The Promise


Who remembers this song? You may have slow danced to it at your prom, if you were still in high school in the late 80’s, or you may have seen the dance floor grind to a halt when someone requested it at 80’s Nite. Either way, it’s kind of the nadir of 80’s one hit wonders. When In Rome were barely a band back when they were a band, and now the most interesting thing about them is that all three former members are embroiled in lawsuits and counter- lawsuits over who has legal ownership of their name. Because if you had a hit record for a few weeks in 1987, you need every recourse to continue making money from it decades later. In short, it’s a terrible song from a terrible band and you’d never imagine that it could be anything but a terrible footnote in the history of terrible music. Enter Sturgill Simpson. Who is this man with a golden voice who takes a nugget of pure dreck and finds the heartfelt ballad inside? Simpson named his breakout album Metamodern Sounds in Country Music, and that itself is a good introduction to the artist. The idea is that the country music is neither dead nor hostage to flag-waving imbeciles; in the hands of a master, it’s alive and as relevant as anything else out there and it can support whatever ideas you want it to, be it the joy of psychedelic drugs or the joy of mining good songs out of bad production.

 

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