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Post by Deleted on Jan 8, 2016 10:24:56 GMT -5
Heard this on the radio tonight for the first time and I was pretty excited to finally be able to listen to it (couldn't be bothered to look it up on my own because Cole Swindell is meh) and... I was really disappointed. I was hoping this would be great because I knew it wasn't another bro tune from him, but it falls so, so flat. Like the way I felt listening to it is probably comparable to the way a lot of people feel about Miranda Lambert's "Over You" (though I actually like that song). But there was absolutely no emotion in this song at all for me and Cole's vocal performance felt so tepid and uninspired, and the production was a big pile of vanilla like all his songs always seem to be musically. I thought the lyrics were also pretty underwhelming and I found a lot of the rhymes to be an especially predictable type of corny. Meh. This guy and his music are just not appealing to me. Not to change the subject, but "Over You," won CMA and ACM song of the year and is platinum. So while I am sure there are people who don't enjoy it, the vast majority do. Awards doesn't equal quality it just doesn't. Taste in music is as subjective as they come.
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matty005
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Post by matty005 on Jan 8, 2016 10:55:46 GMT -5
Not to change the subject, but "Over You," won CMA and ACM song of the year and is platinum. So while I am sure there are people who don't enjoy it, the vast majority do. Awards doesn't equal quality it just doesn't. Taste in music is as subjective as they come. Did you read my post? I was saying most people actually enjoy the song. The fact that it won song of the year at both the CMA's and ACM's and it has sold over one million singles shows that it was very popular. No where did I say anything about quality, bro. And question for you, since taste in music is, "subjective as they come," how would gauge quality?
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Deleted
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Post by Deleted on Jan 8, 2016 11:00:09 GMT -5
Awards doesn't equal quality it just doesn't. Taste in music is as subjective as they come. Did you read my post? I was saying most people actually enjoy the song. The fact that it won song of the year at both the CMA's and ACM's and it has sold over one million singles shows that it was very popular. No where did I say anything about quality, bro. And question for you, since taste in music is, "subjective as they come," how would gauge quality? Quality is just as subjective. I was just saying that just because a song wins a bunch of awards doesn't mean it's by definition the most popular or the best song. That's just some people's opinion.
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robenglund
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Post by robenglund on Jan 8, 2016 13:58:25 GMT -5
Heard this on the radio tonight for the first time and I was pretty excited to finally be able to listen to it (couldn't be bothered to look it up on my own because Cole Swindell is meh) and... I was really disappointed. I was hoping this would be great because I knew it wasn't another bro tune from him, but it falls so, so flat. Like the way I felt listening to it is probably comparable to the way a lot of people feel about Miranda Lambert's "Over You" (though I actually like that song). But there was absolutely no emotion in this song at all for me and Cole's vocal performance felt so tepid and uninspired, and the production was a big pile of vanilla like all his songs always seem to be musically. I thought the lyrics were also pretty underwhelming and I found a lot of the rhymes to be an especially predictable type of corny. Meh. This guy and his music are just not appealing to me. I posted about this earlier in the thread but I kind of felt the same way until I saw the music video. You can certainly see some emotion in the video.
