The downward spiral for mainstream country music continues as evidenced by the following list of some of the most horrible offerings of 2014, though it is interesting to note that many of 2014’s “Worst Songs” selections were released in the first half of the year, and some even in late 2013 but did not rise into the greater consciousness until the change in the calendar. The second half of the year has been pretty light in bad songs, so maybe we are seeing a changing of the tide. Nonetheless, with how terrible these selections are, you could consider this not only the worst songs of 2014, but arguably a list of the majority of the worst songs in the history of country music.
To qualify for this list, the song had to be released as a single. And with such a crowded field, only the worst of the worst were selected. Feel free to share your most vilified songs of 2014 below.
PLEASE NOTE: As Saving Country Music has threatened many times (and then reneged on), the era of “rants” is coming to an end, unless something is so egregious there is no other way to address it. That doesn’t mean there won’t be spirited and pointed (& sarcastic) criticism where it’s called for, but we will proceed in the future under the philosophy that an opinion is more convincing when it is explained to someone instead of screamed at them. So cherish this style of rhetoric while you can.
Brantley Gilbert “Bottom’s Up”
“In this the season of giving, can we all at least come together as one, regardless of sex, race, orientation, creed, religious, political or social status, or cultural background, and swallow our collective differences, hold hands in the common bond of humanity in a rising chorus of hosannas, and all universally decree that Brantley Gilbert is the biggest douche ass to ever suck air on planet Earth?
“Such a gift from heaven it has been to not have Brantley terrorizing us with new music for a good long while. But apparently Brantley was just resting up, refining his putrid exploration into the very innermost reaches of human vanity and self-ingratiation to then unleash upon his trashy fans with the sweet residue of methamphetamine glistening on the edges of their inflamed nostrils, the purest form of raging narcissism ever witnessed in Western Civilization in the construct of his new diarrhetic single ‘Bottoms Up,’ and it’s accompanying video.
“At one point in the video, three women are surrounding Brantley, rubbing their hands all over him. But these girls aren’t copping a feel, their feverishly searching for Brantley’s beleaguered genitals that have taken the form of two acorns flanking a Vienna sausage that then fled up into his abdomen like a rodent scampering into its hole the result of a tireless regimen of prolonged steroid abuse; hence the nonstop, headlong pursuit of this song and video to compensate and dramatically oversell Brantley’s manly prowess and masculine superiority.” (read full rant)
Cole Swindell “Chillin’ It”
“Cole Swindell is the most not-having-any-bit-of-soul-or-culture human being I think I have ever observed on God’s whole creation. He’s the human equivalent of a piece of bleached white bread with the crust cut off, served with a glass of room temperature tap water. He’s more milk toast than Caspar, and more boring than a bowl of vanilla. It’s like a thermonuclear holocaust of culture and personality-scrubbing destruction swept over Cole Swindell while he was swimming in the very fissile material of the root detonation agent, leaving a man that is so vacant of anything interesting or distinguishable that he is the utmost purified and scientifically-verifiable essence of Miriam Webster’s unabridged definition of ‘generic’ that could ever be procured as an example or proffered as evidence.
“’Chillin’ It’, just like Cole Swindell himself, is the refined, filtered, and homogenized version of something that was rapaciously trite and disappointing to being with. The first thing that pops in your head when hearing ‘Chillin’ It’ is that it’s pretty blatantly Florida Georgia Line’s ‘Cruise’ version 2.0. Except somehow, inexplicably, Swindell discovered how to do them even one worse by engineering something so aggressively vapid that labeling the song ‘bad’ even seems to bestow this spiritless, prosaic waste of effort with more personality and distinction than it actually contains or deserves.” (read full rant)
NOTE: Was released officially in 2013, but didn’t rise to prominence and become a multi-week #1 until March of 2014.
Tim McGraw “Lookin’ For That Girl“
“Apparently the once high-flying country star has been inadvertently inoculating himself with inebriating bronzer agents from his incessant chemical tan treatments that have now seeped into his blood stream. And combined with an undiagnosed eating disorder that has rendered McGraw’s figure to that of a 55-year-old Venice beach female body builder succumbing to a lifetime of melanoma, Tim has robbed precious nutrients from his gray matter, stupefying him into such an absolute scientifically-infallible vacuum and void of self-awareness that physicists want to employ it to see if it is the ultimate key to tabletop fusion. ‘Lookin’ For That Girl’ isn’t a cry for relevancy, it is a barbaric yawp, a banshee scream, a cacophonous ode to the onset of monoculture and wholesale mediocrity.
