Rascal Flatts - "Here Comes Goodbye"

[lyrichord]

Jan 20, 2009 23:00:33 GMT -5 kw9461 said:

The production gets so big that Gary's already thin voice really stands out (in a bad way). For the people that already complain about Gary being too "whiny", this will really fuel the fire.

Yeah it highly resembles screaming at the end when he goes for the high note. Yikes.

[rsmatto]

Actually, I think he's WAY more subdued throughout the majority of this song. What he does at the high note is not different than what CU does from time to time...

[kevin59]

Listen to Song

[LISTEN] Rascal Flatts - "Here Comes Goodbye" (Allaccess)

[Marv]

The song is wonderful, but Gary's vocals get really shrill after the second verse; I can certainly think of several artists who could have certainly made this song more tolerable, and especially some of the format's female icons.


It's definitely going to #1, even with two very formidable challengers in Tim McGraw & Carrie Underwood, although I wouldn't be surprised if the guys & Ms. Underwood get to #1 before Tim does.

[realityBITES]

It's a good song -- it's very typical Rascal Flatts -- and hey, it ain't broke, why fix it?

[EmersonDrive13Rocks]

Well I love this song but that is not really surprising to anyone I'm sure!

I do find it a bit ironic that the 1st single is titled "Here Comes Goodbye" on an album titled "Unstoppable".

[flowergirl44]

Jan 22, 2009 5:24:59 GMT -5 EmersonDrive13Rocks said:

I do find it a bit ironic that the 1st single is titled "Here Comes Goodbye" on an album titled "Unstoppable".

Hee hee!

I'm seeing them in concert tonight and can't wait to hear this baby live!

BTW, today is the deadline for anyone entering the "Design the Cover" contest.

[43dudleyvillas]

I agree with those who think this song starts off promisingly. But I think it ultimately suffers from a banality of melody, overintrusive production that tries to make up for it and a lyrical concept that doesn't quite work.

And then there's Gary LeVox's voice. He actually sounds good at the start of the song -- his vocal is relaxed and restrained, and only once does he sounded pinched (on the "I" in "I hear my doorbell"). He even sounds good at the start of the first chorus. But by the end of the second verse, the production gets fuller and LeVox starts resorting to vocal histrionics. His voice is AutoTuned within an inch of its life anytime he belts, and it is distracting (so is the reverb on his voice during the wail to make it sound fuller). A rawer vocal akin to how he starts and ends this song would have sold the emotion of this song better.

The melody sounds like textbook Rascal Flatts to me -- very adult contemporary pop, dramatic chorus and pretty though not as pretty as "What Hurts the Most" or "Bless the Broken Road." As others have already said, there doesn't seem to have been any new ground attempted with this, and I think it suffers in comparison to Rascal Flatts' most compelling ballads.

As for the production, I could really do without the swelling orchestration. The strings in the first chorus seem like an early grab at "important song" status. A single mournful fiddle would have been more effective at conveying the loneliness of the lyric. And an electric guitar instead of steel after the bridge? Interesting. Well, it's the arena rock dominating the country, I guess, but I don't think it's the right choice for the lyric. Also, I think the stuttering percussion underneath the beginning of the tag chorus is completely gratuitous; there's just no good reason to interrupt the flow of the song. It's almost like there's a brief switch to 6/8 time for the harmony, and I don't understand why.

As for the lyrics, the first verse does a good job of setting up that encroaching feeling of dread. But for the rest of the song, I was distracted wondering whether the guy singing saw the breakup coming or not, and whether I should feel bad for him or not. On the one hand, the lingering description of the woman making her way to his door suggests that he knows this is the moment that he has been dreading, when his already struggling relationship ends despite him not wanting it to. But if that's the case, it feels empty not knowing anything about why the relationship degenerated. The hopes & memories expressed in the second verse would have more resonance if we had any sense of the relationship that is now about to end.

