In 2007, Katie Armiger released her first album at just 15-years-old after winning a local singing competition in Texas. Since then, she’s had quiet but solid success in the industry, earning four Billboard-charting singles and touring with major artists such as Brad Paisley, Little Big Town, Jason Aldean and Ronnie Dunn.
Last year, Country Weekly’s readers voted 21-year-old Armiger the “Hottest Bachelorette” for the second consecutive year, just before she appeared on ABC’s dubious reality television show, “The Bachelor Pad.” Ironic events, considering the fellow Sugar Land native has built her image on independence and empowerment, themes she captures pithily on her first Top 40 hit, “Better in a Black Dress.”
This year, instead of writing about this year’s crop of Christmas projects individually, I’ve decided to round them up in one post in an effort to make sure I acknowledge all of them. Unless I’ve overlooked one, the only album that will be omitted from this roundup is Shelby Lynne’s Christmas album, which is super good/compelling and funky, so it deserves its own review and it will come as soon as I figure out how to write about it.
Let the fun begin!
Carter’s Chord, Christmas
As Toby Keith’s best discovery so far, Carter’s Chord is a talented sister duo that hasn’t yet gotten the success that they deserve. With only one digitally released studio album that has received criminally little attention, they’ve still managed to deliver a delightful 4-song EP that would be well worth adding to your Christmas collection.
A lot of songs from both ends of the charts here, including a husband-and-wife duet that spent six weeks at #1.
400 Greatest Singles of the Nineties: #250-#226
I Meant Every Word He Said
Ricky Van Shelton
1990 | Peak: #2
At least the third song on this list about a guy mulling over romantic gestures he wishes he’d made to his former love, and the most traditional among those songs. You could easily imagine this one being a minor classic by a 60’s or 70’s legend, so close is its replication of that style. – Dan Milliken
I’m So Happy I Can’t Stop Crying
Toby Keith with Sting
1997 | Peak: #2
My hard-and-fast rule for Toby Keith: The sadder he is, the happier the listening experience tends to be. He’s all kinds of sad in this snapshot of post-divorce melancholia, reflecting on everything from unfair custody protocol to the greater motions of the universe. Even a gratuitous Sting cameo can’t detract from the single’s gloomy grandeur. – DM
You Ain’t Much Fun
1995 | Peak: #2
Toby Keith is also funny, though. What’s a man to do? Sobering up ain’t all that it’s cracked up to be from is perspective. Ever since he’s done so, his wife has been taking advantage of his increased functionality by giving him honey-do lists that he wasn’t ably tackling pre-sobriety. It’s enough to drive a man to drink. – Leeann Ward
Producing primarily pop-flavored country music has rarely been a ticket to immortality for even the biggest artists, particularly the female ones. Imports like Shania Twain and Olivia Newton-John are labeled impostors. Faith Hill’s canny song sense is overlooked while hubby Tim McGraw’s is widely praised. Brilliant Dolly Parton records like “Here You Come Again” and “9 to 5” are cited as being beneath her greatness, rather than prime examples of it. Only Patsy Cline has been given a free pass, and who wouldn’t want to claim those pipes?