Spinning All The Records — March 2020

Spinning All The Records is a brand new feature on Country Perspective that is a monthly overview of all the albums reviewed in the previous month on Country Perspective to give any readers, new and old, a quick look at what I covered and to catch anything you missed. In addition I take a quick look at albums I didn’t give full reviews, look ahead at what I want to cover, upcoming album releases that catch my eye and a throwback album recommendation. So without further ado…

March 2020 was obviously a month not remembered by music, but by COVID-19, a deadly and infectious virus that is affecting every corner of the world. For those affected by it directly, I send my heartfelt condolences. For everyone, I hope you have great health and are safe. I urge you all to please wash your hands, follow physical distancing rules and to obey guidelines being outlined from health officials and experts. As I tell everyone around me, remember this situation of quarantine and uncertainty is temporary. We have brilliant minds all around the world working together to solve this and as we gather more information, we will find answers and we will triumph. This will pass and we will return to normalcy, hopefully as soon as possible. But obviously the main focus at hand is treating the ill, protecting the healthy and finding the solutions needed to lift ourselves out of this situation. And listen to music, not the news because the former is going to make you feel a whole lot better than the latter. 

Speaking of music, the quality of album releases dipped in March 2020 until the latter part of the month where several great albums released. Of course the most notable was The Weeknd’s After Hours, a fantastic album and a no doubt strong contender for Country Perspective’s 2020 Album of the Year. Brandy Clark rebounded with her new album, Jay Electronica actually dropped his debut album finally and Caitlyn Smith unfortunately disappointed with her new album. The Dixie Chicks returned with a great new single too. There were less albums reviewed overall this month, but that’s because I’m employing a new strategy for reviews moving forward. It will be explained more in the newest section of Spinning All The Records below the monthly album summary. 

(Click the album titles to read the full review)

Dixie Chicks — “Gaslighter” (Single review)

The story the song tells is of a man who was a grand puppet master, successfully manipulating and controlling a woman for what sounds like years before she woke up and is now calling him out on his bullshit, a gaslighter. Each member of the trio takes their turn on lead, each adding another layer and detail to the story that gives you an exact look into this toxic relationship and the freeing liberation being experienced by the woman who’s finally rid of him. The production is big and soaring, an instant foot-stomper with thumping drums and an infectious hook.

Brandy Clark — Your Life is a Record

Despite a few hiccups, Brandy Clark takes a big step up from her last album with Your Life is a Record. I think the production is the biggest improvement, as it flows together really well from start to finish. I really enjoy the incorporation of the flutes in this album, as it’s something not really utilized as much in country music. The songwriting stumbles in a few spots, but for the most part is pretty good and at times great. There’s a surprisingly nice mix of emotions on an album centered around a breakup too. Most importantly, Clark rewards you for listening to the whole album, giving you the emotional journey with the fittingly positive, yet realistic destination.

Jay Electronica — A Written Testimony

The long-awaited debut album of Jay Electronica does not live up to it’s lofty expectations and hype, but A Written Testimony is nevertheless a pretty good album. The production is definitely the strongest point of this album, as a cavalcade of all-star producers and Electronica himself create some exciting and interesting sounds throughout the whole album. The bars on this album are mostly good despite some bumps along the way and the overuse of religious imagery. More than anything I’m glad that Jay Electronica is finally releasing music and I think on his next album we’ll see something even better from him. But for now this is a solid debut.

Caitlyn Smith — Supernova

The tale of the tape for Supernova is quite simple: this album focuses too much on flash and not enough on substance. Smith seemingly forgets about her greatest strength on this album and that’s her songwriting. It soared and impressed on Starfire. On this album the songwriting is so lifeless and it feels like so many themes are used multiple times and recycled. There are some bright spots on this album, but they’re dominated by what I would describe as run-of-the-mill pop rock moments for the most part. I never thought I would levy this kind of criticism toward a Caitlyn Smith album, but the songwriting just isn’t good enough. Supernova is ultimately just an okay album.

