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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
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
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
