My favorite songs and artists of 2008

Ok, as my first meaningful post since last winter, I am going to highlight some of the more commercially viable songs and artists of the past year or so. Hope you agree, hope you disagree, hope you comment. In coming posts, my least favorite. Which is SO much more fun.

"You're Gonna Miss This," Trace Adkins -- It's a simple song, and I'm not even entirely sure exactly what I find so appealing about it. Its sincerity? The fact that his vocal delivery doesn't sound hostile or creepy, for a change? I don't know. I'm fickle when it comes to songs about kids growing up. (Which, by the way, his kids are 36 and 23? That's a long time to wait for kid #2.) He might not have won Celebrity Apprentice, but he won our hearts. Ewww. I did not just say that.

Anything by Jason Aldean -- I almost feel lukewarm about him. "Laughed Until We Cried" has SO many brethren on the radio right now, including the above Trace Adkins feelgood. But it's still pretty sincere. "Relentless" really underperformed; it's a much better song than either "Laughed Until We Cried" or prior single "Johnny Cash". I'm giving him the benefit of the doubt, because I absolutely love his voice and his first album, and hope that future releases of his speak to the talent of his first album's "Hicktown" and "Why".

"Learning How To Bend" by Gary Allan -- Some of the lyrical output is a little clunky and certainly repetitive, but the sentiment is substantive. And his voice serves the words well. And I guess I'm a sucker for a personal growth song.

"Cleaning This Gun (Come On In Boy)" by Rodney Atkins -- Honestly, I'm not really sure what this song is going for. Comic relief, mostly, I guess? I know it sort of walks the tightrope between poser redneck tough and actual redneck tough, and it only just barely falls on the side of genuine, but I like the way he delivers his lines -- cocky and daring, slimy like be-Badonkadonked Trace Adkins on a good day. Although is he actually going to shoot his daughter's boyfriend? And what happened to the little boy in "Watching You"? Is he allowed to date any girl he wants? Ok, overanalysis.

"Tryin' To Stop Your Leavin'" by Dierks Bentley -- I'd buy almost anything Dierks Bentley had to sell me. The feeling of powerlessness in the face of a breakup really does come across so resonantly in this song. It's got that resigned tone that never fails to break my heart. Not melodramatic, just honest like his stuff always is. Should've been a somewhat bigger hit, although maybe its subtlety didn't seduce people as much as it could've.

"God Must Be Busy" by Brooks & Dunn -- Ok, I really didn't want to like this song. It's certainly a manipulative tearjerker, but it really could be more manipulative. And I almost feel like it's subversive in tone; saying God is busy is almost flippant. And it also places your petty problems in context of um, yeah -- the Middle East is unstable to the point of radioactivity, and you're bitching about being stuck in traffic? Then again, the "Bloods & Crips" line almost makes me laugh. Not exactly their best work, but certainly their best work this year. (Sad as that is.)

"What Kinda Gone" by Chris Cagle -- One of the year's sleeper hits is fun as hell, just like a Chris Cagle song ought to be. I'm not sure how much I have to say about it, other than to admire its "aw, shucks" attitude of having fucked up. The first few listens I found the chorus a bit too homespun, but it really grows on you. Follow-up singles never really got off the ground.

"Shiftwork" by Kenny Chesney & George Strait -- For all of Kenny Chesney's appeal to blue-collar types, this has got to be his only hit song that actually acknowledges working. I never fully understood how people can "relate" to him chilling out in his private boat in Mexico or the Bahamas or wherever. Indeed, it's somewhat disappointing that he ultimately has a beer on the beach or whatever in that one verse of the song, but hey. You can't ask for anything. The song is catchy as HELL, first of all. George Strait classes anything up, second of all (even if his presence is almost gratuitous). And it's just fun fun fun, and not in that "I'm too lazy to sing" kind of way, either. If they could all be like this, Chesney.

"Better As A Memory" by Kenny Chesney -- ... or like this one. I'm a sucker for a good sad song, and even though a lot of this one doesn't make sense, at least it's not insipid like a lot of his uptempo mumbojumbo. I wonder what the song would feel like from the other perspective; i.e. "YOU were better as a memory." Remake, anyone? (Reba, I'm looking your way.)

"Ready, Set, Don't Go" by Billy Ray Cyrus -- WITHOUT MILEY CYRUS. The solo version is a heartfelt, earnest ballad about watching a daughter (or whomever) grow up and go away. Gotta be bittersweet for a parent, and Billy Ray sings better than ever when addressing the theme. Miley, on the other hand? I'll save that for my least favorite songs of the year.

