Every #1 Country Song of the 2000s: 2006

2006

January 14: "She Let Herself Go" by George Strait

I love a song that lets a woman have agency. This woman breaks free from her relationship, and the man thinks she'll be a wreck without him. And sure enough, once it's over, she "let[s] herself go" -- on multiple vacations, a trip to the spa, a blind date, and off to buy a new car. It's not a mere punch line; it's surprisingly feminist in how she's able to regain control so quickly after freeing from an unsavory man. It's the kind of wordplay you'd expect from Dean Dillon, and Strait gives a breezy vibe that's slightly different from the usual for him. As I said in the previous entry, "twisting a formula around is almost always a good move," and this one sticks the landing. Let yourself go listen to this again and again; you won't regret it. A

January 21: "Jesus, Take the Wheel" by Carrie Underwood

I have a term for this early-noughties trend of motivational/inspirational songs: "Chicken Soup for the Soul Country." This one is squarely within those paramters, but other than the odd scansion of the date being both "last Friday" and Christmas Eve, it really does nothing wrong. If you have a near-miss car accident that puts your life in danger, you'd probably take it as a wake-up call too. It's not a terribly original narrative, but the change from a literal wheel to a metaphorical one is far less contrived than it sounds on paper. Sure, she hadn't fully fleshed out her interpretive skills yet (it could've been a little less belt-y), and as her first real bow post-American Idol, a song of this nature can come across as pandering. This is made more for the Hallmark Channel crowd than it is for me, but for what it is, it more than does the job. B

March 4: "When I Get Where I'm Going" by Brad Paisley feat. Dolly Parton

I have no problem with the "what will happen when I get to Heaven" narrative, as George Strait's "You'll Be There" and Trent Tomlinson's "One Wing in the Fire" are among my all-time favorites. Conversely, this one isn't nearly as wrong-headed as Diamond Rio's utterly awful "God Only Cries." I just think it starts off wrong with lines about petting lions and riding drops of rain, which give an almost infantile tone. The chorus and second verse are fine, and it doesn't really stumble again until the generic "and so much work to do" which calls to mind Annie Coghill's "Work, for the Night Is Coming" (probably the most popular hymn I've seen since "In the Garden" that has nothing even remotely Christian to say). And maybe it's the 20 years of church organist speaking, but can we please start referencing hymns other than "Amazing Grace"? From a vocal and production standpoint, everything here is perfectly fine -- it's not bombastic and I like the modulation on the bridge, although I would've had Dolly sing a few lines herself and not just backup. Overall, it's not the worst; it's just the first time since "Little Moments" that one of Brad's ballads did nothing for me. C+

March 11: "Your Man" by Josh Turner

This one got mauled by overplay for me, but in the years since, I've come to find renewed appreciation for it. It's just chill, reserved, and sensual without feeling icky -- not even when he sings "I can't believe how much it turns me on." It helps that Josh Turner's asset is being laid-back and smooth; while it can occasionally spill over into stuffy conservatism ("Everything Is Fine"), that's thankfully not the case here. The gentle shuffle melody and lighthearted production (I hove how piano and steel cut in and out between verses, playing something a little different each time) make this a smooth little treat. While overall it's not really breaking any new ground, it's covering familiar territory in a way that never feels dusty or stodgy. B+

March 18: "Living in Fast Forward" by Kenny Chesney

Kenny Chesney spent most of this decade in high gear, so I can believe the narrative of a hectic life from which he wants to escape -- even if it's a well he went back to a few too many times. But as one of his first takes on that formula, this one's more than likable enough. It's got a good hook and some great guitar work. (Is the line about treating the body like a honky-tonk and not a temple an homage to Confederate Railroad, or was that already a joke before then?) While I doubt that Kenny Chensey was partaking of "greasy cheeseburgers and cheap cigarettes," I'll allow the artistic license. And then I'll get distracted halfway through the review and realize how un-memorable this song ultimately is, and wonder why I'm not reviewing the infinitely superior "Who You'd Be Today" instead. You almost had me there, Kenny. B-

