Multi-Platinum-selling hitmaker Sam Hunt releases new song “Walmart” today. Hunt and co-writers Zach Crowell, Shane McAnally, and Josh Osborne maintain an undercurrent in “Walmart” that life has a way of working out, as Hunt transports the listener to a small town run in with an ex’s mother. Hunt is introspective while looking back on open-ended questions of his past, now with the knowledge of life and years gone by.

“Walmart” serves as the latest from the five-time GRAMMY nominee, following his nostalgic “Start Nowhere” and his current Top 20-and-climbing radio hit “Water Under the Bridge.” It’s a stunning, introspective, remorseful yet peaceful track about finding your peace with the bitterness of your past.

We parted ways in the summer, told me goodbye through your tears

I used to run into you over Christmas, but I hadn’t seen you in years

I used to think that I messed up, wonder if I should’ve stayed

I thought I’d always regret letting you go but all that regret went away

I saw your mama at Walmart with your little girl

She had your eyes and your smile, she had your nose and your lips

Somewhere in our little small-town, small talk girl

Lost in the grocery aisle, holding a bag of some chips

I realize that everything happens for a reason

Losing your love ain’t the end of the world

I saw your mama at Walmart with your little girl

Your little girl, your little girl

She asked me how I was doing, I didn’t know what to say

I kept replaying how you used to say that you wanted a family someday

Someday was just an illusion, when this town was all that we knew

You told me you’d never get over me, honestly, part of me hoped that was true

I saw your mama at Walmart with your little girl

She had your eyes and your smile, she had your nose and your lips

Somewhere in our little small-town, small talk girl

Lost in the grocery aisle, holding a bag of some chips

I realize that everything happens for a reason

Losing your love ain’t the end of the world

I saw your mama at Walmart with your little girl

Your little girl, your little girl

I saw your mama at Walmart with your little girl

She had your eyes and your smile, she had your nose and your lips

Somewhere in our little small-town, small talk girl

Lost in the grocery aisle, holding a bag of some chips

I realize that everything happens for a reason

Losing your love ain’t the end of the world

I saw your mama at Walmart with your little girl

Your little girl

I saw your mama at Walmart with your little girl

Your little girl, your little girl

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Sam Hunt has released his new single, “Water Under the Bridge,” today coinciding with a worldwide radio premiere. Written by Hunt with Chris LaCorte, Shane McAnally, and Josh Osborne, “Water Under the Bridge” is a fun, fast paced trip down memory lane with lyrics and melody reflecting the carefree days of youth.

“That muddy river, it was rollin’.  We didn’t care where it was goin’.  We had it made, we didn’t know it.  We were young, dumb, and so full of it. Broken bottles and graffiti, beer and girls and poppin’ wheelies. Love was fun and life was easy. Now it’s just water under the bridge.”

“Water Under the Bridge” follows Hunt’s recent No. 1 smash hit “23,” also written by Hunt with the trio of LaCorte, McAnally, and Osborne. The track was Hunt’s eighth chart-topping hit and has amassed over 180M global streams. The songs follow the release of Hunt’s critically acclaimed sophomore album Southside. 

Fans can find Hunt touring across the country with upcoming shows from southern Calif. to Anchorage, Alaska. For information on Sam Hunt, visit www.SamHunt.com.

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Country superstar Sam Hunt has released the official music video for new single “23” today. Director Tim Mattia captures the laid-back nostalgia of the song following characters in the video as they connect back to the pureness of their youth and past relationships. ’23’ is a captivating track – the perfect end to summer jam – that is quite rightly getting the recognition it deserves as it climbs the country charts.

Written by Hunt with Shane McAnally, Josh Osborne, and Chris LaCorte, “23” is the first new track from Hunt since last year’s chart-topping album SOUTHSIDE featuring multiple back-to-back No. 1 hits with “Breaking Up Was Easy in the 90’s,” “Kinfolks,” and “Hard To Forget.” The Platinum-selling project debuted to critical acclaim with the album and various tracks landing on multiple “Best of” lists for 2020 including The New York Times Best Albums and NPR’s Best Songs (“Hard To Forget”). The album earned additional praise from American Songwriter, Associated Press, Billboard¸ Entertainment Weekly, NPR, Pitchfork, Slate, The Ringer and more. The track beckons in a new era of Hunt’s music that feels incredibly fresh and compelling.

