Every #1 Country Song of the 2000s: 2003

2003

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January 11: "19 Somethin'" by Mark Wills

I was only two years old when the '80s ended, but the pop culture touchstones from the years before still lingered. I remember struggling to solve a Rubik's Cube, the local buffet had a Pac-Man cabinet, and a kid in the third grade once brought in a Stretch Armstrong for show and tell. So on the surface, I don't entirely hate this song's concept. What does rub me the wrong way is how there's really no narrative; it's just this Ready Player One-esque string of nostalgia-bait without much else going for it, so that those around the same age as the singer can say "Oh yeah, I remember that." When you compare it to the Pac-Man reference in Brad Paisley's "Welcome to the Future," it's clear the latter actually has something deeper to say about the game than just "it existed." (It's actually kind of crazy to think that a modern-day rewrite of "19 Somethin'" would probably be name-dropping Survivor, Grand Theft Auto, and Nickelback. Was it really all that long ago?) As it stands, it's just a listicle with an okay vocal performance and a really annoying guitar intro. C-

February 22: "The Baby" by Blake Shelton

This one could have been released a decade prior with no changes whatsoever and fit right in. It's a three-act song that you just know is going to end in a death, but it's helped along by a natural charisma and vivid storytelling. I like that it spends more time in the first verse setting the scene, so we know who the narrator and his family are. And who can't agree with a mother's love as expressed in the line "I don't care if you're 80, you'll always be my baby"? It's never bombastic or corny, and it feels credible even if you see the ending coming -- especially in how it breaks song structure to drive home the mom's death. This song almost single-handedly sees Harley Allen making up for all the sins of "The Little Girl" while also making me long for a time when Blake Shelton was actually good. Or in less snarky tones, it's just damn good country. A

March 15: "Man to Man" by Gary Allan

I've seen this song argued as the narrator putting his girlfriend's ex in his place by calling out his toxic masculinity. But to me, it's just angry, bitter virtue signaling. Concept-wise, I can't fault a guy who's willing to say "Hey, you treated this woman badly," but the execution misses pretty hard for me. Lines like "if not for me, she'd still be yours today / We're both men here, so why play games?" reek of superiority, especially in the snarling, nasal way Gary delivers them. (To be fair, I do genuinely like "She's a real woman, not a doormat for you.") When both parties in the conversation feel like they're posturing -- the other guy through his machismo, the narrator through his sense of superiority -- then the question is less "who cheated who" and more "why should I root for either one of you in this dick-waving contest?" If you want to hear this premise done right, check out Vince Gill's "Cinderella" instead. C-

March 22: "Travelin' Soldier" by The Chicks

I barely remember this song when it was on the charts, but one night in 2005 I heard it on the radio and it just destroyed me in the best way. The narrative seems simple enough: boy meets girl, boy goes off to war, boy doesn't come back. But every detail is crystal-clear, from their age, their locations, their personalities; it even works in the word "piccolo." The delivery is relaxed but never devoid of emotion, and the instrumentation is subtle but never dry. I especially love how it fades out on a fiddle and drum cadence. I love how sudden the soldier's death is, making it hit all the harder -- as I said previously, "just moments before these two had found a cure for loneliness, it's ripped away from both of them." The themes no doubt resonated in the throes of the Iraq War; sadly, opinions of that same war were more dominated by polemic vitriol that caused this song to free-fall from the charts and still haunts the Chicks two decades later. Thankfully, this song is so emotionally strong that I think it more than stands on its own as not just my favorite Chicks song, but one of my favorite songs of all time. A+

March 29: "Brokenheartsville" by Joe Nichols

"He wore that cowboy hat to cover up his horns" is a home run from the first line. This is a sharp, vivid, lyrically intriguing look at a man who's watching his ex leave with someone else and just laying into him. "Here's to the past, they can kiss my glass / I hope she's happy with him" is just delightfully savage, kept from outright cruelty by Joe Nichols' cool, laid-back delivery in contrast with the literal demonization of the guy who took her away. The melody goes down smoothly as well, what with its unusual chord changes and the neo-trad production. I actually bought Joe Nichols' little-known 1996 debut album at a dollar store long before he broke through, and while "The Impossible" was a grower for me, I was delighted to see this song become an instant hit. If you've got time to kill, whether in Brokenheartsville or otherwise, put this one on. You won't be let down. A+