April 8: "What Hurts the Most" by Rascal Flatts

First I hated this song. Then I liked it. Then I hated it again. Now it's probably my favorite of theirs. I think the different production style threw me -- it's definitely harder than most of their songs prior had been. "I can take the rain on the roof of this empty house / That don't bother me" is a great opening line. This man is vulnerable but, despite his brave front, he can't deal with a lost love that slipped through his hands. It's a surprisingly nuanced and emotional lyric, a very different style for Jeffrey Steele to be sure. Literally everything works on this song for me; I think I just had to peel back some of the layers first. And it probably also helps that hindsight has shown that compared to some of their more bloated efforts in later years, this is practically Nickel Creek by comparison. Either way, it's dramatic, deep, and unique in a lot of small intangible ways, and I think that is ultimately its greatest asset. A+

May 6: "Who Says You Can't Go Home" by Bon Jovi feat. Jennifer Nettles

I hate to ding the first verse twice in the couplet "Like a blind dog without a bone / I was a gypsy lost in the Twilight Zone" for not only the mixed metaphor, but also the slur. (To be fair, not everyone knows that, and I think even fewer people did in 2006.) Literally everything else on this song works: it's bright and sunny but has some grit, Bon Jovi and Jennifer Nettles have amazing chemistry (arguably, even more than she has ever had with Kristian Bush on almost any Sugarland song), and the theme of finding what you need by going back home is an interesting twist on common wanderlust tropes. There's certainly more than enough here to recover the fumble early on, and I love that something so off-kilter managed to connect. B+

May 20: "Wherever You Are" by Jack Ingram

Jack Ingram is one of many Texas country artists who spent years building up a cult following with tough, gritty songs before finally breaking through with his only major hit. While fellow Texan Pat Green managed to break through with a song that didn't sacrifice the grit ("Wave on Wave"), Jack Ingram instead leaned into the generic. Against a guitar riff that sounds like someone needed a royalty-free rewrite of Radney Foster's "Nobody Wins," Ingram gives an admittedly textured read of an uninspired "find the one I love" narrative. There are no emotional stakes; just a bunch of "I'm missing you and want to find you" vagueness without anything to make it stand out. And yet it's still less infuriatingly bland and derivative than "Maybe She'll Get Lonely." I wonder what would have happened had he gone with "Love You" as the first single to a fully studio album, instead of stapling two tracks -- that much better song and this generic radio-bait -- onto an existing live album. Maybe he could've found a more convincing way to balance artistry and success, and we could've been spared the desperation of covering "Lips of an Angel" while we were at it. C

May 27: "Why" by Jason Aldean

I wish I didn't have to talk about Aldean at all, but I will begrudgingly admit there was a time when he didn't suck, as a musician or a human being. I once heard someone say this song sounds like an abuser spewing out half-hearted apologies to regain trust in a woman before abusing her all over again (probably not helped by Shannon Brown's pronoun-flipped version, where "abuse victim" is a legitimate read). But even with Aldean's later scumminess in mind, I can't get there myself. To me, this is a guy who knows he keeps making mistakes in his relationship, and is throwing out rhetorical questions about why he can't fix his own stupidity. That's a level of self-awareness this kind of narrative usually lacks, and it's all the better for it. Aldean always had kind of a weird singing voice and he never sounded great in concert, but this is legitimately one of his best vocal reads to date. I have to wonder what his career arc would be like if he had more songs like this and "Amarillo Sky," and fewer like "Try That in a Small Town." B+

June 3: "Settle for a Slowdown" by Dierks Bentley

I like the narrative here. Not unlike "Nothin' but the Taillights," he's stuck outside, watching her car drive off. He doesn't want her to turn around and come back to him; he just wants her to stop for a moment and think about it. It's a clever punch line, and the verses mesasure up. I like how he admits he looks stupid standing out in the rain, and how he reveals she wanted to leave him for Hollywood. I also like how the last chorus changes the words to show that she's further away now. While the melody is a bit repetitive at times, the gritty delivery, spaghetti Western-tinged guitar hook, and resolution to minor key at the end of each line all make up for any other shortcomings in sound design. I'm not settling for anything here; this is a damn good song. A

