enters the Billboard chart this week at #3

Spotify online listen
3.5 of 5.0 from allmusic

only 3 tracks I liked
best is below, duet with wifey
came on the singles chart back in June
for the most part too country n' roll for me
not my thing but it may be yours

artist website - http://timmcgraw.com/

Bio - from allmusic

When Tim McGraw debuted in the early '90s, few would have predicted that he would eventually take over Garth Brooks' position as the most
popular male singer in country music. Yet that's exactly what he did, thanks to a string of multi-platinum albums, a high-profile marriage to
fellow superstar Faith Hill, and Brooks' own inevitable decline. His sound epitomized the strain of commercial country that dominated his era:
updated honky tonk and Southern-fried country-rock on the uptempo tunes, well-polished, adult contemporary-tinged pop on the ballads. Helped out
early in his career by several novelty items, McGraw simply wound up cranking out hookier hits on a more consistent basis than any of his peers.
By the late '90s, he was not only a superstar among country fans, but a mainstream celebrity with a large female following.

Samuel Timothy McGraw was born in Delhi, Louisiana on May 1, 1967. Though he didn't know it until years later, his father was baseball player
Tug McGraw, a star relief pitcher for the Philadelphia Phillies and New York Mets who'd had a brief affair with McGraw's mother. He was raised
mostly in the small town of Start, Louisiana, near Monroe, and grew up listening to a variety of music: country, pop, rock, and R&B. He attended
Northeast Louisiana University on a baseball scholarship, studying sports medicine, and it was only then that he started playing guitar to
accompany his singing. He played the local club circuit and dropped out of school in 1989, heading to Nashville on the same day his hero Keith
Whitley passed away. He sang in Nashville clubs for a couple of years and landed a deal with Curb in 1992. His debut single, the minor hit
"Welcome to the Club," was released later that year, and his self-titled debut album appeared in 1993 but failed to make the charts.

McGraw's fortunes changed with the lead single from his 1994 sophomore effort, Not a Moment Too Soon. "Indian Outlaw" was embraced as a
lighthearted, old-fashioned novelty song by fans but was heavily criticized for what some regarded as patronizing caricatures of Native
Americans. Despite some radio stations' refusal to air the song, it reached the country Top Ten and even crossed over to the pop Top 20. All the
publicity helped send McGraw's next single, the ballad "Don't Take the Girl," all the way to the top of the country charts; it too made the pop
Top 20. The album kept spinning off hits: "Down on the Farm" hit number two, the title track went to number one in 1995, and the novelty tune
"Refried Dreams" also reached the Top Five. Not a Moment Too Soon was a genuine blockbuster hit, eventually selling over five million copies and
topping both the country and pop album charts; it was also the best-selling country album of the year.

McGraw's follow-up, 1995's All I Want, immediately consolidated his stardom with the number one smash "I Like It, I Love It." The album topped
the country charts, reached the pop Top Five, and sold over two million copies. Once again, it functioned as a hit factory thanks to the number
two "Can't Be Really Gone," the number one "She Never Lets It Go to Her Heart," and the Top Five "All I Want Is a Life" and "Maybe We Should
Just Sleep on It." Over 1996, McGraw supported the album with an extensive tour, accompanied by opening act Faith Hill. In October, after the
tour was over, McGraw and Hill married, in a union of country star power that drew plenty of attention from mainstream media. It doubtlessly
helped McGraw's next album, 1997's Everywhere, become another crossover smash; it topped the country charts, fell one spot short of doing the
same on the pop side, and sold four million copies. The lead single was a McGraw-Hill duet called "It's Your Love," which not only hit number
one country, but made the pop Top Ten. Three more singles from the album -- "Everywhere," "Where the Green Grass Grows," and "Just to See You
Smile" -- hit number one, and two others -- "One of These Days" and "For a Little While" -- reached number two. Meanwhile, "Just to Hear You Say
That You Love Me," another husband-and-wife duet from Hill's 1998 album Faith, climbed into the Top Five.

With the multi-platinum success of Everywhere, McGraw was poised to take over Brooks' throne as the king of contemporary country, a transition
that only accelerated when Brooks confounded his fans with the Chris Gaines project. McGraw, meanwhile, just kept topping the charts. His next
album, 1999's triple-platinum A Place in the Sun, hit number one country and pop, and four of its singles also hit number one: "Please Remember
Me" (which featured Patty Loveless), "Something Like That," "My Best Friend," and "My Next Thirty Years." The year 2000 brought McGraw's first
Greatest Hits compilation, a best-selling smash, and another Top Ten duet from Hill's Breathe album, "Let's Make Love." The song later won
McGraw his first Grammy, for Best Country Vocal Collaboration. Also in 2000, McGraw had a brush with the law when he and tourmate Kenny Chesney
got involved in a scuffle with police officers, after Chesney attempted to ride one of the officers' horses; McGraw was later cleared of assault
charges and spent the rest of 2000 on a second tour with Hill.