But there is some lyrical evidence that this is actually an unanticipated breakup. There's the "why does it have to go from good to gone?" in the bridge, which implies the things went from one extreme to another (that's not the only interpretation, but it's a plausible one). Also, the chorus has the line "here comes the pain," which suggests the narrator wasn't in pain before, so maybe the relationship was good from his perspective? So if that's the case, I'm left wondering how he jumps to the "here comes goodbye" conclusion based on his significant other's long, slow journey to his door. Isn't that a bit paranoid if everything was fine from his perspective? Even if he is reading her actions right, maybe she has some other bad news to tell him.

Either way, my point is that the lyrics of this song seem insufficiently developed. I think the concept of the song is a good one. I would probably like the lyrics better if they had stayed at the level of detail in the first verse. And the consistency issue I pointed out above might not have been as big a deal to me if the lyrics had more or less stayed in that moment of stomach-sinking dread.

Anyway, I don't see country radio having a problem taking this to #1, but I don't think it's an impact record for the format or for Rascal Flatts. It could cross over and have success at AC, though.

[Zazie]

Nice review, dudley. I don't know how you manage to convey your sense that the lyrics are weak, singing is off-key and overwrought, arrangement is at best ill-considered, and in general the song is a failure -- and do it in such a polite way. Very tasteful.

But I do have the answer to your gentle ponderings about internal conflicts in the lyrics. Tim McGraw cleared this up for me a few years back in an interview -- I had been expressing puzzlement about some odd constructions in his lyrics, and advancing subtle explanations to account for them, when the lightning struck. He explained... that he didn't care about lyrics. It was direct, it was straightforward, it was honest, and my concerns vanished. Could that not work here? The lyrics are confused because... nobody cares whether they make sense or not.

Here's my own gentle musing. How is it that a group of musicians and artists can grow so little? I don't object to artists making music that I don't care for. Plenty of them do it. I have grown accustomed to it. But these guys have been re-recording the same, weak stuff for years. Nothing listenable since Fast Cars. Well, Life is a Highway was OK, but they didn't add much to it.

[austin]

Jan 22, 2009 15:05:02 GMT -5 Zazie said:

Nice review, dudley.
Here's my own gentle musing. How is it that a group of musicians and artists can grow so little? I don't object to artists making music that I don't care for. Plenty of them do it. I have grown accustomed to it. But these guys have been re-recording the same, weak stuff for years. Nothing listenable since Fast Cars. Well, Life is a Highway was OK, but they didn't add much to it.

I share your opinion. They seem to recycle the same song over and over and over and I'm over it.

There is little country about this song, unless you count the hints of steel guitar in certain areas. But that's not my main complaint with the song. The vocals are so screechy (ESPECIALLY near the end) that this single is unbearable! It will probably be a chart-topper but I can't wait for the day their singles start stalling in the 30s.

[kw9461]

Jan 22, 2009 14:46:15 GMT -5 43dudleyvillas said:

As for the production, I could really do without the swelling orchestration. The strings in the first chorus seem like an early grab at "important song" status. A single mournful fiddle would have been more effective at conveying the loneliness of the lyric. And an electric guitar instead of steel after the bridge? Interesting. Well, it's the arena rock dominating the country, I guess, but I don't think it's the right choice for the lyric. Also, I think the stuttering percussion underneath the beginning of the tag chorus is completely gratuitous; there's just no good reason to interrupt the flow of the song. It's almost like there's a brief switch to 6/8 time for the harmony, and I don't understand why.

I couldn't agree more. The production choices that are being made these days baffle me. The orchestra is not only unnecessary, but it's also distracting and rather boring. I've only listened to the whole song once, and I can't tell you a single word after the first chorus, because the cluttered and changing production was so distracting. But I think I still could've semi enjoyed the song until Gary belted out the final note of the bridge. That sealed this song as a station changer for me (much like Carrie's gratuitous belting at a similar point in So Smal). I still enjoy the Flatts' mid-tempo songs, but since Bless The Broken Road, I haven't cared for a single one of their ballads (singles anyway, they've had a few good unreleased ones).