June 17: "Summertime" by Kenny Chesney

This was the first Kenny Chesney song since "I Will Stand" that really missed for me. And that was before I read a Country Weekly article where he said he asked the writers to remove a line about snow cones because he didn't know what they are. While it's the only song I can think of that name-drops Yoo-Hoo, it's about as appetizing as a warm bottle of Yoo-Hoo that's been sitting on the floorboards. The melody is a static so-mi-so-mi-so pattern on the chorus, only to reach painfully out of his register on the chorus (seriously, it hurts my ears to listen to), and the guitar textures are equally harsh. Plus, the hook is just a dull thud: "It's a smile, it's a kiss / It's a sip of wine, it's summertime." Almost no thought feels like it went into writing this, and very little went into the production or arrangement either. Seriously, one of his worst. D+

July 22: "The World" by Brad Paisley

After the great Mud on the Tires, this was around the time where Brad hit a rough patch for me. While this album cycle started off strong with the genuinely clever "Alcohol" (a comedy song that name-drops Ernest Hemingway is clearly going way smarter than songs like that usually do), this one is just an endless barrage of "To X, you're Y" lines with no real punch lines. And of course it builds up to a lame, predictable girl/world rhyme. I don't think a single joke lands in the entire song, and it's not helped by how much plainer Brad's voice was already getting by this point. While I'm also hit-and-miss on his guitar work, that's one of the few points in this song's favor -- 32 tracks, if I recall correctly, layer in a lot of interesting textures that make this a cut above sonically. It's just a shame the rest of the song couldn't measure up. C

August 12: "If You're Going Through Hell (Before the Devil Even Knows)" by Rodney Atkins

A motivational song with actual tempo and some degree of a narrative? Be still my heart. This one brims with energy from the get-go in a way this kind of song usually lacks. Every line runs into the other in some of the most creative wordplay I've ever heard ("You step off the straight and narrow and you don't know where you are / Use the needle of your compass to sew up your broken heart/ Ask directions from a genie in a bottle of Jim Beam and she lies to you"), leading to that killer of a chorus. This song is just plain fun to listen to, and it hits even harder if you know about Rodney's back story -- he was allegedly born through date rape and subject to a number of health issues in his youth, and his early recording career was plagued with production and management issues (two words: Curb Records). This one is as sympathetic as it is fun to listen to, and it's all the better for it. The "I Hope You Dance" crowd would be better served with songs like this. A

September 9: "Leave the Pieces" by the Wreckers

Michelle Branch going country feels like a no-brainer. She had that folksy kind of approach with just enough polish, and adding Jessica Harp for some extra texture only made things even better. This was good for the Sheryl Crow/Jewel crowd, but the fiddle and banjo recall the Chicks as well. It's a breakup song, as you'd expect, but the hook is the real killer here. "There's nothing you can do or say / You're gonna break my heart anyway / So just leave the pieces when you go." I also love how confident she is in telling him to just get on with it, because she can bounce back. This song is sturdy, feminist, folksy, and meaningful in ways that weren't in vogue at the time, and I have to wonder if the decline of the Chicks played a factor in them not sticking around longer. Because from this song alone, they were too damn good to have only one album. A+

September 23: "Brand New Girlfriend" by Steve Holy

This song walks a fine line between funny and obnoxious. We start off with a diminished-chord intro where he lays out that she needs some time to herself. I like how there's a little "um" between "I did what any gentleman would do" and the more cheery "I got a brand new girlfriend." Lines like "kissy kissy smoochy smoochy" may wear on you after the 20th listen or so, but for the first few listens it's kind of funny. Maybe I'm a bit biased because I haven't heard it in years by now, but it did get a chuckle after a re-visit. The only real letdown here is that this was the song that got him back to the top, and not the stunning "Go Home" or "Put Your Best Dress On." But at the same time, at least it wasn't nearly as loud and obnoxious as "Men Buy the Drinks (Girls Call the Shots)." B