The Weeknd — After Hours

After Hours is a phenomenal achievement by The Weeknd. This album is a rich, cinematic experience of love, losing it, fighting to regain it and ultimately reaching the realistic conclusion of realizing that it’s lost. The production team absolutely nails every emotion on this album and takes the lyricism to a whole new level. The juxtaposition of the breezy, mixed cocktail of genres (R&B, pop, hip-hop, dream pop, 80s) feels perfect on this album of frenetic, dark emotions that permeate throughout it. This is without a doubt an album of the year contender.


All The Other Albums I Want To Talk About!

This is the newest section of Spinning All The Records where I give quick thoughts/reviews on all the other albums I listened to over the past month that released this year. Essentially I listened to these albums enough, but didn’t want to write full reviews and/or didn’t feel I had enough thoughts for a full review. Also there’s a lot of damn albums released every week and when you want to listen to a little of everything from every genre like me, time doesn’t allow for full reviews of everything. But I still want to talk about lots of albums, so this is the solution! So moving forward I’m only focusing on doing full reviews for albums I truly have a lot to say about while the rest will be here. And of course you’re welcome to ask about any albums I don’t cover here in the comments below!

The Steeldrivers — Bad For You 

This is an album I initially really enjoyed. But after a few listens of the album I haven’t felt the need to go back to it since. I had a similar reaction when I listened to Randy Houser’s Magnolia last year. Just like that album, Bad For You just doesn’t leave enough in terms of hooks, impactful lyricism and gripping melodies consistently through the album. The album’s title track is absolutely brilliant, but that’s the only song I’ll remember from this album. 6/10

Hailey Whitters — The Dream

Whitters’ previous album Black Sheep gleamed with potential, but unfortunately she takes a step back all around with The Dream. Other than “Janice at the Hotel Bar,” this album lacks the devastating and meaningful lyrics of the previous album. Instead there’s annoyingly kitchy and uninteresting wordplay like with “Red Wine and Blue” and “Heartland.” And yet another version of “Happy People.” Zack at The Musical Divide sums this song up best: it’s just a more “broadly written version” of “Humble and Kind.” Then you have “All The Cool Girls,” your run of the mill, generic song about bad party girls. Its just such a bizarre choice from Whitters and doesn’t fit her at all. This album comes off as a desperate play for popularity and that’s a disappointment. 5/10

Megan Thee Stallion — Suga EP 

So here’s the state of hip-hop for me right now in 2020. 10% of releases are absolute garbage like Eminem’s latest album. 10% are absolute gems like Freddie Gibbs’ latest album. And the remaining 80% are middle-of-the-road, generic albums that use the same flow in every song like this Suga EP from Megan Thee Stallion. This pop hip-hop sound is starting to remind me a lot of the pop country on country radio. This isn’t a good thing. And that’s such a shame coming from Megan Thee Stallion because I enjoyed her last album, which suffered a little bit of the “sameness” problem too, but it had a lot of fun energy and memorable bars. She’s just capable of so much more than this, but she is also in the midst of a label battle and I’m hopeful this is just satisfying a label contract. 5/10

Porter Union — Loved & Lost 

This album has some nice moments, but unfortunately it just doesn’t have enough consistently engaging songs to hold my attention throughout. Because as I first listen to this album I’m intrigued because of the vocal dynamics, but by the end it just feels like another indie country album. There just isn’t enough here to make it stand out from the rest of the crowd.

