This has been my first time listening to a Toby Keith album because I’m not his biggest fan (FUTK anyone?). I thought since ‘Drinks After Work’ was being released I would make a go of it, and I have to say it was a record of two halves for me. On the one hand, there were songs that were banal and irritating. On the other, those of merit in various aspects. For me, it appears to be a record that is, much like many of this year’s contemporary releases, caught between kissing bro-country ass and making music that is rewarding and satisfying, both for fan and artist. It seems laughable to consider such a notion as Toby Keith has enough money to feed several cities for generations to come, so he certainly does not need to compete with the likes of Florida Georgia Line for airplay or chart positions, but perhaps he just can’t resist the fame. This seems especially bizarre after he made some comments regarding the current sounds and themes of country music, but apparently he is of a stature now that he is allowed to delve into hypocrisy without consequence. Or at least in his eyes.
These obnoxious assumptions on his part are evident throughout ‘Drinks After Work’. From the opener ‘Shut Up And Hold On’, his lack of care for his actions comes across, illustrated most blatantly in ‘Show Me What You’re Workin’ With’, describing sexually harassing some poor woman in a club. Musically it has a soulful vibe, and actually wouldn’t be too bad if it weren’t for the lyrics, but ultimately Toby assumes the annoying and creepy pervert. ‘Margaritaville’ (featuring Sammy Hagar) is a vague ill-constructed song based on a Latino/European feel and mumbled lyrics that are so tiresome I have struggled to listen to more than a few lines after several listens. I gather it’s probably about being blind drunk all summer, but life’s too short to be sure.
Then there’s the overtly-masculine and confident tribute to the working man, as per (yawn). The title track runs in this vein, although its inter-rhymes and crazily catchy chorus makes me forgive it somewhat because I can’t help but like it (as a secret pop fan). ‘Hard Way To Make An Easy Living’ takes a slightly different stance in that it’s first and foremost a rock song, but it’s a pathetic attempt at making himself look good. Describing a working man who appears wealthy but has to go above and beyond and sacrifice to get there, trying to make the listener feel sorry for him, it further shows the negative sides to Toby’s personality, most clearly his lack of humility. He tries to “get down with the kidz” by recording ‘Before We Knew They Were Good’ featuring a slightly confusing set of lyrics that looks back fondly on overly-romanticized small town life, a conventional nostalgic look on fantasy, paradisiac summers. It tries to point towards hindsight but is entirely unclear on its direction, shrouded in modern pop/rock (disguised as country), with a perfect cadence at the end of each chorus. Is anyone else bored yet?
Of course, there are songs of merit, showing that Toby can do better. ‘The Other Side of Him’ is a heartfelt country ballad built on piano (not forgetting the smooth, pop production), lamenting the moving on of an ex-lover who he’s still not over. ‘I’ll Probably Be Out Fishin’’ delves into the traditional with a foot-tapper that tells the stories of some poor man’s bad luck. For the song’s character, that means using fishing as a coping mechanism, letting off steam, in an old-school sound that is one of the album’s highlights. ‘Last Living Cowboy’ is also far more in a traditional channel than the rest of the record, and is the first suggestion of a critique of the current country music industry and modern day Nashville. This is the first time I even get a hint that Toby might be aware of his contradictions and hypocrisy as well as bad music, although I suppose that could just be a coincidence. Either way, this song is a great foot-tapper and shows what he’s capable of. ‘Call A Marine’ is similar, although this time with a front porch-style jam featuring speak-singing of the country music old school, and a dry sense of humor that works surprisingly well. It also tells a good story that’ll make for a fun live performance.
It’s followed on the track list by ‘Chuckie’s Gone’, the best song on the album and one unmatched in style throughout. A modern country ballad, it’s the only one that feels genuine coming from Toby, a tribute to a former band member who passed away this year. Not only does Toby actually tap into some deeper emotions, but the lyrics inexplicitly handle the subject matter without destroying it. I’m sure Chuckie would be proud to know this song is about him.
Reading some of my more positive comments back, they begin to sound dry and disingenuous. It’s difficult to review an album of someone you actively dislike in an unbiased way, but then again I never pretended to be anything but incredibly biased. Much of ‘Drinks After Work’ enhances my view of Toby Keith as an obnoxious, arrogant individual, but even I can admit that he obviously is talented (he wouldn’t have got this far without that), and has the capabilities to make great music. He just chooses not to. I mean, I suppose that’s his prerogative, he can be lazy if that’s his wish, and I guess if his fans don’t demand more who I am to say that he is wrong? It simply becomes a chore to consider the work of an artist who appears to casually reap the benefits of everything in whatever way he can, despite the fact he absolutely doesn’t need to.
Perhaps I’m naïve.
