Closing eyes != having chemistry or feelings
[Video]
[5.71]
Alfred Soto: Remember the Tim McGraw-Faith Hill duet “I Need You,” in which the male partner confesses the physical details that makes his female partner so awesome while the girl signals an approval not half so specific? But damn if “Remind Me” almost works too. The unaffected warmth with which Paisley imbues carnal details as perfect as kissing her so long she misses her flight mitigates the rather less impressive impact of Underwood’s choral support. Luckily Paisley doesn’t embarrass himself matching her high notes in the last third, especially when their partnership is ecumenical enough to accomodate a third supplicant: Paisley’s guitar.
[7]
Anthony Easton: Underwood singing the chorus, straining to its upper heights, is close to orgasmic. Her voice and guitar entwined near the end moves from soft core to hard core – and some of the domestic details are enough to burn the barn down.
[8]
Alex Ostroff: The best thing about this song is that I still can’t tell if Brad and Carrie are performing regret or seduction. Neither are they.
[7]
Andrew Casillas: This song has [10] potential, but Underwood vastly overplays her hand. At times, she sounds like she’s channeling Maya Rudolph’s SNLimpression of Beyoncé Knowles (this was before the “é” was mandatory). However, the last minute or so is an absolute rush. And it’s still as grand a “showcase” tune as country music can give us nowadays.
[6]
Brad Shoup: Suddenly, country is all about letting all your shit hang out at the airport. I’m always gonna support Paisley in grown’n’sexy mode, and it’s wonderful to hear a proper duet filled with story swapping and overlapping lines and all, but subtract the lump I’m getting from the delivery of the titular phrase and I’m left with some seriously cheeseball guitar solos and the image of two people idly flipping through a photo album.
[5]
Josh Langhoff: I’m pleased to learn that Paisley still lives in a state of perpetual connubial bliss, or at least I’ll assume he does, since this is the least convincing song out of his last 28.
[2]
Katherine St Asaph: Carrie’s cleansed of all her grit, leaving behind light then heavy syrup. Brad’s verses and intonation start out interesting and almost emulsify the duet, but somewhere around the second chorus, both voices settle into the exact staid, still inertia the words fight against.
[5]