April 5: "Have You Forgotten?" by Darryl Worley

"Courtesy of the Red, White, and Blue" may have been awful, but at least it didn't espouse conspiracy theories, whataboutism, and outright making stuff up. That it's so angrily pro-war is actually the least of this song's concerns. I admit I don't know everything, but as far as I can tell, there was no link between Saddam Hussein and Osama bin Laden, and to imply otherwise is conspiratorial. But of course, saying so riles up the hate-mongering hawks so he's going to pander for all it's worth. Naturally, the right-wing tactic of blaming made-up nonsense on "they" is present, what with the claim that "they took all the footage off my TV." I'm sorry, what? I saw 9/11 and the Iraq War on the news all the goddamn time. People won Pulitzers for covering 9/11. And what's with this whole "have you forgotten" nonsense? No, I haven't forgotten about 9/11. That was one of the most sobering moments of my life, and I was 14 when it happened. Where the fuck are you going with this, Darryl? And of course, this whole mess came only a month after the Chicks got booted off country radio for extremely stupid reasons that still get them flak over two decades later. And it sucks that this same year we got the infinitely better "It Can All Be Gone" by Jamie Lee Thurston, who comes right out and says "Got no time for jealousy, got no time for greed [...] 'cause I believe that God is in the soul of every man" -- a song which withered and died within a week. Even Darryl himself got it right much later with "I Just Came Back from a War," where he dropped the whole "America, fuck yeah" shtick to calmly and sympathetically recount the horrors of PTSD. This monstrosity is hands down the worst song of the entire decade, as far as I'm concerned. F

May 24: "Three Wooden Crosses" by Randy Travis

To me, the most moving religious songs are those that do not paint a perfect picture. Here, we have four people who are involved in a bus wreck -- a farmer, teacher, hooker, and preacher. Who do you guess survives the crash? No, not the preacher. It's the hooker, who is given a Bible by the preacher before his death. A Bible that she ends up reading to her son, who is now a pastor himself. A more cynical read might consider this contrived, and might also question the scansion of "It's not what you take when you leave this world behind you / It's what you leave behind you when you go," but I'm not here for that. I'm here to praise this song for choosing to redeem an unlikely figure instead of pumping up the one who's already redeemed. I'm here to praise Randy's laid-back, smooth delivery. I'm here to praise a genuinely clever twist ending. But most of all, I'm here to praise the fact that a song this inspired managed to avoid every trope that usually drags down inspirational music for me and simultaneously be a late-career hit. A

May 31: "I Believe" by Diamond Rio

And we go from a genuinely good Christian song to one about... believing in ghosts? Sure, I'll allow it. The piano-heavy production is haunting and ethereal, as you'd expect, but the twangy harmony reminds you that it's still Diamond Rio. It doesn't matter how long the time span is -- you lose a loved one, you still feel their presence. I've felt that way about my dad and grandma, both of whom died a decade ago. I'm sure my mom feels that way about her dad, who died in the 70s. Is there a Heaven? Are spirits real? What happens after you die? It's hard to say, but it's comforting to attach yourself to any interpretation of someone who's no longer alive still having some kind of tangible (or intangible) presence in your life. While I still think "You're Gone" is slightly better by going for the gut-punching devastation of loss, the perception of this as a sequel song makes it just as compelling. A

June 14: "Beer for My Horses" by Toby Keith feat. Willie Nelson

When "Try That in a Small Town" came out, I rememeber seeing discussions about this song and its call for vigilantism. And sure enough, the first verse does sing about lynching criminals. But while "Try That in a Small Town" clearly had its eyes set on the modern day, this one is so obviously a period piece what with its imagery of saloons and shootouts. Is it problematic to frame something like that in a positive light, even if there's zero implication of projecting it through a modern lens? I mean, it could be, but I don't know. There's something about Toby's delivery here that isn't as blustery as it could have been, and he does have genuinely strong chemistry with Willie Nelson here. Even with some of Toby's more problematic views, this one just never got under my skin. But if it did to you, then I can absolutely understand why. B

July 26: "My Front Porch Looking In" by Lonestar

The words "sippy cup" should not be in a song ever. It's a shame, because the hook is actually pretty clever. The view out his front door is picturesque, but it won't beat the scene of a happy loving family. While the production isn't bloated beyond belief as it was on "I'm Already There," Richie McDonald still employs a cloying, saccharine vocal delivery that makes lines about sunsets looking like paintings seem far more Hallmark Channel than they need to be. The sentiment is perfectly fine; it's just the execution that's off here. They were fully into soccer mom-pandering territory by this point, and while far from the worst on that front, it's still not as cringe as "Six Foot Teddy Bear." If you want this sentiment done right, check out Donovan Chapman's "House Like That" instead. And while you're at it, also put on Lonestar's stellar cover of "Walking in Memphis," by far the highlight of otherwise a pretty rough patch for them. C-

August 2: "Red Dirt Road" by Brooks & Dunn

A single road can have so many memories attached to it. The electric guitar/mandolin interplay manages to be wonderfully evocative before Ronnie's trademark voice even gets started. And what a set of lyrics we get: walking to church, meeting your first love picking blackberries, having your first beer, wrecking your car, and just enjoying life ("happiness on Earth ain't just for high achievers" is a fantastic touch here). I can picture every single thing here being something that really did happen, not just to someone Ronnie's age but for the young, the old, and almost anyone who is at either end of that red dirt road. I also love how the song wraps up by him going back to the road, finding it to be like a friend -- that's exactly how I feel when I go back to nostalgic places I haven't visited in decades. Much like "Only in America," this one paints an imperfect yet uplifting picture of the human condition, easily making it not just one of B&D's best, but also one of the best of this entire decade. A+

