Album Review – Riley Green’s “Don’t Mind If I Do”
Every guy wants to be him. Every lady wants to be under him. He’s Riley Green. And despite seeming to be perpetually discounted by the mainstream whenever it comes time for awards and accolades—and underestimated by the independent world as being just another mainstream Joe—Riley Green is one of the biggest artists in all of country music who’s built that following through a more organic, grassroots, and word-of-mouth approach as opposed to radio play.
The other distinguishing characteristic of the Riley Green phenomenon is his records tend to come with one incredibly well-written song that stuns you in your tracks, a few other passable songs that are enjoyable enough, and then an onslaught of formulaic and cliché mainstream country schlock that brings you right down to earth and reminds you that ultimately, this is just another mainstream country male, even if he’s a shade better and more country-sounding than his counterparts.
It was Riley Green’s “I Wish Grandpas Never Died” that got the attention of many, and crowned what was his debut album Different ‘Round Here (2019). On his new album Don’t Mind If I Do, it’s the song “Jesus Saves” that has many singing Riley’s praises, and for good reason. And no, it’s not especially preachy or even a religious song. It utilizes smart songwriting to tell a very human story. This solo-written track displays Riley Green at his best.
Of course, you have to navigate through a lot of subpar radio country songs that radio will never play to get there, because Riley Green has fallen for the “more is better” mantra that is helping to define country albums in this era. There’s 18 tracks on Don’t Mind If I Do to be exact. And the more songs you have, the more opportunities to fall into your own clichés because all Riley Green’s albums and songs work relatively the same.
It really comes down to one of the most fundamental differences between the independent and mainstream approach to country music, and specifically songwriting. Do you sit around waiting for the muse to find you, and when it does, capture your feelings in the moment in an inspired expression of a deeply human experience? Or, do you approach writing songs like an office job where your tendency is to find the path of least resistance, work outwards from a few basic song formulas, and give consumers what you think they want?
Riley Green takes the latter approach more often than not, and this frustrates you, especially when he self pens a great song that illustrates his capability of being so much more than country music’s Ken doll, and his musical instincts of trend more toward fiddle and steel guitar. The difference between Riley Green and someone like Cody Johnson is Cody always puts the song first, even if he doesn’t write it.
But don’t take these assessments as a complete discount of what Riley Green has built. By finding the Goldilocks zone between commercial country’s lyrical appeal, a traditional country sound that’s rising in popularity, and adding in just a dash of true depth, he’s become all things to many people, and done so without directly kissing the ring of Music Row.
You just wish that Riley would trim the fat, lean more into the strengths of his songwriting, cease collaborating with folks like Luke Bryan and Thomas Rhett, and stop pandering to radio which up to this point has yet to bestow him a solo #1, and perhaps never will. All the ingredients for Riley Green are there. He just needs the guts to be himself, and leave the radio singles as a few selections on an album as opposed to the lion’s share.
6/10
(based on aggregated song scores below)
Song Reviews:
1. “That’s A Mistake”
Interesting choice to start the album off with such an understated and sedate song that doesn’t really set the mood right for the rest of the album. Like some of the other slower songs on the album, “That’s A Mistake” isn’t as deep as it seemingly wants to be, with writing and a mood that might feel meaningful, but fail to make a full, compelling case. 6.5
2. “Change My Mind”
One of the more contemporary-sounding tracks on the album with classic Dan Huff production, and buzzy radio-friendly vernacular angling for afternoon drive adds. If you root for Riley Green because he’s “actually country,” you also should be rooting against tracks like this. 3
3. “Reel Problems”
You almost want to like this song, despite the list-y lyrics, because the use of a double entendre is clever, and the half-time country beat sucks you in. It’s harmless fun, if not especially remarkable … until Luke Bryan appears, reminding you that yes, this music is of and for the mainstream, and is difficult to take too seriously. 6
4. “Turnin’ Dirt”
These farm porn songs are all the rage in mainstream country music at the moment, and you’re darn near required to include one on any major label release. “Buy Dirt” by Jordan Davis, “Dirt Cheap” by Cody Johnson,” “This Is My Dirt” by Justin Moore. And once again, Riley Green is following, not leading with his contribution to this trend with a song that probably not as good as the others. 6
5. “Jesus Saves”
This is the best song of Riley Green’s career, better than any song from many of Riley’s mainstream contemporaries, and the best mainstream song in 2024. Of course, Big Machine probably doesn’t have the guts to release it as a radio single, but they should. It’s already proven to have big resonance with listeners. Excellent musical accompaniment throughout as well. 10
6. “Too Early To Drink”
This is a good track that takes a tired premise for a country song, but allows it to develop into something deeper and more involved. It’s also one of the most “country” songs on the album, utilizing the waltz time, steel guitar, and mandolin to help tell the story, and expose the emotion within the lyrics. “Too Early To Drink” is solo written by Matt Roy, underscoring how solo writes always tend to result in the best mainstream songs. 8