For information, visit www.SamHunt.com.

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Multi-Platinum-selling superstar Sam Hunt releases brand new song “23” today. Written by Hunt with Shane McAnally, Josh Osborne, and Chris LaCorte (who also produced the track), “23” has the singer thinking back warmly on a past relationship. It’s a beautifully nostalgic and charming track that sees Hunt dig in deep to his mature, lyrical expertise. Using an early photo of his wife, Hannah’s, aunt and uncle when they were a young couple for his song art, Hunt further illustrates the nostalgia and fondness of days gone by. Despite moving on with new cities, jobs and life, the story goes:

You’ll always have long blond hair

You’ll always be Memphis queen

You’ll always be my first time in New Orleans

No matter where I go, no matter what I do

I’ll never be 23 with anyone but you

You can marry who you want

Go back to Tennessee

But you’ll never be 23 with anyone but me

We’ll always have Folly beach

We’ll always have delta nights

We’ll always be in-between real love and real life

Listen to Sam Hunt’s “23” HERE

At a recent session at Ocean Way studio in Nashville, Hunt and his band performed a scaled back version of the new song. Fans can watch the performance of “23” here

“23” is the first new track from Hunt since last year’s chart-topping album SOUTHSIDE featuring a string of back-to-back No. 1 hits with “Breaking Up Was Easy in the 90’s,” “Kinfolks,” and “Hard To Forget.” The Platinum-selling project debuted to critical acclaim with the album and various tracks landing on multiple “Best of” lists for 2020 including The New York Times Best Albums and NPR’s Best Songs (“Hard To Forget”). The album earned additional praise from American Songwriter, Associated Press, Billboard¸ Entertainment Weekly, NPR, Pitchfork, Slate, The Ringer and more.

Fans can find Hunt touring across the country with upcoming shows from Hollywood, Fla. to Huntington Beach, Cali. For information on Sam Hunt, visit www.SamHunt.com.

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Singer-songwriter ERNEST has scored his fourth #1 hit this week with Sam Hunt’s “Breaking Up Was Easy In The 90’s.” Previously Ernest had credits on #1s including “I Love My Country” (Florida Georgia Line), “More Than My Hometown” (Morgan Wallen) and “Big, Big Plans” (Chris Lane), fast becoming one of Music City’s most sought-after songwriters, while carving his own path as a country artist.

Having co-written 11 tracks on Wallen’s Dangerous: The Double Album, plus Lane’s current single “Fill Them Boots,” ERNEST’s impact is now extending beyond Music Row with writer credits on ZAYN’s “Tightrope” and his buzz-inducing collaboration with Diplo on “Bottle’s Bout Dead.” Racking up hardware, he scored a 3X PLATINUM smash with Diplo and Wallen’s hit “Heartless,” plus the Young Thug and Mason Ramsey remix of Lil Nas X and Billy Ray Cyrus’ 14X PLATINUM “Old Town Road.”

Known for his distinctive lyricism and vocal flow, new music is coming soon for ERNEST as he follows up the hand-on-your-heart anthem, “Cheers,” a timeless toast that built on the lifelong Nashville native’s 2019 debut Locals Only (Big Loud Records).

Now a first-time father, ERNEST and his wife, Delaney, welcomed son Ryman Saint, born April 27. Read more in the PEOPLE.com exclusive here.

KEEP UP WITH ERNEST: WEBSITE | FACEBOOK | TWITTER | INSTAGRAM | YOUTUBE

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50. Twinnie, ‘I Love You Now Change’ – Twinnie’s track is both vulnerable and empowering in equal measure, singing to a lover who wanted to change her. It’s remarkably raw and honest, making it the standout track on Hollywood Gypsy. 

49. Jimmie Allen, ‘Drunk & I Miss You’ (feat. Mickey Guyton) – Allen’s signature R&B/country sound is given an elevation with Guyton’s accompanying vocal on this delightful track. The duet goes into well-trodden territory, yet it is the duo’s extraordinary vocals and tasteful production that elevate this into uncharted territory.

48. Tim McGraw, ‘Hard To Stay Mad At’ – The best track from McGraw’s record ‘Here on Earth,’ sees him return with his stunning signature production, a different take on a lovesong and it’s wondrously delivered.