"Small Town Southern Man" by Alan Jackson -- In some ways it just rehashes the theme of "Drive (For Daddy Gene)," although that song was more about growing up, and this song is moreso a direct dedication to Daddy. In the hands of a lesser singer/songwriter, this might've seemed cheap, hitting all the main points on the country checklist (Jesus, Uncle Sam, monogamous marriage, appreciation for family, hard work), but when Jackson sings it, you believe it. (Not so much when he's singing about partying, unfortunately, but I'll cross that bridge when I come to it.)

"Get My Drink On" by Toby Keith -- Yay! Booze! Toby is best when he's either being heartfelt or seedy. Because a seedy Toby is a happy Toby. And a happy me. Even if he's being a sad Toby. Ok, I have just talked myself into a circle painted into a corner wrapped inside a mixed metaphor wrapped inside an enigma. The point is, if Toby sees fit in his husky low voice to get his drink on, who am I to deny him. No one, that's who. It is criminal that this song missed the Top 10, when so much of his other unfortunate recordings become big hits. ("Love Me If You Can"? Sorry, can't. I know I've said that already. It bears repeating.)

"She Never Cried In Front Of Me" by Toby Keith -- And there's the heartfelt Toby. Wrapped inside of a ... Ok, I'll stop. The sadness of knowing that your former partner could only be him/herself with someone other than you can be pretty rough, and it's an interesting scenario you don't hear too too often in song. So, thank you, Toby. I won't go so far as to say that I cried in front of the song, but it's lyrically and vocally very strong. Good show. (I still can't get over "Love Me If You Can". I know it's been a year. Ok. Over it.)

"Love Don't Live Here" by Lady Antebellum -- I really hope these guys are around for awhile. Everything about this recording is perfect. It's a great tempo, the song progresses in a welcoming way, it's good to sing along to, the lead vocals and harmonies are the stuff of legend, ... I just don't have enough good things to say about this song. Almost more southern rock than country, but I hate opening the whole "Is it country?" jar of worms. Good show. Possibly, POSSIBLY, my favorite song this year.

"Gunpowder & Lead" by Miranda Lambert -- A Certain Someone had the ignorant audacity to remark that this song was a "Before He Cheats" ripoff. Instead of insisting that he needed a lobotomy, I politely nodded. Really, though? Look, I like Carrie Underwood quite a bit. But a song about keying someone's car doesn't really compare to the adrenalined fear of knowing an abusive husband/boyfriend is getting out of jail and knowing that you have to kill him. I mean, this song is NOT FUCKING AROUND. Heh. And why aren't more of country's sweethearts embracing the Miranda Lambert route? Again, I like the Underwood, but these girls are so afraid to be tough and down and dirty, save Ashton Shepard (see below) and Gretchen Wilson, and I've lost all faith in THAT redneck woman. There should be an Ashton Shepard or Miranda Lambert song on the radio canceling out all songs by Taylor Swift or Kellie Pickler. Effective immediately.

"Fine Line" by Little Big Town -- I really want to root for this band. But some of their stuff of late has seemed a tiny bit lackluster. Then comes this song, yet another tune reminiscent of an underrated Fleetwood Mac modest hit. But hey, I LOVE Fleetwood Mac. This really should've been the lead single off of their album, because I think "I'm With The Band" underwhelmed everyone. Then again, this song isn't quite commercially strong enough to be a lead single. So who knows. I wouldn't doubt if this group never had hits again, which would be a real shame. There's a dearth of mixed-gender music groups in general (not just in country), and, along with Lady Antebellum, Little Big Town could really continue to make radio interesting.

"Every Other Weekend" by Reba McEntire & Kenny Chesney -- Wow. That's three positive things about Kenny Chesney in one posting. There's a first time for everything, I guess. Seriously, though, this song rules. Not exactly a tearjerker (which is good), but nevertheless sincere about the realities of the aftermath of divorce and child custody, and mostly the awkwardness of it all. The wondering if it could be fixed, but the common sense to know that it's just no longer an option, and the resignation to the fate of the die that's been cast. Far less treacly or cutesy than a lot of Reba's more recent work. It's really a very good song.

"Suspicions" by Tim McGraw -- Alright, so it's a remake that's faithful almost to the point of irrelevant. It's not bad, though. I mean, he can sing, as always, and it's a nice little song that a lot of people can relate to. It really should not have been the flop that it was. "Kristofferson," yes. This one, no. It at least deserved Top 10.

"What Do Ya Think About That" by Montgomery Gentry -- Here's another catchy ditty. Yeah, it's in your face in a very white trash kinda way, but it really works here and somehow manages NOT to be offensive. As much as I like lyrics, I think the song's strength is mostly in its production and the emphatically delivered vocals. I go 50/50 on Montgomery Gentry, but this is definitely one of my favorite songs of theirs.