7. “Pick A Place”
This song tries to mark one of the album’s more understated and emotional moments, but like many of Riley Green’s songs, the lyrical hook doesn’t really land, and the writing is ultimately exposed as being relatively thin. It’s not a bad track, but it fails to make a strong impression. 6.5
8. “Way Out Here”
Continuing the tour through country music clichés and song templates, this is the one that portrays rural, small town life as idyllic as opposed to ravaged by post-Globalization, methamphetamine, and fentanyl. Add on top some list-y lyrics, and the soft racism of the “we don’t like your kind around here” attitude, and you’ve got a pretty dumb song that will nonetheless feed red meat to the Riley Green constituency. 5
9. “Waitin’ All Day”
The album’s requisite love song that’s rather generic and lacks a lyrical hook, but is hard to find strong offense to. 6.5
10. “Chip Off The ‘Ol Block”
This is a straight Bro-Country list song just with slightly more country-sounding production. Similar to Miranda Lambert, Riley Green really loves to lean into his Southern accent in certain songs when it fits the flavor. This song might be fun for some audiences, but it falters under the mildest of scrutiny. 3
11. “Alcohall of Fame”
The rhythm shift in the song doesn’t help distinguish just how similar it is to the recent George Strait/Chris Stapleton song “Honky Tonk Hall of Fame,” which is many measures better. The two songs illustrate the difference between suffering from country clichés, and embracing them in a way that you can use to your advantage. 5
12. “Rather Be”
We’ve heard this song a dozen times before, just in different iterations. But “Rather Be” does deserve credit for the clever lyrics and catchy pentameter that makes it an enjoyable enough for what’s otherwise a superfulous track. 5
13. “Good Morning From Mexico”
You can’t have a cliché country album without the cliché country beach song, facilitated by how so many professional country songwriter retreats occur in resort towns. These songs are better left to Kenny Chesney, but it seems like you can’t have a mainstream release without at least one of them. It’s not terrible. It’s just terribly trite. 4
14. “Torn”
A strange track for the album that doesn’t really fit Riley Green’s singing style. The song was co-written by Drake Milligan, and Riley doesn’t have a credit on it, making you think it was probably meant for Milligan first, and might have been rejected from his camp. The way these songs are just sort of passed around speaks to the rather soulless, often forgettable results. 6
15. “Damn Good Day To Leave”
Yet another overdone country music cliché that we’ve heard a dozen times before a dozen different ways, including recycling the “hate to see her go but love to watch her leave” line. All these tracks do is distract from the better ones, though you have to admit the writing is sharp, and it’s a fun enough track, however mindless. The line about the 6
16. “Looking Back On This”
This song takes an interesting turn and could have been one of the better ones on the list. But uncharacteristically, it’s the contemporary production that puts it at a disadvantage. Once again you wonder why exactly we need a track like this from Riley Green. None of his songs are terrible or offensive. But so many just fly by like they’re trying to fill a song quota as opposed to craft a quality album. 6
17. “Don’t Mind If I Do”
It’s not complicated. Solo-written songs resonate deeper because the sentiments aren’t filtered down through multiple perspectives. Nothing is lost in the translation. Listening through this Riley Green album, this theory becomes self-evident. Why he doesn’t write more of his own material, and why this excellent track that also contributes the title of the album comes next to last defies explanation. Riley Green and Ella Langley bring out the best in each other. One would hope there could be a series of songs or albums between them, no different than what we saw from Conway and Loretta back in the day. 8.5
18. “Worst Way”
This one’s for the fräuleins out there to get hot and bothered by, and is efficient in doing so. Otherwise, it’s in one ear, out the other. 6
– – – – – – – –
DON’T MIND IF I DO SONGWRITERS:
1. “That’s A Mistake” – Tucker Beathard, Jimi Bell, Travis Denning
2. “Change My Mind” – Riley Green, Erik Dylan, Randy Montana
3. “Reel Problems (featuring Luke Bryan)” – Riley Green, Erik Dylan, Wyatt McCubbin
4. “Turnin’ Dirt” – Benjy Davis, Wyatt McCubbin, Ben Williams
5. “Jesus Saves” – Riley Green
6. “Too Early To Drink” – Matt Roy
7. “Pick A Place” – Riley Green, Erik Dylan
8. “Way Out Here” – Casey Beathard, David Lee Murphy, Josh Thompson
9. “Waitin’ All Day” – Riley Green, Erik Dylan, Wyatt McCubbin, Lydia Vaughan
10. “Chip Off The Ol’ Block” – Riley Green, Erik Dylan, Jonathan Singleton
11. “Alcohall Of Fame” – Riley Green, Kelli Johnson, Drake White
12. “Rather Be” – Dan Isbell, Randy Montana
13. “Good Morning From Mexico” – Riley Green
14. “Torn” – Randy Montana, Drake Milligan, John Pierce
15. “Damn Good Day To Leave” – Riley Green, Erik Dylan, Jonathan Singleton, Nick Walsh
16. “Looking Back On This” – Randy Montana, Jameson Rodgers, Justin Wilson
17. “Don’t Mind If I Do (featuring Ella Langley)” – Riley Green
18. “Worst Way” – Riley Green
December 16, 2024 @ 9:22 am
Unfortunately, can’t get past the schlock I’ve heard on the radio. I’m also surprised to see Erik Dylan have so many songwriting credits on so many subpar songs….I’ve come to expect more from him than laundry list songs.
