Sober Sundays – Wyatt Flores & The Castellows Writtten By Ryan Lippe
When “Sober Sundays” was first teased online, fans instantly knew they were in for a single filled with emotion and pure talent. Produced by Beau Bedford, the harmonies between Wyatt Flores and The Castellows are balanced fantastically. Wyatt’s voice has a unique darkness that contrasts with the hopeful harmonies of The Castellows, adding another layer of sympathy. The instrumentation is filled with so many fiddle, organ, and banjo layers that, at times, may feel too crowded with so many different elements trying to battle for attention; nonetheless, they generally come together beautifully. The production is a phenomenal blend of both sounds between Wyatt and The Castellows. Written by all three Balkom sisters with Wyatt Flores, the lyrics are a heart-wrenching give-and-take between these two narrators as they continue their fight toward sobriety and find peace in the presence of each other. This song is nothing short of gorgeous in terms of the writing, production, and vocals. Wyatt Flores and The Castellows are a perfect combination and act as a shining light for the genre’s future with the generational talent they’ve been gifted with.
9.7
Southern Roots (feat. Katie Pruitt) – American Aquarium Written By Ryan Lippe
The only collaboration on their Fear of Standing Still album, American Aquarium, reminds their devoted fans of the prolific writing they’re known for. Although Katie Pruitt’s presence in this track may be limited to harmonies, she’s still a very pleasant balance to the soft growl in BJ Barham’s voice. The narrator, written by Barham and Pruitt, reminisces about how the lessons he learned in his hometown shaped him and his outlook on the future. Shooter Jennings’ clever production opens up American Aquarium to a plethora of creative possibilities. This song begins with a soft guitar and gradually builds into an emotional bridge stacked with many contrasting elements in the production. The harmonies from Pruitt and BJ Barham’s bandmates give “Southern Roots” a more complete feeling. Each song on this album stands in its own right, but this one provides a message of redemption for someone trying to reinvent their identity, a concept that countless people can relate to.
8.6
“What A View”- Jamey Johnson Written By Adam Delahoussaye
As rough around the edges as he’s become over the years, it’s a little surprising that a contender for slow-dance of the summer takes form in Jamey Johnson’s “What A View.” Regardless, it’s always a welcome surprise when this lower Alabama liaison graces us with his presence in any regard. Here, we’re serenaded by steel guitars and gruff undertones that croon about good times and good-looking gals across the bar. Somehow, Johnson seems believable and can still get away with the hopeless romantic schtick despite a catalog that’s painted him as country music’s foreboding boogeyman. His off-putting facade aside, the song is still a fun, albeit lazily written, ballad that exudes the heat from these last few days of summer. If anything, Johnson’s pervasive humility makes his adoration for the belle of this ball more believable than some of his picture-perfect counterparts. “What A View” may not shatter any preconceived notions about Johnson, but it’s still a fun detour for a guy who could no doubt use the sunny side of life occasionally.
7.0
Rather Be – Riley Green Written By Creed Miller
Riley Green is back with his first solo release since his EP, which came out in April. “Rather Be” further proves that listeners should know precisely what to expect with a Riley Green track. Penned by Dan Isbell and Randy Montana, the track is about everything he would rather be doing than listening to the nagging girl in his life. It has a lot of similar traits to a Luke Combs single, which makes sense given Isbell and Montana’s history of writing with Combs; while it may seem like a surface-level concept, the ever-witty wordplay and wisecracks make the “Rather Be” experience anything but mindless. Green has mastered the balance of inspired songcraft with commercial viability throughout his career, which has driven his success. “Rather Be” has the potential to do well on the radio without feeling like a stereotypical bro-country radio song. Riley Green hasn’t missed since he released his last album, and “Rather Be” is another excellent example of that. It isn’t a mind-blowing single, but it’s yet another quality release from the Alabama native.
