Guest host Blaine Duncan joins Josh and Hayden to talk about “The Good Stuff” by Kenny Chesney. We learn about the business of country music songwriting in the first half, which goes a long way in explaining how a song this mediocre gets recorded.
Josh hates the production quality of the song, Hayden demonstrates how easy it is to write a pop-country hit, and Blaine puts the boys in stitches as he tears into the lyrics and explains why you shouldn’t trust a bartender that serves you a glass of milk.
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by Kolt Shakespeare
Shall I compare thee, girl, to a summer’s day?
Thou art more fine, girl, and hotter’n hell
Shake it, girl, like them darlin’ buds of May
And summer’s bassboat lease hath all too short a date;
Girl you’re lookin’ hot as fire
On my truck tailgate down by the river, gonna get you a tan
And every county fair from county fair sometime declines,
By chance or nature’s cold beer drinking unstopp’d
But thy eternal country summertime dirt road ridin’ shall not fade,
Nor lose possession of them tight-ass jeans thou own’st;
Damn, girl, you’re killin’ me lookin’ so fine doin’ them moves
Watchin’ you shake that thang, girl…I grow’st:
So long as I can breathe or eyes can see you girl,
So long as we got this here country tractor dirt road beer drinkin’ lake/river/creekside barn, this gives life to this here squirrel.
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Sheeit, I done screwed up my iambic pentameter.
We’ll give you a little leeway on that front, especially considering that the people who write this kind of music probably couldn’t spell or pronounce “iambic pentameter”