December 16, 2024 @ 10:23 am
I’m sure that it’s probably just psychological on my end, but I swear that I can hear the disinterest in his performance on some of his more mediocre tracks.
Green, for me, is in that Luke Bryan category of country artists who could make great music, but have gotten caught up in making popular music (and money). That is not a choice that I judge them for, but it can be disappointing.
December 16, 2024 @ 11:37 am
“Every lady wants to be under him.”
This is a truism. His popularity with ladies is massive.
His best song, so far (I haven’t listened to this album), is a cover of “Atlantic City.”
December 16, 2024 @ 12:33 pm
Although he omitted a verse.
Another earlier track of his that I enjoy, despite its “list-y” tendencies, is “Mississippi or Me.” The Highway played it heavily and I was very surprised that it never went to radio as a single.
December 16, 2024 @ 11:46 am
Good assessment of a talented country singer and songwriter who too often settles for less than his best. I guess he’s going to be a big star now thanks to those duets with Ella Langley, but Ella seems to have the greater potential for growth in a pure country sense, and even if she sticks to pop country, everything on her current album is superior to those songs of Riley’s that you rated 6 or lower.
December 16, 2024 @ 1:15 pm
His career trajectory reminds me a good bit of Eric Church. Those first two paragraphs could have just as easily been about EC 10 or so years ago.
I like Riley Green. Yes, you need to pick and choose a little bit. But he’s overall, it’s a good thing to have him around on country radio.
December 18, 2024 @ 11:36 am
“Every guy wants to be him. Every lady wants to be under him.”
This was such a gross beginning to this review, I thought it must be a gag.
And for the record, I thought the Grandpa song was stupid. “And I wish even cars had truck beds,
And every road was named Copperhead.” Oh, come on! But I guess compared to most of what’s on top 40 country radio, it could be considered profound.
December 18, 2024 @ 12:08 pm
I was referring to the other parts of the introduction. The parts about his grassroots fanbase, and commercial success with both exceptional songs and forgettable songs.
“Grandpas” isn’t necessarily lyrically profound (though I liked the copperhead line), but it at least sounds better than many of the radio songs.
I also thought that lead-off sentence was a bit much ha
December 16, 2024 @ 1:31 pm
Trig, his song with Ella Langley, You Look Like You Love Me…..not mentioned in any of your lists?? I think it’s one of THE Country songs of the year, as it can appeal right across the spectrum. Surely was worth a mention.
December 16, 2024 @ 1:59 pm
I think “You Look Like You Love Me” is fine, but vastly overrated. I do recognize that people who love that song REALLY love it. But I think “Don’t Mind If I Do” is significantly better. They performed “You Look Like You Love Me” on the CMA Awards, so I don’t know that it needs a boost from Saving Country Music. I’d rather focus on songs that have gone under-the-radar and deserve more attention, not that I don’t consider more popular songs if they’re merited.
December 17, 2024 @ 8:31 am
Agreed. She’s a looker and has talent, but that song is a weird combination of tries too hard and meh.
December 17, 2024 @ 10:17 am
The very concept of her flirting with Jamey Johnson in the video while she’s already got Riley Green is the very definition of trying too hard.
December 17, 2024 @ 11:10 am
We used to call them hoes.
Now they’re progressive.
December 17, 2024 @ 11:19 am
Stupid take, Sofus.
Contribute something, or move on.
December 17, 2024 @ 1:06 pm
“We used to call them hoes.