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.indulgecountry
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Best Country Poster 2011, 2017, & 2018
"You left a mark on my face // And brought a dozen red flags in a vase"
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Post by .indulgecountry on Jan 8, 2016 19:34:37 GMT -5
Heard this on the radio tonight for the first time and I was pretty excited to finally be able to listen to it (couldn't be bothered to look it up on my own because Cole Swindell is meh) and... I was really disappointed. I was hoping this would be great because I knew it wasn't another bro tune from him, but it falls so, so flat. Like the way I felt listening to it is probably comparable to the way a lot of people feel about Miranda Lambert's "Over You" (though I actually like that song). But there was absolutely no emotion in this song at all for me and Cole's vocal performance felt so tepid and uninspired, and the production was a big pile of vanilla like all his songs always seem to be musically. I thought the lyrics were also pretty underwhelming and I found a lot of the rhymes to be an especially predictable type of corny. Meh. This guy and his music are just not appealing to me. Not to change the subject, but "Over You," won CMA and ACM song of the year and is platinum. So while I am sure there are people who don't enjoy it, the vast majority do. I don't understand what you were going for here with this post because 1) I know all of this already, and you know that I know it, too. 2) Whether the majority opinion of "Over You" is overwhelmingly positive or not is irrelevant because I never disputed that at all. It is well-documented that there are a number of people on this forum though that have expressed feelings that "Over You" isn't that strong of a song, especially lyrically and with some of the rather simplistic rhymes it employs, which I immediately thought of when listening to the lyrics of Cole's song. If no one told me that Cole Swindell wrote this about his dad, I would've had literally no idea because I feel no emotional connection at all from this, which I also felt similar to people's reception of "Over You," a song that is built around a tragic loss of life in Blake Shelton's life, but lyrically does not paint that story as well as it could... and the fact that is has won several high awards is a lot to do with why people have expressed negative opinions of the song because even as a huge Miranda fan who likes the song a great deal, I believe that it winning those awards had a lot more to do with the idea behind the song (why it was written, who wrote it, why Blake gave it to Miranda, etc.) than it's own lyrical strengths. For the same reasons, I agree with carriekins who brought up "Drink a Beer" by Luke Bryan as another example. That one is perhaps even better because Luke, much like Cole, has very limited emotive capabilities (whereas I like "Over You" because of Miranda's voice, which is much more capable of conveying emotion in songs like that and THTBM, lyrical depth aside) to go along with the general feel of "I'm gonna write a quote-on-quote 'deep' song, but I'm not gonna make it *too* deep and personal."
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matty005
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Post by matty005 on Jan 8, 2016 21:14:15 GMT -5
Not to change the subject, but "Over You," won CMA and ACM song of the year and is platinum. So while I am sure there are people who don't enjoy it, the vast majority do. I don't understand what you were going for here with this post because 1) I know all of this already, and you know that I know it, too. 2) Whether the majority opinion of "Over You" is overwhelmingly positive or not is irrelevant because I never disputed that at all. It is well-documented that there are a number of people on this forum though that have expressed feelings that "Over You" isn't that strong of a song, especially lyrically and with some of the rather simplistic rhymes it employs, which I immediately thought of when listening to the lyrics of Cole's song. If no one told me that Cole Swindell wrote this about his dad, I would've had literally no idea because I feel no emotional connection at all from this, which I also felt similar to people's reception of "Over You," a song that is built around a tragic loss of life in Blake Shelton's life, but lyrically does not paint that story as well as it could... and the fact that is has won several high awards is a lot to do with why people have expressed negative opinions of the song because even as a huge Miranda fan who likes the song a great deal, I believe that it winning those awards had a lot more to do with the idea behind the song (why it was written, who wrote it, why Blake gave it to Miranda, etc.) than it's own lyrical strengths. For the same reasons, I agree with carriekins who brought up "Drink a Beer" by Luke Bryan as another example. That one is perhaps even better because Luke, much like Cole, has very limited emotive capabilities (whereas I like "Over You" because of Miranda's voice, which is much more capable of conveying emotion in songs like that and THTBM, lyrical depth aside) to go along with the general feel of "I'm gonna write a quote-on-quote 'deep' song, but I'm not gonna make it *too* deep and personal." I didn't know you were referring to "people" as people of Pulse. I thought you meant the general population. Sorry for the confusion.
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Deleted
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Post by Deleted on Jan 18, 2016 18:19:16 GMT -5
Not a bad song lyrically, but I'm hard-pressed to find a more boring vocal performance. Cole sounds emotionless, and his voice is utterly colorless on this.
I heard this on the radio while I was driving the other day and I started getting sleepy. Yikes.
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matty005
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Post by matty005 on Jan 18, 2016 18:21:04 GMT -5
Not a bad song lyrically, but I'm hard-pressed to find a more boring vocal performance. Cole sounds emotionless, and his voice is utterly colorless on this. I heard this on the radio while I was driving the other day and I started getting sleepy. Yikes. The 2x I heard this on radio I almost cried, so I am on the other spectrum of it. I feel like he sounds very emotional in it.