September 30: "Give It Away" by George Strait

We've seen George Strait broaden his horizons considerably in this stretch, and here's another example of him doing just that. The bluesy guitar tone recalls "Gone as a Girl Can Get" (one of the few George Strait songs where he was backed by the Ace in the Hole band). His talk-singing is delightfully laid-back but never muted,  laying out the divorce narrative. She doesn't even want his things, and tells him to just "give it away" because they're too tired from fighting. And after a few more failed attempts with other women, he's got a broken heart that he can't even give away. It's clever as hell, and the spoken-word narrative reminds you that yes, Whispering Bill did co-write this (although if I recall correctly, it was actually one of the other writers who suggested that). I especially love the little "hmm"s, as if he's trying to sort out the story himself. This was the song that claimed Strait's record for the most #1 hits, and I think it was a fantastic, inspired song worthy of that honor. A

October 14: "Would You Go with Me" by Josh Turner

This song is utterly charming in its promise of undying love. I think the narrative is inspired, in how every line forms a question. The lines are whimsical -- fields of clover, edge of the sea, etc. -- but they never feel like they're going to spill into Care Bears territory. That pretty production does a lot to set the scene, with its frequent mandolin and Dobro runs, along with its unexpected resolution into minor key. Josh Turner's voice also gets a hell of a workout, going all the way from basso profondo on the verses to falsetto on the chorus. Rarely since the heyday of Vince Gill has a love song sounded so warm, pretty, and evocative. If I were the woman in this scenario, I'd say "yes" before he even got to the chorus; he's just that damn convincing here. A+

October 28: "I Loved Her First" by Heartland

Who the hell let a bar band onto the charts? This was a baffling success: some nobodies on an indie label zoom up the charts and then immediately disappear. Everything about this record seems like it should have "not ready for prime time" written all over it (looking at you, Perfect Stranger), but it actually does manage to be slightly more than the sum of its parts. I like that it's a waltz, and that the production is actually laid-back; it gives a bit more nuance to a "father giving his daughter away" song. And "I loved her first" is actually a pretty good hook to explain the sentiment. Maybe overall it's a tad generic and lacking in artistic identity. But just enough charm manages to shine through in a way that I think this record would have lacked with more mainstream gloss behind it, and its endurance is proof that it did something right. B

November 4: "Every Mile a Memory" by Dierks Bentley

The melody's a bit clunky, but I like the imagery here: old theater marquee signs (fun fact: there used to be a farm supply store near me in an old small-town theater, and they kept the marquee up), mossy town squares, and red sunsets all paint clear images that evoke that "desert sky" feel I saw in a lot of '90s country (e.g., "Even the Man in the Moon Is Cryin'"). And of course, all these memories of a traveling musician just remind him of the woman who isn't there anymore -- which is summed up in the great line "'Round every bend I only see just how far I haven't come." I almost wonder if the slightly better "Long Trip Alone," where he pleads for someone to be by his side, is a sequel song. Even if it's not, that's still some interesting artistic cohesion showing how far he has come as an artist by the third album. A-

November 11: "Before He Cheats" by Carrie Underwood

I remember a lot of people laying into this song, thinking she's a petty psychopath who vandalizes property. But if you pay attention to the lyrics, she knows what he's doing because he's done it before. I know the kind who badly sing Shania at karaoke, and who put on "our exquisite replica of Polo Sport" in the Love's bathroom. The kind who get too hands-y when trying to line up a pool shot. And yes, the kind who would totally vandalize their boyfriend's car after catching him cheating. (Is this song really out of place in a universe where Miranda Lambert was kicking ass and taking names in "Kerosene" and "Gunpowder & Lead"?) Plus, this song was Carrie switching from her nice girl persona and offering up her first viewing of her grittier side, and it's just self-aware enough that you can tell Carrie wouldn't actually recommend doing this herself. I'm sure it was cathartic for a lot of women who wanted to seek revenge in a similar fashion. B+

December 16: "My Wish" by Rascal Flatts

Somehow, a blatant retread of "I Hope You Dance" manages to be slightly less irritating than that song. Maybe it's because this kind of slick sentimentality isn't as far off the mark for Rascal Flatts as it was for Lee Ann Womack. It's also not quite as bombastic, even if it is still more than a little bit list-y. (To be fair, I do like that Jeffrey Steele wrote in a nod to Van Zant's "Help Somebody," a great song he also co-wrote.) The melody is rather sing-song-y, and there's really nothing that makes it stand out among other songs of its ilk. But knowing what's to come later on in Rascal Flatts' catalog, this is merely mediocre and derivative -- which is far from the worst a song can be, but still not my cup of tea. C-

