Dating bo rinehart
This record, because a lot of things happened with us over that period of time – major reconciliation – we spent more time experimenting like a garage band than we have since we first started.
Bo: The separation that happened on [Rivers in the Wasteland] forced us to write on our own, independently, so we weren’t going to the studio. And just to get the job done, we were going to the computer and trying out synth sounds and whatever.
But we just said to them in passing when we first started, we want the records to be available to everyone, including those kids like us, because it was tough for us to find music that we liked. They want you to cuss everybody out, become alcoholics, whatever. I just don’t think that’s what we are or what we do.
And we really started writing music because of that.
The album opens with “Good at Tonight,” an upbeat anthem featuring Brothers Osborne that would be a great second single choice.
I am surprised by how much I enjoy this song because it’s similar to a lot of songs out there, speaking about living life to its fullest and seizing the moment.
We’ve been just as comfortable in clubs, but we’ve always wanted to have huge light shows and big screens and all that stuff, and you’re always kind of limited by whether or not you can do that.
“I ain’t much for the morning but I’ve always been good at tonight.” The production makes this enjoyable–it features accordion and is something I can call pop country, as opposed to similar, overproduced straight pop songs.
“Night’s on Fire,” the first single follows–this is the typical song about hooking up by a river.
However, this one is not terrible, as it has really nice descriptions and focuses on the experience and the surroundings rather than just having sex.
I didn’t review it when it came out because it’s just there; it’s mediocre and filler, but it does serve the purpose of proving there is a better way to portray this overdone story.