Country Without Pity

My favorite songs and artists of 2008

2008-12-10T18:20:00.004-07:00

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!

2008-12-10T18:12:00.001-07:00

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

2008-02-04T19:23:00.000-07:00

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

2008-02-03T12:53:00.000-07:00

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

2008-01-24T19:54:00.000-07:00

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

2008-01-13T07:31:00.000-07:00

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

2008-01-07T18:41:00.000-07:00

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.

American Country Countdown, Christmas edition

2007-12-23T10:19:00.000-07:00

American Country Countdown is ridiculous. Kix Brooks is such a bad host that it's comical. But three Christmas-related things from today's show are noteworthy:

Carrie Underwood's version of "Do You Hear What I Hear?" is beautiful, as you'd expect it to be. I love religious Christmas carols. The secular ones can bite it. There's something about the passion in the religious ones that really hits me. And Underwood is wise not to screw too much with the formula here. It's not some novel interpretation; it's straight-forward and respectful. It's very nice.

On the other hand, Taylor Swift's "Last Christmas" is unnecessary, at best. It's a fluffy song to begin with, but I always leave it when the Wham! version comes on the radio. Her version is just... oh, I just hate her so much. Enough said.

Finally, a listener wrote into the show to talk about his passion for Christmas music. He writes, "Very few songs make it into my top 10 best Christmas songs of all time." Um, right. Just a guess here, but I'm thinking you have EXACTLY 10 on that list. So, yes. Very few. SHUT UP, STUPID PEOPLE.

Chart detail Dec. 29 issue

2007-12-20T17:53:00.000-07:00

This new chart sees, unsurprisingly, Taylor Swift and Josh Turner hold down the top 2 positions (respectively). I'm thinking Turner's probably going to have to settle for #2, as I'm getting the feeling that Ms. Swift will be there awhile. (Bah.)

George Strait regains a bullet and moves up to #3 but probably won't add to his record-holding tally of #1 hits. (He's up to 42 now, despite the fact that one of his greatest hits collections is entitled "50 #1 Hits".) Keith Urban continues to creep up slowly, this week to #8, but this song doesn't seem destined for #1, either. Meanwhile, any of the other big hits in the top 10 seem like future candidates. Brad Paisley and Gary Allan enter the top 10 this week. Allan's record had been slow-and-steady and is now charging up more quickly, having moved 17-13-10 in the past few weeks.

Meanwhile, "Don't Blink" by Kenny Chesney is still in the top 10, while his new funky "Shiftwork" charges up 34-25. I'm surprised it's that low, still, but I'm thinking there's a future #1 there, potentially.

Positions #11-25 are, as is the norm, slow going, and a bit hard to call. Records by Blake Shelton, Eagles, and Jason Aldean all have bullets after having gained and lost them over the past few weeks, so I'm less hopeful about these songs' chances in the top 10. Tim McGraw's "Suspicions" cover has moved 37-27-22, putting that on the fast track for the top 10. Finally, Chris Cagle's "What Kinda Gone", the oldest record between #11 and #25 is still slowly creeping up but seems to be gaining steam. I'm hoping it's a sleeper hit of the new year, because it really does get better on repeated listenings.

Highlights from 2007

2007-12-19T18:14:00.000-07:00

In no particular order, these are the songs that appealed to me the most, for whatever reason. (This is, for the most part, not counting songs that are still on their way up the Billboard charts currently.)

"Long Trip Alone" by Dierks Bentley. I really like Dierks Bentley, and this is so far my favorite track from his most recent CD. There's a loneliness in his very voice that makes a perfect match for the words and the pacing (although the video confuses me). Richly deserving of the Grammy nominations it's getting.

"More Than A Memory" by Garth Brooks. I'm going to come right out and say it: I am not Garth Brooks's biggest fan. Nevertheless, this song is haunting, and it's really something to which I think most of us can relate. Radio stations agreed, making it the only song ever to debut at #1 on Billboard's country singles chart, a near-impossible feat, considering the chart is determined entirely on radio airplay. It might not be the best recording of the year, but it was well worth waiting for.

"Good Directions" by Billy Currington. I'm glad there was no video for this song (that I know of), because it really would have been distracting from the fun and vivid picture that the lyrics tell. I seriously always want to throw my hat when I hear "I threw my hat and thought, 'You fool', this could've been love". Currington is really good at being both sultry and playful. Thank God for turnip greens, indeed.

Anything by Pat Green. How Pat Green has eluded having a top 10 hit since "Wave On Wave" is one of the world's greatest mysteries. Between "Dixie Lullaby" and "Way Back Texas," he does heartland in a refreshing way that seems earnest without seeming forced. "Show, don't tell" is a motto that serves a lot of folks in the arts, and when Green sings, I believe it.

