Kelly Clarkson with Vince Gill — “Don’t Rush”

Karlie Justus Marlowe | December 6th, 2012

kclarksonSongwriters: Blu Sanders, Natalie Hemby and Lindsay Chapman

No longer content with slight traces of pedal steel and fiddle, country-leaning American Idols have taken to teaming up with traditionalists:  Carrie Underwood with Randy Travis, Scotty McCreery and Josh Turner and, now, Kelly Clarkson and Vince Gill.

Credit goes to Clarkson for pairing up with one of the genre’s best, right on the heels of her last duet with one of its biggest. Gill is a country star of a different caliber than “Don’t You Wanna Stay” partner Jason Aldean – less buzzy, to be sure, but no less busy. Since his last Top 20 mainstream radio hit in 2002, Gill has flexed his creative muscles on three studio albums, include 2006’s 43-song These Days, and collaborated with a range of artists.

On “Don’t Rush,” Gill takes on a lesser role than Aldean’s standard partnership, combining his trademark harmonies with Clarkson’s famously powerful vocals. Both sound at ease as Clarkson plays with phrasing, polishing off lyrics like “Stopping every minute just because you’re in it/Wishing everyday was Sunday, you’re right next to me/It’s how it’s supposed to be/Just hanging on every touch” to a groovy, easy-listening rhythm reminiscent of Crystal Gayle. But just as “Don’t Rush” starts to shimmer, it fizzles.

Once the novelty runs out through the first chorus, the song fades off and into a more beige and less brazen version of James Otto’s “Just Got Started Lovin’ You.” It’s pretty but boring, perfect background music for a romantic comedy’s scenic introductory sweeps through New York City in the fall. Without Clarkson’s trademark bite from modern pop classics “Miss Independent” and “Since U Been Gone,” the song slips safely into neutral and coasts on Clarkson’s vocal chops.

As her second solo offering to country music, listening to “Don’t Rush” should do little to soothe naysayers still bewildered by Clarkson’s surprising Country Music Association nomination for female vocalist – but they’ll probably forget about it shortly after, anyway.

Thumbs Down

  1. Ben Foster
    December 6, 2012 at 2:39 pm

    I do hear a few shades of Crystal Gayle on this record now that Karlie points it out. I can see how it feels vanilla to some, but between the melody, vocals, and infectious laid-back vibe, this song totally does it for me.

  2. Leeann Ward
    December 6, 2012 at 5:32 pm

    I was actually underwhelmed the first time I heard this song, but it’s grown on me.

Tagged In This Article

// // // //

Current Discussion

  • bob: Thanks Barry. Just reserved the Adam Gussow book. Sounds interesting.
  • Barry Mazor: It may be over-stated, in arriving at practically a single explanation of everything, but Adam Gussow's book on lynching and …
  • Leeann: Wow! Heavy topic and horrifying indeed! "Beer for My Horses" was all fun and games until that reference, I'll have …
  • Barry Mazor: Everything else aside, the way that reporter fills us in, with must-have, pointless generational snark included, about who this "Little …
  • luckyoldsun: "The Night The Lights Went Out in Georgia" seems to be about a lynching--even if there's something about a judge …
  • Arlene: Sorry. I meant to give the link for "Supper Time." http://www.youtube.com/watch?v=sZ58Kfe41kI
  • Arlene: Another song sung by Ethel Waters: Irving Berlin's "Supper Time"
  • bob: Powerful songs. I read the book "A Lynching in the Heartland" by James H. Madison about a dozen years ago. …
  • Ron: Sky Above, Mud Below by Tom Russell is another.
  • Jack Williams: Another Othis Taylor song from White African is "My Soul's in Louisiana."

Recently Reviewed Albums

  • paulthorntooblessed
  • duhksbeyondtheblue
  • kelleymickwee
  • sandrarhodes
  • candi staton
  • sturgillsimpsonmetamodern
  • raypricebeautyis
  • rodneycrowelltarpapersky