Tom Petty’s “American Girl” is a song that has cemented itself in the American rock songbook. Released in 1976 on Tom Petty and the Heartbreakers’ debut album, this track, while initially a slow burner on the charts, has grown into one of Petty’s signature anthems. Its enduring popularity makes it a frequent choice for covers, and recently, Dierks Bentley, known for his country and bluegrass leanings, put his own stamp on “American Girl” for a tribute album. In an era where cover songs are making a tentative return, Bentley’s rendition offers a fresh perspective on a familiar tune. But does this bluegrass reimagining elevate the “American Girl Song”, or does it highlight potential shortcomings in the original composition?
While the resurgence of cover songs is generally a welcome trend, especially given the rise of arguably less creative “interpolation”, the quality of the chosen material remains crucial. Luke Combs’s cover of Tracy Chapman’s “Fast Car” sparked considerable discussion, and now Dierks Bentley’s “American Girl” is entering the conversation. However, a critical listen to both the original Tom Petty version and Bentley’s cover raises questions about the inherent strength of “American Girl” as a song, regardless of genre or arrangement.
One of the central criticisms leveled against “American Girl” lies in its songwriting. Despite its iconic status, the lyrics present a somewhat fragmented and underdeveloped narrative. We are introduced to an “American girl” with aspirations of seeing the world, followed by a scene of her observing traffic, seemingly contemplating the choices she’s made. The lyrical sparseness leaves much to the listener’s imagination, but not necessarily in a compelling way. Key details are absent: What motivates her wanderlust? What experiences did she gather “seeing the world”? What is the nature of the “promise” mentioned? Even the introduction of a past relationship feels abrupt and underdeveloped, appearing late in the second verse with minimal context. The chorus, with lines like “take it easy, baby/make it last all night,” seems almost detached from the verses, contributing to a sense of lyrical disjointedness. For a song clocking in at just over two minutes, the brevity feels less like intentional conciseness and more like a missed opportunity to flesh out a potentially richer story. While ambiguity can be a powerful tool in songwriting, in “American Girl,” it arguably results in a narrative that feels more hollow than intriguing.
However, focusing solely on lyrical critique might overlook the intended purpose of the original “american girl song”. Listening to Tom Petty and the Heartbreakers’ recording reveals that “American Girl” was primarily designed as a sonic vehicle. The song’s driving force is undeniably its iconic guitar riff, those powerful chords that became a hallmark of the era’s rock sound. Dierks Bentley’s cover acknowledges this sonic foundation but ventures in a different direction. He infuses the track with a bluegrass sensibility, incorporating banjo, mandolin, and fiddle into the arrangement alongside drums, keyboard, and electric guitars. While the guitar tone differs from Petty’s signature sound, the bluegrass instrumentation adds a layer of texture and energy. The faster tempo inherent in bluegrass music gives the song a different kind of drive, and the banjo, in particular, becomes a standout element. While the arrangement is interesting and offers a unique take, some elements, like the mandolin, occasionally get lost in the mix, and the fiddle could have been given more prominence. Nevertheless, Bentley’s version successfully captures the energetic spirit of the original while injecting his own musical personality.
Dierks Bentley’s vocal performance is also a noteworthy aspect of his “american girl song” cover. His vocals are arguably stronger and clearer than Tom Petty’s somewhat thinner delivery. However, even a skilled vocalist like Bentley faces a challenge when working with lyrics that offer limited emotional depth. The song attempts to portray a shift in the “American girl’s” perspective, moving from aspiration to reflection, but Bentley’s delivery, while competent, doesn’t fully capture this nuanced shift. Engaging the listener with a story that feels incomplete is a difficult task, and despite Bentley’s evident investment in the performance, it struggles to fully resonate. Ultimately, even a strong vocal performance can only do so much to elevate a song when the underlying narrative feels underdeveloped.
In conclusion, “American Girl,” while undeniably a classic rock staple, might be more reliant on its sonic identity than its lyrical depth. Dierks Bentley’s bluegrass cover offers an intriguing reimagining of the music, showcasing his instrumental and vocal talents. However, both versions highlight the somewhat thin lyrical narrative at the heart of the “american girl song.” While the cover song trend is encouraging, it underscores the importance of selecting songs with robust songwriting foundations. Reviving classics is valuable, but ensuring those classics possess enduring substance is equally crucial. Perhaps “American Girl’s” enduring appeal lies more in its nostalgic sound and less in its lyrical narrative, making it a song that, while recognizable and energetic, may not hold up to deeper scrutiny in terms of songwriting quality.
Rating: 5/10. Interesting as a cover, but the song itself has limitations.
