Toby Keith – Greatest Hits: The Show Dog Years (2019)
FLAC (tracks) 24 bit/44,1 kHz | Time – 55:46 minutes | 653 MB | Genre: Country
Studio Masters, Official Digital Download | Front Cover | © Show Dog, LLC
Toby Keith is one of the most successful country artists, and artists in general, of all time. He has sold over 40 million albums in the US alone in his career. At radio he’s had some staggering numbers. Toby has had 32 #1 songs and has had a #1 every year for 20 straight years amassing 50 million spins between 2000 and 2010 and has racked up 90 million performances. His successes don’t stop there as he has won; 11 ACM Awards, 2 ACA Awards, 3 AMA Awards, 4 Billboard Awards, a People’s Choice Award, been inducted into the Songwriter’s Hall of Fame, received the NSAI Songwriter of the Decade Award and was the top earning country musician for 2013 and 2014. In addition to all of that and his acting roles, he also held the #1 Comedy Album for 11 weeks for Bus Songs. Toby Keith’s Greatest Hits: The Show Dog Years features 4 new songs, including “Don’t Let The Old Man In” from the movie The Mule directed by and featuring Clint Eastwood.
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Toby Keith – Shock’n Y’all (2003)
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 51:12 minutes | Artwork | 3,97 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 50:22 mins | Art | 996 MB
Since Toby Keith not only can come across as a loudmouth redneck but seems to enjoy being a loudmouth redneck, it’s easy for some listeners to dismiss him as a backwoods right-wing crank — particularly when he succumbs to such easy impulses as mocking Dixie Chick Natalie Maines in concert and naming his 2003 album Shock’n Y’All, not so cleverly spinning the military catch phrase from the second Iraq war into a bad pun. Those listeners aren’t entirely wrong, since he can succumb to reactionary politics, as on swill like “Beer for My Horses,” but Keith isn’t coming from a didactic right-wing standpoint. He’s an old-fashioned, cantankerous outlaw who’s eager to be as oversized and larger than life as legends like Waylon Jennings, Merle Haggard, and Willie Nelson, who bucked conventions and spoke their minds. Sure, Keith enjoys pandering to the Fox News Republicans “Courtesy of the Red, White and Blue” won him, and his jingoistic ventures don’t have the humanity and humor of Haggard’s protest songs (although to Keith’s credit they display far more humanity than Sean Hannity and are much more genuine than Steve Earle’s post-9/11 songs), but that doesn’t mean Keith doesn’t have a big, warm heart. In fact, on every album prior to Shock’n Y’All he’s displayed a taste for mawkish sentiment, but what makes this album work is that he’s turned that sentiment into warmth while making the record into the hardest, toughest set of songs he’s yet made. Unleashed gave him the clout to make any kind of music he wanted, and left to his own devices, he’s lonesome, on’ry, and mean, a cheerful advocate of redneck libertarianism with a sly sense of humor. All of which wouldn’t mean much if he wasn’t a strong songwriter, and more than any of his previous works, Shock’n Y’All proves that he’s a steady-handed journeyman, crafting songs in the tradition of classic outlaw country. It’s a deliberately hard-driving, hard-drinking, gutsy country album, yet it doesn’t shy away from modernism, best illustrated on “Sweet,” with its funky rhythms and use of “babelicious” (which rhymes with “delicious,” btw). Even with these modern flourishes, the album is firmly within the hard country tradition, with lots of barroom humor, propulsive rhythms, hearty humor, and a humanity that contradicts the rabble-rousing of Unleashed. And if Keith is more of a party-hearty hound than a profound singer — even when he imagines “If I Was Jesus,” it’s only so he can turn water into wine at parties — that’s now an attribute, not a deficiency, since it gives him focus and sensibility. Keith is happy to be a dirty old SOB, cracking jokes, drinking beer, and flirting with the ladies, and that makes Shock’n Y’All a fun, rough, rowdy album that wins you over despite your better impulses. It’s not polite, but Shock’n Y’All is pure Toby Keith, and the best album he’s done to date.