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dm2081
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Post by dm2081 on Jan 18, 2016 18:27:13 GMT -5
Not a bad song lyrically, but I'm hard-pressed to find a more boring vocal performance. Cole sounds emotionless, and his voice is utterly colorless on this. I heard this on the radio while I was driving the other day and I started getting sleepy. Yikes. Did you watch the music video yet? Personally, that really connected the song emotionally for me since I can't not think of the video every time I hear the song. I understand there's different strokes for different folks, but it personally helped improve the song for me.
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Deleted
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Post by Deleted on Jan 18, 2016 19:01:08 GMT -5
Not a bad song lyrically, but I'm hard-pressed to find a more boring vocal performance. Cole sounds emotionless, and his voice is utterly colorless on this. I heard this on the radio while I was driving the other day and I started getting sleepy. Yikes. Did you watch the music video yet? Personally, that really connected the song emotionally for me since I can't not think of the video every time I hear the song. I understand there's different strokes for different folks, but it personally helped improve the song for me. I have seen the video, and I think it's a great video. I also think the idea of the song and the sentiment within it is genuine. But that still doesn't change how Cole sounds to me. He just has a really generic voice, and it comes across especially flat and lifeless in this song. I can see emotion (fun, love, sadness, etc) in the video, but I don't hear any of it in his recording of this song. Cole seems like a really nice guy (but really, which country artists don't come across this way?) and I know how badly it can hurt to lose someone you love. I'm certainly not rooting against him. I'm simply saying that he does nothing for me, because -- to my ears -- he has a very plain-sounding voice. Or, as 43dudleyvillas might say, I don't feel like he's a good interpreter of this song and its lyrics. Personally, every time I hear this song, I can't help but imagine how it would sound coming from someone like Charles Kelley, Gary Allan, Josh Turner, David Nail, Scotty McCreery, Chris Stapleton, Chris Young, Randy Houser, etc. Again, I don't begrudge Cole any of his success, but I don't think he would have "made it to the big time" 10-20 years ago (and even farther back) when songwriting and vocal chops were more essential (in terms of qualities that the big stars needed to possess). Or at least that's how it seemed to be, in my opinion. The arrangement here is pretty nice (the piano is a nice touch -- we need more songs where the piano is prominent), but I do think the lyrics could be elevated/strengthened by some more details. They're just a little bit too straight-forward for me. Anyway, kudos to Cole for the success he's had. The way I see it, he's been able to work around his vocal limitation in a genre that's dominated by males, nearly all of whom have superior (and in some cases, exceptional) voices. But again, that's my opinion. I doubt Cole listens to himself and thinks "damn, the limitations of my voice are gonna be a big obstacle on my quest to be a country star" or anything like that. I'm sure that he and his fans think that he sounds just fine, if not great. And I wouldn't say they're wrong -- they just have a different opinion than I do. In any case, "You Should Be Here" is going to be a huge hit. It's already well on its way. I fully expect this to be a big #1 hit, and I think it will rival or perhaps surpass "Chillin' It" as Cole's biggest hit. I definitely don't hate this one; in fact, I think it's far and away the best single he's ever released. Still, if I were ranking my top 40 mainstream country radio singles, I'd probably put this somewhere around #30.