Gabe Lee — Honky Tonk Hell 

So let’s get one thing straight: Gabe Lee can sing his ass off. He puts a ton of passion behind it, so the cover of this album is quite appropriate. Upon first listens I was really blown away, but unfortunately as I delved deeper into this album it lost it’s shine for me. Neither the songwriting nor the instrumentation lends itself strong enough for extended replayability. The sound of this record in particular is just too straightforward for my personal taste because after a while the songs feel like they blend together. There just isn’t much distinctiveness. But while I know this isn’t for me I do know there’s a large crowd of people who will love this. And I hope they do, as Lee is undoubtedly talented and full of passion. 6/10

Don Toliver — Heaven Or Hell

This album starts out so strong. The smooth, trap-flavored beats are on point, Travis Scott has a great feature on “Euphoria,” “After Party” is a lot of fun and “Can’t Feel My Legs” is catchy. But the second half of this album falls off a cliff. “Candy” is annoyingly repetitive, the Quavo and Offset feature is completely forgettable and then there’s the Sheck Wes feature on “Spaceship.” It’s just awful, but then again I’ve never understood why “Mo Bamba” blew up. If the second half of the album was as good as the first then this could have been a great album. 6/10

Childish Gambino — 3.15.20

I come away from this new Childish Gambino album with the same thoughts I came away with on his last album: sounds nice, but the lyrics do nothing for me. In fact I remember I spent a ton of time listening to “Awaken, My Love” over and over to see what I was missing lyrically. And ultimately I concluded that there was nothing to miss. It was an alluring sound with nothing to say. And I’m not falling for this trap again with this album.

Kelsea Ballerini — kelsea

So upon initial listens I enjoyed this album. But as I started to listen to it more closely it just doesn’t hold up. There’s some fun production moments on this album like “bragger,” “hole in the bottle” and “needy.” But this albums lacks the necessary polish and hooks it needs to be what it seems to aspire to be and that’s Taylor Swift’s Red. And it doesn’t have the melody to hold up to Kacey Musgraves’ Golden Hour.

Now I bring up those albums not to pit these women against each other but rather to demonstrate how this album doesn’t measure up in the space it’s trying to enter. When you’re going for this big pop country sound, these are the albums that are considered the modern standards. And not only does the production not measure up, but the songwriting isn’t strong enough and is outright confusing in spots (“love me like a girl,” “la” and “half of my hometown”). Sure there’s some strong spots in this regard like with “overshare” covering anxiety and “homecoming queen?” dealing with peer pressure. But this needs to be consistent throughout the album. And I still don’t understand the appeal of Halsey as a feature on any song. This is by no means a bad album and I applaud Ballerini for taking risks. I think one day she will deliver a great album, as she continues to show improvement. But this album just gets too many things wrong for it to be good, so instead it’s just above average. 6/10

Lil Uzi Vert — Eternal Awake – LUV vs. The World 2

You know 14 songs was long enough on the regular album and then the “deluxe” version of the album adds 18 songs. Holy bloat! As I’ve mentioned many times, the amount of streaming manipulation in hip-hop with albums is ridiculous and this is the most blatant example yet. Lil Uzi Vert essentially added an entire album to an entire album. It’s stupid. Nevertheless I did listen to all of this and it’s surprisingly not bad, granted you don’t have high expectations. There are no deep and meaningful messages here, but rather some fun beats and catchy hooks in most of the songs. The production is this album’s greatest strength, largely attributed to Pi’erre Bourne and Brandon Finessin. Both 21 Savage and Young Thug come through with great features too. If you’re looking for some light and breezy rap where you just want to turn your brain off, this works really well. 


Looking Ahead to April 2020…

So as I mentioned at the beginning there were a lot of albums released at the end of the month that I plan to cover. Namely you will be seeing a full review of the new Ingrid Andress album very soon and highly likely a full review of the new Jesse Daniel album too. Other new albums that have released from artists that I still haven’t listened to yet, but plan to and could likely cover in some fashion include: Knxwledge, Dua Lipa, Margaret Glaspy, Brian Fallon, Conway & The Alchemist, Jessi Alexander and Kody West. 

