Someone’s emoting, kumbayah.
[Video][Website]
[4.86]
Brad Shoup: She found the sentiment, but she forgot the song. This is a draggy waltz, forgettable but for the guitar solo, which takes a big angry bite out of its surroundings.
[3]
Anthony Easton: Smooth, and slightly worn, I wasn’t surprised when I learned it had been around since the ’80s, with a good version by Pam Tillis floating?around. It might work better as a duet, and the video suggests that Pickler thought about adding someone else. All of that said, it seems a little soft here, the production a bit too gauzy, and not nearly as effective as it could be.?
[5]
John Seroff: Lyrically and musically, this matches up pretty closely to Clapton’s “Wonderful Tonight.” How you respond to that sentence should determine your expectations; for me, that’s a firm “if it’s on and I can’t change the channel, I can manage.”
[5]
Katherine St Asaph: Professional songwriting, professionally performed, but I wonder what Ashley Monroe or Hope Sandoval (to give a spectrum) would do with this.
[6]
Edward Okulicz: Pickler’s voice wrings more meaning (and a fair whack of tenderness) out of the chorus’s requests to her lover than the verses’ sweeping look at undefined nobodies invented for the purpose of stories barely started, let alone finished. It’s not just the harmonies, though they’re nice. “Someone somewhere tonight is tasting their first kiss,” but all I can taste is poshlost.
[4]
Daniel Montesinos-Donaghy: Less lament, more a fuzzily-minded sentimental realization of — whoa dude — How The World Works.
[5]
Alfred Soto: 100 Proof didn’t merely confirm Pickler transcended her pedigree: it was as warm and well-observed as any country album I’ve heard in the last two years, and often better. Here she eschews precision for projecting vulnerability over generalizational banalities. The arrangement — strings delayed until the last set of verses, the male harmonies — compensates.
[6]