Toby Keith Discography

[StevePulaski]

Hope on the Rocks (2012)
By: Toby Keith

Rating: ★★★

Hope on the Rocks is not only one of Toby Keith's most briskly paced releases, racing past quicker than a freight train behind schedule, but it's also the first with such an ambiguous title. From the titular song, which concerns a bartender's observations of his clientele in a vastly different way than in Keith's monstrous hit "I Love This Bar," the track alludes to the notion that a character's momentary sense of hope or optimism is on rocky waters, uncertain about the future, or the metaphor of it being a drink with added ice cubes. The notion is subtle and cute without being overbearingly so, and this about sums up Hope on the Rocks in its entirety.

This is an album of brief, but satisfying, country songs that work to showcase Keith's voice and macho sound and his band's musical talent. "The Size I Wear" is a bonafide country track, with loud guitar riffs adding to Keith's rough and tumble voice as he spits out cleanly delivered lines, "Get Got" is the kind of country anthem that never gets old, about the fact of life that sometimes you're up and sometimes you're down, and "Haven't Had a Drink All Day" is that hankering most of us get for one more on a stressful, neverending day.

"I Like Girls That Drink Beer," the album's lead single, is one of Keith's strongest lead singles ever; it's a fun and beautifully composed track that is all about its sound and delivery, as much of this album is. It features some of the catchiest riffs and instrumental assortments of Keith's, and conceptually, it's a cry for authenticity and a subtle hunger for nostalgia all rolled into one terrific song.

Keith takes a bit longer, however, to trail into more emotional territory, and when he does, he doesn't get too sentimental, stopping the poignantly written "Haven't Seen the Last You" from being too much of an interrupting barroom weeper in the midst of what is otherwise a perfect assortment of quick country songs that would liven any party or line dance. Keith shows his true talents on Hope on the Rocks, and proves that the 2010's decade has been his strongest so far, with three bold and original albums that showcase his fundamental strengths after a wealth of experimentation in the aughts.

NOTE: Hope on the Rocks, unfortunately, features one of the most pitiful deluxe editions I've yet to see on any release. It features two disposable shuffle/electronic remixes of "Red Solo Cup" and "Beers Ago," both cuts off of Keith's last album Clancy's Tavern, a live rendition of "Whiskey Girl," and a largely stupid live version of "Get Out of My Car" that just goes on forever. This is an album that was either meant to be concise or meant to keep the party going; not stall it with filler.

Recommended tracks (in order): "I Like Girls That Drink Beer," "Haven't Seen the Last of You," "Get Got," and "The Size I Wear."

[StevePulaski]

Drinks After Work (2013)
By: Toby Keith

Rating: ★★½

There's been an evident hunger inside Toby Keith since the dawn of the new decade, and perhaps since his 2010 album Bullets in the Gun failed to drum up any commercial success, and that hunger is to replicate the kind of monstrous success such early-2000's singles like "I Love This Bar," "I'm Just Talkin' 'Bout Tonight," and "My List" had. Keith had two solid hits in "Beers Ago" and "Red Solo Cup" off of Clancy's Tavern, but those came to pass when his 2012 effort Hope on the Rocks also failed to muster up any kind of buzz or energy on the charts. With that, Keith has cut most of his experimental focus that was found on White Trash With Money, the liberating diversity on Bullets in the Gun, and the down-home nostalgia of Clancy's Tavern and has taken the route of glossy "bro country" with an emphasis on production and "sounding" country without actually trying to be it.

Drinks After Work shows this immediately by opening with two of the weakest songs to be found in Keith's catalog - "Shut Up and Hold On," which sounds like somebody took one of Keith's older tunes and created a techno, shuffle mix of sorts and "Drinks After Work," a lackluster affair that tries so hard to act as a follow-up to "I Love This Bar" but fails due to its inability to resonate and, instead, tries to recreate. The remainder of the album bears a decidedly macho sound, which sees Keith trying to etch in as much of himself into this album as possible, but even on the album's strongest tracks does the bombastic and glaringly-overproduced sound get in the way of Keith's broad, far-reaching vocals. Keith is a vocally-strong man; he doesn't need backing synthesizers and the assistance of an abnormally loud sound-system assisting him in what he already knows how to do and do well.