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matty005
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Post by matty005 on Jan 18, 2016 19:11:44 GMT -5
Did you watch the music video yet? Personally, that really connected the song emotionally for me since I can't not think of the video every time I hear the song. I understand there's different strokes for different folks, but it personally helped improve the song for me. I have seen the video, and I think it's a great video. I also think the idea of the song and the sentiment within it is genuine. But that still doesn't change how Cole sounds to me. He just has a really generic voice, and it comes across especially flat and lifeless in this song. I can see emotion (fun, love, sadness, etc) in the video, but I don't hear any of it in his recording of this song. Cole seems like a really nice guy (but really, which country artists don't come across this way?) and I know how badly it can hurt to lose someone you love. I'm certainly not rooting against him. I'm simply saying that he does nothing for me, because -- to my ears -- he has a very plain-sounding voice. Or, as 43dudleyvillas might say, I don't feel like he's a good interpreter of this song and its lyrics. Personally, every time I hear this song, I can't help but imagine how it would sound coming from someone like Charles Kelley, Gary Allan, Josh Turner, David Nail, Scotty McCreery, Chris Stapleton, Chris Young, Randy Houser, etc. Again, I don't begrudge Cole any of his success, but I don't think he would have "made it to the big time" 10-20 years ago (and even farther back) when songwriting and vocal chops were more essential (in terms of qualities that the big stars needed to possess). Or at least that's how it seemed to be, in my opinion. The arrangement here is pretty nice (the piano is a nice touch -- we need more songs where the piano is prominent), but I do think the lyrics could be elevated/strengthened by some more details. They're just a little bit too straight-forward for me. Anyway, kudos to Cole for the success he's had. The way I see it, he's been able to work around his vocal limitation in a genre that's dominated by males, nearly all of whom have superior (and in some cases, exceptional) voices. But again, that's my opinion. I doubt Cole listens to himself and thinks "damn, the limitations of my voice are gonna be a big obstacle on my quest to be a country star" or anything like that. I'm sure that he and his fans think that he sounds just fine, if not great. And I wouldn't say they're wrong -- they just have a different opinion than I do. In any case, "You Should Be Here" is going to be a huge hit. It's already well on its way. I fully expect this to be a big #1 hit, and I think it will rival or perhaps surpass "Chillin' It" as Cole's biggest hit. I definitely don't hate this one; in fact, I think it's far and away the best single he's ever released. Still, if I were ranking my top 40 mainstream country radio singles, I'd probably put this somewhere around #30. I feel like that is different in this case since he wrote the song. When an artist sings a song they don't write I think this point is really strong. But I don't think it's the same. How can he not interpret lyrics he wrote well?
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Deleted
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Post by Deleted on Jan 18, 2016 19:55:46 GMT -5
I feel like that is different in this case since he wrote the song. When an artist sings a song they don't write I think this point is really strong. But I don't think it's the same. How can he not interpret lyrics he wrote well? I'm aware that he wrote the song. I guess I'm probably defining "interpretation" differently than you are, and perhaps I'm defining it wrong. Probably a better way to say it would be that I think those other artists I mentioned would sound much better on this song (or on any song, really). I was basically using the the phrase "vocal interpretation" as a substitute for inflection/modulation/intonation. So in that sense, I think someone can "interpret" their own song from written lyrics to lyrics that are sung. Written on a page, the lyrics would be the same, whether the song belonged to Cole or any other artist/songwriter. But when someone sings the words to this song, I feel like a better interpretation would include much more emotion and just stronger vocal qualities in general (again, in my opinion). I never said Cole isn't interpreting his own song. I merely said that I don't think he interprets it well. But again, perhaps saying "I don't think he does a good job at bringing the lyrics to life" makes more sense. That's really all I was trying to say.
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matty005
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Post by matty005 on Jan 18, 2016 20:38:57 GMT -5
I feel like that is different in this case since he wrote the song. When an artist sings a song they don't write I think this point is really strong. But I don't think it's the same. How can he not interpret lyrics he wrote well? I'm aware that he wrote the song. I guess I'm probably defining "interpretation" differently than you are, and perhaps I'm defining it wrong. Probably a better way to say it would be that I think those other artists I mentioned would sound much better on this song (or on any song, really). I was basically using the the phrase "vocal interpretation" as a substitute for inflection/modulation/intonation. So in that sense, I think someone can "interpret" their own song from written lyrics to lyrics that are sung. Written on a page, the lyrics would be the same, whether the song belonged to Cole or any other artist/songwriter. But when someone sings the words to this song, I feel like a better interpretation would include much more emotion and just stronger vocal qualities in general (again, in my opinion). I never said Cole isn't interpreting his own song. I merely said that I don't think he interprets it well. But again, perhaps saying "I don't think he does a good job at bringing the lyrics to life" makes more sense. That's really all I was trying to say. I get what you are saying. :) And I knew you knew he wrote the song. I don't think I implied you didn't know that.