Anything by Jack Ingram. Maybe it's just the Texas sound (see Pat Green, above), but Jack Ingram also rings true. His voice and style are also appealing and are almost equally rock and country. When I first heard last year's #1 hit "Wherever You Are," I found myself wondering exactly how country it was, actually. Indeed, his hit from the first half of this year, "Lips Of An Angel", was also done by the rock group Hinder, and it's a strong song lyrically. (Ingram's version sounds much more meaningful.) I didn't like "Measure Of A Man" when I first heard it, but upon repeated plays, I have come to appreciate it much more, the reunion of an estranged father and son, poignant and bittersweet. Ingram is one to continue to watch.

"High Maintenance Woman" by Toby Keith. Toby is a man of many faces, but his silly face is one of his most appealing. Upon seeing the title for the first time, I felt a bit of pre-emptive dread, but once I learned that the hook of the song was "A high maintenance woman don't want no maintenance man," I was sold. I also like the meaningless noises he puts in, like the "hup!" at the beginning and the "nawwwwww" at the very end. That "nawwwwww" is possibly my favorite thing to sing along to these days.

"Missing You" by Alison Krauss/John Waite. Well, it's sort of extraneous, this recording, but it's still a pleasant listen. I mean, when is it unpleasant to hear Krauss's voice? At the very least, it reminds you what a nice song it is. It really should've been a bigger hit.

"Famous In A Small Town" by Miranda Lambert. Ain't it the truth. Someone else who knows how to talk about the boondocks without it sounding fake. Her voice, almost sour, almost tart, slides over this song with her characteristic energy. Yeah, she's a young thing, but she knows what she's doing, for sure. (As I pointed out before -- take note, Taylor Swift.) What's neat is the song's slow start and gradual build, and both the music and the lyrics follow this pattern. It's just a great recording overall.

"Find Out Who Your Friends Are" by Tracy Lawrence. I thought it was boring the first few times I heard it, but I ultimately decided it's bright, sunny, and uplifting, in a way that minimizes artificial sweetness. A lot of listeners will be more familiar with the version that features Tim McGraw and Kenny Chesney, but they sort of put the song over the top, and their styles actually sort of detract from the song, clashing with Lawrence's delivery slightly. I'll take the solo version any day. (Interestingly, this song apparently holds the record for slowest climb to #1 on the country charts, taking 41 weeks to get there.)

Anything by Little Big Town. Earlier this year, I got into a bizarrely heated argument with a DJ over whether this group was country's answer to Fleetwood Mac or to ABBA. (I was saying Fleetwood Mac.) Either way, the parallels aren't as absurd as they might seem: catchy yet meaningful music, and harmonies that are unrivaled. One thing I'm glad about CMT is that they are faithful Little Big Town devotees, and no doubt this pushes radio on, even though neither "Good As Gone" nor "A Little More You" made the top 10. "Good As Gone" is so aggressive in its guitar intro that you sort of can't turn away once it's taken hold. I'm still not fully sold on their newest single "I'm With The Band", but I still am paying close attention to what they're doing in the new year.

"Because Of You" by Reba McEntire With Kelly Clarkson. Ok, most of this is a credit to Clarkson, but... WHAT CREDIT. A solo pop hit in its own right, it still stands out with the addition of Reba on lead vocals. Particularly when compared to much of Reba's other work over the past several years, this recording seems especially significant. It's really an artful production, and there really aren't enough good things to say about it: it's sincere, moving, and haunting. And the harmonic match is classic. Good show, ladies.

"If You're Reading This" by Tim McGraw. Ok, so it's a tearjerker, and I really didn't want to like it, but there is a sincerity here, and McGraw's vocal quality (which he wasted on "Last Dollar" and other drivel recently) finally finds a worthy match. I'm not gonna lie. I teared up a few times. I'm mostly over it now, but it says something that this live recording gained such popularity that his record company saw fit to add it to his most recent CD after the fact.

"Startin' With Me" by Jake Owen. Ah, regret. Not nearly enough music deals with it, and I'm a sucker for anything that does (see Keith Urban, below). It takes a lot to say "I suck" and to do it well, and he does it here, and I really didn't see it coming after the hokey prior single "Yee Haw". Plus, it's always fun when my friends react to the line "I had a one night stand with my best friend's baby sister".

