My Kind of Country

Country music from a fan's point of view since 2008

Tag Archives: Tim McGraw

Week ending 10/20/18: #1 singles this week in country music history

1958 (Debut of ‘Hot CW Sides’ Chart): City Lights — Ray Price (Columbia)

1968: Then You Can Tell Me Goodbye — Eddy Arnold (Fraternity)

1978: Tear Time — Dave & Sugar (RCA)

1988: Strong Enough To Bend — Tanya Tucker (Capitol)

1998: Where The Green Grass Grows — Tim McGraw (Curb)

2008: Everybody Wants to Go to Heaven — Kenny Chesney (Blue Chair/BNA)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018: Simple — Florida Georgia Line (Big Machine)

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Classic Rewind: Tim McGraw and Mark Collie – ‘Sing Me Back Home’

Week ending 10/13/18: #1 singles this week in country music history

1958: Bird Dog / Devoted To You — Everly Brothers (Cadence)

1958 (Disk Jockeys): Alone With You — Faron Young (Capitol)

1968: Harper Valley P.T.A. — Jeannie C. Riley (Plantation)

1978: Heartbreaker — Dolly Parton (RCA)

1988: Streets of Bakersfield — Dwight Yoakam & Buck Owens (Reprise)

1998: Where The Green Grass Grows — Tim McGraw (Curb)

2008: Don’t Think I Don’t Think About It — Darius Rucker (Capitol Nashville)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018 (Airplay): Blue Tacoma — Russell Dickerson (Triple Tigers)

Week ending 10/6/18: #1 singles this week in country music history

1958: Bird Dog / Devoted To You — Everly Brothers (Cadence)

1958 (Disk Jockeys): Alone With You — Faron Young (Capitol)

1968: Harper Valley P.T.A. — Jeannie C. Riley (Plantation)

1978: Heartbreaker — Dolly Parton (RCA)

1988: Honky Tonk Moon — Randy Travis (Warner Bros)

1998: Where The Green Grass Grows — Tim McGraw (Curb)

2008: Don’t Think I Don’t Think About It — Darius Rucker (Capitol Nashville)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018 (Airplay): Hotel Key — Old Dominion (RCA)

Album Review: Rodney Crowell – ‘Acoustic Classics’

Rodney Crowell has decided to revisit a number of his best known songs in acoustic format.

The poetic ‘Earthbound’ from 2003 sounds very like the original recording. ‘Anything But Tame’ comes from his 2012 collaboration with poet Mary Karr, is similar but a little more stripped down, but it is a song I admire rather than love.

First recorded by Rodney in 1978, and made famous by near-contemporary covers by Emmylou Harris, and the Oak Ridge Boys (for whom it was a #1 hit in 1979), the new version is ‘Leaving Louisiana In The Broad Daylight’ is taken at a more relaxed pace than any of the previous versions I have heard. The dominant accordion makes it feel full of Cajun atmosphere, and I enjoyed this take. The remake of the same era’s ‘Ain’t Living Long Like This’ feels less essential.

Less familiar to country fans, ‘Shame On The Moon’ was recorded by Rodney in 1981, and was a pop hit for Bob Seger the following year. Rodney has revised the actual song for this project, but it remains one of the more pop-styed tunes in Crowell’s repertoire.

The up-tempo ‘Lovin’ All Night’, a top 10 hit for Rodney in 1992, and later covered by Patty Loveless, is a country rocker which gets a vibrant acoustic reworking.

There is a lovely reading of the tender ballad ‘Making Memories Of Us’, a big hit for Keith Urban. A solemn string arrangement is the perfect accompaniment. The same treatment is afforded to ‘Please Remember Me’, a hit for Tim McGraw.

At the heart of the album are three songs from my favorite of Rodney’s albums, and his most commercially successful, 1988’s Diamonds And Dirt. In fact they are three of that album’s record breaking run of five straight #1 hits. The upbeat ‘I Couldn’t Leave You If I Tried’ was the first of the three, followed by the tongue-in-cheek Guy Clark co-write ‘She’s Crazy For Leavin’’. My favorite is the lovely ballad ‘After All This Time’.

‘Tennessee Wedding’ is a new song which Rodney wrote for his daughter’s wedding, from the point of view of his new son in law.

