability to breathe. Thus, the lyrics seem to have a hidden message declaring that everyone should be able to 'Live life and breathe it in.' The song could be heard as a description of the kind of life that COPD sufferers should be able to enjoy.

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As usual, it is impossible to find fault in Patty's vocal performance. Her voice is still just as beautiful as ever, and her delivery is full of energy and enthusiasm. She sounds like she's having a blast singing this song. The style of this song is catchy country-pop, similar to the sound of "That's the Kind of Mood I'm In," Patty's equally-catchy hit from ten years ago. While Patty's recent work in the traditional country and bluegrass fields was excellent, it is still enjoyable to once again hear her do something more in the vein of mainstream country music. This could be a fun song to listen to while jogging, having a barbecue, or say, driving.

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Now don't get your hopes up too high - "Drive" is not quite at the same standard of excellence as Patty's past hits. Furthermore, it is unlikely to find its way to country radio. But Patty's main goal here is to draw attention to COPD, and to give us a fun and catchy song to rock out to, and she succeeds on both accounts.

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PATTY'S SCORE: 7

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

DOWNLOAD IT: http://www.drive4copd.com/the-race-team/patty-loveless.aspx

James Wesley, "Real"

James Wesley is back after barely missing the Top 40 with his previous single, "Jackson Hole." His new single, "Real" begins with some surprisingly striking lyrics. I've never before heard a country song slamming all reality shows from The Bachelor to Survivor to The Real Housewives of [Insert name of city or county here]. He doesn't mention any of the shows by name, but lines such as "a pretty girl cries 'cause she don't get a rose" and "where I come from housewives don't act like that," make it obvious what the song is referring to.

The song's treatment of reality shows almost made me want to give it a positive review, since I have nothing but contempt for such shows. Indeed, they are a far cry from what real life is really like. How unfortunate it is, then, that the song begins to weaken as the verses progress! James goes on to mention several life-altering experiences such as war and death, as well as the trials related to the farming industry. He attempts to tie all of these references together by saying "I call that real." Is that all the song is trying to say? Is it only saying that "Reality shows aren't real, but farming catastrophes are"? It almost sounds like James doesn't quite know what he's trying to say, making "Real" seem like an unfinished product.

It's okay for a country song to just be fun, but this song isn't fun. Not every country song has to have some kind of message, but if a song hammers away at emotional hot-buttons, then there needs to be a reason for it. Such references should play a role in helping the song to make its point, and that's exactly what's missing from "Real."

Believe me, I wanted to like this song, but I didn't. It was an innovative concept that was not fully developed. The song sounds like it's trying to make a profound statement, but it ends up being a melodramatic disappointment.

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

To hear this song, click the "Cool New Music" link under the "More Cool Sites" link list.

Lady Antebellum, "Our Kind of Love"

I have never denied the fact that Lady Antebellum is a talented group. The problem I had with them was that they, with their usually pop-heavy music, seemed to treat country music as little more than a marketing label. Their music was always heavy on percussion and electric guitars, lacking a true country identity. Their previous hit, "American Honey," had a nice fiddle, but the distracting drumbeat ruined it.

With that it mind, it sure was refreshing to hear that hot fierce fiddle ripping through the chorus of Lady A's current single, "Our Kind of Love." Now, don't get your hopes up, traditionalists - they're not hearkening back to the days of Conway and Loretta. However, this song does have a distinct feeling of being country - contemporary country, that is. The obligatory guitar riffs are still included, but that's not enough to stop this from being Lady A's best-produced single so far.

The song's lyrics are not always particularly engaging, though we've definitely heard worse. The song attempts to capture the enamored feeling one has when in love. It does so through some similes and metaphors ("You wear a smile like a summer sky"... "I swear your heart is a free bird") The lyrics include a few not-so-clever lines. "Just living in the moment"... "You somehow always know just what to say" - I'm pretty sure we've heard those before. But it seems like the main focus of the single is the infectious melody. Though there are a few weak points in the lyrics, the song still manages to create the romantic feeling that it aims for.

This is not Charles and Hillary's strongest vocal performance, but it's always fun to hear them duet. Unlike on many duets, which often sound like two separate singles squished into one, Charles and Hillary always sound like they are singing to each other, and not just to an audience, which is what really makes the performance come to life.

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This single is far from perfect, but it's expertly produced, and it sure is fun. I wish I could give it credit for more, but I can't.

LADY A'S SCORE: 6

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

HEAR IT: http://www.youtube.com/watch?v=0bNVw1DPUr4

Mulch Brothers, "Everybody Loves Summertime"/ Todd O'Neill, "Somethin' with Some Attitude"

We now go back to the summer song file. Let's talk about two more songs that are vying for a spot on your beach party playlist. I'm going to save time by discussing two of them in one review. Both songs are from new artists, and both songs miss the mark completely.

"Everybody Loves Summertime" - Oh, that's genius. When I read the title of the Mulch Brothers debut single, my first thought was, "Oh great, Captain Obvious got a record deal." The song's chorus has an infectious melody, but the production is average. It has a few steel guitar fills and some bold and energetic piano playing, but the country elements are sadly overwhelmed by rock elements. Not surprisingly, the lyrics are pure schlock, gravitating toward pointless references to bikinis, shorts, flip flops, and all that hot summery stuff. Cold beer and margaritas also get a shout-out.