Anything by Brad Paisley. Yeah, "Ticks" and "Online" are goofy, but they're great. "Online" does wear thin after awhile, but it's catchy, and I find it nearly impossible not to sing along. And even moreso regarding "Ticks" -- I will belt that shit. Because it rocks. But the gem in his trio of #1 hits is "She's Everything", which also at times borders on cheesy, but for the most part, it's a serene, genuine ballad that puts most other love songs to shame. Mostly because Paisley knows how to make his voice soar. And I cannot WAIT to comment next year on how much I like his current song "Letter To Me". This man has talent. Not that you didn't know that.

"Nothin' Better To Do" by LeAnn Rimes. There's no doubt now that she's all grown up. This is a very sexy song, and she owns it like she did with "Blue" way back when. This really shows artistic growth, and don't you love it when someone just surprises you like that? I mean, I've never disliked her, but now I'm sold. And the energy of the song is like a drug; it picks you up and gets you addicted fast. This truly is one of the very best recordings of the year.

"Settlin'" by Sugarland. Another high-energy standout. When Jennifer Nettles wants to get you moving, she knows just how to do it. Right up there with "Something More," this song really fires you up, and she has just this enviable charisma you've got to respect. Kristian Bush, meanwhile, gets his charisma out in his strings (and in his performances -- if you've seen them in concert or in a video, you know what I mean; the guy is a goofball of energy). It all adds up to an excellent song, another one of my very favorites.

Anything by Carrie Underwood. "Before He Cheats" intrigued me, "Wasted" sold me, and "So Small" sealed the deal. I'm not a regular watcher of American Idol, but every time I saw her on it, I knew she was headed somewhere. It wasn't until these three songs, though, that I really saw it. Both "Wasted" and "So Small" have a great vocal power and poignant lyrics, and "Wasted" is a great two-step besides. It'll be interesting to see how long she can stay on top, but even if it's not that long, she's recorded some classics right here.

Anything by Keith Urban. When this man is on, he's really on. "Stupid Boy" might be my favorite song of the year. Like "Startin' With Me" above, it's a tale of regret, and Urban doesn't pull any punches here. By the time you get to the end of the full six-minute version, you have experienced a man who is despondent, who is loudly and powerfully despondent. Rarely in country do you hear such raw expression of anger, and it just stands out and hits you and leaves a mark. "I Told You So", meanwhile, may not be quite the powerhouse, but it's also got that uptempo energy like "Better Life" or "Who Wouldn't Wanna Be Me", and I just love the way this boy can scream and still be in key. Excellent work.

"Fall" by Clay Walker. Another sleeper hit, and I wasn't sold on it at first. Like the song's own rise to popularity, it's slow and calculated, up and down, but ultimately it wins. Walker's got an appealing voice, and it's nice that he's doing something good with it; a lot of his recordings of the past several years have lacked spark or have been downright cheesy. But "Fall" is sort of that slow, calm oasis that radio must've needed at the end of the year.

"Last Train Running" by Whiskey Falls. There's harmony, and then there's HARMONY. This is the kind of harmony that makes Rascal Flatts say, "Damn!" And the song manages to be somber without being depressing; indeed, the question of avoiding hell almost seems uplifting in the delivery of the song. This is easily the most underrated recording of the year.

"I Just Came Back From A War" by Darryl Worley. In my head, Worley is best known for that abysmally insipid "Have You Forgotten?" hawkish claptrap. (I'll have to post about that another time, because... just... GAH.) So when I encountered this title, I was deeply suspicious. Imagine my surprise when I heard a mature, politics-free lament on how life changes for a veteran when he returns. It's simple; it doesn't provide answers; it's not saccharine; it's not even manipulative. It's just sort of out there, sighing into its beer, saying, "Yup." I was really, really impressed by this song. The cherry on the sundae is the video which features different actors playing soldiers, including men and women of different colors. Deftly done.

"Heaven, Heartache And The Power Of Love" by Trisha Yearwood. You know, I just can't get this song to make sense, but I don't care. She is positively screaming the gospel of somethingerother, and I am a convert. To whatever that thing is. I mean, really, when she puts that much soul into it, you gotta just go with it.

Not in my backyard

2007-12-18T18:12:00.000-07:00

Local station KIIM-FM has been hyping this Chris Cagle concert for a while. And after the concert? Not a mention of it. Wonder if this has anything to do with it.

Some sucky things from 2007

2007-12-17T18:48:00.000-07:00

Here are some of the recordings that disappointed me the most this past year.

"Sunday Morning In America" by Keith Anderson. This song needs a big "shut up" plastered all over it. I just gave it another listen to point out specific things about it, but other than "megachurch", "eggs and bacon", and "cheerleaders", I think my brain just refused to process it. It's nearly amelodic, and... I don't know. Kind of a misstep. Is he never going to have another "Every Time I Hear Your Name"? Sigh.

