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Toby Keith – “I Like Girls That Drink Beer”

Songwriters:  Toby Keith, Bobby Pinson

At first glance, I was not expecting this to be good.  Far from it – I was expecting a throwaway ditty built around its title, with the verses being totally blah.  Instead, we get an authentic, humorous ode to the working class, with a fiddle and steel-enhanced production that wouldn’t sound out of place among the awesome country music of the nineties.

The clash between the liftestyles of the city girl and the country boy is hardly new, but Keith offers a take that doesn’t feel like a halfhearted rehash, but that doesn’t take itself too seriously either.  Keith pulls off all the right stops for a good fun country boy ditty, from a jaunty, catchy melody to clever lines about “your country club that ain’t really country.”  Some might look down on the country folk, but Keith responds, not through hollow chest-pounding “country good – city bad” declarations, but rather by simply demonstrating that he’s comfortable in his own skin – not to mention by actually singing instead of just shouting.

Toby Keith might not be breaking new ground with this release, but he’s got song structure and entertainment value nailed down.  I have a feeling I just might be buying that upcoming new Toby Keith album.

TOBY’S SCORE:  8
(Scores are given on a scale of 1 to 10)

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Posted by on August 5, 2012 in Single Reviews

 

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Her & Kings County – “Family Tree”

Can you say polarizing?  The new single offering from Her & Kings County is bold, in-your-face, shamelessly campy, and almost sure to simultaneously elicit grins from some listeners, and grimaces from others.  “Family Tree” bursts out of the gate with hand claps, banjo picking, and – wait for it – rapping, all the while displaying a love-us-or-hate-us abandon not heard since Laura Bell Bundy rode the airwaves.

Here’s my ten-cent take:  If you’re going to be crazy, you should do it like you mean it.  Seriously – I would take the self-aware stupidity of Toby Keith’s “Red Solo Cup” over the unintentional genre parody of the “countrier than thou” generation any day.  In a market when half of the singles on country radio practically scream “Like me!  Like me!  Like me!” it’s refreshing to hear an act that honestly sounds like they just don’t care.

“Family Tree” simply radiates more personality and good-natured, light-hearted fun than just about anything else on country radio.  If this is what it takes to break the monotony on radio playlists, there will be no complaints here.

HER & KINGS COUNTY’S SCORE:  7
(Scores are given on a scale of 1 to 10)

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Posted by on July 24, 2012 in Single Reviews

 

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Album Review: Tim McGraw – Emotional Traffic

Now that Tim McGraw has finally been freed from his Curb Records contract by a Nashville court, his long-delayed contract-fulfilling album Emotional Traffic has finally seen a release.  Unfortunately, it looks like I’ll be putting this album on the same shelf as Own the Night and The Incredible Machine.  Though McGraw has touted it as his “best album ever,” I’m going to have to beg to differ.  Emotional Traffic easily ranks among McGraw’s weakest career efforts to date.

Each of the album’s first two singles offered a different possible preview of the forthcoming album’s musical direction.  “Better Than I Used to Be” suggested a throwback to the classic late nineties-era Tim McGraw sound, while its predecessor “Felt Good On My Lips” (which originally appeared on the 2010 Number One Hits compilation) suggested an album dominated by shouted-out arena rock.  Regrettably, the album sticks almost entirely to the former.  Emotional Traffic is a bloated moody mess of an album that recalls the overblown, underdeveloped musical styles that acts such as Rascal Flatts and Lady Antebellum have often reveled in, as well as even formerly impressive acts like Sugarland.

I’m not saying that this bad album just because it isn’t “country enough” (which would be kind of a cop-out). The problem is that these eardrum-busting arrangements are in terribly poor service to the songs themselves.  The album as a whole disregards the one cardinal rule about great country music:  It’s all about the songs.  It’s not just about being as loud and noisy as one possibly can.  Even when the songs are good, the incessant loudness acts as a sonic barrier between the song and the listener.  It’s impossible for a song lyric to connect with you on any significant level if you can scarcely tell what the lyric is even saying.  With a sound ruled by screaming electric guitars, Emotional Traffic is at times practically unlistenable, and with McGraw himself having produced the album with Byron Gallimore, a decent portion of that blame rests on his own shoulders.