August 9: "It's Five O'Clock Somewhere" by Alan Jackson feat. Jimmy Buffett

Isn't this just "Ten Rounds with Jose Cuervo" with different words? Oh well, at least this is a lot looser than AJ usually got. And that's probably about the only thing I can say in its favor, because this one quickly reached "Margaritaville" levels of "over-exposed vaguely Caribbean-sounding party song involving Jimmy Buffett that's become a commercial empire despite actually being kind of a downer." Sure, it's cute and lighthearted enough the first time, until you realize the guy's actually kinda miserable. And that's not how time works -- if it's "half past twelve," then even if you factor in the time zones that are offset by a half-hour, there aren't any where it'd be 5 PM. (Unless I botched the math, which is likely.) Who knows; maybe it's just the incessant over-play talking. But all I know is I need a drink whenever this song comes on, and it's not for the reasons the song intends. C

September 27: "What Was I Thinkin'" by Dierks Bentley

This song brings unrelenting grit right out of the gate, what with that Dobro interplay, almost Dorian mode melody, and a breakneck story about running off with a hot girl. "Becky was a beauty from south Alabama / Her daddy had a heart like a nine-pound hammer / Think he even did a little time in the slammer / What was I thinkin'?" tells you so much right away. The "father doesn't like the guy his girl's dating" trope is so well worn, but the song's focus on the running away and the narrator's unclear state of mind -- because that girl is just so attractive, after all -- put a fresh new perspective on it. Lyrical quirks like "half past too late" and a pursuit by the police add even more color. This song is infectiously catchy, fun, and messy in all the right ways, and overall, it's a four-minute burst of pure energy. This is still one of the best debut singles in the genre, in my book. A+

October 11: "Real Good Man" by Tim McGraw

This one has a hell of a groove and a silly premise -- "I may be a real bad boy / But baby, I'm a real good man" -- that somehow manages to work. I like that he calls out how her peers might reject him because of his rough exterior, and I like that a tough macho man is willing to come right out and say he's got a heart of gold. As much as our culture has hyped up manly men doing manly things, sometimes the facade needs to slip a little, and Tim gets that. I think he's a bit too mannered to really make the outer toughness sizzle, and the one flag-waving line could've been snipped out, but ultimately, there's really nothing wrong with this one. B

October 25: "Tough Little Boys" by Gary Allan

With what I just said about subverting masculinity, you'd think I'd dig this one too, right? Unfortunately, not so much. Just like "Man to Man," I can't knock this on concept alone. The central image of a macho type letting it slip when he becomes a father is admirable, and Gary is no stranger to male vulnerability. It's just the execution here that drags things down. Harley Allen has a sentimentality that can work, as "The Baby" showed; however, he did miss as often as he hit, and this one's a miss. The over-the-top reaction to his child -- he's scared of her first steps -- is laughable, and it's kind of creepy that he'd follow her school bus on the first day of school. Even his delivery has an unnatural fake softness to it that reminds me of Chuck Wicks, not helped by the excessively stringy bombastic production style. I will say this: at least it's not as ear-splittingly bloated as Lonestar's material around this point, nor as crassly manipulative and unbelievable as "The Little Girl." It's still a sappy take on an idea that should have worked, which just makes its mishandling sting all the harder for me. C-

November 8: "Who Wouldn't Wanna Be Me" by Keith Urban

This one starts off with a great opening line: "I got no money in my pockets / I got a hole in my jeans / I had a job and I lost it / But it won't get to me." And it also introduces a lot of themes that would dominate Keith's up-tempos for a while: sunshine, cars, and music. I like all the images here, such as his lover being the one who's playing guitar for once (presumably so he can focus on the ganjo that's driving the groove here?). It's hard to shake the perception of this being maybe a little too similar sonically to "Somebody Like You," but I'd say ultimately he changed enough for it not to feel redundant, either. And seriously, what's wrong with doubling down on the happiness? A-

November 15: "I Love This Bar" by Toby Keith

I've seen this described as the exact moment Toby Keith went from a singer to a product, thanks in no small part to his ill-fated restaurant chain taking on the name of this song. But entirely on its own merits, I don't think there's anything inherently wrong with it. Sure, it's a list song, and it's kind of lacking in tonal variety (which is somewhat remedied by the longer album version). But the things it does list are all kinds of people from all walks of life. I think he did the concept slightly better in the more sing-along-friendly "Drunk Americans," but at this point in his career, even the slightest nod toward inclusivity is something I'll accept from him. B

December 20: "There Goes My Life" by Kenny Chesney

Kenny Chesney had a fantastic run once he found that mix of melancholic introspection and laid-back beach-bumming. While this one doesn't hit quite as hard as the downright devastating take on Bill Anderson's "A Lot of Things Different," it's more than commendable as finding positivity in what can originally be seen as a negative. The narrator feels his life is shot because his girlfriend is pregnant, only to find out how much he enjoys having a child, and how emotional he gets when she leaves. It's a simple but instantly relatable story, and I love how it cleverly re-works the title phrase each time (a common country trope in the '90s that wasn't used nearly as much in this era). Little details like the daughter driving off with Abercrombie & Fitch clothing in her car add a more modern touch, and the production is warm and sympathetic. A

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