As for upcoming releases in April 2020 there are multiple albums I’m particularly looking forward to hearing. On April 3 the new Ashley McBryde album Never Will and Thundercat’s new album It Is What It Is both catch my eye. I really enjoyed McBryde’s last album and I’m looking forward to see if she can do even better with this one. Thundercat is one you’ve likely never heard of by name, but if you listened to Kendrick Lamar’s To Pimp a Butterfly you did hear his fantastic bass contributions. His music is best described as “out there” R&B. Also his last album included a slice of yacht rock heaven with “Show You The Way.” 

Maddie & Tae will finally be releasing their new sophomore album The Way It Feels on April 10. I still don’t understand the bizarre EP release strategy, but nevertheless I’ve enjoyed a lot of the songs released on them and of course I gave high praise to their debut album. Speaking of weird release strategies, The Last Bandoleros may finally be dropping an album on April 17. Supposedly it’s a live album, which is even more strange considering they haven’t released a studio album yet. I just don’t understand what is happening with this group, but I want to hear more from this Tex Mex-influenced country group. For crying out loud I reviewed their first single four years ago

A few other notes: Willie Nelson was originally supposed to release a new album this month, but it was delayed until July. Sam Hunt and Lady Gaga are both dropping new albums this month, but I fully expect them to be awful based on what I’ve heard from each. Also country newcomer Logan Ledger’s new album is one I’m not necessarily anticipating since he’s brand new, but intrigued by for sure based on what little I’ve heard. 


Throwback Album I Recommend 

Black Tiger Sex Machine’s New Worlds

Yes, I’ll admit I checked this band out based solely on the name. And I’m glad I did! It’s really intriguing dance music with some nice metal influences mixed in. Be forewarned it’s loud and in your face. But if you have any interest in dance music, I highly recommend this apocalyptic-flavored album they released back in 2018. 

Single Review — The Dixie Chicks Return with a Bang with “Gaslighter”

It’s been 14 years since the Dixie Chicks have released their last album. Country music hasn’t been the same since, as you can’t deny their leaving/dismissal and absence in the genre had a lasting impact in many ways. Well after years of rumors, they make their return with a new album coming out on May 1 and they’ve just released the lead single from it, the album’s title track.

Now normally in this new era of Country Perspective I don’t discuss or review singles because there’s just so many and I’m an album listener, not a singles listener. But I have to make an exception and break my own rule because this song is just too damn good for me to not talk about and review. Right away this song blasts you with the type of harmonies I’ve been wanting to hear and shouting from the rooftops about for years in review. Acts today just don’t utilize harmonies enough, but this is what makes the Dixie Chicks so great. They utilize their strengths to the very best and their harmonies are very much a strength.

The story the song tells is of a man who was a grand puppet master, successfully manipulating and controlling a woman for what sounds like years before she woke up and is now calling him out on his bullshit, a gaslighter. Each member of the trio takes their turn on lead, each adding another layer and detail to the story that gives you an exact look into this toxic relationship and the freeing liberation being experienced by the woman who’s finally rid of him. The production is big and soaring, an instant foot-stomper with thumping drums and an infectious hook. Collaborator Jack Antonoff definitely added his influence, as he’s known for bringing a stunning level of polish and catchiness to the music he touches.

I was already excited to hear the new album from the Dixie Chicks, but this new single just takes it to an even higher level. And the early reception of the majority of listeners seems to indicate the same. The Dixie Chicks are back and this is great not just for country music, but all music.

Review – Beyoncé & The Dixie Chicks’ “Daddy Lessons”

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Did you know there’s been a controversy surrounding Beyoncé, the Dixie Chicks and the CMA? It’s such an under-the-radar story and almost nobody is talking about it. I for one am shocked. All sarcasm aside, this story has been raging for days in the country music and parts of the rest of the music community. I hear bullshit from both sides and it’s so stupid. All I’ll have to say on this “controversy” is this: If you didn’t have a problem with Justin Timberlake performing at last year’s CMA Awards, but you do have a problem with Beyoncé performing at this year’s CMA Awards, then you’re a hypocrite. And you wonder why the country music community is unfairly stereotyped as racist and sexist. I digress because like always I would rather focus on the music. That music today is Beyoncé’s new, country take on her popular song “Daddy Lessons” off of her excellent album Lemonade that features the iconic Dixie Chicks that was performed at the CMA Awards and has since had a studio recording of it released.

