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.