This is the third album from the 19yr old Texan who makes polished country with a pop rock edge that was all the rage in the late 90's with Shania Twain and Leanne Rimes. It is not as bad as it sounds but only if you can get by the rampant commercial exploitation by her record company. There is something rather vomit inducing about the way she is marketed with sponsors promoted on the albums artwork. It is a sad day when it becomes more about making money from endorsements than making good music. Armiger is painted as the aspirational girl next door that boys want to date and girls want to be, where she is giving something back. P##s off. Are people really that gullible?
Ok, so what about the music! Well there is nothing here that you haven't heard before. Tune into one of the plethora of Country station across the US and you'll be hard to tell the songs apart and this album is guaranteed to make the play lists of them all. Cynical? Maybe... but true. Armiger has a nice voice, complete with Southern twang and the songs are well crafted and produced. In terms of the music it is an enjoyable listen. If throwaway bubblegum lyrics with some killer riffs and hooks all polished to within an inch of its life float your boat then this album is gonna make your day.
The album opens with former single Best Song Ever, an upbeat radio friendly slice of Country AOR much loved by the likes of Taylor Swift. Indeed the track was produced by Swift's producer Chad Carlson. Kiss Me Now is another former single and is one of the albums most enjoyable tracks with some classic guitar riffs layered with some lovely Hammond from Howard Duck. Armiger seems to be most at ease when tackling one of the albums several ballads. Both That's Why and Scream provide a perfect showcase for her voice. With Cry, Cry, Cry, the only track on the album that she took on sole writing duties, she proves that she is capable of penning a song of genuine quality. Her inner rock chick comes out on the rocky Ain't So Sweet, which is bolstered by some impressive guitar work from Kurt Allison, and on what must be a future single Can You Handle It.
As I said before, musically this is not a bad record at all. It has its moments of sickly sweet dirge in the form of Leaving Home but mostly this is an album that should establish Armiger as a contender in the commercial side of Country music and give her label plenty more opportunities to devalue her music by prostituting her talent for a quick dollar. Shame... she deserves better.