Let’s stay together…

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[5.38]

Jonathan Bogart: “There’s no tomorrow there’s just right now now now.” “‘Cause we’re never getting old.” “Keep on dancing till the world ends.” “We might not get tomorrow, let’s do it tonight.”” A gag order keeps me from saying much more on this topic, but it’s interesting to note that it’s bled over into the country side. True to genre form, Young scales down the drama to the merely interpersonal, but it’s not just the hot beat that’s missing, it’s any sense of urgency.
[6]

Doug Robertson: There’s a vague, by-the-numbers anthemic quality to the chorus, some unimaginative metaphors and the general impression that any emotions expressed in the song are entirely coincidental. Fire and gasoline? You’re not even talcum powder and a black shirt.
[4]

Anthony Easton: By the book production, and by the book rising bridge, hooking onto the chorus, and the lyrics are an unforgivable mess of cliches. Refuses to tell stories. All of this is a total shame because Young’s voice is beautiful, has a laconic edge and a tender warmth. Should work on that.
[3]

Alfred Soto: Young’s brassy baritone lends weight to this masochist’s plaint, but if you think they’re only going to fuck one more time, I got a guitar solo I’d like to sell you.
[6]

Zach Lyon: His warbly emotion in the chorus is so affecting, and just what he needed. He has a great voice, and the best thing he could do is betray it with such genuineness: that “no matter how hard I want to” that sounds almost Aguilera-like in its attempt at diva note-jumping but ultimately sounds ridiculous. Or the way every chorus ends with what sounds like tears. I’m smitten by this.
[8]

Martin Skidmore: I find I am saying the same things about him again: nice, strong, traditional country voice, some crappy soft rock guitar. However, this is a stronger song, about clinging onto a relationship you know isn’t working, and he delivers it with feeling and control, and it ends up rather moving.
[8]

Michaelangelo Matos: Not hateable or anything, just a totally standard, pretty boring take on the “For the Good Times” template, only uptempo and less sung than yowled.
[4]

Chuck Eddy: He sings his heartfelt heart out, and I can’t for the life of me imagine why anyone — at least, anyone not going through the exact same situation right this very second — would remotely care.
[4]