December 23: "Want To" by Sugarland

They may have lost a member, but they didn't lose any of their talent. Jennifer Nettles' phrasing is on point, and maybe it's the lack of Kristen Hall, but Kristian Bush is higher in the mix than usual too. The energy of  trying to play it cool while on the brink of love is palpable, thanks to lines like "We could keep things just the same / Leave here the way we came, with nothing to lose / But I don't want to, if you don't want to." It's by little details like how they're out having a picnic on the lakeshore. The acoustic production style is yet another example of a song evoking the heyday of the Chicks; as someone who can actually play one, I am forever in favor of more mandolin in country music. Also, since I'm here, can I ask: why did they lower the pitch for the music video? (No, that's not a Vevo glitch; I rememeber it being that way on CMT too.) A+

Still More Tuesday Morning Memes: Jason Aldean, Brad Paisley, Post Malone

Hey, am I country media?

President Biden's Summer Playlist

 Of course a Trump one is coming up next. 

Every #1 Country Song of the 2000s: 2002

 2002

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February 2: "Good Morning Beautiful" by Steve Holy

Steve Holy should've had more hits. The Chris Issak-esque "Don't Make Me Beg" alone justifies his existence as an artist. This one is dragged down by dated production, but has enough charisma and wordplay to balance things back out. Wilbur C. Rimes layers on a very dated guitar tone and keyboard sound that make me think Michael Bolton, but Steve's voice adds a layer of gravitas that elevates the opening lyrics "Good morning, beautiful, how was your night? / Mine was wonderful with you by my side" into a pleasant conversational tone. I also like how the title refers to a "good morning beautiful day." Maybe a little less glossy reverb would have really kicked things up a notch, but as it stands, I still like this one way more than I did in 2002. B+

March 9: "Bring On the Rain" by Jo Dee Messina feat. Tim McGraw

"Tomorrow's another day / And I'm thirsty anyway / So bring on the rain." Even without the haunting in hindsight fact that this song was released on September 10, 2001, that's still a hell of a lyric. I've had a terrible day, but it's prepared me for anything that can come afterward. It's a very inspired spin on "what doesn't kill you makes you stronger," and it's far more vulnerable and raw than anything else in Jo Dee Messina's catalog of motivational anthems. Her more subdued yet more grainy delivery really helps here. Somehow, Tim's backing vocal strikes up far more chemistry than anything he's ever cut with his wife. The entire package is emphatic without being loud, emotional without being melodramatic, and overall, I'd say it adds up to easily her best song. A+

March 16: "The Cowboy in Me" by Tim McGraw

From one motivational song to another, both with Tim McGraw involved. Thankfully, the quality is equal on both; how this one didn't stick around is beyond me. I love the spare guitar production, and how the quiet verses build up to a soaring chorus (a bit rawer than the norm for Tim) before cooling back down. I find far too often thoughts like "sometimes I'm my own worst enemy" drive me down into a self-defeating spiral of pessimism, along with my own restlessness and hardness of heart. But just like the amazing perspective-flip here, I have loved ones whose own unending support has seen me through. And as the final line points out, there are a lot more of us out there just like this guy and his relationship. It's comforting to know my faults aren't so terrible as to lock me out of this world entirely. A+

March 23: "The Long Goodbye" by Brooks & Dunn

That piano and string intro may be setting off pop-country alarms, but steel guitar leads into Ronnie's unquestionably country voice. And damn it, that's a strong intro line: "I know they say if you love somebody, you should set them free / But it sure is hard to do, it sure is hard to do." Ronan Keating is not usually a name that comes to mind when one thinks of country lyrics -- even though his first hit was a cover of "When You Say Nothing At All" -- but this is some top-shelf stuff. I love how it's "big" without ever feeling over-the-top, how you can actually hear Kix in the mix for once, and how it fades out mid-solo without the tension of the lyrics letting up. This may be a lush, pretty pop ballad, but it's brought back into country territory with its simple, relatable lyrics about a breakup. There's so much to enjoy here that I'm at a loss as to why this isn't in the same league as "Boot Scootin' Boogie" or "Neon Moon." A