Sounds like "The Other Side of Him" show Keith trying so hard to stretch his voice to compliment the louder, more boisterous production in a way that distracts from the emotion brought forth in the song, and "Little Miss Tear Stain" evokes that same kind of loud sentiment, mistaking its impact for that of classic, crooning country music. Songs where Keith and the production seem to be on the same page are songs like "Before We Knew They Were Good," which reflects on all the girls Keith thought were just all right, when really, they were incredible and loyal. Keith reminisces about how his only source of revenue was cutting grass, and painting the picture for us of a group of suburban kids trying to get pocket money for lawnmower gas, Marlboro cigarettes, and drive-in movie tickets. This is one of those rare occurrences when Keith is able to balance himself on the same plane as the production, never sounding too feeble in comparison or shooting for the stars and falling short because the production is already on another level, as seen in the aforementioned tunes.

The deluxe edition of Drinks After Work is the first of Keith's deluxe editions that, I've found, includes three studio-recorded tunes rather than live tracks, "bus songs," or remixes of former tracks. "Call a Marine" is a humorous tune about forgoing 911 in a compromising situation and just calling a Marine you know or are acquainted with to help you in a scuffle, sung with Keith's inebriated vocal tone that he used to great effect on "Red Solo Cup." Following that one is "Chuckie's Gone," a surprisingly emotional tune about the sudden death of Chuck Goff, Toby Keith's bassist, in a collision in February 2013. Unlike the sentimental songs on the actual album, this one is subtle and low-key, never being too manipulative emotionally and never showing Keith struggle to match the accompanying overtones of the production. It was like Keith actually got to make the tracks he wanted to make on the bonus tracks of his own album.

Drinks After Work is favorable in some aspects, but it's a dangerous and questionable step for Keith as an artist. Is this the beginning of Keith in the genre of pop country, desperately trying to sell records over creating the music he wants? The 2000's were a huge year for Keith because no matter what he created, it seemed he was at home with his material and, amazingly enough, many successful songs were produced. Being Keith is his own boss, perhaps he wants to restore his limelight-glory, and if so, he should reflect on what made him successful in the 2000's instead of going with a pack of younger country singers. If he continues down this road, who knows how much louder the production will get.

Recommended tracks (in order): "Before We Knew They Were Good," "Whole Lot More Than That," and "Hard Way to Make an Easy Living."

[StevePulaski]

"Drunk Americans" - Single (2014)
By: Toby Keith

Rating: ★★★½

Toby Keith describes "Drunk Americans," the first single off of his forthcoming eighteenth studio album which, at this time, has no announced title, as a combination of his songs "I Love This Bar," "Courtesy of the Red, White, and Blue," and "American Ride." To me, "Drunk Americans" reminds me the most of the former, "I Love This Bar," one of my all-time favorite Keith songs. It's one of those songs that doesn't see people in labels, colors, or any other device use to further judge and separate people; it preaches the gospel of acceptance and inclusion while forgoing ideas of exclusion by inviting every character in earshot to indulge in the pleasures of getting hammered.

The song is about as simple as you can get, but it manages to exercise everything Keith has been about in a musical sense for his entire career. The vocals are tough and rugged, playing to the raucous and enhanced instrumentation as Keith belts out the kinds of lyrics that have made him a staple in the country community. He's loud and proud and can barely contain his excitement on "Drunk Americans," describing how he has torn down any judgements and has reserved a special seat at the bar for somebody simply looking for a damn good time.

Needless to say, this is a promising start for Keith's eighteenth studio album, and hearing that the remainder of the album's songs were written by him and only him, makes my mind flourish for the possibility of this forthcoming album to ooze everything I love about Keith and his country nature.

[StevePulaski]

35 mph Town (2015)
By: Toby Keith

Rating: ★★½

This decade has seen Toby Keith fall off in relevancy than any male country artist of recent memory when it all looked so positive just three years ago. When "Red Solo Cup" and "Beers Ago," cuts off of Keith's fifteenth studio album Clancy's Tavern, stormed the Billboard charts, Keith looked to be rekindling the kind of success he found in the late 1990's and early 2000's. However, when Hope on the Rocks' respective singles failed to make much of a splash and Drinks After Works' titular track and followup single - boasting a more digitized, electronic sound - really didn't incite any kind of popularity, Keith was at a crossroads of trying to find a formula to regain his position as one of the most recognizable and beloved country artists in the modern day.

