Has contemporary country music reached a point where it doubts its capacity for genuine innovation? Does it now believe it must rely on past pop hits, regardless of genre, as a crutch to create commercially acceptable music? This question arises from the increasing trend of country artists seemingly borrowing heavily from older songs. While subtle nods to past music were once common, we’re now seeing blatant, uninspired parodies of classic hits. These aren’t clever or engaging; instead, they highlight a concerning lack of originality and talent within the genre.
The latest example of this troubling trend is “Chevrolet” by Dustin Lynch featuring Jelly Roll. This track shamelessly repurposes Dobie Gray’s timeless 1973 hit, “Drift Away,” for a generic, cliché-ridden song about the tired trope of a country boy meeting a country girl. For Dustin Lynch, known for his fading career trajectory, this move isn’t entirely unexpected. His recent singles haven’t achieved significant chart success, and resorting to familiar melodies seems like a desperate attempt to regain relevance, a tactic seen with other artists seeking to revive their careers. Jelly Roll’s involvement is more surprising given his recent success. Pairing a struggling artist with a popular one to boost the former is a common industry practice. However, even star power can’t salvage such uninspired material. “Chevrolet” unfortunately starts 2024 as a strong contender for one of the year’s worst songs.
Alt Text: Dustin Lynch and Jelly Roll perform the song Chevrolet, a derivative work based on the Drift Away song, on stage with a live band.
One of the most baffling aspects of “Chevrolet” is its production, which somehow manages to be even less compelling than the original “Drift Away.” While both songs feature relatively simple arrangements, Dobie Gray’s version boasts a smooth and breezy feel thanks to its slick electric guitar, lush string section, and gentle percussion. This combination creates a truly inviting atmosphere that encourages listeners to “drift away.” In stark contrast, “Chevrolet” employs harsher, louder drums and a textured acoustic guitar that make the song feel forced and less smooth. The instrumental tones create a strangely neutral and unromantic backdrop. The addition of bar crowd noise further roughens the track, making it sound unpolished. While a dobro is present, its potential is completely wasted, blending indistinguishably with the acoustic guitar and adding nothing unique to the sound. Ultimately, the production feels generic and could accompany virtually any song, lacking the distinctive character and synergy that made “Drift Away” so memorable. It serves only to remind you of the superior song you could be listening to instead.
Dustin Lynch’s vocal performance in “Chevrolet” mirrors the issues present in his previous work. His delivery lacks charisma and emotion, struggling to convey any genuine feeling. He merely follows the melody of the “Drift Away” sample without embodying the supposed narrative of the song. When he sings about meeting a perfect country girl in an urban setting, his lack of credibility makes the story utterly unbelievable. He comes across like a tiresome storyteller whose exaggerated tales elicit eye-rolls rather than engagement. Jelly Roll’s contribution feels equally uninspired, seemingly driven by business rather than artistic motivation. His vocal flow is clumsy and often lags behind the beat, devoid of any genuine emotion. Furthermore, Lynch and Jelly Roll’s voices don’t harmonize well together. While both singers might have vocal chemistry with background vocalist Madeline Merlo, their pairing on “Chevrolet” falls flat. This collaboration further emphasizes Lynch’s bland persona, and Jelly Roll’s phoned-in performance only amplifies the song’s overall meaninglessness.
Alt Text: Dobie Gray, the original artist of the iconic Drift Away song, performing live in 1973.
Adding insult to injury, “Chevrolet” required three songwriters to create this hollow imitation, while “Drift Away” was penned by a single writer, Mentor Williams (who is ironically also credited on “Chevrolet”). Not only does “Chevrolet” plagiarize Williams’s melodic structure, it does so to tell a story that is both unoriginal and poorly executed. The lyrics depict a narrator encountering a “countrified” woman in a city who desires escape. The chorus then throws together a jumble of country music buzzwords—six packs, dirt roads, Brooks & Dunn references, nighttime drives, and, of course, “Chevrolet”—creating a word salad devoid of wit or charm. The narrator exhibits no redeeming qualities, the hook is forgettable, and the songwriting feels forced as the writers strain to fit their ideas into the “Drift Away” template. Transforming a 70s classic into a stale imitation of “Metro-Bro” country is infuriating. Anyone involved in creating this musical garbage should be barred from songwriting, as they clearly lack original ideas.
“Chevrolet” deserves to be discarded as a warning against cynically exploiting existing hits for personal gain. From its uninspired production and vapid lyrics to the lackluster vocals of Dustin Lynch and Jelly Roll, the song serves no purpose other than to remind us of the far superior “Drift Away.” If the intention is to honor a classic song or capitalize on a familiar sound, the solution is simple: perform the original song! Attempting to force a new, uninspired narrative into an established framework to chase radio airplay and profit only makes everyone involved appear creatively bankrupt and opportunistic. Artists should either create original music or respectfully cover existing songs—this cynical middle ground benefits no one.
Rating: 2/10. This track is musical garbage!