47. Dustin Lynch, ‘Momma’s House’ – One of Lynch’s strongest tracks to date, the track is rife with nostalgia whilst dealing with heartbreak. Another track we can’t wait to hear when live music returns.

46. Thomas Rhett, ‘What’s Your Country Song’ – Rhett’s catchiest and biggest track of recent years, ramming his love of country into one track, yet tastefully done.

45. Gone West ‘What Could’ve Been’ – Gone West bring their gorgeous Californian country sound to this track that wonders about a relationship that could have been, looking back with rose-tinted glasses.

44. Lee Brice, ‘One of Them Girls’ – Like Combs’ ‘Beautiful Crazy,’ Brice has emoted a song that many girls will read themselves into, it’s tender yet anthemic and will be a massive hit on the live circuit.

43. Kelsea Ballerini, ‘Half Of My Hometown’ – Accompanied by Chesney, Kelsea Ballerini sings about the different sides to their hometown – those that stayed and those that left. It’s poignant, tender and nostalgic, brimming with love for her hometown.

42. The Well, ‘Marcus King’ – King’s vocal is near unparalleled in its ability to emote even through heavy rip-roaring production. This track is testament to that.

41. Parker McCollum, ‘Pretty Heart’ – This is McCollum’s first number one on country radio and it’s easy to see why on this track questioning what the ending of a relationship says about him. The track is candid and real.

40. Lee Brice, ‘Memory I Don’t Mess With’ – Brice’s 2020 record was rammed with some gems, so we’ve included two on this list. Brice sings about leaving a memory of an ex, as something almost too painful to deal with, delivered with his powerful, signature vocal.

39. Brandy Clark, ‘I’ll Be The Sad Song’ – Gut-wrenching seems to be Clark’s MO with her 2020 record, this song is a glorious reminder of ‘seasons’ in life as she sings to a former lover that she will be the ‘sad song’ in the record of their life. As far as analogies go, it’s pretty flawless. 

38. Gabe Lee, ‘Imogene’ – It is hard not to draw comparisons between Gabe Lee and Bob Dylan and this track about ghost town ‘Imogene,’ is an extraordinary take on Dylan in 2020. 

37. Jason Isbell, ‘Dreamsicle’ – It’s hard to critique Isbell at any level, and ‘Dreamsicle’ from his 2020 album is another reminder of his extraordinary songwriting ability, replete with perfectly harmonies and guitar sequencing.

36. Josh Kerr, ‘Arizona’ – Kerr has an ability to emote like no other and ‘Arizona’ is a heart-wrenching pondering on past memories with an ex.

35. Danielle Bradbery, ‘Girls In My Hometown’ – Bradbery delivers a staunchly nostalgic reminder of her hometown, wondering about where all the girls in her hometown ended up and it feels like an authentic throwback to her days with ‘Heart of Dixie.’

34. Maddie & Tae ‘Water In His Wine Glass’ – The duo’s most mature track to date, a mournful take on alcoholism and its effects on those closest and the most traditional stripped back track we’ve heard from the girls in a while, letting the emotion in their vocals shine through.

33. Margo Price, ‘Letting Me Down’ – Price’s driving indictment closes the door on the past, she sings out the toxins on this searing track and it feels cathartic.

32. Secret Sisters, ‘Hold You Dear’ – An incredibly pensive and bittersweet track that showcases the duo’s soaring vocals with the delicate accompaniment of strings. 

31. Travis Denning, ‘ABBY’ – A blistering middle finger to his ex, Denning’s track is rammed with comedic wit and we can’t get enough.

30. Kameron Marlowe, ‘Leavin’ To Me’ – If you only know Marlowe for ‘Giving You Up,’ take a listen to this track to realise his full depth. This is everything a country song should be, quietly plaintive, melancholic and heart-wrenchingly authentic.

29. Eric Church, ‘Stick That In Your Country Song’ – Brimming with barely muted anger, Church’s track sears a comment on the country industry itself, it’s brave and fearless as only Church can be.

28. Yola, ‘Hold On’ (feat. The Highwomen, Sheryl Crow) – In this mesmerising, gospel-edged anthem, Yola unleashes a powerful, universal song for the ages, and more specifically for 2020. The track is transcendent.

27. Ingrid Andress, ‘The Stranger’ – It’s hard to pick just one track from Andress’ debut record, but this may just be it. A gorgeous and haunting track about a couple deciding to go back to the roots of their relationship.

