Top Country Music Albums - 2007

Carnival Ride

While most country stars go forward and reach for mainstream pop records, like Faith Hill, Carrie Underwood went in reverse. Her first disc had more than a few pop elements but this disc starts off with a foot stomper, "Flat on The Floor" and doesn't let up with fiddles, twang and chorus after chorus that will make you want to shout them out of your car windows. To say she has made a solid country disc in the vein of vintage Reba or Dolly is an understatement.

Underwood has even learned some new vocal tricks, as if she needed more, "Get Out of This Town," builds from an already assured vocal into a firestorm. Underwood isn't afraid to just go with the vocal and give a stronger reading as well. That was evident in her cover of "I'll Stand By You," which was simply stunning.

"Carnival Ride," is void of any weak tracks and this day and age that's a rare finding, some are stronger than others but, Jebus, the girl is giving her all to prove that she's a more than just a pretty face who sings country, she's trying to prove it's in her blood. And when you hear "You Won't Find This," that brings about that sing songy chorus that Shania Twain loves so much.

The Ultimate Hits

2007 three disc set (two CDs + DVD). One artist...one decade...one hundred million albums sold! Garth Brooks remains the biggest Country artist of all-time. He harnessed the Country and Pop influences of has past and created a new kind of Country that appealed to different generations of fans and crossed over into the Pop market like no other artist before him. Garth Brooks changed the rules based on his talent alone. He became a worldwide superstar while remaining true to his humble roots, which added to his appeal. This three disc set features two CDs scheduled to contain 34 tracks including four new songs plus a bonus DVD containing videos for all the CD's tracks.

Reba Duets

From the moment you hear the voice, you know it: fierce and powerful, clear and passionate, a voice that has sold 49 million records, a voice that could belong to no one else but the woman millions of fans the world over know only as Reba. So what do you do when you're the owner of that iconic voice -- and the embodiment of a genre-bending artistic presence that spans the worlds of music, screen and stage? If you're Reba McEntire, you find creative soul mates in 11 other amazing voices and produce a groundbreaking collection of music simply titled Reba Duets. Or, as McEntire herself might describe it, you gather up some friends old and new, and have a party - oh, and make an amazing new album at the same time. "It was like a family reunion. It was just so much fun!" says the easygoing superstar. And the results? "Well, I'm just so tickled!" she says with her trademark Southern charm. "I can't wait for everyone to hear it." Duets was a long time coming, says McEntire. "You have to keep creating things, thinking about what's next and how to keep it fresh for your fans," she says. "I've always thought a duets album would be a great thing to get to do, and the timing was finally right to make it happen."

Taylor Swift

Three years ago, a 13-year old Taylor Swift set out to be a star and moved from Reading, Pennsylvania, to Nashville. By 14, she had a publishing deal, and by 15, a recording contract. In these days of Bianca Ryan (and before her, Tanya Tucker and LeAnn Rimes), many are called, but few are chosen. Swift, it appears, is one of the chosen ones. Her vocal talent is modest, though sweetly affecting, her style seemingly influenced by the radio hits of early Sheryl Crow and Michelle Branch, and perhaps Cyndi Thomson. And at times, her youthfulness shows--she encoded messages in the lyrics of her CD booklet, starting with the name of the boy who cheated on her from "Should've Said No" (the album's strongest offering). But in writing or co-writing all 11 songs on this debut, Swift demonstrates remarkable maturity, particularly in crafting a hooky, radio-ready chorus. Though she sounds ridiculous looking back from the perspective of an 87-year old woman on "Mary's Song," to her credit she mostly writes about what she knows--unrequited high-school crushes ("Teardrops on My Guitar"), teenage angst ("Tied Together with a Smile"), and complete immersion in starry-eyed romance (her breakout hit "Tim McGraw"). Swift has such wistful charm and tunefulness that only a curmudgeon could dismiss her, and in fact, more than 60,000 fans lined up to grab this CD the first month of release. No wonder Rascal Flatts and George Strait added her to their tours. Look out, Carrie Underwood--there's a new kid in town. --Alanna Nash

I'll Stay Me

Capitol records' hottest new recording artist, Luke Bryan is a straight up and down home country boy from Leesburg, Georgia. His first single, All My Friends Say, from his upcoming debut album, Ill Stay Me, is climbing the radio charts and about to explode with listeners everywhere.