Now they’re progressive.”
This made me laugh.
December 17, 2024 @ 8:26 pm
I haven’t seen the music video but man I am so tired of hearing the hook from that stupid song playing on every other country-based Reel on Instagram.
December 17, 2024 @ 3:37 pm
What is the appeal of that song?
The talking stretch feels random.
I have tried listening to it multiple times but it is nothing special.
December 19, 2024 @ 9:37 am
To me, the appeal is Ella’s voice and the steel and piano in the arrangement. The talking parts are cute at first, but Riley’s was unnecessary, since he basically tells the very same story Ella just told.
December 16, 2024 @ 2:38 pm
The “Way Out Here” is a repeat from Josh Thompson’s debut album over a decade ago, isn’t it? Kinda strange to see it here.
December 16, 2024 @ 2:55 pm
Yes.
And, not that this is saying much because at base it’s a pretty mediocre song, but Thompson’s version is much better.
December 17, 2024 @ 6:06 am
Whole heartedly agree. While it may not be a top tier song, Josh Thompson leaves large shoes to try to fill.
December 16, 2024 @ 2:58 pm
It is and according to the Wikipedia on the song it was co-written by Josh, David Lee Murphy and Casey Beathard. I always thought he could have had a decent career but it looks like he hasn’t done much since 2015 or so.
December 16, 2024 @ 3:08 pm
On his last album, Riley recorded “Damn Country Music” which was the title track of a Tim McGraw album. He recorded a song on this album “Torn” that was clearly meant for Drake Milligan who’s one of the co-writers. That’s why I say there seems to be no rhyme or reason to some of the songs he records. It’s almost like someone told him, “Here’s a bucket. Fill it up with recorded songs” and he went to work as opposed to trying to craft some sort of arc or theme, nor are they especially great where you understand why he wants his own version.
December 16, 2024 @ 3:22 pm
Personally I would not want anyone with intelligence around me if I was listening to this because every note of it smells like the desire for money and fame. Maybe every man wants to be him, but Gurf Morlix is 100 times cooler than he is!
December 16, 2024 @ 4:29 pm
Riley Green elicits a similar feeling in me like Easton Corbin: where here we had a neotraditional-esque singer with a musical style that matched that to boot with all this immense potential…………and yet lyrically and thematically Corbin reduced himself to two tracks: bro-country flirting and pick-up songs, and songs flexing country lifestyle bona-fides. And that was pretty much it aside from a rare outlier like “I Can’t Love You Back”………..and I’m pretty confident that unwillingness to stretch himself lyrically (or at least fill his albums with cuts from other songwriters with more varied subject matter) is a key reason why he didn’t have a long career shelf life.
To his credit Riley Green has had comparatively more moments compared to Corbin already where he demonstrates he’s capable of “something more” lyrically, but it’s still much the exception rather than the rule thus far. I do absolutely agree with you “Jesus Saves” is excellent and “Don’t Mind If I Do” is also great. Hopefully the former does get greenlit as a single, becomes a sleeper hit, and thus persuades Green to double down on solo writes like those two from here on out.
December 16, 2024 @ 4:42 pm
I remember when Easton Corbin first came out with “A little More Country Than That”, all the talk that he was the next George Strait. Chet Flippo even wrote an article about it (although he wasn’t convinced himself). Some of my friends at the time thought “A Little More Country” was a George Strait song. Amazing how quick he flamed out.
December 16, 2024 @ 4:51 pm
And unfortunately I genuinely believe much of it was Corbin’s own fault, because he himself acknowledged the comparisons and, thus, he should have deduced part of what endeared Strait across generations…………was that even though you could always expect more lighter, contemporary fare from him, he was also never afraid to cut songs with more narrative and touching on God, family and community aside from just odes to flirtation and drinking songs. So regardless of how repressive his label hypothetically could have been, he should have had more foresight acknowledging a key thing that could set him apart from many of his peers at the time was the kind of songs he co-wrote or cut from other songwriters.
Instead his songs were almost entirely about country lifestyle stereotypes or hook-up songs: culminating in the embarrassing third studio album “About To Get Real” where literally almost EVERY SINGLE TRACK was a hook-up song except for “Like A Song”. And not surprisingly that’s pretty much the last the vast majority of country listeners heard from the guy despite since releasing one more studio album independently that got no buzz at all.
December 16, 2024 @ 4:45 pm
Easton Corbin’s first couple albums were much better than anything Green has done. And he’s also had a few #1’s as well. Not sure how you can say Green has had more moments.
