The good folks at Show Dog-Universal have given us an autographed copy of Toby Keith’s new album, Bullets in the Gun to give away to one lucky Country Universe winner.
This is my favorite Toby Keith album since 2006’s White Trash with Money. As was the case with that album, Keith seems loose and mostly good-natured, which results in a friendlier more relaxed album than we’re accustomed to hearing from him.
To enter the drawing, leave a comment to tell us your favorite Toby Keith album. If you’re feeling ambitious, go ahead and let us know the best songs from your favorite Keith album too.
All comments through Friday, October 15, will be entered into the random drawing.
We’re proud to note that our very own Dan Milliken has been published by CMT.com for the first time.
Check out his write-up of the Toby Keith classic, “Who’s That Man”:
The impossible question of divorce is how to divide lives that have become so intricately knitted together. As Keith demonstrates in this dark, brooding song, no answer to that question comes without its toll. The narrator of “Who’s That Man” has lost every staple of his former life in the collapse of his marriage, and as if that weren’t bad enough, someone else is filling his shoes without any apparent hitch.
Of course, this is an awesome and impressive new platform for Dan’s writing, but let’s be honest. Just like Country Universe got a hell of a lot better once he joined us, CMT can only be elevated by his trademark wit and undeniable talent.
I think Tim McGraw is one of country music’s strongest singers. He doesn’t have the range or depth of a Vince Gill or a Toby Keith, but he can do what a great singer is supposed to do: deliver a song with sincerity and believability. That may seem like a low bar to clear, but it never ceases to amaze me how many country artists trip over it these days.
McGraw has a stellar track record in this area, but you’d never know it listening to “Felt Good On My Lips.” In fact, it seems that the record itself has so little confidence in McGraw’s ability to deliver a song that it puts every modern recording barrier it can think of between his vocal and the listener.
I don’t have the technical studio recording vocabulary to accurately describe what’s being done to his voice here, so I’ll just say it sounds like he’s singing into a transistor radio that’s miles away from where the musicians are playing. His voice is so processed that it’s hard to tell it’s even Tim McGraw until he lets loose a bit in the chorus.
Is the song any good? I can’t really tell. I’ve never developed the ability to appreciate a song for its own sake. The singer has to deliver the goods for me to enjoy it. The production sank this record before the song had any chance to win me over. The whole thing has the vibe of a long lost demo being spruced up for a posthumous cash-in.
Most of us can admit that Toby Keith is a premier balladeer. Something that has been largely forgotten about him in the last few years, however, is that he’s also rather good at having good fun too. Lately, he’s mostly associated with swagger and subpar music (with the exception of some decent ballads here and there), but “Trailerhood” is here to remind us of how jovial Keith can sound when he lets his boisterous guard down and just allows himself to have some fun.
In the most organic production of an up-tempo single that we’ve heard from Toby in a very long time, “Trailerhood” vividly paints a picture of a happily redneck community of trailer dwellers. He humorously describes the characters of the trailerhood with affection and counts himself among them, as he says “It takes one to know one.”
The song follows the “look how country I am” theme of late, but also veers from it a bit by avoiding indictments of those who aren’t. Likewise, it’s all done in good humor (, which can be heard in Keith’s affable performance and accompanying cheerful production.
Thank you to everyone who participated in our recent Marty Stuart giveaway. It’s heartening that such a strong response was received for an artist who is no longer in the mainstream. I hope our five winners will enjoy Stuart’s fine new album.
Now, we are pleased to announce that courtesy of Show Dog-Universal, Country Universe is giving away two (2) autographed copies of Trace Adkins’ brand new album, Cowboy’s Back in Town, which was released last Tuesday, August 17.
As his first record on the Toby Keith owned record company, one can’t help but be curious to hear what the transition will mean for Adkins. With a big helping of raucous tunes and a handful of softer melodies, Adkins begins the new chapter in his career with a bang.
To enter the random drawing for one of the copies of Adkins autographed albums, leave a comment that tells us your favorite Trace Adkins song(s). The contest will be closed Thursday August 26 at midnight.
If turnover has been slow in the Entertainer category, it’s been nothing less than glacial in the Male Vocalist race. Over the past ten years, only eleven men have received nominations. Four of those eleven – Dierks Bentley, Vince Gill, Darius Rucker, and Josh Turner – have been nominated only once.
Now, Toby Keith and Tim McGraw were regularly invited to the party in the first half of the last decade, with four and three nominations, respectively. But the race has essentially been dominated by the same five men: Kenny Chesney, Alan Jackson, Brad Paisley, George Strait, and Keith Urban, who combine for forty nominations in just one decade.
The recent history has been pretty boring. After two consecutive wins by Alan Jackson, we’ve had three consecutive wins each by Keith Urban and reigning champ Brad Paisley.
Will there be a new winner this year, or even a new nominee? Should there be?
Let’s take a look at last year’s race:
Darius Rucker was the new face to enter the race last year. No brand new nominee has been nominated again in this category since Keith Urban earned his first nomination in 2004. He’s been in the race ever since. I’d say Rucker’s close to a lock, along with Paisley. But just like in the Entertainer race, a case could be made for a decent shake-up, especially some of this category’s veteran acts have dipped at radio and retail.
Here’s who I would nominate this year. Share your picks in the comments:
Anybody else notice that this guy’s outselling the rest of the male solo artists? All the while, he’s been completely ignored at the country awards shows for his last two projects. He’s not overdue just yet, but he’s due.