March 30: "Blessed" by Martina McBride

I spent most of the 2000s ragging on Martina, but honestly, I have to say this was one of her better efforts in this timespan. It's not as quirky or energetic as my personal favorite "When God-Fearin' Women Get the Blues," but there's a sense of grounding that I feel was otherwise lacking in her catalog by this point. There's a bright, simple guitar riff and some Hammond organ keeping things in line; no blaring string sections or bombastic melisma here! Each lyric is simple -- just about the beauty of the every day, the joy of having children, and the love of one's spouse. The melody is above average too, with some clever modulation at the bridge. Given how far into bombast and hyperbole at this point, I'm actually taken aback at how grounded this song is -- and all the more surprised that this one had a higher chart showing but far less staying power than "Concrete Angel," "This One's for the Girls," or "In My Daughter's Eyes." Because in my opinion, this one is far superior on all counts. B+

April 13: "I Breathe In, I Breathe Out" by Chris Cagle

Trying to deal with moving on from an ex is one of my favorite country music tropes. Chris Cagle does more than a commendable job at it on his only #1 hit, and the only reason this isn't his best take on it is because he would set the bar even higher on later songs ("Miss Me Baby" and the stunning album cut "Look at What I've Done"). This one has a very plain-spoken intro about how small talk always brings up the ex, then leads into that simple but effective chorus. It's all about taking one day at a time until everything's right again (i.e., "she comes back"). While the lyrics look so simple on paper, the vocal delivery keeps the emotions at the forefront without ever feeling over-the-top. Yet another underrated gem from this year. A-

April 20: "My List" by Toby Keith

Here, the traditional "honey do" list leads into a list of things more important on an emotional level: enjoying the beauty of nature, the company of friends and family, and just living life. Who hasn't felt crushed by the drudgery of household chores and other everyday menial tasks? This song also has a very chill melody with what sounds like a sitar, not to mention a key change that doesn't feel cliché. It never feels like it's preaching, either. Toby Keith was capable of being thoughtful and introspective when you least expected it, and while this may not hit the same high marks as "Don't Let the Old Man In," it's still highly commendable for what it sets out to accomplish. Cross "record a good motivational song" off the list, because you did it. A-

May 25: "Drive (For Daddy Gene)" by Alan Jackson

I have memories of driving my aunt's riding lawnmower, a golf cart for the church golf outing... and then being told my autism and strabismus might render me unable to drive for real. I also remember the dirt road behind my school that was later blocked off because people wouldn't stop dumping trash down it. So Alan Jackson's vivid memories of piloting dad's boat and old truck are instantly relatable to me, or to just about anyone who's been behind the wheel of anything or just had positive memories with their parents. I particularly like how the song shifts into the present day, with Alan hoping his own daughters have the same memories while they drive around in his Jeep. Alan's everyman charm and Keith Stegall's understated production are as well-matched as ever, enhancing the fantastic story-telling that I feel has always made for some of the best moments in country music. A+

June 22: "Living and Living Well" by George Strait

"Something's always missing 'til you share it with someone else" is the money line here. In true Mark Nesler fashion, this one says a lot with relatively few words. It's a treatise on enjoying things in life even more when you have someone to share it with. While that's easily comparable to the goofier take on it with Aaron Tippin's "I'll Take Love over Money" from around the same time (which admittedly I like more), this one's more serious approach works just as well. It goes down as smoothly as any other George Strait song from this era, but not so lightly as to leave zero impact. I also like how the first verse mentions a boat and the second mentions fishing, giving a greater thematic coherence that lends a little extra weight. B+