8.2
Famous for a Heartache – Eli Winders feat. Vincent Mason Written By Creed Miller
Eli Winders and Vincent Mason have become country music’s most exciting up-and-comers, and they teamed up for an ear-wormy duet, “Famous for a Heartache.” Amid heartache, they list things they could have, like a Broadway bar or a Hollywood star, if they could get famous for their troubles. It’s a unique approach to a common concept that makes it feel fresher and more original. This collaboration has a playful vibe and refuses to be another sad breakup song blending with similar tracks. An Eli Winders and Vincent Mason duet makes a lot of sense, which was abundantly clear in the single. They work well together as neither artist overpowers the other and complements each other nicely. The two have great chemistry, and the song allows each to have a “moment” individually. It also doesn’t try to do too much, allowing the artists to stick to their style and range. The mid-tempo track is guitar-driven, incorporating some light steel to add subtle flair. It’s a small addition, but it goes a long way. Overall, “Famous for a Heartache” is incredibly catchy, and listeners should struggle not to tap their feet to the beat.
8.5
Lonely Road – mgk and Jelly Roll Written By Creed Miller
If you were worried that there weren’t enough artists transitioning to country music, don’t worry; mgk has got you covered! In his country debut, the rap/rock star teamed up with none other than Jelly Roll for their interpolation of John Denver’s legendary song “Take Me Home, Country Roads.” “Lonely Road” feels like a half-hearted attempt to break onto the country music scene and take advantage of the genre’s growing popularity. It would’ve been much more intriguing had he come up with something original and not ripped off one of the most iconic songs ever. The original parts are just his classic sad-boy lyrics. The whole thing feels flat and lacks fresh elements to make it enjoyable. It has all the same traits of an average mgk single but adds Jelly Roll and the John Denver sample so that they could call it country. The addition of Jelly Roll doesn’t make much sense narratively, and it just feels like they tossed him in there to win the approval of the country music audience. The Castellows are also included, providing background vocals, but it feels like a waste of their talent not to feature them more prominently in the song. All in all, the whole thing feels ultimately forced and was an utterly butchered opportunity.
1.3
Guy For That – Post Malone & Luke Combs Written By Max Buondonno
Post Malone’s leap into the country music world has been met with much excitement since the release of “I Had Some Help” with Morgan Wallen. We’re getting another taste of his full-length country LP F-1 Trillion with “Guy for That,” a collaboration with Luke Combs that was initially teased before “I Had Some Help.” The single pleads for someone to help mend a broken heart, referencing all the other “guys” the protagonist has in his Rolodex, from Bible binders to Audemars Piguet adjusters. While the theme is unique and the chorus is as catchy as ever, “Guy For That” ends abruptly before you start enjoying it. The lack of a bridge and final chorus makes it feel incomplete. Combs’s verse is also short and drags along, making it feel like the writers (who have seven separate credits) had writer’s block. This single will find success if only because it’s another Post Malone country song, but it feels more flat and manufactured than anything.
6.7
I Ain’t Sayin’ – Jordan Davis Written By Max Buondonno
Jordan Davis has cemented his place as a country music superstar, delivering hit after hit that folks can’t seem to get enough of. While he has his fair share of deeper tracks with introspective lyrics and storytelling, plenty in Davis’s discography is worthy of an eyebrow raise. With “I Ain’t Sayin’,” the first song off his forthcoming album, your brow will undoubtedly be raised. The track is another pop-country fusion that Davis is no stranger to, but its commercial nature makes it feel quite generic. Written by Emily Reid, Mark Holman, Steve Moakler, and Travis Wood, the song flows nicely and dips into a bit of wordplay for extra finesse. And while the topic of telling a girl that her man is no good is all but new, it doesn’t feel stale here. The biggest problem “I Ain’t Sayin’” faces is whether it can latch onto the airwaves like many of Davis’s other songs, and there’s no catchy verse or hook that affirms that. Instead, it feels like another ordinary Jordan Davis single, which means this whole review could’ve been summed up in the shrugging emoji.
6.1
Check out more of our reviews here
