Awkward in the sense that the melody doesn’t have quite the same pull, and in the sense that, well…it’s a song called “Let’s Make Love,” performed in earnest by a real-life married couple. And as fantastic as Hill and McGraw sound together, it’s hard not to feel a little voyeuristic when they sigh, “I want to feel you in my soul!” It’s just hard.
Still, the record is not without its – ahem - adult-contemporary charms. Really, it’s worth it just for the weirdly engrossing “Look how hot we are!” music video. But it’s the kind of thing you probably wouldn’t want to listen to/watch with anyone else in the room. Unless maybe, I guess, if they were in the room with you because, like…y’know.
Written by Marv Green, Aimee Mayo, Chris Lindsey & Bill Luther
He started out as one of the lesser-ran hat acts of the nineties boom, catapulted to fame on the strength of a novelty song. But skillful song selection and deepening commitment to artistry helped Tim McGraw emerge as one of the genre’s strongest talents.
Born and raised in Louisiana, Tim McGraw was the son of baseball legend Tug McGraw, though he didn’t know this until he was an older boy. He was an aspiring baseball player himself, and attended college on a sports scholarship. While there, he learned to play guitar and grew more interested in pursuing music as his full-time career.
McGraw was inspired by the music of Keith Whitley, and by chance, he moved to Nashville on the same day that Whitley passed away. He played the clubs around town for four years, eventually garnering the interest of Curb Records. His self-titled debut album was released in 1993 to little fanfare, so it was a big surprise the following year when his second album, Not a Moment Too Soon, spent nearly thirty weeks at #1. It was the controversial novelty hit “Indian Outlaw” that got it there, but four more hits from the same set kept it at the top.
McGraw’s sudden move to multi-platinum sales gave him access to far better material, and over the next decade, a string of hit albums would establish him as one of Nashville’s best pickers of material. In 1996, he married fellow superstar Faith Hill, and they spent six weeks at #1 with “It’s Your Love”, their award-winning duet that was only one of many hit collaborations between the two. In the late nineties, he dominated radio with several multi-week #1 singles, becoming the genre’s flagship male vocalist and one of the few to win two consecutive CMA Album of the Year awards.
His success continued into the 21st century, and while McGraw became a movie star on the side, he still kept his primary focus on the music. In 2004, “Live Like You Were Dying” became the biggest hit of his career, earning him a Grammy and spending 7 weeks at #1, his longest-running stay on the top of the charts. After the album of the same name sold in the millions, his record sales began to cool, though disagreements with his label heated up. He still had regular hits on the radio, but for the first time, he also had several singles missing the top ten.
McGraw finished his commitment to Curb records in early 2012, and has now moved on to Big Machine records, releasing his first single for the label in the summer of 2012. He is currently on a successful stadium tour with Kenny Chesney, an artist that he influenced and mentored.
First as a songwriter, then as a new country superstar, and currently as an alternative country icon, Rodney Crowell has made an indelible mark on country music for nearly four decades.
Born and raised in Houston, Texas, he was already a bandleader in high school, heading up a teenage outfit called the Arbitrators. He was only 22 when he moved to Nashville, and by 1975, he’d been discovered by Jerry Reed, who heard him doing an acoustic set. Reed not only recorded one of his songs, but also signed him to his publishing company.
Crowell was soon a member of Emmylou Harris’ Hot Band, and she was the first to record some of his compositions that went on to be big hits for other artists, including: “I Ain’t Living Long Like This”, a #1 hit for Waylon Jennings; “‘Til I Gain Control Again”, a #1 hit for Crystal Gayle; “Leavin’ Louisiana in the Broad Daylight”, a #1 hit for the Oak Ridge Boys; and “Ashes By Now”, a top five hit for Lee Ann Womack.
His remarkable songwriting talent led to a record deal with Warner Bros. While a trio of albums for the label were critically acclaimed, they failed to earn him success on the radio or at retail. But as would be the case for his entire career, other artists mined those records for hits. Most notably, “Shame on the Moon” became a #2 pop hit for Bob Seger & the Silver Bullet Band.
Crowell took a break from his solo career to focus on his songwriting and production responsibilities for then-wife Rosanne Cash. This would be yet another successful avenue for Crowell, as his work with Cash produced several #1 singles and three gold albums. The relationship also helped set his solo career on fire. After signing with Cash’s label Columbia, his second set for the project was previewed with a duet with Cash, “It’s Such a Small World.”
It became the first of five consecutive #1 singles from Diamonds & Dirt, a gold-selling disc that briefly made Crowell an A-list country star, as five additional Cash singles that he had produced also hit #1 over the same time period. He received a Grammy award for Best Country Song for “After All This Time.” Two foll0w-up albums for Columbia also produced a handful of hits, with his final mainstream success being the pop crossover hit, “What Kind of Love.”
In the nineties, Crowell recorded two albums for MCA which were well-reviewed, but most notable for the second set including “Please Remember Me.” It stalled as a single when Crowell released it, but later that decade, Tim McGraw’s cover topped the charts for five weeks and earned Crowell a slew of award nominations.
The new century brought a reinvention on Crowell’s part, as he repositioned himself as an Americana artist with remarkable success. A trio of albums earned rave reviews, as did his collaboration with old friends like Vince Gill on The Notorious Cherry Bombs, which earned a handful of Grammy nominations and included Crowell’s “Making Memories of Us.” Once again, a current artist discovered it, and Keith Urban took it to #1 for several weeks.