July 6: "I'm Gonna Miss Her (The Fishin' Song)" by Brad Paisley

This was the first Brad Paisley song I can remember not hitting the mark for me. It just had that "oh, the old ball and chain, am I right, guys?" energy that some hack comedian from the 70s would've churned out. To be fair, I've seen way worse takes on that type of humor even within the country genre, such as the usually reliable Bobby Braddock's shockingly offensive "Nag, Nag, Nag." Even using fishing as an excuse to ditch the Mrs. feels a bit dated -- at least he didn't say golf, which seems to be an even bigger cliché for "husband's pastime that wife hates." To be fair, Brad's delivery was more twangy and laid-back at the time, and the production is surprisingly chill for a song of this nature (especially with the casual crowd sing-along). But when your whole song sounds like it was written by the husband from The Lockhorns, you might want to step up your comedy game a bit. C

July 20: "Courtesy of the Red, White, and Blue (The Angry American)" by Toby Keith

Even though I was only 14 when 9/11 happened, I remember seeing how angry people got. It was scary to think that an act of terrorism occurred on our soil. It stirred up a lot of negative emotions that unfortunately for a lot of people spilled out into violence and bigotry. But I knew even then that the acts committed by Al-Qaeda are not representative of Muslims as a whole. Threats against America should be dealt with, but Keith's take -- in addition to the downright silly image of the Statue of Liberty shaking her fist (what did she set down to do it, the torch or the tablet?) -- fed way too hard into the ferociously jingoistic war-mongerers who'd rather hurl slurs and violence at anything they perceive as a threat than try to negotiate, reconcile, or stand up for others who need  it (like, say, all the Muslims, especially American ones, who have done absolutely nothing wrong). It is possible to be a patriot without throwing flags over everything or making violent threats, and I think Toby Keith -- like far too many of us, admittedly -- got too wrapped up in the moment (not to mention his unnecessary as hell feud with Natalie Maines) to step back and realize the unfortunate implications of his "America, Fuck Yeah" style machismo. In so many ways, this is the total antithesis to "Only in America" and "Where Were You." F

July 27: "The Good Stuff" by Kenny Chesney

The "bartender gives advice" song is hardly a unique trope, but this is probably the best take on it. It just sounds so real. This guy's had a fight, so he sits and drinks milk with a lonely bartender who reflects on his own relationship. We hear of how they got together, and how she died of cancer. It never feels manipulative or overdone, and Kenny gives a chill read that never undersells. The wordplay around the title -- you're expecting a top-shelf alcohol, not the solid advice, to be the "good stuff" -- is unexpected but well-executed. Even better, the points of enjoying the small things in life and not letting pride and ego get in the way are applicable in a great deal of situations. This is the kind of song that could've easily gone either cartoonishly hyperbolic or frustratingly vague in the wrong hands, but it threaded that needle flawlessly. The "good stuff" indeed. A+

September 14: "Unbroken" by Tim McGraw

This is another Tim McGraw winner that seemed to have zero staying power. Right out of the gate, there are some fantastic guitar textures and blues scale usage to give a unique sonic grounding, and Tim sings the hell out of it as well. Conceptually, there's nothing terribly original about the lyrics -- it's another "love gone right" narrative, to quote Kevin John Coyne of Country Universe. But I love the subtle inversion of "It feels like / No one ever left me out in the rain / Cold words still remain unspoken," and every other line just seems to fit together without feeling stale or uninspired to me. I also think it's cool that it's a rare #1 hit by a male that was written by two women. Overall, this is a good lyric made great by some great sound design. A

September 21: "I Miss My Friend" by Darryl Worley

I forgot how good Darryl Worley was before he went full-tilt jingoism. Songs like this live or die on how detailed they are, and thankfully, this one thrives. You get so much about the woman who's no longer in the narrator's life -- "the one my heart and soul confided in," the one who used to take walks in the late afternoon, the one with whom he had "silly fights." Mark Nesler was always a pro at saying a lot with few words. Worley has a calm, relaxing delivery full of charisma, and while I think it could've done without the string section, the production otherwise stays out of the song's way. Every single off his first album was gold, and it's a shame I only have one to truly gush about here. A