He went out of his comfort zone to release a bluegrass-flavored album that was pretty darn good.
He just missed my list for preferred Entertainer nominees, but he’s at the head of the pack in this category. With his domination at radio, not to mention a stronger studio album than his previous two, I wouldn’t be shocked for him to become the third artist in history to win four of these.
His hit-making has certainly been kicked up a notch as of late. He may be destined to toil just under the radar of this category like Trace Adkins and Gary Allan before him, but it would be nice to see him get a nod.
A decent comeback at radio and retail, coupled with him being a great singer who’s been overlooked, makes me hope he finishes out this category.
I left off previous nominees Keith Urban, George Strait, and Darius Rucker because they haven’t put out new albums during the eligibility period, so it seems like a good time to let some new folks get a chance. I left off Kenny Chesney because he’s been doing nothing but stopgap releases for the past year, none of which sold to his normal standards. I left off Tim McGraw, even though he’s made some music I really like lately, because he hasn’t been doing as well as usual at radio and retail.
Many a star was launched in the nineties, a few of them right out of the gate. This section includes the debut singles from Toby Keith, Jo Dee Messina, LeAnn Rimes, and Doug Stone, along with Grammy-winning hits by Alison Krauss and Dwight Yoakam.
400 Greatest Singles of the Nineties: #100-#76
The Battle Hymn of Love Kathy Mattea & Tim O’Brien
1990 | Peak: #9
Sure, the novelty of thirteen year-old Rimes’ prodigious Patsy imitation helped things along. But that unshakable yodeled hook would have made “Blue” a classic in any era of country music. – Dan Milliken (more…)
A perfect time capsule of the boom times, as Jackson wryly notes all of those genre-hoppers who saw dollar signs in the growing country music scene. Funny how they didn’t arrive on radio until a decade later. – Kevin Coyne
I Want to Be Loved Like That Shenandoah
1993 | Peak: #3
Sometimes the deepest understanding of love comes from what you see around you. The narrator in this song won’t settle for anything less than the unwavering love he’s witnessed in his life, and his examples are stunning in the way they slice straight to the core of love, to the bond that can’t be broken by the physical world. This is one of the purest tributes to love I’ve ever heard. – Tara Seetharam (more…)
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 Toby Keith
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
Tender Moment Lee Roy Parnell
1993 | Peak: #2
Every once and awhile an artist delivers a song so powerful that it seems to shatter all divides in its genre. A tribute to both the late Keith Whitley and Gill’s late brother, “Go Rest High On That Mountain” pairs deeply spiritual lyrics with a tender, emotion-soaked performance. The combination is magic. – TS
A good power ballad shot to greatness by its artists’ striking chemistry – palpable, fiery and so very genuine. More than just a hit single, “It’s Your Love” represents the moment in country music history at which we were introduced to one of its definitive couples. – TS
Grandpa Told Me So Kenny Chesney
1995 | Peak: #23
An earnest, soulful confession of love. It’s hard to ignore the fact that it leans more in the adult-contemporary direction than that of anything else, but when a song is this moving, it’s also hard to care. – TS
What She’s Doing Now Garth Brooks
1992 | Peak: #1
In an unusual tact for Mr. Brooks, he forgoes melodrama in order to allow the natural drama of pining for a lost love to speak for itself. The dialed down performance works in the service of the song, as the sadness appropriately penetrates through. – LW
Find My Way Back to My Heart Alison Krauss & Union Station
1997 | Peak: #73
Some of the best songs from AKUS play on the home life that’s sacrificed by following the musical dream. Krauss remembers how she used to laugh at songs about the lonely traveling life, but she’s not laughing now. – KC
A man makes a soaring yet understated plea for his lover to let go of her past love. The song is made sadder by the touch of resignation in Wariner’s performance, which suggests the man knows he’s making his plea in vain. – TS
A whole song about deciding whether or not to go all the way with one’s movie date. McCready gives a fantastically entertaining performance, speak-singing her lines with a a bold campiness that most other gals wouldn’t dare. – DM
Chasin’ That Neon Rainbow Alan Jackson
1990 | Peak: #2
Ten years before “You Belong With Me” made its splash, McCann set her sights on the same demographic with a song just as relatable, vibrant and passionate. That the song lacks Taylor Swift’s sharp perspective is perhaps what makes it such a great record: there’s something so pure about McCann’s fully unapologetic, headfirst fall into love. – TS
Chesnutt makes a phone call to an old love that could be construed as creepy, pathetic or terribly sad – take your pick. I’m going with a mixture of all three, with a pinch of selfishness thrown in. Either way, “I Just Wanted You to Know” is a memorable slice of the-one-that-got-away reality.- TS
In the twenty years that passed since the release of this song, the path to success in the music industry has morphed into something that looks very different than it used to. Unlike that of Bobby in the song, these days an artist’s journey can come in all shapes and forms, sometimes abrupt and sometimes completely unprecedented.
Think what you want about this paradigm shift, but here’s what I believe: regardless of how you shoot to the top, the only way you’ll achieve longevity and, most importantly, respect in country music is if you share the fire in Bobby’s eyes. This soul-stirring hunger and unshakable passion is the heart of “I’m Gonna Be Somebody” and the reason it remains a timeless classic. Here’s to hoping – and I’m optimistic – our modern artists are made of the same stuff. – TS