“The icing on this urine-drenched urinal cake topped with cigarette butts, spent gum, and used inside-out prophylactics oozing their venereal slurry out on the diarrhea-infested floor is the fact that through the entire drum machine-driven song Tim McGraw is singing through an Auto-tune filter turned to 11. T-Pain, eat your top hat-wearing heart out. I’ve been saying for years now that Tim McGraw is more machine than man, but not even I could have predicted this unmitigated rejection and headlong flight from anything analog or authentic. Hell, why do we even need a human to sing this fucking song? We should just have one of those iRobot floor cleaners sing it. At least that way it would be on hand to swab up the hurl this monstrosity will invariably evoke from enlightened music listener’s disgruntled guts. And like an iRobot incidentally, ‘Lookin’ For That Girl’ will also freak the everliving shit out of your dog.” (read full rant)
Jason Aldean – “Burnin’ It Down”
“‘Burnin’ It Down’ is a Casiotone piece of impersonal electronic awfulness in which any sign of true human inspiration or involvement has been so antiseptically replaced in lieu of animatronic tones and absolutist perfectitudes, the term ‘soul’ has been completely and forever banished from being associated with this robotic piece of misanthropic pap. This isn’t a song, this is some guy with a MacBook Pro creating an electronic sound bed to send over to Aldean’s studio so he can overlay his Auto-tune’d vocals and call it good. As Tom Petty would say, ‘You put your name on it, but you didn’t do that.’ Even the guitar tones have been been so exhaustively massaged by 1”²s and 0”²s they sound like the warning signals emitted from a Star Wars protocol droid right before it explosively self-destructs. A kitten aimlessly careening across a Korg keyboard in a catnip stupor could make a more compelling composition than this.
“Sorry Jason Aldean, but this song isn’t sexy, it’s creepy. They should exhume Barry White and make it the sole goal of the international scientific community to revive him for the exclusive purpose of kicking Jason Aldean’s ass for this song. What does Aldean know about sexy time anyhow? Aldean ain’t got the moves like Jagger, he’s got the moves like Grimmace. Mating couples won’t find “Burnin’ It Down” sexy unless they get equally horny for the annual return of the McRib. This song is a awkward as a hard on in a Speedo. ‘Burnin’ It Down’ isn’t for intimate couples, it’s for lonely women to get all lubed up with in anticipation of an intimate encounter with Clyde the battery-powered hammerer.
“The best part of this song ran down Aldean’s pasty inner thigh and ended up as an embarrassing stain on his $700 sheets. He should have worn a rubber instead of inseminating our ear holes with this public health audio pandemic. No, that burning you feel in your genitals isn’t from erotic allure, it’s because this song is the audio equivalent of a pussing venereal onslaught.” (read full roast)
Florida Georgia Line (w/ Luke Bryan) “This Is How We Roll”
“Like one of those stationary rides in the front of Wal-Mart for toddlers, ‘This Is How We Roll’ makes a lot of noise, has a bunch of flashing lights, bumps up and down a little bit, but in the end, goes absolutely fucking nowhere. The Mighty Morphin Power Rangers soundtrack has more sincerity, depth, and nutritional value than this explosion of diarrhea in country music’s bikini cut man briefs.
“An environment of sexual perversion and sheer stupidity permeates ‘This Is How We Roll’ and its respective video from stem to stern, including a scene near the start of the video with a dollop of hussies having consensual sex with a Kenworth. I sure hope these chicks have their Tetanus records in order. And then of course we have Tweedledee and Tweedledum from Florida Georgia Line riding on top of the semi like Teen Wolf, with the same display of doltishness and disconnect with self-awareness many mid 80”²s movies like Teen Wolf were horrifically beset with.” (read full rant)
Jake Owen “Beachin’”
“What’s going on here folks is now that Kenny Chesney has been put out to pasture by the country music powers that be, somebody has to step up and fill the void for swaying, stupid, sand between the toes sonnets of suburban escapism for 40-something women with skin Cancer on their shoulders to hold their Corona Lights high in the air to and scream ‘Whoooo!’ while breathing in the smoke of their Home Depot citronella tiki torches ”¦ Now Jake Owen and others are stepping up to fill this void of what apparently is a must-have staple of the American country music radio dial.