5th Gear

Like his friend Vince Gill, Brad Paisley has achieved the often-difficult feat of reconciling being an entertainer and world-class guitarist. He's proven that on four admirable albums, and 5th Gear follows in that vein. Certainly "Ticks," an airy, radio-friendly ditty, is not the true substance here. That comes with such superior fare as the insightful "All I Wanted Was a Car" and "Online," a sly satire of people's Web facades. While his duet with Carrie Underwood ("Oh Love") is a bit cut and dried, Paisley ably handles "Letter to Me," "It Did," and "Mr. Policeman," a 21st-century outrun-the-law tune. The closing hymn, "When We All Get to Heaven," and ripping instrumental "Throttleneck" are Paisley at his best. It's admirable that he invites his venerable buddies, Little Jimmy Dickens, George Jones, Vince Gill, and Bill Anderson, along with Dolly Parton, to join in, but the obligatory "Kung Pao Buckaroos" skit is wearing a bit thin. Better to feature them musically, the way he includes Dickens, Gill, and Anderson on "Bigger Fish to Fry." In a time where lines between county and pop are blurring far too much, it's comforting to know Paisley still realizes and respects the differences. --Rich Kienzle

Let It Go

More of a happy-go-lucky artist in his younger days, Tim McGraw here sounds as if he carries the weight of the world on his shoulders. After the comparatively lighthearted, irresistibly catchy opening single, "Last Dollar (Fly Away)," most of the midtempo material that follows ranges from the somber to the morose. There's the night-shift weariness of "I'm Workin'," the alcohol-drenched heartbreak of "Whiskey and You," and the soul-tortured title track. Even a song with the upbeat title "Put Your Lovin' on Me" has McGraw asking his lover to "be my drug" and "take this weight off me." Things turn positively lethal with "Between the River and Me," the story of revenge on an alcoholic, wife-beating stepfather. The set also features the obligatory duet of marital devotion with Faith Hill ("I Need You") and a couple of nods toward classic country ("Kristofferson" and the closing "Shotgun Rider," which could be McGraw's "Mamas, Don't Let Your Babies Grow Up to Be Cowboys"). "Nothin' to Die For" returns to the inspirational vein of "Live Like You Were Dying," but little here finds McGraw in a feel-good mode. --Don McLeese

Some Hearts

Would American Idol winner Carrie Underwood have landed a major-label recording contract without winning the hugely popular television contest? Probably. The big-voiced Oklahoman has the pipes, the look, the pedigree, and, most important, the emotional resonance to sustain a professional career. As an investment in her future, her label eschewed the easy path in putting out an album to take advantage of her publicity, going for a name producer, Dann Huff (Keith Urban, Faith Hill, Lonestar), to handle half the tracks. It also solicited material from the same top songwriters (Diane Warren, Brett James, Troy Verges, Rivers Rutherford) who stock albums by Hill, Martina McBride, Trisha Yearwood, and Wynonna. "Jesus, Take the Wheel," the hit first single, shows off the best of Underwood's power vocals, while the sexy rocker "We're Young and Beautiful" pulls her out of her ballad-heavy comfort zone, and her autobiographical "I Ain't in Checotah Anymore" bolsters her authenticity. If the young performer oversings on occasion (the overwrought bonus track, "Inside Your Heaven"), and settles for too many generic themes, she still surprises in her ability to go head-to-head with country's reigning females. Will Underwood really survive to be a contender for the Martina throne? Let's just say that American Idol judges and voters picked the right contestant. If the posturing Bo Bice had won, rock stars would hardly be quaking in their boots. --Alanna Nash