[joey2002]

i think "Here Comes Goodbye" is a good song, and could be a big cross-over hit. I thought the bridge was perfect until the end...just a little too much electric for me...but it's what the majority of their fans love i guess. my favorite song from them is still "These Days", and their "Feels Like Today album was incredible!!! so i heard this song made its debut at #29 - does anybody know what their highest debut ever has been?

[Ten Pound Hammer]

I like the lyrics; even though they don't go anywhere new, they avoid most of the clichés. The "Here comes goodBYYYYYYYYYYYYYYE" at 3:45ish is annoying, but otherwise I find Gary's vocals quite tolerable. His falsetto isn't half bad either. The production is typical Dann Huff ballad mode. Swelling orchestra, piano, and super-compressed guitar layers. Get progressively louder and louder until the final chorus is just blaring, then suddenly drop off to quiet again for the end. I think the production, as over the top as it is, still commands the listener's attention.

I agree with Zazie that RF hasn't grown musically since the beginning. They and Martina McBride are the only two artists I can think of who have chosen over this past decade to mine the same formula ad nauseam. I wonder if Dann is partially at fault for RF's monotony, since the albums that he produced for them are the ones that stick tightest to formulae.

[43dudleyvillas]

Jan 22, 2009 15:05:02 GMT -5 Zazie said:

I don't know how you manage to convey your sense that the lyrics are weak, singing is off-key and overwrought, arrangement is at best ill-considered, and in general the song is a failure -- and do it in such a polite way.

The same way you tastefully exposed that I windbagged on for eight paragraphs to make the point you were able to make (with more punch) in one sentence. ;)

Didn't Jay DeMarcus co-produce James Otto's Sunset Man? He is certainly familiar with different approaches to production and arrangement than we hear on Rascal Flatts' work, so I wonder why the Flatts' own work here seems so artistically...flat.

[Ten Pound Hammer]

Jan 26, 2009 16:58:01 GMT -5 43dudleyvillas said:

Didn't Jay DeMarcus co-produce James Otto's Sunset Man? He is certainly familiar with different approaches to production and arrangement than we hear on Rascal Flatts' work, so I wonder why the Flatts' own work here seems so artistically...flat.

It's because RF doesn't produce their own albums. Dann Huff did all the production on Me and My Gang and Still Feels Good, and as I've said before, he's one of the biggest overproducers in Nashville. I think it would be interesting to hear what RF would sound like if Huff didn't have such a vise-grip on the guys.

[kw9461]

Jan 26, 2009 16:58:01 GMT -5 43dudleyvillas said:

Didn't Jay DeMarcus co-produce James Otto's Sunset Man? He is certainly familiar with different approaches to production and arrangement than we hear on Rascal Flatts' work, so I wonder why the Flatts' own work here seems so artistically...flat.

I was wondering the same thing. Sunset Man was a very solid album and one its biggest strength's was the diversity of arrangements and production tactics. Now obviously Otto has a more versatile voice than LeVox, but I would still like to see the Flatts explore a few more sounds on their new album.

[joey2002]

who's idea was it to release "Bob That Head" as a single? LoL

[somebody60]

As much as I hate to admit it, I actually like this song (though there are some very weak parts). I didn't like any of their singles from their last album ("Winner at a Losing Game" was tolerable), this song as a whole is pretty good. The first verse and chorus are excellent. Gary's voice is actually really pleasant, especially his falsetto. I was stunned when I first heard it.

You know, since "Bless the Broken Road", I thought that Gary's voice had went down the gutter. However, the first minute and fifteen seconds prove (at least to me) that he does have a good voice when he isn't trying to hit the high notes. When he goes for the high notes, it's disaster. Some singers can hit high notes well. Gary can't.

