So, I gotta wonder why with the cool banjo work and sweet segments of simple and clean production behind her voice, why does the producer have to lard it up with the over modulated, hyper-compressed Vegas-show orchestral wall of sound for the other half of the record. And I don’t mean that in the good ol’ Phil Spector-sense. We get like, 30 seconds of cool, then we get blasted for 20 seconds, then we get another half minute of cool before it goes all TV over-kill again. The lyric is quite entertaining and it’s a Top 20 song, easy. Probably Top 10. But really, without all the over-indulgence, it could have been so much better than it is.