Tis is a very pleasing album showcasing Rodney Crowell as a songwriter. It may not be an essential purchase if you already have all his recorded work, but I thoroughly enjoyed it.

Grade: A

Week ending 2/24/18: #1 singles this week in country music history

1958 (Sales):  Ballad of a Teenage Queen — Johnny Cash (Sun)

1958 (Disk Jockeys): Ballad of a Teenage Queen — Johnny Cash (Sun)

1968: Skip A Rope — Henson Cargill (Monument)

1978: Don’t Break The Heart That Loves You — Margo Smith (Warner Bros.)

1988: Twinkle, Twinkle Lucky Star — Merle Haggard (Epic)

1998: Just To See You Smile — Tim McGraw (Curb)

2008: Letter To Me — Brad Paisley (Arista)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018 (Airplay): Legends — Kelsea Bellerini (Black River)

Week ending 2/17/18: #1 singles this week in country music history

1958 (Sales):  Ballad of a Teenage Queen — Johnny Cash (Sun)

1958 (Disk Jockeys): Ballad of a Teenage Queen — Johnny Cash (Sun)

1968: Skip A Rope — Henson Cargill (Monument)

1978: Don’t Break The Heart That Loves You — Margo Smith (Warner Bros.)

1988: Tennessee Flat Top Box — Rosanne Cash (Columbia)

1998: Just To See You Smile — Tim McGraw (Curb)

2008: Letter To Me — Brad Paisley (Arista)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018 (Airplay): Written In The Sand — Old Dominion (RCA Nashville)

Week ending 2/10/18: #1 singles this week in country music history

1958 (Sales): The Story of My Life — Marty Robbins (Columbia)

1958 (Disk Jockeys): Ballad of a Teenage Queen — Johnny Cash (Sun)

1968: Skip A Rope — Henson Cargill (Monument)

1978: I Just Wish You Were Someone I Loved — Larry Gatlin (Monument)

1988: Wheels — Restless Heart (RCA)

1998: Just To See You Smile — Tim McGraw (Curb)

2008: Letter To Me — Brad Paisley (Arista)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018 (Airplay): Losing Sleep — Chris Young (RCA)

Week ending 2/3/18: #1 singles this week in country music history

1958 (Sales): The Story of My Life — Marty Robbins (Columbia)

1958 (Disk Jockeys): Ballad of a Teenage Queen — Johnny Cash (Sun)

1968: Skip A Rope — Henson Cargill (Monument)

1978: Out of My Head and Back in My Bed — Loretta Lynn (MCA)

1988: Goin’ Gone — Kathy Mattea (Mercury) 

1998: Just To See You Smile — Tim McGraw (Curb)

2008: Letter To Me — Brad Paisley (Arista)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018 (Airplay): Yours — Russell Dickerson (Triple Tigers)

Week ending 1/27/18: #1 singles this week in country music history

1958 (Sales): The Story of My Life — Marty Robbins (Columbia)

1958 (Disc Jockeys): The Story of My Life — Marty Robbins (Columbia)

1968: Sing Me Back Home — Merle Haggard (Capitol)

1978: Out of My Head and Back in My Bed — Loretta Lynn (MCA)

1988: Where Do The Nights Go — Ronnie Milsap

1998: Just To See You Smile — Tim McGraw (Curb)

2008: Our SongTaylor Swift (Big Machine)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018 (Airplay): Yours — Russell Dickerson (Triple Tigers)

Week ending 1/20/18: #1 singles this week in country music history

1958 (Sales): The Story of My Life — Marty Robbins (Columbia)

1958 (Disc Jockeys): The Story of My Life — Marty Robbins (Columbia)

1968: Sing Me Back Home — Merle Haggard (Capitol)

1978: What A Difference You’ve Made In My Life — Ronnie Milsap (RCA)

1988: One Friend — Dan Seals (Capitol)

1998: Just To See You Smile — Tim McGraw (Curb)

2008: Our SongTaylor Swift (Big Machine)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018 (Airplay): I Could Use A Love Song — Maren Morris (Columbia Nashville)

Album Review: Tim McGraw & Faith Hill – ‘The Rest of Our Life’

It’s no secret that two of the most influential artists that have shaped my understanding and love of country music is Faith Hill and Tim McGraw. Their love story was the first celebrity love story I bought into as a kid and the one that has lasted the longest. Hill, especially, remains one of my favorite artists.