The rest of the song does this make this go downhill, but overall, it's still ok (except for the painful shrieking at 2:45 much like the very ending of "Take Me There").

If the rest of the song was like the beginning, I think this song could be a huge hit. The rest of the song brings it down, but I still think this has a good shot at #1. Regardless, I think Rascal Flatts could be even bigger if they didn't use such big production that requires Gary to scream ("I'm Movin' On" and "God Bless the Broken Road" for example)

[EmersonDrive13Rocks]

Jan 26, 2009 15:25:53 GMT -5 joey2002 said:

i think "Here Comes Goodbye" is a good song, and could be a big cross-over hit. I thought the bridge was perfect until the end...just a little too much electric for me...but it's what the majority of their fans love i guess. my favorite song from them is still "These Days", and their "Feels Like Today album was incredible!!! so i heard this song made its debut at #29 - does anybody know what their highest debut ever has been?

Actually this song hasn't debuted yet unless it sneaks on at a low spot on the upcoming chart before it explodes on next week.

39 37 RASCAL FLATTS Here Comes Goodbye Lyric Street 2009 491 0 491 62 7.9 0.0 +7.9

[rowdawg21]

Jan 26, 2009 17:31:30 GMT -5 EmersonDrive13Rocks said:

Jan 26, 2009 15:25:53 GMT -5 joey2002 said:

i think "Here Comes Goodbye" is a good song, and could be a big cross-over hit. I thought the bridge was perfect until the end...just a little too much electric for me...but it's what the majority of their fans love i guess. my favorite song from them is still "These Days", and their "Feels Like Today album was incredible!!! so i heard this song made its debut at #29 - does anybody know what their highest debut ever has been?

Actually this song hasn't debuted yet unless it sneaks on at a low spot on the upcoming chart before it explodes on next week.

39 37 RASCAL FLATTS Here Comes Goodbye Lyric Street 2009 491 0 491 62 7.9 0.0 +7.9

It debuted at #29 on Billboard this week. It also debuted on Country Aircheck/Mediabase, but I'm not sure where.

[joey2002]

Jan 26, 2009 17:17:07 GMT -5 @somebody60 said:

I still think this has a good shot at #1. Regardless, I think Rascal Flatts could be even bigger if they didn't use such big production that requires Gary to scream ("I'm Movin' On" and "God Bless the Broken Road" for example)

I think it's a #1 for sure, but i agree that rascal flatts are at their best in songs like "Bless The Broken Road", and "I'm Movin' On".

[flowergirl44]

Jan 26, 2009 17:04:58 GMT -5 Ten Pound Hammer said:

Jan 26, 2009 16:58:01 GMT -5 43dudleyvillas said:

Didn't Jay DeMarcus co-produce James Otto's Sunset Man? He is certainly familiar with different approaches to production and arrangement than we hear on Rascal Flatts' work, so I wonder why the Flatts' own work here seems so artistically...flat.

It's because RF doesn't produce their own albums. Dann Huff did all the production on Me and My Gang and Still Feels Good, and as I've said before, he's one of the biggest overproducers in Nashville. I think it would be interesting to hear what RF would sound like if Huff didn't have such a vise-grip on the guys.

They did produce some of their bonus tracks... such as these...

Head Over Heels
www.youtube.com/watch?v=8aI1LrL_TB4

The Man In Love With You
www.youtube.com/watch?v=IoaCUQW3jCg

Love Another Day
www.youtube.com/watch?v=hHsOB62RoE8

I think I heard once that they prefer to leave their albums' producing to Dan b/c producing for Jay (who did Chicago XXX album and a few songs for James Otto) and Joe Don (who is working with some band whose name I can't recall right now, but they're not in the country genre) is more of an extra curricular activity if you will. Their live shows are produced primarily by Jay though, and he does take some liberties there to experiment with their sound. Have a listen to this video I took last weekend of them mixing a few lines from the Jackson Five's "I Want You Back" into "Love You Out Loud"

s204.photobucket.com/albums/bb79/logoat44/RF%20Greenville%202009/?action=view¤t=LYOL-IWYB.flv

[cufan7]

Man this song could have been soooooo good I hate over production!