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Toby Keith – The Bus Songs (2017)
FLAC (tracks) 24 bit/44,1 kHz | Time – 42:07 minutes | 486 MB | Genre: Country
Studio Masters, Official Digital Download | Front Cover | © Show Dog, LLC
This tongue-in-cheek release from Nashville darling Toby Keith features twelve songs penned with that particular back-of-the-tour-bus mentality. While seven of the tunes are brand new, including the unorthodox Wacky Tobaccy, Keith also revamps some old favourites such as Running’ Block and Weed With Willie.
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Toby Keith – Should’ve Been A Cowboy (25th Anniversary Edition) (1993/2018)
FLAC (tracks) 24 bit/44,1 kHz | Time – 41:09 minutes | 483 MB | Genre: Country
Studio Masters, Official Digital Download | Front Cover | © Mercury Nashville
The 1993 debut album that started the incredibly successful career of country superstar Toby Keith will be released in a 25th anniversary edition on 30 November by Mercury Nashville/UMe. It’s been renamed Should’ve Been A Cowboy in honour of Keith’s trademark debut hit from the set. ‘Should’ve Been A Cowboy’ was Keith’s first single and first No. 1 country hit, and went on to be the most played country song of the 1990s, turning platinum in the process. It marked the arrival of a notable, self-contained talent: Keith wrote eight of the ten tracks on the record solo. “The singer rode in from Oklahoma armed with some of the strongest material that the city had seen in quite some time,” wrote Billboard.
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Toby Keith – 35 MPH Town (2015/2018)
FLAC (tracks) 24 bit/44,1 kHz | Time – 33:33 minutes | 397 MB | Genre: Country
Studio Masters, Official Digital Download | Front Cover | © Show Dog, LLC
“Drunk Americans,” the first single from Toby Keith’s 18th studio album, appeared in October 2014 but the accompanying 35 MPH Town didn’t show up until a year later, a good indication that the single didn’t perform as well as expected. Despite its alcoholic title — something of a tradition for Keith in the new millennium, where all seven singles subsequent to 2011’s “Red Solo Cup” bar one have booze on the brain — “Drunk Americans” did suggest Keith was looking to break away from the slight electronic sheen of 2013’s Drinks After Work, as it was the work of songwriters Brandy Clark, Shane McAnally, and Bob DiPiero, a trio who represented a post-bro country vanguard. Perhaps if it had risen into the Country Top 20, more of 35 MPH Town would’ve been aligned with this new Nashville, but as it panned out, Keith went back to the tried and true, crafting songs that fall within his wheelhouse. At the edges, there are some signs of either experimentation or, perhaps, desperation: “Rum Is the Reason” follows the cadences of Zac Brown Band’s breezy classic “Toes” (the lord of the beach himself, Jimmy Buffett, shows up on “Sailboat for Sale”), “10 Foot Pole” bounces along to horns so compressed they sound synthesized, the title track’s ode to Middle America is a bit on the nose, and the closing “Beautiful Stranger” veers close to mawkish adult contemporary. All of this winds up as mere flair on another reliable record, one where the ballads “What She Left Behind” and “Haggard, Hank & Her” just edge out the livelier “Good Gets Here” and “Every Time I Drink I Fall in Love,” songs that serve as welcome showcases for his sly humor. Moments like these — moments when it feels as if Keith still likes laying back and kicking a few tunes out, not caring about where they may place on the charts — are what make 35 MPH Town worth a spin.
