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Thread: Toby Keith - Drinks After Work

  1. #1
    Grumpy Old Man Music Head's Avatar
    Join Date
    Aug 2009
    Lancaster, Kentucky, United States

    Default Toby Keith - Drinks After Work

    enters the Billboard chart this week at #7

    allmusic - gives it 1.8 of 3.0
    Spotify online listen
    one of those modern country artists I actually like
    as I've said before, these good ol' boys can do country if they want to
    about half and half on here
    the country ones are all good
    and the rockers hold up very well
    good album, and on my list

    Bio - from allmusic

    Toby Keith spent the '90s as a solid, workmanlike country star who met with considerable chart success, yet never quite broke free of the neo-
    traditionalist pack to become a household name like Garth Brooks or Alan Jackson. That all changed in 2002 when he recorded "Courtesy of the
    Red, White and Blue (The Angry American)," a response to September 11 that became one of country's most highly charged political statements
    since Merle Haggard's "Okie from Muskogee." The media furor ensured that even people with no knowledge of country music still knew him as "the
    guy with the 'boot in the ass' song," and helped make Keith a genuine phenomenon. Yet he'd been recording for nearly a decade prior and already
    had several chart-topping country singles to his credit.

    Keith was born Toby Keith Covel in Clinton, Oklahoma, in 1961 and grew up mostly on a farm in Moore, near the outskirts of Oklahoma City. He
    took up guitar at age eight, inspired by the country musicians who played at the supper club his grandmother ran. He listened to his father's
    Bob Wills records and fell in love with Haggard's music. He worked as a rodeo hand while in high school, and after graduation, he found work in
    the nearby oil fields. In the meantime, he formed the Easy Money Band and played Alabama-style country-rock in area honky tonks. After about
    three years, the oil industry hit a major downturn, and Keith turned to playing semipro football for a USFL farm team, even trying out
    (unsuccessfully) for the short-lived league's Oklahoma City franchise. Following two years as a football player, Keith decided to focus on music
    and adopted a much more rigorous touring schedule. He cut a few records for local indie labels, and his demo tape eventually found its way to
    onetime Alabama producer Harold Shedd, who helped Keith land a deal with Mercury.

    Keith's self-titled debut album was released in 1993 and made him an out-of-the-box success with its chart-topping single "Should've Been a
    Cowboy." Three more songs from the record -- "Wish I Didn't Know Now," "A Little Less Talk and a Lot More Action," and "He Ain't Worth Missing"
    -- made the Top Five, and the album sold over two million copies. "Who's That Man," the lead single from his second album, Boomtown, was
    released in late 1994 and became his second number one; Boomtown hit stores in early 1995 and went gold on the strength of further Top Ten hits
    "Upstairs Downtown" and "You Ain't Much Fun." Keith followed it later that year with the holiday record Christmas to Christmas and returned with
    the proper album Blue Moon in 1996. Its first two singles, "A Woman's Touch" and "Does That Blue Moon Ever Shine on You," went Top Ten, and the
    third, "Me Too," gave Keith his third number one, also helping the album go platinum. Released in 1997, Dream Walkin' marked his first
    collaboration with prolific producer James Stroud, with whom he would work regularly from then on. "We Were in Love" and the title track were
    both Top Five hits, as was "I'm So Happy I Can't Stop Crying," a duet with Sting. However, Keith longed for an even bigger breakthrough, and he
    was growing dissatisfied with Mercury's promotional efforts. In 1999, he left the label and followed Stroud over to the Nashville division of

    Keith's label debut, How Do You Like Me Now?!, appeared in late 1999 and started to bring him the wider recognition he felt poised for. The
    title cut went to number one on the country charts and brought him his first Top 40 pop hit; its follow-up, "Country Comes to Town," went Top
    Five, and "You Shouldn't Kiss Me Like This" also hit number one. Overall, the album had a rough, brash attitude that helped give Keith a
    stronger identity as a performer. It was also the first to bring him those long-desired major industry awards, when in 2001 the Academy of
    Country Music named him Male Vocalist of the Year and named How Do You Like Me Now?! its Album of the Year. In the meantime, Keith became more
    visible in the mainstream media, appearing in cameos on Touched by an Angel and in a Dukes of Hazzard TV reunion movie, as well as co-starring
    in a series of telephone commercials. Later in 2001, his follow-up album, Pull My Chain, became his first to top the country charts and also his
    first Top Ten pop album. It spun off three number one singles: "I'm Just Talkin' About Tonight," "I Wanna Talk About Me," and "My List."

    Keith was already a burgeoning superstar when he recorded "Courtesy of the Red, White and Blue (The Angry American)" in the summer of 2002. A
    raging response to the September 11 terrorist attacks, the song struck a fierce chord with aggressively patriotic listeners, while others
    condemned it as knee-jerk jingoism. The whole controversy came to a head when ABC News anchor Peter Jennings objected to Keith's scheduled
    performance on a network Fourth of July schedule. Keith was axed from the guest list, and the ensuing media flap proved to be a publicity coup.
    Meanwhile, the song went to number one on the country charts and crossed over into the pop Top 25. All of this set the stage for Unleashed,
    which sold like hotcakes upon its release later in 2002, debuting at number one on both the country and pop charts. "Who's Your Daddy?" was a
    number one country hit, and the Willie Nelson duet "Beer for My Horses" also made the country Top Ten.