I don't get why producers these days are scared of simplicity...

[Eloqueen™]

Sounds really good.

[singingsparrow]

I don't have anything against this group personally................it's just nothing they've released since "Skin (Sarabeth)" has stood out to me. There's too much interchangeable rigidity between their hits, and that one time when they did experiment since then ("Bob That Head") they looked foolish to most listeners.

I think it's safe to say Dan Huff produced this track as well! ;)

Sincerely,
Noah Eaton

[Ten Pound Hammer]

Jan 27, 2009 14:07:30 GMT -5 @singingsparrow said:

I don't have anything against this group personally................it's just nothing they've released since "Skin (Sarabeth)" has stood out to me. There's too much interchangeable rigidity between their hits, and that one time when they did experiment since then ("Bob That Head") they looked foolish to most listeners.

I'd call "Me and My Gang" an experiment as well.

[singthattune]

Back to doing what they do best, and I like it!

[jacksonfan]

Jan 16, 2009 14:34:56 GMT -5 Dustin J. said:

Jan 16, 2009 14:17:09 GMT -5 43dudleyvillas said:

You can stream four very short clips from "Here Comes Goodbye" (totaling 44 seconds) here (the link is to a Clear Channel stream). The clips don't appear to be sequential, as the first, third and fourth clips sound like they are from the chorus, while the second appears to be from a verse. The chorus sounds like the typical lushly orchestrated power ballad stuff one might expect from Rascal Flatts, but the clip from the verse sounds decent.

Sounds like every other Rascal Flatts song released in the last 5 years.

All their songs sound the same - and that's NOT a good thing - I wish they would fade off into the sunset!

[Marv]

It debuted @ #39 in Country Aircheck.

It was three years ago this month that 'What Hurts The Most' hit radio and assaulted my eardrums, just like this piece of bombast.

[Ten Pound Hammer]

Parody time again. I've always wanted to make fun of Rascal Flatts in song, so here you go. I would love to make a recording of this just to have an excuse to do the most over-the-top Gary LeVox impersonation I can muster.

I can hear the piano playing those sad, mellow notes
And it's just like me to start out soft and low
So they'll play us on the radio
Kick drums on the odd beats, orchestra will swell
But not quite right now
'Cause first I gotta yell

Yes, here comes my whine
Squawking from my nasal pipes
Here comes the power in my power ballad
Manipulative, vague lyrics just to make you cry
Here comes the lame
Here comes a formula that will never change
Production from Dann Huff that's so slick and tight
And here comes my whine

I can hear them play our music every single [bad word] day
And I can see it written on the charts
Another Number One today... yay
They never thought they'd see a band rehash crap so many times
But as long as it pays off, I'd say it's working out just fine

(Second voice: Hey, if it pays, would you mind running that formula by us again? I really wanna be a member of a superstar band just like Rascal Flatts and make lots of money with as little talent as possible.)
(Lead singer: Sure. One more time.)

Here comes my whine
Here come the notes, so high
Here comes the autotune on every line
A lack of vocal talent, it can hide
Here comes the strain
Here come the soaring strings, loud violins
And screaming guitar solo once again
Then here comes a whine

Why did we have to go from good to bland?
Forget the "Broken Road", for us it's "Here" and "Stand"
Oh, I know why
(Spoken: Because fans will eat up vanilla dreck since they know it's "safe". God forbid anyone should evr take artistic risks.)
And that sounds... just fine!

Here comes a whine
Just like the last time
Here comes the pause to emphasize the line
A trick we've always been willing to try

(pause)

Here comes more fame
Here comes me wishing things will never change
So money's right here in my wallet tonight
Yes, here comes... my whine