Count me among those who found it puzzling that McGraw would exit Big Machine to be a little fish in a big pond at Sony Nashville. His artistic credibility had reached new heights in 2016 and he was back in the Male Vocalist of the Year race at the CMA Awards. You do have to commend him for giving that up to help re-launch Hill into the mainstream. His heart was definitely in the right place.

But the first taste of new music from the pair, the Adult Contemporary “Speak To A Girl” was not. The ballad may have shot to #19, but it exposed Hill’s newly-acquired rasp in her lower register. Her inability to hold onto notes in her lower register was painful to hear and distracted by the message of the song, which wasn’t all that thought out anyways.

The title track, and second single, wasn’t much better. It throws the pair further into pop territory, with a lyric (co-written by Ed Sheeran) that attempts to trace a romantic relationship. The lyric is terrible, especially in the Hill-led second verse:

I’ve been making plans for children

Since I’ve been looking in your eyes

I even have names picked out for them

Daughter’d be Rose

Son it’d be Ryan

The pair debuted two of the tracks on their tour last summer. “Break First,” is a mid-paced ballad of temptation (dominated by an electronic drum loop) in which a couple is eying each other from across the room. “Telluride,” is a funky up-tempo change of pace, and while it shares a name with a track from Set This Circus Down, it is most definitely a different song.

The majority of the album is dominated by songs that just aren’t that great or worth adding to your collection. “Devil Callin’ Me Back” strips them of their individually and highlights everything that’s wrong with modern commercially-focused music. “Roll The Dice” is an electronic mess while “Love Me To Lie,” in which Hill sings lead throughout, is at least okay.

“Sleeping In The Stars” lets the pair’s harmonies shine through. “Cowboy Lullaby” is a somewhat well-written song and a good vehicle for McGraw, but I can’t help but think it would’ve sounded a lot stronger with a far less watered down arrangement.

The final two tracks were co-written by Lori McKenna and I cannot help but hold them to a higher standard. She reunited with The Love Junkies on “The Bed We Made,” which actually has bones, but likely would’ve been more appropriate for someone younger and not a couple who has been married for twenty-one years.

“Damn Good At Holdin’ On,” which McKenna wrote with Barry Dean, is the album’s strongest track by a mile. I don’t like the chorus that much, but this is the closest Hill and McGraw come to rekindling the magic of their previous duets.

The lack of that magical spark found on “It’s Your Love” or “Let’s Make Love” is truly what sinks The Rest of Our Life. Hill and McGraw are far better than most of the material they pulled together for this album. They don’t need to craft an entire album of love songs – we all get it by now. If they had diversified, with another “Angry All The Time,” or at least put effort into finding even a couple artistic moments to sprinkle amongst the radio fodder than all might not have been lost. But as it stands, The Rest of Our Lives is beneath both of them. They’ve more than proven they can do a heck of a lot better than they do here.

Grade: C

Album Review: Tracy Lawrence – ‘Good Old Days’

If popular culture is to be believed, it seems the 1990s is the hottest decade right now. Most of the ‘new’ television shows are reboots of classics from the era, including Full House and Will & Grace, with the originals casts reprising their roles. In popular music, if you were a major player 20-25 years ago, then its suddenly fashionable to return with new music and slews of concert dates.

In country music, this trend extends to the return of Faith Hill and Shania Twain with their first new music in more than a decade while Garth Brooks is wrapping up his massive three-year tour this month in Nashville. Even Dixie Chicks came home to the United States with their first tour in ten years. What’s old is new again or rather the music that defined my childhood is suddenly hip again.

It would be a stretch to place Tracy Lawrence at the same level since he was never a global superstar or wheeled much influence on an international stage. But he was one of the most consistent and traditional artists in his day, with a catalog that more than stands up to anything released by the artists who may have eclipsed him in status.