26. Michael Ray, ‘Whiskey and Rain’ – Michael Ray beckoned in a new era for his music with his September release that saw a return to his 90s country influences, vocally sublime.

25. O&O, ‘Dancing on the Floor’ – O&O delivered a fresh take on their sound with the blistering blues-y guitar riffs on this track that references religion and liquor. One of their best to date.

24. Maren Morris, ‘Better Than We Found It’  – Morris can deliver a political statement more poetically than almost any other writer – just listen to ‘Dear Hate’ – and this track, released before the election will make you feel like you yourself can do better. 

23. Rae Lynn, ‘Me About Me’  – Rae Lynn never ceases to surprise and on her Baytown EP, this was one of the stand-out tracks, laying out reasons for the end of the relationship with a self-involved partner – classily done.

22. Emma & Jolie, ‘I Don’t Need A Man’ – The stunning and empowering debut from new UK duo, Emma & Jolie, written with Emily Hackett. If this doesn’t make you want to dance and be single, we don’t know what will.

21. Brothers Osborne, ‘All Night’ – Brothers Osborne can deliver a spicy guitar solo like no other. The track brims with vitality and the raw energy that the duo bring to their live set.

20. Kip Moore, ‘South’ – This is a track built for a road trip, a zinging guitar riffing track that drives through from start to finish.

19. The Chicks, ‘Sleep at Night’ – If the rest of the album doesn’t break you, then this plaintive track surely will, quietly infused with anger at how someone could treat the singer like this – desperately asking the question most of us are too afraid to ask, for answers and closure.

18. HARDY, ‘A ROCK’ – Hardy can turn a lyric like no other and this track is cleverly and wittily crafted, with twists and turns that take your breath away.

17. Matt Stell, ‘Sadie’ – An almost U2-infused country anthemic track, a love letter to ‘Sadie,’ artfully told and masterfully delivered.

16. Tenille Townes, ‘The Most Beautiful Things’ – Townes has an extraordinary signature vocal that paints a picture of everything we should be grateful for in this heartwarming track. Stunning.

15. Caylee Hammack, ‘Forged In The Fire’ – A stand-out track from Hammack’s debut record, this track showcases her vocal like no other.

 14. Lainey Wilson, ‘WWDD’ – A rip-roaring, hell-raising and empowering track, an ode to Dolly Parton and to country music, Wilson’s Southern twang is pivotal to make this track anthemic.

13. Cam, ‘Forgetting You’ – A stunning and poignant heartbreak of a track, about moving on from a lover, at all times except when alone. Cam’s vocal has a vulnerability like no other and it is this that brings the magic to this track.

12. Russell Dickerson, ‘Southern Symphony’ – Beyond a shadow of a doubt, this is Dickerson’s best track yet, a stunning love song to country music and to America generally.

11. Ruston Kelly, ‘Brave’ – Kelly’s vocal has always been immensely evocative and this story is a stunning depiction of just what it means to be ‘brave,’ questioning his own existence and how he will be remembered. 

10. Carly Pearce, ‘It Won’t Always Be Like This’

Pearce’s 2019 duet with Lee Brice has been one of the most-played tracks of the year, yet this deeper cut from Pearce’s sophomore and self-titled record sums up every emotion that we needed this year, through Pearce’s stunning, emotive vocal.

9. Morgan Wallen, ‘More Than My Hometown’

Morgan Wallen is definitely one to watch out for in 2021, having won the CMA for New Artist of the Year, he is set to release his masterpiece, lengthy record in January that is bound to be a great success. ‘More Than My Hometown’ captures everything about why Wallen is a star ascendent, engaging and catchy vocals with an extraordinary tone couched in traditional country lyrics with a twist.

8. Brett Eldredge, ‘Sunday Drive’

Eldredge found the title track for his 2020 record Sunday Drive whilst interning and saved it up for his fourth studio record. The track is a poignant and bittersweet look at a Sunday drive with one’s parents as they age – peaceful yet subtly melancholic and Eldredge’s stunning vocal captures all that complexity of emotion.

7. Sam Hunt, ‘2016’

Hunt gets shockingly vulnerable and candid on ‘2016’ from his long-anticipated sophomore record Southside and nowhere more so than on track ‘2016,’ owning up to his mistakes that made the news.