Inducted into the Nashville Songwriters Hall of Fame in 2003, Crowell continues to build on his legacy as a singer, songwriter, and producer. Most recently, Crowell produced Chely Wright’s confessional Lifted off the Ground and co-wrote an album with friend Mary Karr which features their songs recorded by several artists, including Crowell himself.
I Ain’t Living Long Like This (Waylon Jennings), 1980
‘Til I Gain Control Again (Crystal Gayle), 1982
Shame on the Moon (Bob Seger & the Silver Bullet Band), 1982
Age forty is still seen as more of a milestone, but age thirty might be the best place to neatly divide your life.
McGraw captures that feeling of settling in to who you’re going to be, and the growing confidence that you’re really an adult and that you’ve somewhat established yourself.
Suddenly, you look back on the ridiculous things you’ve done in your twenties with amusement and appreciation, like you’re looking back on a different person who you’re quite fond of but can no longer completely relate to. It’s a moment in time when you’ve gathered your necessary life skills and still have enough energy to put them to use.
Who could be a better vehicle for this song than McGraw? He was 32 when he recorded it, and was enjoying unparalleled success at country radio, while also starting a family with fellow superstar Faith Hill. “My Next Thirty Years” was his twelfth #1 single in only seven years, and his seventh to spend four weeks or more at #1, a run absolutely unheard of in the modern era of country radio.
He sings with the confidence of a man on the top of his game, completely unaware of the fact that he’d one day sing “Truck Yeah.”
So in case you didn’t know, Tim McGraw and Curb Records’ “D-I-V-O-R-C-E” has taken an interesting turn as of late, with old label Curb and new label Big Machine releasing dueling Tim McGraw singles to country radio. Curb has put out a second single from Emotional Traffic - “Right Back Atcha Babe” (groan) – while Big Machine has released “Truck Yeah,” the first single from McGraw’s forthcoming label debut album.
I’ve written it before, and I’ll write it again: A snappy catchphrase does not a great single make. Half the time it doesn’t even make a halfway good or decent single, and it can be downright embarrassing at worst. So “truck” rhymes with… you know. Congratulations to the songwriters on having come to such a grand realization, but that still begs the question of why the world needs to hear a three and a half-minute song built around it.
Some songs that are built around puns or catchphrases sound somewhat clever at first, only to gradually lose their appeal, and quickly become intolerable. This is not one of them, for it sounds dumb and ridiculous upon arrival. It starts with “Got Li’l Wayne poppin’ on my iPod,” and then it’s all downhill from there.
If this is at all representative of the musical direction McGraw plans to take with Curb Records, then it’s probably past time I started calling myself a “former” Tim McGraw fan. This is it, folks – He’s finally gone off the deep end.
Written by Preston Brust, Chris Janson, Chris Lucas, and Danny Myrick
Some songs live or die on the strength of the artist’s vocal interpretation. Tim McGraw’s “My Best Friend” could be considered one such song.
The funny thing is that’s not necessarily an indication of poor songwriting. Sometimes it just takes the right vocalist to find the layers of emotion woven into a lyric that could scan as pedestrian in the hands of another performer. In this instance, Tim McGraw indeed proves to be the right vocalist.
Lyrics like “I don’t know where I’d be/ Without you here with me/ Life with you makes perfect sense” could very easily come across as rote statements with no real emotional heft. When Tim McGraw delivers them, you get the sense that he means it from the depths of his soul.
McGraw’s heartfelt performance is bolstered by a pleasant lilting melody and a laid-back arrangement featuring generous amounts of fiddle and steel guitar. Thanks to such fitting treatment, the song exudes such an irresistible warmth that it’s easy to see why it’s become a dance floor favorite in the twelve years since its release.
You know what’s one of the best ways for a contemporary country song to worm its way into my heart? To display a mature and insightful perspective, or to tap into some universal truth, while dressing itself up with the catchiest of melodies and hooks.
That particular sweet spot is one that the female artists in country music tend to hit more often than the males – See “Deep Down,”“Hey Cinderella,” and “The Fear of Being Alone” for case studies. However, Tim McGraw’s 1999 chart-topper “Something Like That” hits it, and hits it dead-on.
The song recounts the narrator’s youthful experience of falling in love for the very first time at age seventeen. The verses are replete with little details – a barbecue stain, a miniskirt, a suntan line, etc. Such details may seem to have little meaning, but in this particular context, they mean everything. In the second verse, the narrator has a chance encounter with his old flame while traveling on a plane, where she says “I bet you don’t remember me, to which he replies “Only every other memory,” thus assuring her that she is hardly forgotten. “Like an old photograph, time can make a feeling fade,” he sings during the bridge, “but the memory of a first love never fades away.”
Through its vivid, detail-laden approach, the lyric effectively hones in on the fact that the experience of one’s first love is, in itself, unforgettable. Every little aspect of the encounter feels significant in its own way, because it’s a lifetime milestone that leaves a lasting impression. Indeed, “a heart don’t forget something like that.”
The point is driven home by a sprightly piano hook, toe-tapping rhythm, and wildly catchy singalong-friendly chorus – a one-two punch that helps the record make an impression both as a great lyric and as a fun, catchy listen.