"Watching You" by Rodney Atkins. Every time the introduction comes on, I get hopeful, like, "Oh, I know this song! It's... ! It's... ! It's ... oh. Crap. I hate this song." Well, your boy curses, and you shouldn't do it in front of him. Isn't that adorable? No, it's not. It's cliché and lame. "I'm your buckeroo... [and] eat all my food"? Your son wants to eat his food like you? That's a bit much. Also, get a new baseball cap.

"Lost In This Moment" by Big & Rich. Yet another reason to dislike weddings. If I ever have to go to a wedding where someone has chosen this song as his or her wedding song, I will immediately break off ties with that person. It's just so typical that Big & Rich create such offbeat music, normally (not necessarily "good", but certainly atypical), and here comes this throwaway piece of fluff, and it becomes their first Top 10 hit. Yawn.

"Proud Of The House We Built" by Brooks & Dunn. It's a lot more fun if you imagine it as a retelling of the Three Little Pigs story. This is the kind of song Lonestar would record. Boo.

"Alyssa Lies" by Jason Michael Carroll. Are we just supposed to be sad? What are we supposed to do? Is this to draw awareness to the problem of child abuse? So we can stop it? What do you want us to do, Jason Michael Carroll? Also, you look like the guy from Hanson. You know the one. Also again, how old are you? I'm so sure you have a daughter in first grade. This song is terrible.

"Guys Like Me" by Eric Church. This is basically the same song as "How 'Bout You," except stupid. Not that "How 'Bout You" wasn't stupid. Just less so, and sort of rockin'. But Eric Church, who looks like a bird, has apparently decided that he is going to take on the cause of how awesome it is to be hard workin' and blue collar and yadda yadda yadda, and I'm so happy someone said it, because I really feel like that's what's been missing in country music, don't you? Also, you'll be happy to know that, according to the lyrics, even rich girls like guys like Eric Church. It's a comfort to us all.

"A Different World" by Bucky Covington. Ok. OK. Bucky Covington seems to think it's okay to implicitly promote the idea of not wearing bicycle helmets or using seat belts. Because, you know, when he grew up -- which, incidentally, I'm guessing is after I grew up, so I don't really know what he's talking about -- folks didn't need that, and he turned out ok. Which sort of proves the point. Wear your helmet, or you'll also become an untalented singer who lost on American Idol. Good job, loser.

"Moments" by Emerson Drive. Protagonists bonds with homeless man, and neither of them kills himself. Or something. Yay, way to go not dying at your own hand! I'm not sure if we're supposed to be moved, or impressed, or what, but frankly, I'm bored.

Anything by Faith Hill. Yeah, I'm thinking she's done. Between "Lost" and "Red Umbrella" and her just bizarre duet with her husband (more on that later), she is entirely unexciting and sparkless this year. The only glimmer of hope was her inspired recording of "Stealing Kisses," which still flopped. (Too smart for radio?) I think people just don't know what to do with her anymore. She and Shania should team up for a Vegas show or something.

"A Woman's Love" by Alan Jackson. Ol' Alan seems to be softening up and getting... boring and old. I feel like this song has been done a million times before, and... it has.

"Love Me If You Can" by Toby Keith. I can't. Was this song written by Rush Limbaugh? "I hand out my dollars to the homeless [LIE!] / But believe that every able soul should work." Well, I hope that inspires people, there, Tobe. "I stand by my right to speak freely / But I worry 'bout what kids see on TV." You know, like, someone else's right to speak freely. And as though the verses weren't bad enough, the chorus just borders on nonsense. "Love me if you can"? Like, if we can find it in our hearts? Like Jesus would? What a freak.

"Anyway" by Martina McBride. The song's title reflects exactly how I feel about the song. The chorus begins, "God is great [!!! crescendo] / But sometimes life ain't good", and... oh, brother. That's just poor. I just want to know at what point she decided, "You know what? I'm tired of recording meaningful music. Do you have any drivel? That's what I really want to do." And the piano in the beginning doesn't rip off "Imagine" at all.

"Last Dollar (Fly Away)" by Tim McGraw. Ok. Now this song just doesn't make any sense. "My friends are always giving me watches, hats, and wine"? Like, what? Like, WHAT? Your friends give you hats? And then there's the business of his kids singing at the end of the record. No. That's even worse than in a live recording when they let the audience sing. Far, far worse. Almost as bad as this was...