To celebrate this resurgence, Lawrence has released Good Ole Days, which recognizes what he refers to as a ‘hunger for the music from my era.’ The album pairs him with modern day country artists singing his hits. The whole concept does seem like a gimmick, a cash grab for the gullible fan unaware they are likely only lining the pockets of the executive who dreamt up this project. But really it’s a chance to finally hear country’s current class sing real well-written songs for the first time in their careers. I jumped at the chance to review this album simply so I could hear how these artists sound when forced to interrupt the actual country music. I’ve always had a theory that there is talent there if these artists had the proper vehicle to show it off.

This is the proper vehicle because instead of the artists making these songs their own, with their typical non-country producers and such, they have to stick within the confines of the original arrangements, including the steel, fiddle, and twang. Without the ability to hide, every weakness would be on the table.

Luke Bryan tackles Lawrence’s 1991 debut “Sticks and Stones” and handles it well. I wasn’t impressed with Jason Aldean’s take on “Just Can’t Break It to My Heart,” his voice was a bit too dirty, but the energy was good.

I remember reading in Quotable Country, on the dearly-departed Country California, Justin Moore says if he had a say he would make an album in the vein of I See It Now. He goes back a bit further here with “Alibis” and knocks it out of the park. Moore is a great country singer and it’s a shame he has to reside in this current climate.

Dustin Lynch sounds exactly like a young Lawrence on “Texas Tornado,” which is kind of scary. His performance isn’t excellent, but it’s damn close. I was surprised Miranda Lambert, who has been known to belt this out in concert, wasn’t singing it but that could’ve been label politics.

Probably the newest artist featured here is Luke Combs, who just hit number one with “When It Rains It Pours.” There’s no mistaking he’s a country singer and he easily pulls this off. The same is true for Chris Young, but he sounds like he’s just going through the paces on “If The Good Die Young.” If he had just let go the results could’ve been incredible.

The legend of Tim McGraw is he moved to Nashville on May 9, 1989, and has always said he’s more of a storyteller while Keith Whitley is a singer. I agree wholeheartedly, but his performance of “Time Marches On” is bland. In contrast, Easton Corbin shines on “Paint Me A Birmingham.”

Kellie Pickler’s talent is wasted on “Stars Over Texas,” which finds her regulated to singing the chorus. As the sole female voice on the whole album, you would’ve thought she’d be allowed more of a presence. I didn’t care for her vocal either, which makes her sound like a little girl.

There are two new songs in the mix. Brad Arnold, the lead singer of Alternative Rock band Three Doors Down (think ‘Here Without You’) joins Lawrence on the title track, which is being billed as his “country music debut.” The song, which also features Big & Rich, is a faux-rock disaster. The military-themed fiddle drenched ballad “Finally Home,” which features Craig Morgan, is better but not really for my tastes.

Good Ole Days is a great concept with lousy execution. These tracks are collaborations between the singer and Tracy Lawrence which doesn’t work on any level. Get rid of Lawrence entirely and turn this into the proper tribute album it’s screaming to be. His nasally twang is insufferable and pointlessly distracting. The lack of female artists in the mix is also troubling, as you don’t need just men to sing these songs.

Grade: B-

Week ending 11/4/17: #1 singles this week in country music history

1957 (Sales): Wake Up Little Susie — The Everly Brothers (Cadence)

1957 (Disc Jockeys): Wake Up Little Susie — The Everly Brothers (Cadence)

1967: You Mean the World to Me — David Houston (Epic)

1977Heaven’s Just a Sin Away — The Kendalls (Ovation)

1987: Right From the Start — Earl Thomas Conley (RCA)

1997: Everywhere — Tim McGraw (Curb)

2007: Don’t Blink — Kenny Chesney (BNA)

2017: What Ifs — Kane Brown ft Lauren Alaina (RCA)

2017 (Airplay): When It Rains It Pours — Luke Combs (River House/Columbia)

Week ending 10/28/17: #1 singles this week in country music history

1957 (Sales): Wake Up Little Susie — The Everly Brothers (Cadence)

1957 (Disc Jockeys): Wake Up Little Susie — The Everly Brothers (Cadence)

1967: I Don’t Wanna Play House — Tammy Wynette (Epic)

1977Heaven’s Just a Sin Away — The Kendalls (Ovation)

1987: Shine, Shine, Shine — Eddy Raven (RCA)

1997: Everywhere — Tim McGraw (Curb)

