I’m like, 85% sure how this movie ends.
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[3.86]
Patrick St. Michel: …and I want a country-pop song that’s not cheesy and cliche-ridden as heck, but life isn’t fair bub!
[1]
Anthony Easton: For a voice so conventional, and so bland, it might be interesting to stop working against type and push forward into some genuine discussion of what it might mean to love a woman in the most down home ways. Much more interesting than this mush.
[3]
Alfred Soto: The guitar and fiddle solo hint at crazy, the vocal can’t even spell it.
[2]
Will Adams: “It doesn’t make sense to anybody else” that long distance relationships can make you a bit crazy? Dude, you’re not that special, and while it sports a friendly bounce, neither is the music.
[4]
Brad Shoup: Either I’ve still got a residual soft spot for Rascal Flatts, or I was relieved that “crazy” didn’t mean beautiful/damaged so much as responsible/fun. Whichever, the cadences are a blast, the guitar’s impersonating a banjo in High Mixolydian Reel mode when it’s not faking ska, and the drums totter on the thrilling edge of disco. Plus, more singers without talkboxes should accompany solos. They’re only tricks if you feel cheated.
[9]
Edward Okulicz: The pre-chorus of this is fantastic, almost like a present tense of Taylor Swift’s “The Way I Loved You.” The verses twitch with no real emotion whatsoever, but that doesn’t mean they can’t elicit any in the listener — I’m a sucker for the excesses of modern country arrangement and mixing, as full and colourful as any other genre in pop nowadays and all the more fun for it. Sadly, the chorus makes the kid sound like he wouldn’t know crazy if it keyed his car and left two days of heavy breathing on his voicemail. So this is about two-thirds a very good song, and scored appropriately:
[6]
Jonathan Bogart: Liar.
[2]