Big Dog Daddy

On his first totally controlled album for his own label, Toby Keith adds another title to his résumé: producer. Throughout, the former Oklahoma wildcatter, who's taken heat for his blustery patriotism and outspoken remarks, seems to be seeking new respect, shifting the focus off of politics and grandstanding and back to his talents as a musician. While his last album, White Trash with Money, found him flirting with R&B and adding horns for a bit more bump, his latest effort finds him nearly in a singer-songwriter mood, taking more time to craft the sound of the tracks and laying down his own harmonies. He's still relying on gimmicky wordplay and cartoon puffery for his full-tilt radio numbers ("High Maintenance Woman," "Big Dog Daddy"), but he also showcases the sensitive, ballad-heavy side of his personality that hasn't been as apparent since the '90s ("Does That Blue Moon Ever Shine on You," "We Were in Love"). He achieves this with some fine cowriting--the winsome "I Know She Hung the Moon" and "Walk It Off," and the lusty "Burnin' Moonlight." He also finds two excellent covers, Fred Eaglesmith's "White Rose" (which combines nostalgia for full-service gas stations with that of a teen's coming of age) and the thoughtful Craig Wiseman/Chris Wallin ballad "Love Me If You Can." The latter, a quiet social commentary, revisits Keith's familiar theme of holding one's ground, but with a far more compassionate approach than he's tried before. Consider it a meditation from a brash king of the hill who hasn't forgotten how to be humble. --Alanna Nash

Me and My Gang

This fourth effort from the soft-rock-masquerading-as-country band Rascal Flatts moved more than 721,000 copies its first week out, which let the female-friendly trio rub elbows with some mighty heady company. Only four other country artists (Garth Brooks, Shania Twain, the Dixie Chicks, and Tim McGraw) have rolled out numbers like that, and only 24 other acts total (including Eminem, 50 Cent, U2, and Coldplay). So what's the hook, besides Gary LeVox's wounded tenor and Joe Don Rooney's boy-band face? Clearly, it's the songs. Or it usually is. On Me and My Gang, "What Hurts the Most" is the one that'll end up on a tape loop in your head, though "Yes, I Do" memorably frames romantic yearning and regret with ersatz reggae rhythms, and the sexy "Cool Thing" does a slow burn. The problem? New producer Dann ("King of Excess") Huff bloats too many tunes with screaming, by-the-book guitars and general bombast. And despite his über success with Faith Hill and Keith Urban, Huff has never really understood what makes country, well... country. Instead, he insultingly works in a snippet of steel guitar and a couple of family lyrics--e.g., the melodramatic "Ellsworth" is meant to pull the heartstrings of anyone who's seen the cruelty of Alzheimer's--and thinks he's thrown Nashville a bone. Worse, "Backwards" boringly reworks that hoary ol' country joke "What do you get when you play a country song backwards?," the title song is a Big & Rich ripoff, and even God gets dragged in for a half-baked attempt at middle-America resonance ("He Ain't the Leavin' Kind"). C'mon now. Call these boys pop and be done with the pandering. Joe Don's famously photographed derrière got a fairer crack than this. --Alanna Nash

Between Raising Hell and Amazing Grace

At the height of their 2004 "Save a Horse (Ride a Cowboy)" fame, Big & Rich's one lament was that radio didn't know what to do with them, even though they sold two million copies of their debut album, Horse of a Different Color. Their follow-up, 2005's Comin' to Your City, likewise failed to score a Top 10 single, but still went platinum. Now comes their third album, and their first single, "Lost in This Moment"--an overtly emotional ballad about getting hitched--is selling like Gatorade at a chili cook-off. Are Music City's most likeable lunatics playing it safe? Well, it sounds that way. And if that's a disappointment, given their initial rollicking (and much needed) assault on staid Nashville, there's more bad news. Big Kenny's loopy songs of peace, love, and hippified unity (especially the overblown "Eternity," featuring John Legend) now sound so familiar, replete with Pentecostal blathering ("Brothers and sisters..."), you can sing along the first time you hear them. The duo sequences the album like a vinyl disc of old, with a virtual A-side (ballads) and B-side (rockers). Not surprising, the B-side wins, even if "Radio" owes too much to the self-aggrandizing hullabaloo of Comin' to Your City and Wyclef Jean drops by to rap a few country clichés. It takes an awfully long time for this album to be fun, but it eventually does, with an AC/DC cover ("You Shook Me All Night Long") and a Brooks & Dunnish turbo-tonker ("Loud"). Fans of Big & Rich already understand that they take their spirituality as seriously as their sinning. But next time, here's hoping they spend more time in Saturday night, and less in Sunday morning. --Alanna Nash