2007: Don’t Blink — Kenny Chesney (BNA)

2017: What Ifs — Kane Brown ft Lauren Alaina (RCA)

2017 (Airplay): What Ifs — Kane Brown ft Lauren Alaina (RCA)

Week ending 7/15/17: #1 singles this week in country music history

1957 (Sales): Bye Bye Love — The Everly Brothers (Cadence)

1957 (Disc Jockeys): Four Walls — Jim Reeves (RCA)

1967: All The Time — Jack Greene (Decca)

1977I’ll Be Leaving Alone — Charley Pride (RCA)

1987: All My Ex’s Live In Texas — George Strait (MCA)

1997: It’s Your Love — Tim McGraw with Faith Hill (Curb)

2007: Lucky Man — Montgomery Gentry (Columbia)

2017: Body Like a Back Road — Sam Hunt (MCA)

2017 (Airplay): Every Time I Hear That Song — Blake Shelton (Warner Bros.)

Week ending 7/8/17: #1 singles this week in country music history

1957 (Sales): A White Sport Coat (and a Pink Carnation) — Marty Robbins (Columbia)

1957 (Disc Jockeys): Four Walls — Jim Reeves (RCA)

1967: All The Time — Jack Greene (Decca)

1977That Was Yesterday — Donna Fargo (Warner Bros.)

1987: That Was a Close One — Earl Thomas Conley (RCA)

1997: It’s Your Love — Tim McGraw with Faith Hill (Curb)

2007: Lucky Man — Montgomery Gentry (Columbia)

2017: Body Like a Back Road — Sam Hunt (MCA)

2017 (Airplay): God, Your Mama, and Me — Florida Georgia Line ft. The Backstreet Boys (Republic Nashville)

Week ending 7/1/17: #1 singles this week in country music history

1957 (Sales): A White Sport Coat (and a Pink Carnation) — Marty Robbins (Columbia)

1957 (Disc Jockeys): Four Walls — Jim Reeves (RCA)

1967: All The Time — Jack Greene (Decca)

1977Luckenbach, Texas (Back to the Basics of Love) — Waylon Jennings (RCA)

1987: Forever and Ever, Amen — Randy Travis (Warner Bros.)

1997: It’s Your Love — Tim McGraw with Faith Hill (Curb)

2007: Ticks — Brad Paisley (Arista)

2017: Body Like a Back Road — Sam Hunt (MCA)

2017 (Airplay): How Not To — Dan + Shay (Warner Bros.)

Week ending 6/17/17: #1 singles this week in country music history

1957 (Sales): A White Sport Coat (and a Pink Carnation) — Marty Robbins (Columbia)

1957 (Jukebox): A White Sport Coat (and a Pink Carnation) — Marty Robbins (Columbia)

1957 (Disc Jockeys): Four Walls — Jim Reeves (RCA)

1967: All The Time — Jack Greene (Decca)

1977Luckenbach, Texas (Back to the Basics of Love) — Waylon Jennings (RCA)

1987: Forever and Ever, Amen — Randy Travis (Warner Bros.)

1997: It’s Your Love — Tim McGraw with Faith Hill (Curb)

2007: Moments — Emerson Drive (Midas Nashville)

2017: Body Like a Back Road — Sam Hunt (MCA)

2017 (Airplay): In Case You Didn’t Know — Brett Young (Republic Nashville)

Week ending 6/10/17: #1 singles this week in country music history

1957 (Sales): A White Sport Coat (and a Pink Carnation) — Marty Robbins (Columbia)

1957 (Jukebox): A White Sport Coat (and a Pink Carnation) — Marty Robbins (Columbia)

1957 (Disc Jockeys): Four Walls — Jim Reeves (RCA)

1967: It’s Such a Pretty World Today — Wynn Stewart (Capitol)

1977Luckenbach, Texas (Back to the Basics of Love) — Waylon Jennings (RCA)

1987: I Will Be There — Dan Seals (EMI America)

1997: It’s Your Love — Tim McGraw with Faith Hill (Curb)

2007: Good Directions — Billy Currington (Mercury)

2017: Body Like a Back Road — Sam Hunt (MCA)

2017 (Airplay): In Case You Didn’t Know — Brett Young (Republic Nashville)