December 16, 2024 @ 5:56 pm
Nah, with all due respect I stand by my original assertion in that while both’s track records are replete with more generic fodder as opposed to substance, Greene has offered comparatively-speaking more substance as far as batting average is concerned over the span of three studio albums each.
December 17, 2024 @ 10:30 am
I haven’t listened to Easton since his hits stopped coming, but I’m fine with “Roll With It” and “Loving You Is Fun.” Sure, they don’t break new lyrical ground, but they don’t have any trap beats or rapping in them, and they’re just as country and catchy as Ronnie Milsap’s “Daydreams About Night Things,” the Bellamy Brothers’ “Do You Love As Good As You Look,” George Strait’s “Check Yes or No” or hundreds of other country ear-candy songs that came out in the previous millennium.
There’s always been a place for that kind of song in country music, which is why I still listen to country radio, though not as much as I used to. A little button pushing when Sam or Jason or any of the dudes named Dustin come on is OK by me, as there’s always a good song playing somewhere, be it FM or Sirius XM.
December 17, 2024 @ 3:39 pm
The concept of songs existing just to be fun doesn’t exist in critic’s minds.
One of country music’s roots evolved from barn dancing. Those songs were fun and engaging.
December 18, 2024 @ 3:07 pm
Agree to disagree I suppose. Corbin’s production and song variety are much better to my ears.
December 16, 2024 @ 4:41 pm
Totally agee with the general consensus. I like some of his stuff but most is forgetful. He def needs to take longer between albums and come up with a solid album of songs as opposed to just throwing a bunch out and hope something sticks.
December 16, 2024 @ 5:32 pm
I gave it a listen. Not very good at all. Jesus saves is pretty good though im not as high on it as some. I find it intersting that some songs like way out here and turnin dirt get rated down a bit cause they are similiar to other songs and have common used cliches and thats true but the general idea of jesus saves has been done quite extensively as well. I have no issue with it because those 2 songs are ok to me just found it interesting. Overall though i just didnt care for the album. It has songs i could listen to but they arent good enough to replace the songs i currently listen to.
December 16, 2024 @ 8:30 pm
Trigger wouldn’t post my other joke.
Riley Green still has what I consider to be the dumbest lyric in Country music:
“I wish every road was Copperhead”
Umm.. Yeah try to follow directions with that change
December 17, 2024 @ 3:41 pm
I wish that song never existed. Talk about cheap pandering material.
Tell a story about your grandpa, not write a song with I wish starting nearly every sentence.
Country music used to have the best wordsmiths.
December 17, 2024 @ 8:11 pm
The songwriting on his new song ‘Jesus Saves’ is good, and he’s not singing about himself and his own problems (Jelly Roll) but a common American experience.
December 18, 2024 @ 1:40 am
Did you ever listen to his song Numbers On The Cars?
Done acoustic is even more powerfull. Still his best song.
December 18, 2024 @ 11:15 am
The audience and artists of today isn’t emotionally mature enough to neither understand or appreciate the great songwriters.
Willie Nelson, Merle Haggard, Ernest Tubb, Cindy Walker, Leonard Cohen, Hank Cochran, Mel Tillis, Kris and so many others… before they turned 25 they wrote adult songs for adult people. If they came fresh onto the scene of the business today – with exactly the same songs – nobody would’ve recorded them.
But, of course, back then you had to grow up quick to survive, and you could always survive on the odd job or two (which most of the aforementioned did).
I pity those of today who must spend their 20’s in school just to get the simplest jobs. Few can afford a house, car and family until they’re close to the 40’s or older.
Maybe that’s why it takes a whole team of writers to write even the dumbest songs.
December 16, 2024 @ 10:34 pm
Just another bro with mediocre lyrics and a below average voice. Not sure why gets a pass from this site because one song each album slightly has some depth. Seems like a pretty vain person with the fake teeth and hair.
December 16, 2024 @ 11:36 pm
He’s getting “a pass” here? I felt like I was pretty honest and critical. It’s not just the fact that Riley Green has a few good songs. It’s also that he avoids having downright terrible songs, and despite some of the mediocre songwriting, still keeps it country. The reason I broke this album down song by song is to separate the wheat from the chaff.
December 17, 2024 @ 8:04 am
“There was this girl,” his first hit, was nothing but bro country trash. Then he released the super creepy “I hope she drinkin’ tonight.” Rest assured if Hunt, Lynch, or insert whatever other bro released that garbage this site would annihilate them.
