The Singles Jukebox

We continue our How The Mighty Have Fallen thread from yesterday, though in this case it’s been four years…

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[4.57]

Anthony Easton: Billy, you and I both know that a weekend in the country or an hour in the woods isn’t love, no matter how good it sounds or feels. One of the problems of your genre is the continual separation of love and lust. Shania should have taught you that. 
[3]

Alfred Soto: It doesn’t offend, doesn’t try to charm your fingers into unbuttoning that blouse — it relies on organ washes and a by-numbers solo to find as many rhymes as it can with its title.
[6]

Nina Lea Oishi: Everything about this song screams generic, from the weak “hey”s at the beginning to the unremarkable guitar lick. Billy Currington is not trying that hard either. “Baby, don’t say no so quick,” he begs in the first line, but fun fact: he’s not talking about sex, he’s talking about this actual song, pleading with you not to give up on it before the 0:20 mark.
[3]

Micha Cavaseno: Yeah, this might as well be a Rob Thomas’ single, and the list of ‘come ons’ and leers dribbling over this dude’s lips and onto his chin don’t have nearly enough of a chance to fly out of him with the grace and ease as he thinks they might.
[2]

Patrick St. Michel: Solid smooth talk, but that’s about all he’s got going in his favor. 
[5]

Will Adams: There’s always a spectrum between charming and repulsive in these come-on songs. “Don’t It” seems to just fall to the former side, which means the slightly swung jangle is doing exactly what it’s supposed to do.
[5]

Leela Grace: Billy Currington is the cheesiest sheepdog around, but he means well. Who knew that “microphone” could be a verb and it’s true, I’m not wearing any rings, let’s celebrate that, and this sounds better than pretty good, in fact, it sounds amazing.
[8]