6. Luke Combs, ‘Six Feet Apart’

A little cliched? Yes, but Combs has a way in this track of expressing everything we wanted to and distilling it into a few minutes – perfectly poignant and delicately done – a legacy track.

5. Ashley McBryde ‘Voodoo Doll’

A rip-roaring, explosive dynamite of a track from McBryde that headed into uncharted, heavily rock-tinged territory. The track sears with vitriolic energy that literally fizzes down the airwaves.

4. Amanda Shires, ‘The Problem’ (feat. Jason Isbell)

An extraordinary track, laying out a conversation between Isbell and Shires on abortion rights – it’s thoughtful, considered, evocative and unlike anything we have ever heard.

3. Jordan Davis, ‘Church in a Chevy’

 The stand-out track from Davis’ 2020 EP ‘Detours,’ ‘Church in a Chevy’ is a raw and authentic look at his perspective on religion and his own spirituality, in an incredibly artful form – this is the core of country music’s power, offering a fresh perspective on the world.

2. Chris Stapleton, ‘Cold’

Stapleton consistently breaks her hearts over and over again, like no one else can. In ‘Cold’ from his fourth studio album Starting Over, Stapleton questions being left by a partner – it’s evocative and authentic and a reminder of just how emotive songwriting can be in just a few lines.

1. Mickey Guyton, ‘What Are You Gonna Tell Her’ / ‘Black Like Me’

We couldn’t truthfully decide between these two powerful and immensely important tracks on Guyton’s EP ‘Bridges’ so we’re including them both in the top spot. Guyton’s vocal rises supreme in flawless and thoughtful songwriting that questions your own place in the world and just what legacy you’d like to leave behind. Don’t just listen, listen.

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1. Tucker Beathard reveals new album and single

2. Luke Combs Reveals 2021 Tour Dates

3. Kane Brown and wife Katelyn have recorded a song together

4. Taylor Swift releases ‘surprise’ 8th studio album folklore

5. Long Time Grand Ole Opry Announcer Eddie Stubbs Is Retiring

6. Brothers Osborne to Release Third Studio Album ‘Skeletons’ in October

7. Sam Hunt Lands Seventh No. 1 Hit with ‘Hard To Forget’

Release Radar

Blake Shelton and Gwen Stefani, ‘Happy Anywhere’ – We need a Shelton/Stefani album ASAP. That is all.

Caylee Hammack and Alan Jackson, ‘Lord I Hope This Day Is Good’ – Wow. Don Williams would be proud. Hammack unleashes that incredible vocal with help from Alan Jackson in this flawless cover.

Mickey Guyton, ‘Heaven Down Here’ – Guyton again knocks it out of the park with this stunning track, showcasing her flawless vocal and songwriting chops

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It’s been a long three years since we’ve last heard from Sam Hunt. After releasing ‘Body Like A Backroad’ in 2017 and performing at the CMAs, Hunt seemed to go off the country grid. This month, we’ve watched Hunt release his sophomore album. However, is it possible that Hunt drifted the album release for so long that he’s unable to carry on riding the success of 2017’s wave, or is he able to catch his second wind?

The album opens with sleepy track ‘2016.’ The track doesn’t propel the listener into the energy that the rest of the album builds up to. A lot has changed since Hunt last stepped on the scene. Now, country hits are in a new era of ‘boyfriend country’ from the likes of Ryan Hurd’s ‘To a T’, Old Dominion’s ‘One Man Band’, and Chase Rice’s ‘Lonely If You Are’. These are just a few examples of artists who left the bro-country party scene and have developed into a lukewarm state of romance. Even frontmen Florida Georgia Line have stopped cruising to stop to count their ‘Blessings’. While Hunt continued to release singles over the six year gap between his debut and sophomore album, he rarely performed at live events such as award shows and late night television. At times, he seemed to exclude himself from the country conversation, leaving a gap between his music and the rest. This, of course, may be no bad thing. The opening track lacks contemporary relevance, in my opinion, and Hunt’s sense of swag and spoken word style (appropriate when Hunt was releasing singles during the same era of hip hop artist Macklemore) now lags behind the likes of Kane Brown and Lil Nas X.