December 17, 2024 @ 9:40 am
There’s a reason I rate albums on a 1 to 10 scale as opposed to thumbs up or thumbs down. It’s because there’s varying degrees of “good” and “bad.” I’m not rating either of the songs you mentioned here. If I was, I might have had some uglier things to say. I’m rating the album Riley Green just released. And in my opinion, it’s not as bad as Sam Hunt or Dustin Lynch. That doesn’t mean it’s good.
December 17, 2024 @ 2:43 pm
Trig, this is an awful response. In other words, “I arbitrarily respond,” and because it’s Riley Green and not Thomas Rhett or Sam Hunt, it’s ok he’s a total fucking weirdo creep. Prob won’t answer at this point because of new articles, but goddamn I’d love to hear your response.
I’m pulling up, I’m getting out
And I’m hoping she’s ordering another round
Because I know that my only chance
Is if she’s holding one in her hand
On that dance floor
That might lead to more
If she’s a little bit tipsy
She just might tell me she’s missed me
With any luck she’ll kiss me, tasting like whiskey
I hope she’s drinkin’ tonight, she’ll need a ride
And I’ll have a Chevy waiting right outside
I’ll fire it up and I’ll take her home
Turn off the lights and turn that record on
I hope she’s drinkin’ tonight
Yeah, I hope she’s drinkin’ tonight
December 17, 2024 @ 3:06 pm
Jack,
At the threat of stringing this strange thread out even further:
I had never heard Riley Green’s song “I Hope She’s Drinkin’ Tonight.” It appears it was released on some sort of 2-song EP in 2022. I’m not sure why I’m expected to have omniscience over Riley Green’s entire catalog. I only cover the mainstream as a secondary beat. Either way, taking this review here as some sort of approval for that song is absolutely ludicrous. I’ll just give you the win that it’s a horrible song, though I don’t even care enough to listen to it fully. Again, I am reviewing THIS album, and THESE songs. Taking my opinion on a two-year-old song and using it to influence my opinion on this new album would be a completely unethical thing to do as a reviewer. You’re supposed to approach every album with a clean slate. Furthermore, I find it rather strange that people are taking this as some sort of glowing review. I felt I was honest and objective. If you disagree with it, I respect that. If you disagree with it because I’m supposed to hate Riley Green and everything he does, sorry to disappoint you.
December 18, 2024 @ 2:27 pm
Why did the random Sam Hunt DUI song get covered then, other than Hunt is a douche dressing up as Cash? Pretty sure this was not a single or on any album. Probably better song than Green’s date rape song.
December 18, 2024 @ 11:10 pm
The Sam Hunt song was definitely released as a promotional single. That’s why they made a full production video for it. I received a press released for it. As I said before, I didn’t even know “I Hope She’s Drinkin’ Tonight” existed until you started bitching about it. Blame me for that if you want. I still don’t know what it has to do with this album.
December 17, 2024 @ 8:23 pm
I’ve heard multiple stories from people who have lived in Nashville longer than I’ve been alive about how it took years for the industry to find a way to effectively market certain singers. Alan Jackson was one that was named. Riley Green seems like the ideal empty template (I dont mean that as a pejorative) for the industry to promote and they never could quiet figure out what to do with him. Midland is another missed opportunity imo. Funny enough in country music it’s not often the greatest voices that win out because they often want distinct baritone voices and many of those 90’s stars weren’t the greatest singers but they were unique enough to be their own “brand.”
I haven’t listened to the entire album yet but my only gripe is that these modern songwriters seemed to have forgotten how to write a good melody that will be remembered. I don’t know how to fully describe it but this modern way of phrasing lyrics and cadences or whatever it is that they use is just boring and forgettable to me. It’s very staccato. Compare these songs to a few 90’s greats “Don’t Take the Girl” or “Forever and Ever Amen” – those songs have melodies that flow and compliment the lyrics and work to illicit more emotion on certain lyrics.
I get that times change and all that and engineering and studio people change hands and Riley Green is certainly one of the better country guys in the modern bunch, but I really think the art of coming up with good melodies has been lost.
December 18, 2024 @ 1:13 pm
“Blessed or Damned”
December 18, 2024 @ 1:34 pm
Many years ago, Haggard spoke about how he no longer heard a melody on the radio he could whistle along to.
It still holds true.