"International Harvester" by Craig Morgan -- And then there was "International Harvester". I was in love with this song at first listen. So much so that I re-examined my prior disdain for Craig Morgan and now really like him a lot. Like Montgomery Gentry's song above, this song is proud and joyous in its defiant this-is-how-it-is-ness, and, even in country music, we just don't have enough songs dedicated to farm equipment. Much less one that casually tosses out the word "hoss" and turning "p-p-p-p-plower" into a six-syllable word. Definitely one of my favorites this year.

Anything by James Otto -- "Just Got Started Lovin' You" was the big hit, and that one is fun, but "For You" is just heartbreaking. Firstly, because it's really quite sad, and, secondly, because it failed to be a hit. Inexplicable. The song has everything. Same tone as, say, "Best Of Intentions" by Travis Tritt, combined with the resigned hopeless ignorance of McGraw's "Just To See You Smile", with some "Please Remember Me" gravity thrown in. I hope the Otto sticks around.

"Letter To Me" by Brad Paisley -- Sort of a 21st century country version of Springsteen's "Glory Days". Although whereas "Glory Days" is a cautionary tale, this is more of a chin-up kind of a deal. Still, it's the kind of thing kids need to hear, whether or not they are capable of believing it at the time. Definitely one of the better tracks from his "5th Gear" album, which has so many low points that I'll hardly have time to discuss them all when I get there. I hope that he continues to make music like this and not just settle for the shtick that plagues too much of his current stuff.

"Winner At A Losing Game" by Rascal Flatts -- This is the reason I like Rascal Flatts, haters. It's a well-written (if not overly simplistic) song, beautifully sung. The power of that voice, people. The high notes. And the catchiness of the title, even if it doesn't quite make total sense. Yes, songs like "Bob That Head" and "Me And My Gang" might make you wonder what the hell their deal is, but you stick around for the "These Days"'s and the "What Hurts The Most"'s and the "Winner At A Losing Game"'s.

"Don't Think I Don't Think About It" by Darius Rucker -- Ok, which was less likely: a black man getting elected president, or a black man returning to the top of the country charts? Well, let's just say that when Rucker hit #1, I knew Obama was getting elected. In all seriousness, though, I really love this song. It's got that appealing country doublespeak (don'tthinkIdon'tthink), which is awesome, and his voice so naturally goes with country radio that it makes you wonder why you never noticed it before. (Suddenly "Hold My Hand" by Hootie & The Blowfish is a country song. See?) And you know I loves me some regret song, or a song about someone not even sure if he's regretful. It's a class act, all the way.

"Home" by Blake Shelton -- Oh, it's just pretty. Sure, it's weird that a Michael Bublé song (much less one that mentions Paris and Rome) would hit #1 on the country charts, but Blake Shelton's voice can do no wrong, and it doesn't hurt that Miranda Lambert is on background vocals. And it lacks the melodrama and ambiguity of "The Baby" or "Austin", so that's always a plus.

Anything by Ashton Shepard -- Every time I hear any of her songs, I get excited. Still. She gives me energy. "Takin' Off This Pain" has a great jubilant spitefulness, that perfect fuck-you-it's-over sentiment, and she's celebrating with beer, which is always encouraged. "Sounds So Good" celebrates country music and summertime country living, and, again, not in that faux-Gretchen Wilson way. Like, I don't really feel like I have to prove anything to Ashton Shepard like I would to Wilson and her posse. And Ashton's twang is so backwoods it might as well be a tree singing. I mean, that is some ACCENT she's sporting there. And it's so righteous. She deserves so much success and fame. If not, I hope she knows at least I'm a big fan.

"Troubador" by George Strait -- Is it sad that George Strait is so old now that he's sort of getting defensive about his age? Or is it just a philosophical rumination on good times past? Either way, it's a vocally strong (even for him) tune that waxes reminiscent on the good life he's had. And got at least one KIIM-FM listener asking, "Uh, what's a troubador?"

"Another Try" by Josh Turner & Trisha Yearwood -- Why this song flopped is beyond me. Turner's track record is a bit weird, but this is certainly a stronger song than "Firecracker". Slower, more somber, perhaps, but ultimately more satisfying. And even though Yearwood doesn't have a whole lot to do here, she certainly complements the rest of the recording. And the chorus really gives them both the opportunity for their voices to soar -- and that's why you listen to Josh Turner, anyway. Well, I think it's a great song.