I’ve said before in various places that the original version of “Daddy Lessons” was not country and I would classify it more as southern flavored R&B. Nevertheless it was nice to see Beyoncé embrace her southern roots on a song and it’s understandable why many in the country community would gravitate towards this song. That’s because the song itself has always been country. What’s more country than a song about a father passing on life lessons to her daughter? This sense of family and tradition is a vital part of country music and it’s appeal and kudos to Beyoncé for incorporating this into her music so flawlessly. In this new version of the song the instrumentation is definitely country, as the song opens with some excellent harmonica play and noticeably more subdued horns (which I remind you again is a part of country music going back to Western Swing).

The harmonica play shows up frequently throughout the song and essentially replaces the booming horn section in the original version. There’s also some noticeable fiddle and banjo play throughout to give it a decidedly rustic feel. Beyoncé and the Dixie Chicks sound great together and fit like a glove, especially when harmonizing. The icing on top of the cake for this song is when the quartet break into the Dixie Chicks’ 2002 hit “Long Time Gone,” written by the excellent Darrell Scott. They sing the main lines, which still ring true: “Now they sound tired, but they don’t sound Haggard/They got money but they don’t have Cash/They got Junior but they don’t have Hank/I think I think I think…” Yet people are complaining about the return of one of the most traditional country trios in the history of the genre meanwhile Luke Bryan, Thomas Rhett and Kelsea Ballerini performed on the same show and none of them have ever come close to sounding as traditional as the Dixie Chicks.

I thoroughly enjoyed the original version of “Daddy Lessons” and I think I enjoy this version even more, as a top pop artist and one of country music’s all-time best trios come together to create something great. I definitely wouldn’t be opposed to these four recording more music together in the future, maybe even a full country album to really get heads spinning. At the end of the day I don’t care about all of the outside stuff because it’s impossible for me to not recognize and appreciate when great music is delivered.

Grade: 9/10

 

Recommend? – Yes!

Download it for free by clicking here.


Written by Beyoncé Knowles, Wynter Gordon, Kevin Cossom & Alex Delicata

The Past Pulse Of Mainstream Country Music [March 2001]

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This is the past pulse of mainstream country music. Each week, I take a look at the Billboard Country Airplay Chart (or, “Hot Country Songs” as it used to be called) from years ago and grade the top 30 songs. Each week will be a different year. The grading format I use each week is every song will receive one of the following scores: +5, +4, +3, +2, +1, 0, -1, -2, -3, -4, -5. These will then be tallied up for an overall score, or pulse of the past top thirty country songs, with the highest possible score being a +150 and the lowest possible score being a -150. The grade I would give it determines its Pulse score. The grading key: 10 [+5], 9 [+4], 8 [+3], 7 [+2], 6 [+1], 5 [0], 4 [-1], 3 [-2], 2 [-3], 1 [-4], 0 [-5].

The goal of this exercise is to evaluate the past state of mainstream country music and determine if it was better or worse compared to now. To see the full list of the top 30 country airplay songs for this week, click here. This week’s chart will be from March 31st, 2001.