December 21, 2024 @ 12:42 am
Which of these 90s singers wasn’t great:
Clint Black
Alan Jackson
Travis Tritt
Garth Brooks
Brooks & Dunn
They’re all fucking great
December 17, 2024 @ 3:03 am
…riley green is developing nicely and steadily for almost a decade now. he hasn’t been a steady big hitter (yet) but quite capable of hitting big enough occasionally. coming out with an 18 songs overload now was pushing it too far though. eventually highlighting his shortcomings a bit more than his undeniable strength: the ability to craft an endearing story around an initial great line like “…’cause there’ ain’t no way I could fit that on a sign.”
make no mistake, riley green is a potential big hitter – just not under all circumstances. at his best he can be really quite good but not more often than not (yet?). he’s a decent singer of his own stories, at the same time being only mediocre dealing with other people’s material, where he seems to be falling slightly short like when it comes to being a remarkable vocalist.
putting the generously gifted ella langely alongside him has turned out to be a tactical stroke of genius – for both of them actually. this young lady has got everything it takes to make it real big. she is on her way to become the next big thing in female country music potenially coming from nashville. with her and acts like megan moroney or the castellows the lolita-type is going to turn more and more heads, while the hunks are also staging a comeback in town: riley green, parker mccollum, warren zeiders, randall king, jade eagleston et al. it seems nashville is testing the next look. just check out all the staches that have been appearing lately. braxton keith’ is quite something – in a hercule poirot kinda fashion.
December 17, 2024 @ 7:31 am
Ho Hum. Riley Green is like the generic version of country music. The product you buy when you’re on a budget and can’t afford the real deal. He seems to be everybody’s favorite duet partner, but is always the lesser partner of the project. Overall Green seems to be a good guy that everyone in the industry likes, but is nothing more than a faded version of the many different types of country star he tries to be.
Ant chance of a review of the new Ben Chapman album? He is on album three now as a talented independent country artist, but has yet to be highlighted here at SCM.
December 17, 2024 @ 11:00 am
I think a fair review although I might give it a little higher rating. I think it stronger than his last album with some very good songs. Its a pretty good listen.
December 17, 2024 @ 11:04 am
Quote; ‘Riley Green is one of the biggest artists in all of country music’.
I can think of a few hundred guys way better than him, in all of country music, from the Carters and onward…
But opinions differ, that’s how it is.
December 17, 2024 @ 11:18 am
I think it’s exceedingly obvious that what I was talking about there was current popularity, not all-time greatness.
And I can tell that all of a sudden you’ve decided to take your cues from the CountryKnight book of Saving Country Music commenting, which is to breeze in, throw a wet blanket on whatever is being discussed, share the most cynical and negative takes possible as a way to vent your spleen and seethe at the world, and make this place a lot less enjoyable for everyone else.
December 17, 2024 @ 3:36 pm
I expect royalties going forward!
Not agreeing with people doesn’t equal cynicism or anger.
December 18, 2024 @ 9:52 am
We’re obviously wrong.
December 18, 2024 @ 10:44 am
Once upon a time you created this fine site and named it Saving country music, because the mainstream country sucked donkey cojones.
Well, modern country still sucks donkey conjones, and whatever is considered alt.country isn’t really country neither. No new artists around who carries the torch for traditional country, no On the Other Hand, no A Better Man, no Amarillo by Morning and certainly no Guitar and Cadillacs. Not even close.
In the early 90’s we still had the “new” traditional sound around, with Tracy Byrd, Rick Vincent and several independents. But they disappeared when Tim McGraw, Toby Keith and those took hold of the charts.
Short; you might consider this or that artist “the real deal”, but they’re not what I and a lot of other old farts (I’m 49) consider country. The straight line from Ernest Tubb to Ray Price to Mel Tillis to George Strait to Alan Jackson to Tracy Byrd are clearly visible.
I cannot for my bare life stretch that line further from Tracy Byrd to Riley Green without taking a very sharp turn.
That’s not a wet blanket. It’s my opinion, and if that makes the readers uncomfortable, something’s very off in this world.
December 18, 2024 @ 12:01 pm
Sofus,
I appreciate the reply and your perspective on this. I am not much younger than you, and generally speaking, I would agree on your assessments. That is why I started Saving Country Music.
I guess what continues to confuse me is who is saying you can draw a line between Tracy Byrd and Riley Green. I most certainly didn’t. Reading back through this album review, it doubles and triples down on saying how trite and cliche the songs of Riley Green are. I think anyone would struggle to make the case this review in any way presents Riley Green’s music in a positive light. The whole reason I took the time to review this album is because it’s been ranking high in many end-of-year lists. I wanted to offer a counter-argument to that. I’m currently putting together my “Best Mainstream Country” list, and this album doesn’t even make the top ten, let alone my best of 2024.
All that said, there are a couple of good songs on the album. If I lie about this or don’t give Riley Green credit for them, it risks making ALL the opinions shared here meaningless because I obviously came to the album with some bias or anger against him instead of giving the album an objective assessment.
