Why on Earth Vevo wouldn’t want people to watch this video in the UK is beyond me…
[Video][Website]
[5.89]
Frank Kogan: Rich Starbucks soul, deep gospel sonorities played for comfort rather than for transcendence. Tasteful twang on this country version opens the song into even further relaxation. Adult contemporary beckons.
[8]
Katherine St Asaph: Plaintive plainness with scribbled-on-a-napkin lyrics (rhyming “split” with “can’t stand it,” really?). I bet Jerrod’s lover slammed the door on him halfway through the chorus.
[2]
Anthony Easton: Has friends in the right places, with Garth Brooks making a hit out of “Good Ride Cowboy”, a tribute he wrote to Chris LeDoux, and his top ten being produced/released by Brad Paisley. After almost ten years of club dates and writing album tracks for B-listers, this cover making the top 10 must feel bittersweet. It’s not a bad song, and the performance has the quiet sheen of long earned professionalism, but nothing much else.
[5]
John Seroff: “Lover Lover” hearkens back to The Statler Brothers or 80’s era Alabama. Minimal country with maximum return, this thrives on little more than honkytonk swing guitar and nice baritone harmonies. It’s a lulling, declamatory sort of redneck funk that ends in an almost South African style refrain. It’s certainly the best c/w I’ve heard on the Jukebox this year. But what does Chuck think?
[9]
Chuck Eddy: Don’t think I’ve ever heard Sonia Dada (who apparently called the original version of this, a 1993 chart-topper in Australia, “You Don’t Treat Me No Good”) — Wiki says “Chicago-based rock/soul/rhythm and blues band”, which I assume translates as “proto-Maroon 5,” maybe? Never heard Jerrod before either, but turns out his album is sort of innovative (hip-hop-skit-like interstitials, a couple wacked-out arrangements), and occasionally profane and funny. Plus, he sings at least as good as he writes. Cool title, too — Judge Jerrod And The Hung Jury. This isn’t the best track, but it’s good: richly sung yacht-rock, with a hand-clappy r&b groove. Can almost imagine it being shagged to at Myrtle Beach. Bonus points for rarely-heard-anymore Oak Ridge Boys-style bass-man backup, and for early ’70s Jesus-pop-style AM radio momentum.
[7]
Jonathan Bradley: Nieman’s rich tones make it seem as though, thirty seconds in, he might have a shot at not just renaming, but also redeeming “You Don’t Treat Me No Good No More.” His unaffected country twang and casual guitar strumming have an easygoing charm, and he relocates old radio memories into a new and believable context. Another minute in, however, and it becomes clear how daunting is the task he’s taken on; the crunchy caverns of roots hell are deeper than expected. By the two minute mark, it’s clear: this is a valiant effort, but you’re listening to a fucking Sonia Dada song.
[4]
Martin Skidmore: Jerrod keeps plenty of soul in his version, though I don’t think he’s a great singer. A lot of the interest comes from the inventive use of multi-tracked vocals. Very pleasant, if not very exciting.
[6]
Jonathan Bogart: Nieman sang every part himself, which is why the vocals blend so well, but the genial goofing-around-in-the-studio vibe doesn’t stop there. He casts a throwback soul cover as throw-further-back doo-wop, with the bass rumble in the back recalling the Jordanaires and the testifying vocal out front recalling Sam “Soul Stirrer” Cooke. Because it’s nominally country, there’s a shuffle rhythm underneath, but there’s no Music Row songcraft or CMT iconography here, just a two-part shot of harmony and glory.
[8]
Alfred Soto: The harmonies are the only thing that keeps this trifle — one that keeps turning into an eighties Mellencamp shuffle — afloat.
[4]