Released in 2001, Set This Circus Down (number one country, number two pop) kept McGraw's hit streak going into the new millennium, giving him
four more number ones -- "Grown Men Don't Cry," "Angry All the Time," "The Cowboy in Me," and "Unbroken" -- just like that. In 2002, his duet
with protégée Jo Dee Messina, "Bring on the Rain," also went to number one. For the follow-up album, McGraw defied country convention by
entering the studio not with session musicians, but with his road band, the Dancehall Doctors, a unit that had been together since 1996 (with
some members around even before that). Tim McGraw was released in late 2002 and produced Top Ten hits in "Red Rag Top" and "She's My Kind of
Rain"; it also featured a startlingly faithful cover of Elton John's "Tiny Dancer." McGraw kept the formula the same on 2004's chart-topping
Live Like You Were Dying, utilizing his road band, as well as co-mixing/producing the record himself. Let It Go followed in 2007, with Southern
Voice arriving in 2009.

McGraw resumed recording in early 2010 with longtime co-producer Byron Gallimore. He finished the album Emotional Traffic and even toured in
anticipation of its imminent release, but his longtime label Curb refused to release it, feeling it followed Southern Voice too quickly. The
dispute landed both artist and label in court, resulting in a separation agreement. McGraw landed a major role in the film Country Strong, which
was released in 2011. He followed it with the single "Felt Good on My Lips," which reached the top spot on Billboard's Hot Country Songs chart,
and was followed by "Better Than I Used to Be"; both were pre-release singles for Emotional Traffic, which was finally issued in January of
2012, two years after it was completed and delivered to Curb. He signed to Big Machine for Two Lanes to Freedom, which was released in early
2013; the album spawned three back-to-back number one singles on the Billboard Hot Country Songs chart, including "Highway Don't Care" with
Taylor Swift and Keith Urban guesting. McGraw wasted no time following up that success, issuing the pre-release single "Lookin' for That Girl"
in advance of his 2014 album, Sundown Heaven.

Album Review - from allmusic

There's no question Tim McGraw seized upon the opportunity to indulge his every whim when he finally extricated himself from Curb and signed
with Big Machine in 2013, the year where Two Lanes of Freedom revived his career. His renaissance continues with 2014's Sundown Heaven Town, his
second album for Big Machine and a record that often plays like a direct sequel to its predecessor in that it's designed to show off everything
McGraw and his longtime collaborator/producer Byron Gallimore can do. Being that this follows a record where the big hit was a ballad -- the
haunting "Highway Don't Care," a duet with Taylor Swift -- it's not entirely a surprise that Sundown Heaven Town is distinguished by its smooth
touch but within that gloss. Sure, McGraw never goes for a brawny rocker -- when Kid Rock stops by for a duet on the deluxe, it's for an easy-
rolling, sunny ballad called "Lincoln Continentals and Cadillacs" -- and the quickest pace is reserved for glistening midtempo pop like "City
Lights," but this record never seems to drag, not even in its longer 18-track incarnation, because McGraw and Gallimore are masters at pacing,
something that is evident on individual songs as it is on the album as a whole. McGraw knows when to shift away from the spacious arena-country
of "Shotgun Rider" to the light electronic accents of "Dust," then to glide into the modernized southern soul of "Diamond Rings and Old
Barstools" or when to get delicate, as he does on the sentimental (but not sappy) "Meanwhile Back at Mama's." This versatility isn't showy,
which is a large part of McGraw's charm: he has an easy touch that not only warms the sheen of his gloss, it hides the meticulousness of his
craft. He's wound up making records that are the new millennial equivalent of classic soft rock, records informed by the trends of the day but
which place emphasis on melody and craft, which is why they resonate: they come on smooth and easy but have the foundation to last.

the token country track:

Track Listing

1. Overrated
2. City Lights
3. Shotgun Rider
4. Dust
5. Diamond Rings and Old Barstools
6. Words Are Medicine
7. Sick of Me
8. Meanwhile Back at Mama's
9. Keep on Truckin'
10. Last Turn Home
11. Portland, Maine
12. Lookin' for That Girl
13. Still on the Line