"You Look Good In My Shirt" by Keith Urban -- Ok, so technically there's a new version of the song from his greatest hits album, but it's so similar to the original version from "Golden Road" that... you know, either way. Actually, the original version is better, a little less gimmicky, so I'm going to talk about that one. It's perfect Keith Urban to present a playful tune about hooking up with an old flame and being unsure about where to proceed other than knowing that it feels good in the moment.

"Do You Believe Me Now" by Jimmy Wayne -- Ah, the pyrrhic victory. "See, I TOLD you you were going to leave me for him. Aha! Oh. Damn. Oh, that's sad." And I really like the way that the song soars towards the bridge towards the end of the song. I think it's passionate, and I hope it bodes well for his future career, because even though I can name his other past "hits", I couldn't for the life of me tell you how they go. Let's hope the rest of his hit songs are as memorable as this one.

"All I Ever Wanted" by Chuck Wicks -- I can't really tell you quite what I find so appealing about this song. Maybe just its airy simplicity. It's hardly earth-shatteringly brilliant, but it's pleasant and light without being meaningless. All I know is that I always enjoy it.

"This Is Me You're Talking To" by Trisha Yearwood -- I'm developing quite the appreciation for Trisha Yearwood. Her music is very mature, as is her voice. This song about fatefully accepting your lot of being broken up and not willing to pretend that you can maintain a friendship, despite your best intentions, is poignant and resonant. Radio really needs to be ready to give her another chance.

RELAUNCH!

After months of lethargy, I am giving this another try. Because giving up is wrong, PERSON WHO SHALL REMAIN NAMELESS. Heh. Ok. Just kidding. (Sort of. Not.)

Meaningful commentary forthcoming.

Gone Country

Ok. I've watched two episodes of this ridiculous travesty now, and... I hate that I love it. First of all, Maureen McCormack is a mess. I think no one told her that this is not legitimate. I mean, it's "legitimate", but it's certainly not legitimate. She seems like she's constantly on the verge of tears, and... is she moved, like, emotionally, to be friends with Bobby Brown? There's just several layers of oddness going on here. I was excited to see Loveless Cafe featured in the first episode. (If you're ever in Nashville, eat at Loveless Cafe. But you probably already know that.)

Other isolated thoughts:

I think that I should get $1 for every time John Rich starts a sentence with, "If these guys are serious about going country...."

I love how he wants them to do down and dirty country livin' stuff from his "log cabin", which, as understatement, is palatial. He has them ride up to said palace on ATV's. Meanwhile, he arrives wearing some sort of monstrous fur coat.

He has them perform their "[former] hit songs" in front of a live audience, to apply the pressure. Meanwhile, he solos "Save A Horse (Ride A Cowboy)," barely hitting any of the notes.

Wow. It must seem like I really don't like John Rich. Which is not true. The more I learn how many songs he's written, the more I want to marry him. Figuratively speaking. Maybe just his goatee.

Chart detail Feb. 9 issue

Unsurprisingly, Brad Paisley and Rascal Flatts hold down numbers 1 and 2 (respectively). My guess here is that Paisley might stay here for awhile -- probably becoming his first song to spend four or more weeks at #1; just a guess -- and that the Flatts will have to settle for #2.

Meanwhile, there are some surprisingly large moves in the top 10. Gary Allan flies up from #7 to #3, giving him his highest charting hit since his last #1, "Nothing On But The Radio," about three years ago. Billy Ray Cyrus and his spawn also jump up four notches to #4. Rodney Atkins's "Cleaning This Gun" (which I sang passably well at karaoke last weekend) gets the "GREATEST GAINER" label and moves up from #10 to #7. Maybe this means four consecutive #1's for Atkins. I'm a little surprised that Kenny Chesney's "Shiftwork" stays put at #9.

The rest of the top 25 is unremarkable, with most records staying put, or switching places with the song above or below it. Even the older records are still bulleted. My guess is that next week's chart will show more stagnancy in #1-5, and lots of movement in #6-#25.

Chart detail Feb. 2 issue

Ooops. I missed a week somehow. No matter. Last week I would've reported that Taylor Swift maintained her lead for a sixth week, making the first song in nearly two years to spend that many weeks at #1 (the last one being "Jesus Take The Wheel" by Carrie Underwood). Sugarland and Rascal Flatts were breathing down #1's neck, pushing down records by Montgomery Gentry and Keith Urban as Brad Paisley crept up to #5.

Which is where we start this week. Paisley leaps to #1, giving him six consecutive #1 hits, spanning approximately two years: "When I Get Where I'm Going", "The World", "She's Everything", "Ticks", "Online", and now "Letter To Me", perhaps the best of the lot. ("Alcohol" was his last song not to reach #1, making it only as far as #4.)