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Post by 43dudleyvillas on Jan 26, 2016 23:12:34 GMT -5
Heard this on the radio tonight for the first time and I was pretty excited to finally be able to listen to it (couldn't be bothered to look it up on my own because Cole Swindell is meh) and... I was really disappointed. I was hoping this would be great because I knew it wasn't another bro tune from him, but it falls so, so flat. Like the way I felt listening to it is probably comparable to the way a lot of people feel about Miranda Lambert's "Over You" (though I actually like that song). But there was absolutely no emotion in this song at all for me and Cole's vocal performance felt so tepid and uninspired, and the production was a big pile of vanilla like all his songs always seem to be musically. I thought the lyrics were also pretty underwhelming and I found a lot of the rhymes to be an especially predictable type of corny. Meh. This guy and his music are just not appealing to me. Not to change the subject, but "Over You," won CMA and ACM song of the year and is platinum. So while I am sure there are people who don't enjoy it, the vast majority do. Pedantic of me once again, but a platinum certification and some CMA-/ACM-voted awards cannot reasonably be considered a proxy for the "vast majority"'s opinions on a song. The universe of country music listeners, to say nothing of the universe of music listeners, is so broad that a million downloads doesn't count as critical mass. That SNL skit notwithstanding, not even Adele with her monster sales can claim that the "vast majority" of people enjoy her music. In any event, .indulgecountry's comparisons of "You Should Be Here" to "Over You" and "Drink a Beer" work for me, because I think all three songs are underwritten to the point of falling limp. I have seen the video, and I think it's a great video. I also think the idea of the song and the sentiment within it is genuine. But that still doesn't change how Cole sounds to me. He just has a really generic voice, and it comes across especially flat and lifeless in this song. I can see emotion (fun, love, sadness, etc) in the video, but I don't hear any of it in his recording of this song. Cole seems like a really nice guy (but really, which country artists don't come across this way?) and I know how badly it can hurt to lose someone you love. I'm certainly not rooting against him. I'm simply saying that he does nothing for me, because -- to my ears -- he has a very plain-sounding voice. Or, as 43dudleyvillas might say, I don't feel like he's a good interpreter of this song and its lyrics. Personally, every time I hear this song, I can't help but imagine how it would sound coming from someone like Charles Kelley, Gary Allan, Josh Turner, David Nail, Scotty McCreery, Chris Stapleton, Chris Young, Randy Houser, etc. Again, I don't begrudge Cole any of his success, but I don't think he would have "made it to the big time" 10-20 years ago (and even farther back) when songwriting and vocal chops were more essential (in terms of qualities that the big stars needed to possess). Or at least that's how it seemed to be, in my opinion. The arrangement here is pretty nice (the piano is a nice touch -- we need more songs where the piano is prominent), but I do think the lyrics could be elevated/strengthened by some more details. They're just a little bit too straight-forward for me. Anyway, kudos to Cole for the success he's had. The way I see it, he's been able to work around his vocal limitation in a genre that's dominated by males, nearly all of whom have superior (and in some cases, exceptional) voices. But again, that's my opinion. I doubt Cole listens to himself and thinks "damn, the limitations of my voice are gonna be a big obstacle on my quest to be a country star" or anything like that. I'm sure that he and his fans think that he sounds just fine, if not great. And I wouldn't say they're wrong -- they just have a different opinion than I do. I feel like that is different in this case since he wrote the song. When an artist sings a song they don't write I think this point is really strong. But I don't think it's the same. How can he not interpret lyrics he wrote well? To add to jhomes87's excellent explanation of what isn't working for her in Cole Swindell's vocal performance on this song, there are at least a couple of reasons that a songwriter wouldn't necessarily interpret a song that s/he co-wrote well that apply here. The primary one, and this speaks to the flatness that jhomes87 is hearing, is the heavy application of AutoTune to Cole's voice on the single. It's not like I have an amazingly trained ear or anything, so if I can hear the AutoTune, it is being leaned on in a major way. The producer didn't go full robot on Cole's voice, but it's close enough. The result of all the pitch correction is that it drains any semblance of human emotion out of Cole Swindell's already flat voice and mechanical phrasing. That may be a production