But if you thought "Everybody Loves Summertime" was bad, just wait, because the songs get much worse. Todd O'Neill's current single opens with a catchy acoustic guitar intro, but then the percussion and the rock and roll guitars kick in, and the country flavor quickly evaporates. This party song begins with images of Bud Lights and provocatively-dressed women. He then declares that "This band sucks" - Are you even allowed to say that something "sucks" on country radio? He screams "I don't wanna hear another stupid love song/ About how somebody got done wrong." Sorry, pal, but those kinds of songs are the cornerstones of country music. If you don't like love songs, or songs about people getting done wrong, then stop pretending to be country and shoot for the pop Top 40. Todd says that we "gotta play somethin' with some attitude," and he does indeed seem to have a bit of an attitude. He comes across as a disdainfully proud Southern rocker with no real respect for country music's past. That's not the kind of artist I want to hear on country radio. Todd says "I need to feel a beat that makes we wanna bang my head," and this song sure does make we want to bang my head - against a wall. I now need a Dolly Parton fix in the worst way.

Both of these songs exemplify much of what is wrong with today's country music. There was a time when country music was characterized by deep emotion, storytelling, and lyrical messages, which was what elevated it above other genres of music. But now, country relies on catchy hooks, thumping beats, and fancy production. It's like bubblegum pop with a steel guitar thrown in. If anybody needs me, I will be out in the barn bemoaning the pitiful state of current country music.

MULCH BROTHERS' SCORE: 4

HEAR IT: http://www.mulchbrothers.com/fr_home.cfm
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TODD'S SCORE: 2

SEE THE OFFICIAL MUSIC VIDEO: http://www.youtube.com/watch?v=kSnBZhC0bOA

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

Jennette McCurdy, "Not That Far Away"

You might not recognize this girl, but your teenage daughter probably does. This 17-year-old starlet first gained a teen fan base as one of the stars of Nickelodeon's popular sitcom iCarly. She recently got a record deal, and now she has gone country. Jennette offered her fans a rare treat when she allowed them the opportunity to vote for the song that they wanted to be her debut single. Fans were given several song samples to choose from, and "Not That Far Away" was the song they picked. It officially hits radio today.

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The song is about a girl who travels from California to Nashville to pursue her dream of country stardom. As the chorus kicks in, she promises to call her mama every night, and assures her that she is "not that far away." The lyrics include several poetic lines such as "I'm just tryin' to write the story of my life." One of the song's advantages is that it is age-appropriate. Many aspiring teen country stars (such as Katie Armiger) have made the mistake of singing songs that are better suited to adult artists, which has hindered their success. But Jennette avoids making that mistake. Instead, the song sounds like a realistic depiction of where she is in her life and career.

The song has slick and polished pop-country production, and it is capably sung. Jennette does seem to have some talent, but her debut single shows a notable weakness in that sounds a little bit like a Carrie Underwood knockoff. That makes comparisons between Jennette and Carrie inevitable, which exposes Jennette's relative lack of vocal control and power. If Jennette wants to establish her own identity as an artist, her producers need to help her develop a style of her own. We already have a Carrie Underwood, and she does a fine job of filling her role, so there's really no need for a new one. Being a new artist, Jennette needs to stand out among her radio peers if she is to make a name for herself in country music. She can't do that by copying Carrie. That's especially important if she wants to be taken seriously as a performer, despite being a teenager and an actress-turned-singer.

Jennette's debut single shows evidence of untapped potential. With reliable guidance, she just might have what it takes to join the club of platinum blonde country hitmakers.

JENNETTE'S SCORE: 6

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

HEAR IT: http://www.youtube.com/watch?v=7vep3nr0wYM

Billy Currington, "Pretty Good at Drinkin' Beer"

Billy Currinton's new single, the first from his as-yet-untitled fourth album, kicks off with a fun and bouncy steel guitar intro. It's enough to make you think, "Oh boy! This song is going to be a neotraditional rollicking good time!" But then Billy opens his mouth, and disappointment sets in as the song's terribly tepid lyrics come pouring out.

Once you've read this song's title, you've heard it all. The song's narrator mentions a variety of physically demanding or mentally challenging occupations, and says that he likely would not be able to perform such tasks ("I wasn't born for diggin' deep holes/ I'm not made for pavin' long roads/ I ain't cut out to climb high line poles") He then concludes, "But I'm pretty good at drinkin' beer." The song is entirely composed of one man's declaration that drinking beer is all he's good for.

I'm not saying that every country song needs to have groundbreaking lyrics. Some songs are meant to be just plain fun, and there's definitely nothing wrong with that. But the songwriters definitely could have tried harder, and done better than this. Besides being pointless, the lyrics describe this individual in a way that makes it hard to have any respect for him.

In spite of the lyrical weaknesses, the song's production is noteworthy. It has a straight country sound with a catchy steel guitar hook. Billy also adds some appeal to the song with a pleasantly laid-back vocal delivery that goes well with the song's theme.

But while the song does have an enjoyable sound, the bad lyrics still draw the most attention. Overall, this is a disappointing single that echoes Billy's similarly frivolous hit, "People Are Crazy." Sure, he's pretty good at drinkin' beer, but lately he's been pretty bad at picking out his songs.

BILLY'S SCORE: 5

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

HEAR IT: http://www.youtube.com/watch?v=zdp4lgvkQm4