September 28: "Beautiful Mess" by Diamond Rio

Diamond Rio really stretched themselves around this point, and for the most part, it paid off. Like "One More Day," this one's a bit poppier, but it's still the same six guys playing and singing -- the mandolin and three-part twangy harmonies let you know right away who it is. I like how the production and arrangement manage to be upbeat and moody at the same time, setting the right tone for a guy who's so in love he can't think straight. Little details like him accidentally putting salt in his coffee and forgetting to shave add so much to the story, not to mention a little dark comedy in lines like "it might be the death of me, but I don't care." If you're wondering why Diamond Rio still had hits in the noughties, this song is the best explanation as to why; it's because they adapted without losing their core. A+

October 5: "Ten Rounds with Jose Cuervo" by Tracy Byrd

Tracy Byrd always felt like a lightweight among the hat-act crowd. Most of his songs made for good radio fodder, but he wasn't really known for substance (outside a few standouts like "Heaven in My Woman's Eyes" and "Put Your Hand in Mine"). This one isn't a particularly substantial song either, but it's not trying to be. He sounds more spirited and engaged than usual, and I dig the vibraphone and mariachi horns. The gimmick of counting off the rounds of booze doesn't overstay its welcome thanks to the song's relatively short play length, and it has a great payoff in him becoming intoxicated enough to lose count. (Although I must say, he can hold his liquor pretty well if it takes ten before he gets there.) This song strikes the right balance of being fun without being disposable. B+

October 19: "Somebody Like You" by Keith Urban

This was the moment where Keith Urban finally found his sound, thanks to that ganjo. It's an instant melodic hook and it anchors the song before you even hear a single word. And the words you do hear are almost overwhelmingly positive: "There's a new wind blowin' like I've never known / I'm breathin' deeper than I've ever done / And it sure feels good to finally feel the way I do." Even without the real-world subtext of this being his first single after a stint in rehab, the positivity is infectious. Urban sounds grittier and more confident than on his first album, absolutely selling the pure joys of being in love. Sometimes all you want is happiness, and this hits the mark. It's a well he went back to many times in this era -- my personal favorite take on it being "Once in a Lifetime" -- but it was one worth revisiting. A

November 30: "These Days" by Rascal Flatts

I love songs framed as a conversation, and this one nails it. This guy's met his ex and starts catching up on how things have been since. I love that it name-drops "Norma Jean Riley" by Diamond Rio and Doheny Street, an actual road in Costa Mesa, California -- it's those unique details that make a song like this pop. It sounds like this guy still has some thoughts about what could have been, given that he "wake[s] up in teardrops that fall down like rain," but he brushes it off by just getting back to the daily grind. And she ran off to Vegas, too. That's neat. Gary's tone is surprisingly relaxed and the production stays out of the way, helping the details of this highly likable character sketch rise to the top. A

December 21: "Who's Your Daddy?" by Toby Keith

I get it, "who's your daddy?" was an overused catch phrase in pop culture at this time. A more cynical person might joke why this song wasn't called something like "Whassup?" or "Can You Hear Me Now" or "www.memory" -- wait, what do you mean those last two are real? But in a world where "Not" by the Bellamy Brothers and the Y2K version of "A Country Boy Can Survive" exist, I think this is inoffensive enough. The concept of him being a sugar daddy could've come off gross in the wrong hands, but the guitar work and playful lyrical tone keep it lighthearted. I also like that the song is only one verse long, which does wonders to keep the joke from overstaying its welcome. But if you came up to me and said you think this is un-listenable cringe, I'd totally get it. B

December 28: "She'll Leave You with a Smile" by George Strait

A title so good, he used it twice. But thankfully, the one that became a single was the better take. "At first she's gonna come on strong / Like she'll love you all night long / Like it's going out of style / Then she'll leave you with a smile" is one of those opening lyrics that always hooked me immediately. Two of the criticisms I've seen directed at King George are that he has so many good songs but so few great ones, and can be a little lacking in substance at times. I won't say this one is quite as hard as, say, "I've Come to Expect It from You," but "being in a self-destructive relationship" is certainly a shade darker than he usually goes for. Sonically it's a bit more spaced-out too, even if not to the ethereal heights of "Run." This one's a keeper, and it leaves me with a smile every time I hear it. A