  1. Diamond Rio – “One More Day” +3
  2. Jessica Andrews – “Who I Am” +2
  3. Toby Keith – “You Shouldn’t Kiss Me Like This” +3
  4. Travis Tritt – “It’s A Great Day To Be Alive” +3
  5. Faith Hill – “If My Heart Had Wings” -1 [Worst Song] (Overproduced and cheesy)
  6. Keith Urban – “But For The Grace Of God” +4 [Best Song] (Yes, Urban is rated higher than Strait, Tritt…etc)
  7. Brooks & Dunn – “Ain’t Nothing Bout You” +1 (Cool sound, not so cool lyrics)
  8. Kenny Chesney – “Don’t Happen Twice” +1
  9. Tim Rushlow – “She Misses Him” +4 (I really don’t like his voice, but I can’t deny this is a damn good song)
  10. Dixie Chicks – “If I Fall (You’re Going Down With Me)” +2
  11. Martina McBride – “It’s My Time” +2
  12. Trick Pony – “Pour Me” +2
  13. Tim McGraw – “Grown Men Don’t Cry” +2
  14. Lee Ann Womack – “Ashes By Now” +3 (Those bongos are pretty cool!)
  15. SheDaisy – “Lucky 4 You (Tonight I’m Just Me)” 0 (Yes, they used 4 instead of “for.” Why? I have no idea)
  16. Gary Allan – “Right Where I Need To Be” +3
  17. The Warren Brothers – “Move On” 0
  18. Jamie O’ Neal – “There Is No Arizona” +3
  19. Mark McGuinn – “Mrs. Steven Rudy” -1 (It’s catchy, but oh so creepy)
  20. Jo Dee Messina – “Burn” +1
  21. Phil Vassar – “Rose Bouquet” +3
  22. George Strait – “If You Can Do Anything Else” +3
  23. Pam Tillis – “Please” 0 (In terms of country, 0. In terms of pop I’d give this a solid +2)
  24. Garth Brooks – “Wild Horses” 0 (Not because I dislike the song, but because Garth can’t put the f***ing song on YouTube, or really anywhere for me to hear)
  25. Patty Loveless – “The Last Thing On My Mind” +3
  26. Sara Evans – “I Could Not Ask For More” +1
  27. Alan Jackson – “When Somebody Loves You” +3
  28. Montgomery Gentry – “She Couldn’t Change Me” +4 (This sort of describes me)
  29. Steve Holy – “The Hunger” +2
  30. Aaron Tippin – “People Like Us” 0 (Good sound, but I’m not a fan of the “I’m so country” lyrical template)

The Past Pulse Of Mainstream Country Music: +56

As always, if you have any questions as to why I gave a song a certain grade feel free to ask me. Also, let me know what you guys think of the chart in the comments!

The Past Pulse Of Mainstream Country Music [December 1999]

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This is the past pulse of mainstream country music. Every week, I take a look at the Billboard Country Airplay Chart (or, “Hot Country Songs” as it used to be called) from years ago and grade the top 30 songs. Each week will be a different year. Each song on the chart will receive either a +1, 0, or -1. These will then be tallied up for an overall score, or pulse of the top 30 songs with the highest score being a +30 and the lowest possible score being a -30. Songs rated between a 7 and 10 will receive a +1. Songs rated either 5 or 6 will receive a 0. Songs rated 4 or lower will receive a -1.

The goal of this exercise is to evaluate the past state of mainstream country music and determine if it was better or worse compared to now. To see the full list of the top 30 country airplay songs for this week, click here. This week I will take a look at the top 30 songs of the Billboard Hot Country Songs from December 4, 1999.