Hunt’s current single ‘Hard To Forget’ will undoubtedly be a great track to perform live. It matches the energy of an early 2000s track (fashionable for using high pitched samples) and produces a range of texture through its differing frequencies. However, the song also works a tightrope – juggling a traditional country sound (as the track samples Webb Pierce’s ‘There Stands The Glass’) while addressing the new trap elements in mainstream country. While Hunt is able to achieve an unconscious and free flowing narration – which is what makes Hunt appear to be so relatable to listeners – the mix is inert, unable to bring forward Hunt’s story. Undoubtedly, Hunt has created a great and modern interpretation of the original and sorrowful story, and decorated the story into a summer positive breakup song, however putting both songs into the same batch doesn’t sit well for me personally.

In ‘Kinfolks’ Hunt swerves away from the usual 808-heavy mix he usually saturates his tracks in (like ‘House Party’), and opts for a cleaner approach. While the percussion production still doesn’t follow the traditional drum mix of Hunt’s peers, it does however provide a cleaner and crisper sound, allowing the string guitar melody to glisten.

One charm that Hunt has been able to hold onto is his small town boy mannerisms, capturing the bloom of native love in an honest light. This time round, Hunt’s songwriting allures more freedom and especially grit in ‘Young Once’. A deceivingly slow track erupts into a passionate whirlwind of young love during the chorus. So far, ‘Young Once’ has the greatest sense of space in the mix, through the flying strings and complex balance of 808 and natural drum timbre.

‘Body Like A Backroad’ was the first single to be released in anticipation of the album back in 2017, and truly showed promise for Hunt’s more assertive approach to sex (alongside ‘Sinning With You’), in the reserved country genre. The ‘heys’ on loop during the chorus give the track an old school throwback feel. Ultimately, it’s one of Hunt’s few slow songs that is able to avoid being a ballad.

Speaking of ballads, ‘That Ain’t Beautiful’ begins with Hunt’s style of singing/spoken word, and while this style introduced Sam Hunt as fresh, sleek, and the country version of Drake (all the way back in 2016), I personally find it doesn’t hit the mark in 2020. 

It’s ironic that the energy of the album picks up during ‘Let It Down’. The track blends together honky-tonk country with strong pop beats, making it the perfect modern square dance track. While the chorus is punchy and Hunt’s vocals have never sounded so bold, the mix almost sounds messy, as it attempts to mix too many different elements, and is jumbled with too many people pleaser tones.

The loose Latin guitar riff in ‘Downtown’s Dead’ adds some profundity with lines such as ‘there’s no way I can paint a ghost town red’ to express Hunt’s hurt after his break up to girlfriend (now wife) Hannah Lee Fowler. ‘Nothing Lasts Forever’ is oozing with soul and R&B, which makes the violin sound foreign. The track has the potential to be a great stand out track, perhaps even a future single. Lyrically, the song follows the style of Cheat Codes ‘promise me no promises’ as Hunt sings ‘just don’t say it’s nothing, cause nothing lasts forever’. If the track was to be remixed with some stronger and feisty bass, the message and intensity of Hunt’s words would really pack their punch.

Let’s be honest ‘Sinning With You’ is a risky song, even post-‘Girl Crush’. Hunt delivers this song with such elegance. The texture of the harmonies during the chorus are angelic. Here, when Hunt uses his signature spoken word slurs, it conveys such an eminent intimacy and level of vulnerability as he says ‘I hate it when I can’t feel the holy spirit’.

The spoken word style returns in ‘Breaking Up In The 90s’, but this time, instead of the technique missing the mark as it did in ‘That Ain’t Beautiful’, it achieves a breaking-the-fourth-wall effect during the verses. The chorus carries the majority of the song – it’s memorable and admittedly slick, but the levels of texture between verse and chorus differ so much that it interrupts the cantabile quality created in the first chorus.

‘Drinkin Too Much’ takes us to church with vibrant organ and 808. Hunt balances the quality of being private but not exploitive, I would even go as far to say as reading the song as a confessional.

While the whole album is a raw divulgence and Hunt obviously is taking serious risks with his levels of honesty within his marriage and conflicted relationship with small town religion, the production side of the record is under-baked and fails to rise to the hype of his debut works. It was long wait for the second album, but was it really worth it? I personally was underwhelmed.

Editor’s Picks

Breaking Up Was Easy in the 90s

Drinkin’ Too Much

Body Like A Back Road

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