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Toby Keith – Peso in My Pocket (2021)
FLAC (tracks) 24 bit/48 kHz | Time – 37:34 minutes | 473 MB | Genre: Country
Studio Masters, Official Digital Download | Front Cover | © Show Dog, LLC
The familiar maxim of the triple threat – singer, songwriter, musician – doesn’t begin to cover it for Toby Keith, one of the modern era’s most complete self-directed hit makers. And his most recent years are a remarkably accurate representation of his entire career. In 2021, he was bestowed the National Medal of Arts, inducted into the Nashville Songwriters Hall of Fame, and honoured with the Academy of Country Music’s Merle Haggard Spirit Award. In October, he will release a new album, Peso In My Pocket, that led with the single “Old School” which debuted at the highest entrance of his career on Billboard’s airplay chart. In 2018, he celebrated the 25th anniversary of his debut No. 1 single, “Should’ve Been A Cowboy” with the re-release of his debut album.
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Toby Keith – Shock’n Y’all
Artist: Toby Keith | Album: Shock’n Y’all | Style: Country | Year: 2005 | Quality: DVD-Audio (MLP 5.1 48kHz/24Bit, MLP 2.0 96kHz/24Bit, Dolby AC3 5.1 48kHz/16Bit, Dolby AC3 2.0 48kHz/16Bit) | Bitrate: lossless | Tracks: 12 | Size: 3.79 Gb | Recovery: 3% | Covers: only front | Release: from DualDisc DreamWorks Records Nashville (B0004529-82), 2005 | Note: Not Watermarked
Since Toby Keith not only can come across as a loudmouth redneck but seems to enjoy being a loudmouth redneck, it’s easy for some listeners to dismiss him as a backwoods right-wing crank — particularly when he succumbs to such easy impulses as mocking Dixie Chick Natalie Maines in concert and naming his 2003 album Shock’n Y’All, not so cleverly spinning the military catch phrase from the second Iraq war into a bad pun. Those listeners aren’t entirely wrong, since he can succumb to reactionary politics, as on swill like “Beer for My Horses,” but Keith isn’t coming from a didactic right-wing standpoint. He’s an old-fashioned, cantankerous outlaw who’s eager to be as oversized and larger than life as legends like Waylon Jennings, Merle Haggard, and Willie Nelson, who bucked conventions and spoke their minds. Sure, Keith enjoys pandering to the Fox News Republicans “Courtesy of the Red, White and Blue” won him, and his jingoistic ventures don’t have the humanity and humor of Haggard’s protest songs (although to Keith’s credit they display far more humanity than Sean Hannity and are much more genuine than Steve Earle’s post-9/11 songs), but that doesn’t mean Keith doesn’t have a big, warm heart. In fact, on every album prior to Shock’n Y’All he’s displayed a taste for mawkish sentiment, but what makes this album work is that he’s turned that sentiment into warmth while making the record into the hardest, toughest set of songs he’s yet made. Unleashed gave him the clout to make any kind of music he wanted, and left to his own devices, he’s lonesome, on’ry, and mean, a cheerful advocate of redneck libertarianism with a sly sense of humor. All of which wouldn’t mean much if he wasn’t a strong songwriter, and more than any of his previous works, Shock’n Y’All proves that he’s a steady-handed journeyman, crafting songs in the tradition of classic outlaw country. It’s a deliberately hard-driving, hard-drinking, gutsy country album, yet it doesn’t shy away from modernism, best illustrated on “Sweet,” with its funky rhythms and use of “babelicious” (which rhymes with “delicious,” btw). Even with these modern flourishes, the album is firmly within the hard country tradition, with lots of barroom humor, propulsive rhythms, hearty humor, and a humanity that contradicts the rabble-rousing of Unleashed. And if Keith is more of a party-hearty hound than a profound singer — even when he imagines “If I Was Jesus,” it’s only so he can turn water into wine at parties — that’s now an attribute, not a deficiency, since it gives him focus and sensibility. Keith is happy to be a dirty old SOB, cracking jokes, drinking beer, and flirting with the ladies, and that makes Shock’n Y’All a fun, rough, rowdy album that wins you over despite your better impulses. It’s not polite, but Shock’n Y’All is pure Toby Keith, and the best album he’s done to date. (more…)
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