  1. Clint Black – “When I Said I Do (w/ Lisa Hartman Black)” 0
  2. John Michael Montgomery – “Home To You” +1
  3. Martina McBride – “I Love You” -1 [Worst Song]
  4. Brad Paisley – “He Didn’t Have To Be” +1
  5. Faith Hill – “Breathe” +1
  6. Shania Twain – “Come On Over” -1
  7. Tim McGraw – “Something Like That” +1
  8. Yankee Grey – “All Things Considered” +1
  9. George Strait – “What Do You Say To That” +1
  10. Reba – “What Do You Say” +1
  11. Alan Jackson – “Pop A Top” +1
  12. LeAnn Rimes – “Big Deal” 0
  13. Dixie Chicks – “Cowboy Take Me Away” +1
  14. Andy Griggs – “I’ll Go Crazy” +1
  15. Tim McGraw – “My Best Friend” +1
  16. Steve Wariner – “I’m Already Taken” +1
  17. Kenny Chesney – “She Thinks My Tractors Sexy” -1
  18. Randy Travis – “A Man Ain’t Made Of Stone” +1
  19. Lonestar – “Amazed” 0
  20. Clay Walker – “Live, Laugh, Love” 0
  21. Jo Dee Messina – “Lesson In Leavin’” +1
  22. Lonestar – “Smile” 0
  23. Ty Herndon – “Steam” 0
  24. Tracy Byrd – “Put Your Hand In Mine” +1
  25. Gary Allan – “Smoke Rings In The Dark” +1 [Best Song]
  26. Joe Diffie – “The Quittin’ Kind” +1
  27. Brooks & Dunn – “Beer Thirty” 0
  28. Keith Urban – “It’s A Love Thing” -1
  29. Trace Adkins – “Don’t Lie” +1
  30. SHeDAISY – “This Woman Needs” +1

The Past Pulse Of Mainstream Country Music: +15

Wow, a double-digit positive score, and one that’s halfway to a perfect score! Sure beats 2010 from last week. As you all remember, 2010 didn’t even have a Pulse! As a child of the 2000s, I have to admit I was very unfamiliar with a few of these songs and artists prior to conducting this pulse. That’s why doing this particular Past Pulse was especially fun. I get to discover some great new songs! First of all, I never had once heard of Yankee Gray. “All Things Considered” isn’t exactly something anyone would call “deep”, but it’s fun enough with the catchy melody and bouncy fiddles. This was their only top 10 hit. Elsewhere, while I am familiar with artists such as Clint Black, John Michael Montgomery, Steve Wariner, and Tracy Byrd, I can’t say that I had ever heard any of their respective singles on this chart. I’ve also never heard a single SHeDAISY song despite hearing of them multiple times. “This Woman Needs” is a pretty enjoyable country-pop tune.

However, I’m not totally out of tune with what was going on in 1999. Alan Jackson’s “Pop A Top” was (and still is) a damn catchy tune that hardly feels like a cover song at all. And of course there’s the monster hit by the Dixie Chicks with “Cowboy Take Me Away.” I can understand why they are a very polarizing band to many, but when you look at them from a pure musical standpoint, they were a very talented group who made some fine country music. With Gary Allan, they share the honor of being tied for the best song on this chart. I’ve always loved “Smoke Rings In The Dark” for its dark, ominous atmosphere and sharp lyrics combined with Gary’s vocal delivery. In fact, it’s probably my favorite Gary song ever. Oh, can we also talk about how awesome Trace Adkins is when he’s trying to be a serious country singer? The man has always had a set of pipes, and when he’s not doing the whole “Swing” or “Honkytonk Badonkadonk” crap, he’s excellent.

But of course, at any given moment there’s always some type of bad in country music, even in 1999. Hell, I’m sure at one point somebody somewhere declared Kenny Chesney’s “She Thinks My Tractor’s Sexy” the worst country song in history. Nowadays it wouldn’t come anywhere close. Elsewhere, we had Martina McBride’s annoying “I Love You” which easily is the worst song here. To put it bluntly, this song sounds extremely immature and annoying. And then of course we have “Come On Over.” Now, I actually like Shania Twain for the most part, but this song is just terrible and definitely didn’t belong on country radio, especially not in 1999. Keith Urban’s first song also wasn’t great either. But that’s it folks. FOUR negative scores on the pulse. Nowadays that’s about as many positive scores you’ll find on the pulse. Evolution my ass.

If you have any questions as to why I gave a certain song the score I did, or perhaps just want to make your own Pulse, sound off in the comments!