Such production choices are a disservice not only to the songs, but also to McGraw himself.  Though his singing voice lacks the depth and range of contemporaries such Vince Gill and Toby Keith, McGraw’s greatest gift as a vocalist has long been his impeccable strength as a lyrical interpreter.  Career gems such as “Everywhere,” “Just to See You Smile,” and “Please Remember Me” provide solid evidence of that fact.  When he has to shout to be heard over audacious bass lines and blunt force guitar licks, all the magic is lost.  His fine vocal nuances are lost in the shuffle, and his voice becomes but a small component in a constant storm of noise.  Because the album puts far too much focus on beating listeners over the head with needless noise, the emotional traffic is drowned out by an excess of instrumental traffic.

The production fails to mask the fact that most of these songs are no great shakes to begin with.  Album opener “Halo” flirts with the idea of offering a substantial take on a breakup, but ends up a crude jumble of ill-conceived metaphors.  “The One” warns you by its dime-store title hook that it has nothing noteworthy to say, offering only a lazily written list song, while “Touchdown Jesus” only reaffirms the fact that mining the Peach Pickers songwriting catalog rarely yields anything more memorable than the usual radio-pandering formulas.  The pseudo-inspirational “I Will Not Fall Down,” co-written by McGraw with Martina McBride and her common writing compadres Brad and Brett Warren, leads us to expect something interesting as it begins by addressing the theme of getting older.  Sadly, the song offer no listener payoff beyond the shallow declaration of “I will not fall down without getting up… That’s when I need your love,” while volume of the in-your-face production reaches a nearly intolerable high.

Perhaps what’s most disconcerting is the fact that McGraw’s vocal performances are startlingly inconsistent, with him often tackling melodies that are extremely ill-suited to his vocal range.  When he attempts to attack the rocking groove of “The One,” his voice sounds nearly shot.  He sings the soaring chorus of “I Will Not Fall Down” with as much force as his thin voice allows him, but the song would have been better left to the big voice of co-writer Martina McBride.  Half the time McGraw sounds more like he’s shouting than singing, with the “oh-oh-ohh”s and “whoa-oh-oh”s of “Felt Good On My Lips” serving him no better.

The album contains a few enjoyable moments, but such are sparse.  The first, obviously, is the single “Better Than I Used To Be.”  Though McGraw’s version of the song doesn’t fare well in comparison to the 2010 Sammy Kershaw version, it sounds pretty dang good when sandwiched between “The One” and “Touchdown Jesus.”  The second is “One Part, Two Part” which weighs the emotional pros and cons of being in a relationship with too much taking, and not enough giving.  Though the production is somewhat loud, it is comparatively restrained when held up against the songs that surround it.  It ultimately stays out of the way of the lyric, such that wife Faith Hill is even able to contribute guest vocals without being drowned out.  We can even make out a melody that is somewhat catchy.  If we manage to stay with the album until Track 11, we find certain components beginning to fall back into place, as “Only Human” and “Die By My Own Hand” find the songwriting quality improving.  Even then, frustratingly, obnoxious, heavy-handed arrangements act as unwelcome interruptions. Beyond a precious few cuts that are worth cherry-picking, there is little to recommend.

I can hardly begin to convey my disappointment.  I wasn’t sure exactly what to expect from Emotional Traffic, but I was expecting a heck of lot better than what I got.  By the way, this is not coming from a longtime McGraw detractor – I have long considered myself to be something of a Tim McGraw fan.  Why, he and Faith were my first concert.  I like Tim McGraw, and I thus approached this album with an open mind, fully ready to be impressed.  That didn’t happen.  When the album tracklist was revealed, I was initially disappointed that the turgid single “Felt Good On My Lips” was going to be included.  But after having heard the rest of the album, I have to say that the real disappointment is not the fact that the song was included, but that it fits so well with the rest of the album.  Because the rest of it is just as bad – often worse.