December 18, 2024 @ 12:55 pm
But is Riley really “one of the biggest artists in ALL of country music”? I’m still not sold on that argument, but then, I’m used to such mediocre artists like Stoney Edwards, Moe Bandy, Webb Pierce, Connie Smith and other hang-arounds.
Now, joke aside; I simply miss the country sounds made by the artists I mentioned, Kyle, done by a new guy who can reach the charts, much like Clint Black and the fellas did with the “new traditional” wave back then.
But that won’t happen. It simply doesn’t work that way anymore.
That is one of the reasons why I’m reading this site. The fool in me clings on to the possibility that maybe, just maybe, a new “Killin’ Time” will be released.
Even if the waiting makes this ol’ fart sound bitter and cynical. 😉
December 18, 2024 @ 11:06 pm
“But that won’t happen. It simply doesn’t work that way anymore.”
I just respectfully disagree. Zach Top, Jake Worthington, Zephaniah OHora, Kimmi Bitter, Emily Nenni, and so on, and so forth. If you can’t find joy in the music and hear the kinship with country of the past, I feel sorry for you. To me, there’s an entire world out there waiting to be discovered.
December 18, 2024 @ 2:33 pm
No. Green may not even be considered a B-lister. Not many hits and cannot perform as the primary act at full-sized arenas. Hell, his song with a Luke Combs feature couldn’t even hit #1 on the airplay charts… at a time when anything Combs touches goes to #1.
December 20, 2024 @ 2:11 am
At least I can discover the 700 years of past music, from folk songs through the great classical composers to whatever new we got.
That’s more than enough for me. Heck, I even discovered a Texas guy today, who did some songs in the 70’s. A fella by the name Don Cox (The Crazy Gringo). Thanks to the great folks at Cowpoke (internet) radio down in Cali!
Such random discoveries makes it worthwhile.
And, who knows, maybe there is a 20 year old guy out there who discover Jack & Johnny, the Delmore Brothers and Ted Daffan?
I think so. The old music won’t die.
December 17, 2024 @ 11:58 am
as far as mainstream country goes, he’s doing it as good as anyone. Mainly because the bar isn’t very high anymore. Between, Shaboozy, Jelly Donut, Post Malone, Morgan Wallen, Kane Brown, Dan & Shay and Beyonce’, Riley Green sounds like Waylon, Hank, Willie and George Straight rolled into one.
December 18, 2024 @ 12:13 pm
He actually sounds like the random douche playing FGL covers at my local dive bar.
December 18, 2024 @ 12:57 pm
It’s probably him, Jack.
December 19, 2024 @ 9:35 am
I usually like those “douches” as you call them. they’re usually playing for tips, and can take an over produced FGL song, play it with and acoustic guitar and make it sound pretty good. Most of them also have a wide variety of eclectic musical taste but are obligated to play whatever gets the crowd moving. If RG is that guy so be it. Still beats the fu*k out of Shaboozi and Jelly Donut.
December 18, 2024 @ 4:30 am
Disappointed by the crudeness of the phrase, “Every lady wants to be under him”. Better would be to say, “Every lady wants to be with him”, which could at least refer to being his girlfriend generally. Don’t mean to be prudish, but we don’t need to be prurient either.
December 18, 2024 @ 12:58 pm
Well, Kyle isn’t wrong, from what I read online.
December 18, 2024 @ 1:16 pm
The phrase isn’t polite but correct – which is more important than civility.
Female fans have fueled Green’s rise.
December 18, 2024 @ 2:19 pm
But he’s still no Conway.
December 18, 2024 @ 2:36 pm
I’m sure you believe biological men can be women too, David.
December 18, 2024 @ 4:50 am
i only listened to “Jesus saves” and it is , as Trig pointed out, a good song but doesn’t it sound like a series of catastrophies a bit too much?
December 18, 2024 @ 8:03 am
It’s a little implausible, yes. Most people experiencing homelessness are not down on their luck in the conventional sense. They’re suffering from mental health issues or addiction. But the perspective of the story is still a great way to tell a story in song, even if you have to suspend disbelief.
December 19, 2024 @ 8:52 am
This is the rare overlapping of modern country music that my wife and daughter like that I can at least stand which is actually quite an accomplishment.
December 23, 2024 @ 12:16 am
“It’s not complicated. Solo-written songs resonate deeper because the sentiments aren’t filtered down through multiple perspectives.”
This is true. In addition, the ability to deliver quality solo-written songs — even if it’s just on occasion — reveals which “singer-songwriters” are actually bonafide songwriters, rather than just passengers in overcrowded writing rooms.
December 23, 2024 @ 5:06 am
“Don’t Mind If I Do.” What a great song.