Aaron Lewis featuring George Jones and Charlie Daniels—”Country Boy”
#102
It would be easy to write off this unbelievably horrible record as proof that Tea Partiers know even less about music than they do about American History and the Constitution, but the problem is more basic than that. Former Staind frontman Lewis shares the same delusion as too many heavy metal guys and lots of Tea Partiers: a fervent, defiant confidence in their own talent and beliefs that only grows in proportion to how much actual evidence stands against them. Like the failed American Idol auditioneers who can barely sing but are convinced they’re more talented than anyone else in the world, it’s a kind of blindness to self that seems inexplicable to anyone on the outside. It isn’t a Tea Party problem, it’s a human problem, and most likely one that can’t be cured. Unfortunately, sometimes they convince others to buy into their delusions, like George Jones, whose brief appearance as the devil fails to raise this even a notch out of the muck.
Joe Nichols—”The Shape I’m In”
#103
A good song, and when I fantasize about it being sung by a great vocalist like George Jones in his prime, or Merle Haggard, it seems like a great one. But Nichols isn’t Jones or Haggard, he’s just another competent country crooner with a decent ear for material. Not bad, but it could be so much more.
Jennifer Hudson—”Where You At”
#110
The regretful tone of this sets it off somewhat from the other Beyonce clones out there, though not by much. Besides, what makes Beyonce great is her refusal to express regret or make herself out to be a victim. This record, by the end, is wallowing in it. Beyonce rarely resorts to the sorts of vocal gimmicks Hudson does, either; she seems too determined to pack them in, even when they don’t fit.
Snoop Dogg—”Sweat”
#116
The “clean” version of “Wet” (funny, I never though of that as a word you couldn’t say on the radio), remixed by The Cataracs, who try their best but can’t seem to keep it as dirty as the original. Snoop’s electrically modified vocals are offputting and weird: he was never meant to be heard at that pitch, and somebody should have noticed that before this was put out.
Prince Royce—”Corazon Sin Cara”
#117
I can’t parse out all the Spanish, but the music is so pleasant and dreamy I figure he must be saying something nice. Probably loaded with cliche, too. A little too smooth and lightweight, but I like this.
Craig Campbell—”Family Man”
#119
Hey, if you’ve got a wife and kids to feed, any cliche that will get you on the radio is good enough, right?