Keeping with his consistency of releasing singles with booze on the mind ("Red Solo Cup," "Beers Ago," and "I Like Girls That Drink Beer," all of which, contrary to what some may believe, fun and energetic tunes with strong lyricism), Keith cranked out "Drunk Americans" last October in order to kick off the release of his eighteenth album 35 mph Town. Judging by the title, you'd expect a bumbling anthem dedicated to the drudgery of humanity, but similar to "I Love This Bar," "Drunk Americans" cuts down racial, political, socioeconomic, and class divisions that so heavily influence our perception of people that frequent our local saloons. It's a staple of country music and its simplistic but quietly beautiful lyricism gives the song that down-home feel that most crave in their country music - the perfect lead single and thesis statement for 35 mph Town.

The remainder of 35 mph Town, an album that, with the exception of "Drunk Americans," is written entirely by Keith, is comprised of a plethora of fairly generic, despite amiable, ditties. "Rum is the Reason," keeping with the boozy theme, is a witty little testament to justifying why the world was never ruled by pirates, "10 Foot Pole" is a fast-paced romp about a marriage that fell through and how the man holds few regrets as to how that came about, "Sailboat for Sale," featuring the likes of Jimmy Buffett, is a simple "talkin' song" that features two talents who always find a way to bring out the best in one another, and "Haggard, Hank, and Her" is dedicated to two country rebels/pioneers, who make up two-thirds of the singer's ability to be upset.

These songs, while fun and brisk, don't live up to the massive amounts of experimenting Keith did in the last decade, nor the kind of songwriting polish that Keith has given us on Bullets in the Gun or Clancy's Tavern during this particular decade. Songs like "Good Gets Here" are horribly forgettable songs that end as quickly as they begin, and closers like "Every Time I Drink I Fall in Love" and "Beautiful Stranger" beg justification for their basic structure, sound, and lyricism from a man who has worked so hard to give us something new and commendable on each of his releases.

Originally due out in March, 35 mph Town just saw a release this past Friday in October, making that single over a year old already. The song made almost no noise on the charts and the titular track of this album - another one of Keith's more surprising contemporary tracks like "American Ride" where you think you know where the song is headed, but it turns out you don't and it hits you with more cynical morals than you expected - did the same thing. With both of Keith's singles failing to make any buzz, and 35 mph Town, as a whole, being one of his weaker albums, it's becoming very uncertain as to where Keith will be in the next few years. Still around? You can bet on it? Still relevant? Debatable.

Recommended tracks (in order): "Drunk Americans," "10 Foot Pole," and "Haggard, Hank, and Her."

[Warrior- Donna Shepler]

I think this review of Toby Keith is arrogant as best ! Toby's voice is Beautiful And I love ALL of his songs. Some are better than other but that is to be expected of all singers You cant have a winner every time. His new Cd is awesome And whether you like Toby's music or not his fans will be buying his CDs and his concerts will sell-out as usual ! To tell the truth you need to go stick with the same people that win at the Cma Awards every year ; they are more your type of singers You don't know a great singer/song writer if it hit you in the face. Toby has a lot of true fans out there!!

[StevePulaski]

Oct 13, 2015 19:23:37 GMT -5 Warrior- Donna Shepler said:

I think this review of Toby Keith is arrogant as best ! Toby's voice is Beautiful And I love ALL of his songs. Some are better than other but that is to be expected of all singers You cant have a winner every time. His new Cd is awesome And whether you like Toby's music or not his fans will be buying his CDs and his concerts will sell-out as usual ! To tell the truth you need to go stick with the same people that win at the Cma Awards every year ; they are more your type of singers You don't know a great singer/song writer if it hit you in the face. Toby has a lot of true fans out there!!

Somebody clearly only read this review. If you scrolled up, or went on to the next page, you'd realize I've praised almost all of Toby Keith's albums and hold him in high regard; enough high regard to point out his lesser music.

Thanks for reading, though; always appreciated.