“As much as hearing even the opening stanza of a corporate country beach song can make a distinguishing music listener pucker harder than trying to down a cheap Mexican beer without lime or salt, Jake Owen and ‘Beachin’’ makes this exercise even more excruciating by featuring him rapping, yes, rapping the verses ”¦ yo yo. And to this end, Owen delivers what has to be the worst white boy rap performance that has ever been proffered to human beings for public consumption that isn’t meant to be taken as ironic. I guess his voice is supposed to be all low and sexy, but the ultra-monotone and lifeless pitch makes Charlie Brown’s teacher sound like Loretta Lynn. Is the term ‘Beachin’’ supposed to be a lyrical hook that delivers some sort of payoff? Because it’s about as unfulfilling as Daytona Beach when you’re dreaming of CancÃºn.” (read full semi rant)
Maggie Rose – “Girl In Your Truck Song”
“I think we have just unearthed the biggest cultural abomination that has ever been classified as “country” music in its 70 year existence. No, I’m not talking bad, awful, terrible, or any other such adjectives. Even those words would seem to instill this embarrassment with a dollop of undeserved respect. Truth be known, there are songs that officially sound worse than this one out there for sure, or that are more stupid either purposefully or inadvertently. But the degree of slavitude and cultural backsliding celebrated and edified in this song is as abhorrent as it is alarmingly calamitous, and hovers only very slightly, and uncomfortably so, above genuine calls of gender downgrading and the erosion of sexual equality in American society, bordering on downright pleas for date rape. I pray that I have the strength to steady my hands enough to coherently compose just how angry this song makes me.
“From the heartfelt yet respectful concerns of some for how young women were being portrayed in country songs, to downright calls of sexism being perpetrated in country music from the ‘Bro-Country’ takedown of the genre, sincere worry was already being transmitted from many sectors about female’s devolving role in the country music format. Now this alarming trend takes a gigantic leap forward (or backward, as it were), as a young woman voluntarily puts herself directly in the path of the misogynistic and materialistic locomotive that is modern day country music by pleading with her overbearing beau captor to allow her to become the subordinate piece of meat that is portrayed in all the worst hits of the ‘Bro-Country’ era…As one studious observer on Twitter pointed out to me, women in country music have now become so marginalized, Stockholm Syndrome has set in. When Rolling Stone Country talked to Maggie Rose about this song, she said, ‘There are females embracing that role that all these men are writing about.'” (read full rant)
Florida Georgia Line – “Sun Daze”
“At this point, Florida Georgia Line has settled quite nicely into being the great American sedative of our generation. Just as producer Joey Moi did with Nickelback before them, this music affords a vacation from self-reflection or truly beneficial thought. ISIS is beheading people in the Middle East and engaging in horrific genocide, the economic disparity between social classes continues to increase and has never been more pronounced. But that’s okay, you can put on the latest Florida Georgia Line single and all the girls are hot, all the guys get laid, and libations and narcotics are at your beck and call. This is the type of vacationary audio lubrication that keeps the engine of corporate America purring along just fine. Don’t get down; get high and buy shit.
“’Sun Daze’ is a reversion back to the stupid-ass beach bum singalongs aka the same garbage Bro-Country replaced. Hell, ‘Bacardi’ and ‘flip flops’ are much easier to find things to rhyme with than ‘tailgate.’ Screw that we’re actually heading into the Winter, it’s always sunny in shitty country music la la land. (read full semi-rant)
Jerrod Niemann “Donkey”
“‘Donkey’ is an uprovocated ass raping of the ears, and if any Niemannites come here preaching to me the virtues of this song because ‘country music must evolve,’ I will personally take a pair of donkey balls and use them to tea bag each and every one of their bedroom pillows when they’re not looking. “Donkey” isn’t just bad, it defines the catastrophic trainwrecking of the entire human evolutionary timeline. 800,000 years of homo sapien progress brought to a screeching halt because one pudgy douchebag wants an arena-sized “country” career before his pubes turn gray. “Donkey” is a harbinger for a dark age for arts, entertainment, and intelligence that humankind is on the precipice of plummeting headlong into.
“The worst song ever? I’m tired to doling out this distinction only to have to offer a revision every six weeks when some other pop country asshole finds a new gradient for rock bottom, but Jerrod Niemann’s EDM-encrusted, braying ass certainly deserves to be in the discussion for that most disgraceful of honors.” (read full rant)
- Billy Ray Cyrus – “Achy Breaky 2”³ (disqualified for being released simply for shock value)
- Sam Hunt – “Leave The Night On” (not as much bad as incorrectly filed in country)
- Cole Swindell – “Hope You Get Lonely Tonight” (read review)
- Chase Rice – “Ready, Set, Roll” (still deserves a proper rant)