Enjoy The Ride

One of country's fastest-rising acts, Sugarland arrive at their follow-up to 2004's triple-platinum Twice the Speed of Life in a considerably altered state. Chief songwriter and founding member Kristen Hall is gone, and producer Garth Fundis (Trisha Yearwood) has been usurped in favor of crossover hitmaker Byron Gallimore (Tim McGraw, Faith Hill). One could argue that these are the predictable results of success--by opening for such megastars as Kenny Chesney and Brooks & Dunn, the Atlanta-based trio was forced to retool its organic, singer-songwriter, folk-rock sound to fill arenas. And while their intricate vocal harmonies added a subtle creative dimension to their debut, Enjoy the Ride is made up mostly of songs ("County Line," "Mean Girls") constructed to showcase lead singer Jennifer Nettles's big voice in ways the previous album did not. While the repertoire was written by Nettles and surviving partner Kristian Bush in collaboration with proven songsmiths Bobby Pinson, Lisa Carver, and Tim Owens, much of the wistful intimacy of the first album is now diminished. Furthermore, it seems foolish to now call this act a duo, as Bush receives very little time in the spotlight apart from his vocal harmonies and performance on guitar and mandolin. None of this should matter on the charts, however, since the real focus was always on Nettles, whose twangy, force-field soprano more than carries the day. As before, the lyrics are upbeat and positive--if the message of the first album was of flight and searching, the theme here is of digging in. The winsome Nettles does a fine job of selling it all, positioning herself as the Ambassador of Optimism, the Deep South successor to Jo Dee Messina. --Alanna Nash

Relentless

On his sophomore CD, Jason Aldean, the Academy of Country Music's Top New Male Vocalist for 2006, continues to rely on a proven formula--recording several John Rich co-writes, and reprising producer Michael Knox--while pushing harder on the rocking side of his Georgia roots. A platinum-seller his first time out, he stocks the new album with songs from reliable hitmakers (Brett James, Jim Collins, Tom Shapiro) to score at radio (watch for his duet with Miranda Lambert, "Grown Woman"), but also isn't afraid to get edgy ("Back in This Cigarette," about an anguished breakup). A serviceable baritone, a hat act with pierced ears, Aldean relies on attitude when all else fails, and it works. "Johnny Cash," his rocking ode to rebellion and rebirth, is the fastest-rising single of his career. --Alanna Nash

Home At Last

With the release of Home at Last, his first disc since "Hannah Montana" made him a TV star, Billy Ray Cyrus has made a lovely album that doesn't lack for substance. Home is as welcoming as a cozy cottage in the woods; instead of carrying on with the maverick country-guy vibe he created for 2006's acclaimed but largely overlooked Wanna Be Your Joe, he settles into an adult-contemporary frame of mind, lacing three compositions he wrote or co-wrote around a handful of classic covers ("Over the Rainbow," "Put a Little Love in Your Heart," "Brown Eyed Girl") and a batch of John Mellencamp-worthy folk-pop. In addition to finding a few recognizable themes (bonus track "Stand," for example, is a pitch for living a principled life), Hannah fans will fall for "Ready, Set, Don't Go," a dad-to-daughter song that sweetly underscores the love in Cyrus' real-life heart. --Tammy La Gorce