issue, but I think that it speaks to jhomes87's point about how a better singer would presumably be less reliant on AutoTune and would therefore have done a better job of bringing some life to the lyrics. Another reason is the construction of the song, and here it's useful to remember that "You Should Be Here" is co-write, not a solo composition. It's an incredibly tricky thing to not only come up with the words that say exactly what a singer wants to say, but to do so in a way that sounds natural coming from them -- that is something that also depends on melody and meter. To the extent that Cole Swindell has a writing style, it seems to lean conversational. But the melody and meter of "You Should Be Here"'s verses simply don't allow him to sound conversational singing them. The most egregious example is on the opening line of each of the two verses, "It's perfect outside, it's like God let me dial up the weather" and "You'd be taking way too many pictures on your phone." The meter of the line forces Cole to sing "perfect outside" and "way too many" in a completely unnatural way -- the lack of flow in the phrase is distracting. This is mostly a songwriting misstep, but it's also possible that a singer with a different natural cadence and/or different phrasing tendencies could have made it work.
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Post by tim on Jan 27, 2016 11:21:06 GMT -5
Heard this on the radio tonight for the first time and I was pretty excited to finally be able to listen to it (couldn't be bothered to look it up on my own because Cole Swindell is meh) and... I was really disappointed. I was hoping this would be great because I knew it wasn't another bro tune from him, but it falls so, so flat. Like the way I felt listening to it is probably comparable to the way a lot of people feel about Miranda Lambert's "Over You" (though I actually like that song). But there was absolutely no emotion in this song at all for me and Cole's vocal performance felt so tepid and uninspired, and the production was a big pile of vanilla like all his songs always seem to be musically. I thought the lyrics were also pretty underwhelming and I found a lot of the rhymes to be an especially predictable type of corny. Meh. This guy and his music are just not appealing to me. I tried to listen to this a couple times before and felt no connection to it whatsoever. I thought maybe I just needed to give it some time and another try, however after a couple more listens I left feeling the same as you...disappointed and underwhelmed. As someone who lost their dad at a young age I thought maybe I'd find something to grab onto and connect with...but nope. I hear no emotion coming from Cole's voice and other than the use of a piano the production does nothing to help him out up here. I expected something way better based on the type of online reviews I've seen for this, however I'm just not hearing it.
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sabre14
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Post by sabre14 on Feb 1, 2016 16:02:01 GMT -5
As posted in the "Upcoming Albums" thread: Cole Swindell's sophomore album will be titled You Should Be Here and it will be released on May 6th. Music Row
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ant
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Post by ant on Feb 11, 2016 10:31:29 GMT -5
On first listen I thought this was pretty terrible. His voice is just very "meh" to me and I didn't really feel that much of a connection to the song. I just listened to a little bit of it again, and liked it slightly better than the first time. But it's still nothing special delivery-wise, vocally, or lyrically.
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dm2081
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Post by dm2081 on Feb 11, 2016 22:53:01 GMT -5
I personally dislike it when an artist just names their album off the lead single. It just seems so cheap and easy. An album is supposed to be a piece of art, and naming it after the lead single leads me to believe its just going to be a collection of singles, not a masterpiece of an album. That's just my opinion though.
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.indulgecountry
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"You left a mark on my face // And brought a dozen red flags in a vase"
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Post by .indulgecountry on Feb 11, 2016 23:59:51 GMT -5
I personally dislike it when an artist just names their album off the lead single. It just seems so cheap and easy. An album is supposed to be a piece of art, and naming it after the lead single leads me to believe its just going to be a collection of singles, not a masterpiece of an album. That's just my opinion though. Unless the single itself just has a cool title that lends itself to being a good album title, like Cold Beer Conversation or something. But this is just a really awkward title to give an album.