What's perhaps most surprising about Paisley's jump to #1 is the drop of "Stay" by Sugarland from #2 to #4. Montgomery Gentry's "What Do Ya Think About That" is also now unbulleted as they float back up to #3. I should remark that, if my random sampling of radio stations in Arizona, California, and Nevada are any indication, Sugarland's and Montgomery Gentry's records probably got as much airplay as any typical #1, and Taylor Swift's ditty just got more. Sigh.

There's a lot less happening in positions 6-25. #7-25 all have bullets, some moving up, some staying put, some sliding down. Hanging in there are some older records like Chuck Wicks's "Stealing Cinderella" (down to #14), Craig Morgan's "International Harvester", one of my favorites on the chart right now (up to #15), Jason Aldean's "Laughed Until We Cried" (up to #19), Bucky Covington's "It's Good To Be Us" (up to #20), and newcomer group Lady Antebellum, with another one of my favorites, "Love Don't Live Here". That song has taken quite a bit of time to develop at radio, and in its sixteenth week it moves up 3 to #24. Two songs in the top 25 have been on the charts for twenty-seven weeks each: "What Kinda Gone" by Chris Cagle (holding at #18), and Emerson Drive's "You Still Own Me", slipping down to #23. It'll be interesting to see if either of those maintains enough momentum to put it into the top 10, and how long it will take.

Chart detail Jan. 19 issue

The January charts are always a little strange, reflecting radio's recovery from playing Christmas music and "the top songs of whatever year just went by" stuff, so songs make strange moves up, down, and sideways. This week's chart shows songs not doing a whole lot, but I haven't commented in awhile, so the top 10 looks a bit different.

Not so much at #1, though. Taylor Swift's "Our Song" holds down the song for the fifth week, and a sixth week seems likely. The last song to spend five weeks at #1 was last summer's "Never Wanted Nothing More" by Kenny Chesney, but it's been almost two years since someone spent as many as six weeks at #1, so we'll see. Meanwhile, "Stay" by Sugarland holds at #2, and it seems like it could be a contender for the top spot, but it really depends on the strength of "Our Song". (Josh Turner's "Firecracker" seemed like a surefire #1, too, but fell casualty to Taylor Swift as well.) Rounding out the top 5 are Montgomery Gentry, Rascal Flatts, and Keith Urban. Urban's song took forever to make it this far (it seems like it, anyway), so its chances seem slimmer than the other singles in positions #2-4.

Brad Paisley earns the "greatest gainer" label on the chart with "Letter To Me", which moves from #8 to #6, so that's promising for him. The top 5 seems pretty competitive now, though, so who knows. Next week's chart is either going to be very interesting, with songs fighting for rank, or very boring, with songs staying put. Other songs making upward moves in the Top 10 are "Watching Airplanes" by Gary Allan, up two to #7, and Billy Ray Cyrus and his daughter with "Ready, Set, Don't Go," entering the top 10 at #10. Billy Ray's last top 10 hit was in 1999, but this is, of course, the first top 10 country hit for his daughter Miley (aka Hannah Montana).

It's hard to comment on positions #11-25. Every song in the top 25 is "bulleted" (meaning it's had significant airplay gains since the preceding week), but since radio is recovering from Christmas and New Year's, that's not surprising. So, for example, #11 is "How 'Bout Them Cowgirls" by George Strait, which moves down a notch, and which already peaked at #3, and is unlikely to start moving back up the charts. So it's hard to know what's going on here in all reality.

Vacation ends... now

So for those of you who don't know, I just got back from a road trip connecting Tucson, San Francisco, Las Vegas, and full circle to Tucson. I encountered a lot of fun country radio along the way. San Francisco's station ("The Wolf") in particular was really fun. They had promo spots inquiring if anyone knew a "closet Wolf listener". The commercial continues with a guy driving his colleague to work. Colleague asks, "Hey, what's on the radio?" upon hearing George Strait's "Give It Away" in the background. Driver gets mildly defensive, saying, "Well, you know. My wife's always messin' with my radio." The two discuss changing the station but decide not to. The ad proceeds with the two of them deciding to call the radio for a contest, and -- wouldn't you know it! -- each of them has the station's phone number on speed-dial. The ad concludes with the two of them deciding that it's a pretty awesome radio station after all, the driver ending with, "Well, you know. My wife's always messin' with my radio!" tongue-in-cheek-like. There's a bizarre homoeroticism to it, although I'm probably reading too much into it. (I was in San Francisco, after all.)

Anyway, more interesting things forthcoming.