With McGraw’s Curb partnership having come down to this, perhaps his leaving the label will be for the better in more ways than one.  Let us hope that McGraw’s post-Curb endeavors find him getting back to the basics of what made him a compelling artist to begin with, and that his future output will offer some musical redemption from this disaster.  If it didn’t represent a last-ditch cash grab for Curb Records as they say goodbye to their flagship act, Emotional Traffic would have been better left to collect dust on the Curb shelves next to some underloved Jo Dee Messina album.  This is dreadful.

TIM’S SCORE:  3
(Scores are given on a scale of 1 to 10)

Download These:  “One Part, Two Part,” “Better Than I Used to Be”

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Posted by on January 29, 2012 in Album Reviews

 

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Toby Keith – “Red Solo Cup”

Songwriters:  Brett Beavers, Jim Beavers, Brad Warren, Brett Warren

The latest offering from Toby Keith could easily win the award for Most Polarizing Single of the Year.  The shamelessly hokey ode to a plastic drinking vessel has split country fans into two definite camps, one upholding its positive qualities, and the other arguing for its lack thereof, both with equal intensity. It certainly wasn’t recorded with the thought of it becoming a hit, but when a music video went viral on YouTube, the song was released to radio, has already become a Top 20 hit, and has even been incorporated into a Glee episode.

Regular readers of this blog know me as one who calls it like I see it, and also know me as one with a general distaste for stupid lyrics, so here’s my ten-second take on “Red Solo Cup.”  This may come as a bit of a shock, but… I don’t hate it.  No, really, it’s true.  I don’t.  You read that right.  There are even some things about it that I like.

I can imagine the reader reactions I would get if I were to take up firm residence in one particular side of the debate.  I could jump on the pro-“Solo” train, fawn all over the song, giving it a big fat ’10,’ and then the detractors would say ‘Seriously?  How can you pan ["Honey Bee," "Baggage Claim," "We Owned the Night," etc.] and then give THIS a positive review??’  Then again, I could pan the song to the wall and have adamant defenders telling me to lighten up and stop being such a prude.

Is it stupid?  Sure, it’s as stupid as all-get-out.  Keith himself lovingly refers to it as “the stupidest song ever.”  But for me, the thing that I find really irritating is when we get cliché-laden pieces of musical insignificance that artists try to pass of as legitimate art.  With that in mind, I do find it somewhat refreshing to hear a stupid song that at least knows it’s stupid, and owns it.  “Red Solo Cup” makes no pretenses about being anything other than what it is:  a fun stupid song to sing along to.  It’s nice to hear a song with some self-awareness for a change.

I also like the way the record sounds.  Keith doesn’t add any unnecessary bells or whistles, but instead keeps it the way it was recorded on the demo, with simple acoustic instrumentation backing up the quirky rhyme schemes in the spoken-word verses.  The song has an appealingly raw, unpolished sound that makes it stand out on the radio.  And catchy?  Man, is it catchy.  It’s catchy in the most effortless, natural-sounding way you can imagine.  Plus who doesn’t love that banjo?

Does that mean that I’m a fan?  Not necessarily. (I will not attempt to score it, as it clearly defies my 1-to-10 scoring system) I can’t say I have any special connection to the song’s titular cup, and I don’t see it as the kind of song I’ll be coming back to repeatedly.  It would just have to catch me in the right mood.  Will it become intolerable after repeated listenings?  Sure it will.  Nonetheless, “Red Solo Cup” represents a moment in which a major country star was willing to do something outside of the ordinary, and to give us something that we couldn’t possibly have expected or seen coming in any way.  That, to me, is a course that is commendable, even if one doesn’t necessarily get much out of the song itself, which is why I don’t see any reason to dub it the ‘worst song of Toby’s career,’ etc., etc.

In summary, it’s clear that “Red Solo Cup” is just not for everyone, to say the least.  If you prefer to keep your country music somewhat serious, and thus find “Red Solo Cup” abominable, then keep on changing the station when it comes on.  But if a few minutes of unapologetic musical stupidity is what floats your boat, then by all means proceed to party.

 
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Posted by on January 21, 2012 in Single Reviews

 

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