"I Need You" by Tim McGraw and Faith Hill. Is this song going for subversive on purpose? "I need you like a needle needs a vein" is... well, it's odd. It's sort of punk. (Also, isn't it moreso that a vein needs a needle?) Then, those lyrics are combined with the remarkably more pedestrian "like my Uncle Joe in Oklahoma needs the rain." (Maybe Joe is a rain junkie. Or, going with the other odd comparison, maybe rain is a Joe junkie.) The best part is that, in the video, Faith Hill stares at her man like ... it's indescribable, really. She's got sort of raccoon eyes of vapidity. Maybe a needle needs a vein.

"Take Me There" by Rascal Flatts. This is beneath them. It's like someone wrote a song and said, "Hey! This is like a bad Rascal Flatts song! Let's send it to them." And the rest is ahistory. The line that slays me: "Tell me 'bout your mama / your daddy / your hometown / show me around." I always want him to rhyme "daddy" with "Cincinnati". You know, "your home town / Cincinnati". That would be much better, I think. And Joe Don's singing (it is Joe Don, isn't it? No, it's Gary. Ok, then, Gary), I mean, Gary's singing is a little showy. You know, like Mariah Carey's singing is a little showy. Relax, boys.

"Everyday America" by Sugarland. It's almost the same song as that Keith Anderson monstrosity I mentioned before. Or, it's sort of like, a cut that didn't make Springsteen's "Born In The U.S.A." album. Or, it's just bad. "Little town and a great big life," fine, but that doesn't mean it's interesting. Let Mellencamp be Mellencamp; won't you? Thanks.

Anything by Taylor Swift. I don't care of she's country's it girl. She's a girl. A little girl. And I know that sounds really dick, but... well, let's see. There's Miranda Lambert. She's very young and pretty, and she knows something about substance. I'm not impressed that Ms. Swift writes her own songs, because they're not good. Let's take "Teardrops On My Guitar", first and foremost. I feel bad for that Drew character, because she has to say his stupid name, what, eight hundred times in the name of the song? And, I'm sorry, when I envision her breaking down and dealing with this boy not loving her, I'm not envisioning there being guitars involved. I'm thinking more like ice cream. Or stuffed animals. That's part of the problem here. I'm not buying her as an artist, and I feel like they're trying to sell her like an artist. And the video for "Teardrops On My Guitar" is ridiculous. This will be chronicled separately.

"Me And God" by Josh Turner. The song is called "Me And God". You do the math. Do I have to spell it out for you?

Anything by Phil Vassar. Oh, Phil Vassar. It's amazing how you can write so many songs that are the EXACT SAME FUCKING SONG.

Anything by Gretchen Wilson. And your short career is over... now. We're just not buying it anymore. Uh, literally or figuratively.

New music

2007-12-17T17:57:00.000-07:00

The next single from Kenny Chesney's "(I forgot the full name of the album but it has something to do with)... Pirates..." collection is sort of fun. It wouldn't be Chesney without a reference to tropical places, but the chorus is catchy and fun: "seven to three / three to eleven / [pause] / eleven to seven." It's sort of tacky to use "shiftwork" in place of the word "shit" -- "A big ol' pile of shiftwork"? -- but that can be forgiven. The video, on the other hand, gratuitously features scantily clad car washing honeys and a driver who looks more overwhelmed than aroused. Also, supposedly, the song features George Strait, but it's sort of hard to catch. Also, much like I feel about "She Thinks My Tractor's Sexy", when was this multimillionaire last involved in shift work? It sort of rings insincere.

At any rate, I am going on the record saying that I am no fan of Chesney's, but this song is easily one of his best, in my opinion. It's really a lot of fun.

Chart detail

2007-12-16T14:02:00.000-07:00

Next week's Billboard chart:

Taylor Swift jumps to #1 from #6. That's the biggest jump I've ever seen; no song since 2000 has jumped from lower than #5. I'm assuming the top 10 are all really close in plays, considering Carrie Underwood falls all the way to #10, which is another unprecedented move (well, since I've been keeping track). I also noticed that the charts have been so male-dominated that this is the first time since early 1999 that one solo female recording artist has replaced another at #1 ("Stand Beside Me" by Jo Dee Messina replacing "Wrong Again" by Martina McBride in January of that year).

Also, I'm sorry, but Taylor Swift has yet to record anything of merit. I actually think "Tim McGraw" is her best song, and that sort of borders on novelty recording. Anyway, "Our Song" is just kind of pathetic. Not to be unnecessarily mean, but it really does sound like someone in high school recorded it. Which, you know... OBVIOUSLY, but that doesn't mean the rest of the country should be falling for it. The CMA Horizon award and everything? Yikes. How pathetic. Just my thoughts.

Initiation

2007-12-16T12:57:00.000-07:00

Welcome to Country Without Pity! Let the games begin.