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hosssulpizio
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Post by hosssulpizio on Feb 12, 2016 1:16:30 GMT -5
I wonder who that special duet will be with. I'm either thinking Luke Bryan or Alan Jackson. I said Alan because he sang with him on the ACM special last year and he said he was influenced by him.
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dm2081
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Post by dm2081 on Feb 16, 2016 22:38:29 GMT -5
This makes the top 10 on Billboard in only its 9th week. This song is flying up the charts, and is certainly a great way to kick off Cole's next album era. I think Thomas Rhett has pulled out in first place of the Rhett/Eldredge/Swindell trio in terms of stardom, but I think Cole could finish second. I have to imagine this song will have a bigger impact and lasting memory than Brett's bland "Lose My Mind" will. Hopefully Cole will have a big hit waiting in the wings for his follow-up single, because he could really vault further into stardom.
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Post by winstonmurdock on Feb 17, 2016 21:28:41 GMT -5
They are going to have to do some fancy work to slow this down to peak near the May 6 album debut. I think it's 50/50 we will know single #2 before the album debut.
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tvoss20
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Post by tvoss20 on Feb 17, 2016 23:01:47 GMT -5
I love Cole's tunes, and this one is a great tribute/lyrics, but it does absolutely nothing for me. Sadly, my least favorite song he's released :(
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Post by Deleted on Mar 23, 2016 18:15:37 GMT -5
Cole is positioned for a potentially long run at #1 with this one. I expect him to be #1 on Monday's Billboard chart; Brett Eldredge should take the Mediabase #1, but I don't think Brett can jump ahead of Cole in Billboard audience. Rascal Flatts and Florida Georgia Line could both see pushes coming up soon, but I see RF falling short, and I think FGL is on a deadline -- they've been posting almost everyday on Facebook about how they can't wait to release their next single and video, so I imagine that "Confession" will peak no later than the ACM Awards telecast.
Chase Bryant's team can try for #1 all they want, but they won't get there. "Little Bit Of You" should start heading down after April 2/3 (which is the weekend when Chase co-hosts Lon Helton's countdown). And after Chase, the next likely #1's are Old Dominion's "Snapback" and Chris Young's "Think Of You". OD is almost 12 million behind Cole on the current Billboard chart, and Chris/Cassadee are 17 million behind Cole.
I think there's a good chance that "You Should Be Here" will stay at #1 on Billboard into mid April. A 3-4 week stay at #1 definitely looks possible.
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Post by travelrocks24 on Mar 27, 2016 17:30:03 GMT -5
For the 5th week in a row, this song was #1 on Sirius The Highway.
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mdouty
New Member
Joined: July 2015
Posts: 64
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Post by mdouty on Apr 1, 2016 22:44:38 GMT -5
Album cover:
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.indulgecountry
Diamond Member
Best Country Poster 2011, 2017, & 2018
"You left a mark on my face // And brought a dozen red flags in a vase"
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Post by .indulgecountry on Apr 2, 2016 2:29:42 GMT -5
That album cover...
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Markus Meyer
Platinum Member
Favorite Single of 2020 So Far: “betty” by Taylor Swift
Joined: August 2013
Posts: 1,625
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Post by Markus Meyer on Apr 2, 2016 2:59:39 GMT -5
I'm usually not a picky album covers guy.. But that is.. Um.. Not good.
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jdbowman
Gold Member
Joined: March 2012
Posts: 830
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Post by jdbowman on Apr 2, 2016 7:33:22 GMT -5
Pretty sure that's just a sketch of what it ultimately will be
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Post by Daryl the Beryl on Apr 2, 2016 7:41:31 GMT -5
On Cole's website there's this It's blocked by the 75 Years of USO logo, but I think this may end up being the cover
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