The Singles Jukebox

I think that might be a euphemism…

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[6.67]

Katie Gill: Man, I am way more forgiving of generic “hey girl you’re purty, let’s bump uglies” songs if Garth’s singing them than I am if Keith or Brett or Dierks is singing them. Garth’s at least having fun. So many country songs sung by male stars in this day and age are soulful ballads. Like, I’m looking at the top 25 right now and it’s just a list of boring: “Blue Ain’t Your Color,” “H.O.L.Y.,” “Today”…some of them are good, but none of them are really fun. This song is fun. Brooks knows this is a banger, something explicitly designed to get people to dance, and he just goes at it, having a blast all the way through.
[8]

Edward Okulicz: I waited for it to turn into BTO’s “You Ain’t Seen Nothing Yet”; mercifully, it did not. I wouldn’t say the song is stupid, it’s just obvious and unapologetic. But it’s nice to hear Brooks having actual fun. And the song is fun for all its obviousness, just a big, friendly stomp with lyrics you can extrapolate from the title. Cheerful music to be happy to. I’m fairly happy.
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Anthony Easton: Garth Brooks wasn’t always this generic was he? I mean he was usually this sexless, but he had some skills which made it more interesting than this kind of flatness. Extra point for the hint of whistling. 
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Thomas Inskeep: Allen Reynolds produced Garth Brooks from his 1989 debut all through the 1990s, as he sold so many records that he eventually became the highest-selling solo artist in U.S. history (a title he still holds by some considerable distance). Mark Miller was the recording engineer for that entire run, taking over the production chair once Reynolds retired (and Brooks came out of retirement) for the 2013 covers set Blame It All On My Roots and the following year’s Man Against Machine. Accordingly, Miller knows how to give Garth his “classic,” ’90s sound, one that was missing somewhat on Machine but that’s back in full force for the bulk of his new album Gunslinger. My guess is that the muted public response to the last album — and the ecstatic response to Garth’s ongoing U.S. tour — reminded Garth and his brain trust that his fanbase doesn’t particularly want to hear him experiment or take left turns. They (and I include myself in that cohort) wanna hear “classic” Garth, the Garth of not just “Friends in Low Places” but of “That Summer” and “Standing Outside the Fire” and even, perhaps, “Wrapped Up In You” — the last of which bears the closest resemblance to “Baby Let’s Lay Down and Dance,” which definitely has a slight ’70s pop feel and a little folkiness mixed in with its country (and, uh, synthetic handclaps). This isn’t great Garth, but it’s awfully good Garth, especially when compared with his last album. And this is a quick one, getting in and out in just over 3 minutes; sometimes, brevity is of the essence. If you like, or are inclined to like Garth, you’ll like this; if not, you needn’t bother. This one’s for the fans. 
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Ramzi Awn: With a rollicking melody and old-school production reminiscent of Trisha Yearwood’s debut, Garth doesn’t disappoint on “Baby Let’s Lay Down and Dance,” a barebones hook that makes hooks sound easy.    
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Alfred Soto: Like a Shania Twain remixed and ready to hit every global market, the drums and acoustic strumming have “dance crossover” affixed to their foreheads. Momentum it’s got, and a singer committed to showing the world that Trisha Yearwood’s a more exciting partner than cook. Maybe I won’t ask him to explain how the title’s supposed to make sense.
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