    In 2003 Keith released Shock'n Y'All, which, despite its title, was chock-full of enough rough-and-rowdy hits to once again connect hugely with
    heartland America. Honkytonk University followed in May 2005, the same year that Mercury released Chronicles, a collection of three of his
    biggest albums: Toby Keith, Boomtown, and Blue Moon. After departing from Universal and longtime producer Stroud, Keith established his own
    company, Show Dog Nashville, and in 2006 released the label's first record, the number two hit White Trash with Money. A year later he released
    Big Dog Daddy, the first album he produced himself, and also a holiday album, A Classic Christmas. Keith continued his steady pace over the next
    few years, releasing That Don't Make Me a Bad Guy in 2008, American Ride in 2009, and Bullets in the Gun in 2010. Clancy's Tavern, which
    appeared in 2011, was inspired by his grandmother’s club, which he visited frequently as a child. Keith was also selected as Artist of the
    Decade at the American Country Awards in December of 2011. Clancy's Tavern gave Keith a pair of hits in "Made in America" and "Red Solo Cup" --
    the former topped Billboard's country charts; the latter reached the Billboard Top 40 -- and in the fall of 2012 he returned with another new
    album, Hope on the Rocks, which was preceded by the single "I Like Girls That Drink Beer." Neither "I Like Girls That Drink Beer" or the album's
    second single "Hope on the Rocks" went further than 17 on the charts, and Keith soon returned with his 17th album, Drinks After Work. Released
    almost a year to the day after Hope on the Rocks, Drinks After Work appeared in late October 2013; it was preceded by the single release of its
    title track.

    Album Review - from allmusic

    Twenty years into his career, the inevitable happened: Toby Keith started to slide down the charts. He'd had slow patches before -- when he
    moved from A&M to Dreamworks at the end of the '90s, he had trouble getting into the Top 10 -- but the success of 2011's Clancy's Tavern and its
    accompanying hits "Made in America," "Red Solo Cup," and "Beers Ago" wound up seeming like a fluke once 2012's Hope on the Rocks stalled on the
    charts. Confronted with a possible decline in his fortune, Keith takes action on Drinks After Work, his 17th album in 20 years. As this opens
    with the stuttering, synthesized, computerized cut-n-paste "Shut Up and Hold On" and the even frothier "Drinks After Work" -– a piece of
    irrepressibly chipper country pop fueled by a guitar hook reminiscent of vintage Third Eye Blind -- there's no question that Keith not only
    realizes he needs to sound modern, but he's ready to play the game, ready to throw out sounds that used to be successful but no longer pay back
    dividends. This doesn't last long on Drinks After Work. Soon enough, he's back to clean, efficient big-boned country -- forceful and macho, but
    tellingly old-fashioned, eluding the bro back-claps of such new millennial sensations as Luke Bryan. Keith is a little more country than that:
    he still indulges in masculine bluster then undercuts his shtick with seriously sentimental shtick, both sides of his persona still sculpted
    with care, but it's clear he's not all that interested in moving forward. And so, Drinks After Work unfurls at a steady pace, sometimes cranking
    up the country rock, sometimes laying back into a backporch shuffle, but usually never stretching so far as to upset an audience that wants
    something familiar and cozy. Those singles are ringers, songs to perhaps hook in new listeners via the radio, while the rest of the record is
    designed to reassure his longtime fans that nothing has changed, either in their world or in his. And to that end, one thing really hasn't
    changed: Keith's best, liveliest songs arrive at the end as bonus tracks on the Deluxe Edition of Drinks After Work, when he throws away
    expectations of topping the charts and delivers bawdy, funny songs that he writes to blow off steam while on tour; here, it's the smirking
    salute "Call a Marine" and the quietly emotional "Chuckie's Gone," a tribute to his late bassist and bandleader. These songs are so good that
    they raise the question of why Keith can't just give up on the very idea of a hit single and do a whole album as loose, funny, and genuine as
    these tunes.

    the first single:
    not one of my favs

    Track Listing

    1. Shut Up and Hold On
    2. Drinks After Work
    3. Before We Knew They Were Good
    4. Little Miss Tear Stain
    5. The Other Side of Him
    6. Last Living Cowboy
    7. Show Me What You’re Workin’ With
    8. Whole Lot More Than That
    9. I'll Probably Be Out Fishin'
    10. Hard Way to Make an Easy Living
    11. Call A Marine
    12. Chuckie's Gone
    “A man only learns in two ways, one by reading, and the other by association with smarter people.”
    Will Rogers

  2. #2
    Record Label Executive SteveO's Avatar
    Join Date
    May 2011
    Dartmouth, Canada


    ^ I like! Old style country and I liked the female vocal backup!


  3. #3
    Lead Vocalist James Otto Sweet Heart's Avatar
    Join Date
    Jun 2012
    East Tennessee


    I love that shot of Toby up there! To me, he has always had a good smile.

    God bless you and him always!!!

    Listen to my most favorite singer here sometime, James Otto that is!

  4. #4


    Yeah great track! i agree with SteveO, vocal harmonies sound nice. Look forward to hearing the full album.

  5. #5


    i think it would be hard for toby keith to even sing a bad song, this one gets going after a while, though the start sounded a bit like a sitcom to me

    he is definitely on my top 5 of country artists though

    gotta love that old song, "a little too late" , where he bricks himself in the basement

  6. #6
    Grumpy Old Man Music Head's Avatar
    Join Date
    Aug 2009
    Lancaster, Kentucky, United States


    the only current country album to be on my wish list
    “A man only learns in two ways, one by reading, and the other by association with smarter people.”
    Will Rogers

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