White Trash with Money

White Trash with Money

4.9 13
by Toby Keith

Leaving behind the chest-thumping jingoism of Shock'n Y'all with the frat-boy nihilism of Honkytonk University, Toby Keith kicks back on White Trash with Money, devoting his energies to limning the lives of "average people in an everyday bar," as he sings on "Get Drunk and Be Somebody." In addition to the new lyrical focus, he tries on some newSee more details below


Leaving behind the chest-thumping jingoism of Shock'n Y'all with the frat-boy nihilism of Honkytonk University, Toby Keith kicks back on White Trash with Money, devoting his energies to limning the lives of "average people in an everyday bar," as he sings on "Get Drunk and Be Somebody." In addition to the new lyrical focus, he tries on some new styles, and pretty successfully -- three of the first five songs boast strings of an elegance that would do Nelson Riddle proud. The aforementioned "Get Drunk…" features a rousing southern soul horn section goosing along the bump 'n' grind. The infectious mid-tempo shuffle "Runnin' Block" sports a tasty Tex-Mex savor, thanks to an accordion line flitting around slide guitars and twangy upper strings licks. The songs, mostly by Keith alone or in partnership with Scotty Emerick, are beautifully crafted and lyrically stout. There's a love ballad built for piano and pedal steel ("Crash Here Tonight"), heartbreakers such as "A Little Too Late," and straight-ahead country-rock attacks ("Grain of Sand"). The only issue-oriented song, the somber country ballad "Ain't No Right Way," is bound to raise some hackles, though, as it takes shots at unwed mothers, abusive parents, and spineless politicians at the same time. The unfortunate album title may draw the yahoos, but the gritty slice-of-life portraits here are the stuff of thoughtful meditation, not drunken revelry.

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Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
Toby Keith really is a throwback to a different time, a time when artists came into their own after kicking around for a while, a time when the most popular artists were also restlessly creative. In other words, he hearkens back to the heyday of outlaw country, when Willie and Waylon were making their own way with records that sounded different each time out, a claim that certainly can be made with every record Keith released in the 2000s. With White Trash with Money, he tops himself, delivering not only his fifth excellent album in a row, but his riskiest, richest record yet. For this, his tenth studio album, Keith teams up with country renegade singer/songwriter Lari White, an underappreciated country singer/songwriter who made a shift toward country-soul on her 2004 album Green Eyed Soul. It's an unusual choice in many respects. First, it's a surprise that Keith has parted ways with producer James Stroud, who has been co-producing his records since 1997's Dream Walkin', but it's also a surprise because White isn't known for her productions, and her albums don't necessarily seem like kindred spirits with the swaggering, macho Keith. But surprises can sometimes be exactly right, and White Trash with Money is pretty damn near perfect, a testament to Keith's often underappreciated versatility and his songwriting skill. White eases Keith into new sonic territory, somewhat related to Green Eyed Soul but never far removed from the loose-limbed neo-outlaw country Keith has been mining since the turn of the millennium. By working with White, Keith has added just enough new colors to his palette to let listeners truly appreciate the range in his music. That slight yet significant shift in tone is immediately evident, as the album kicks off with the rowdy, horn-driven "Get Drunk and Be Somebody." With its soulful strut, it recalls White's work, but the album shift gears before it can get pigeonholed, with "A Little Too Late" recalling both lush Nashville country-pop productions and Dwight Yoakam's classicist spin on the same sound, and "Can't Buy You Money" bringing to mind a straight-ahead version of Bobbie Joe Gentry's neo-gothic masterpiece "An Ode to Billie Joe." Soon, the changes in mood settle down, and a spare, muscular version of Keith's country dominates the album, but the music is more robust than it was even on Honkytonk University; there are little flourishes, from soulful organs and guitars, that make these songs full-bodied. This variety brings life to what very well may be Keith's best set of songs. Like Honkytonk University, White Trash with Money lacks the ornery patriotism of the post-9/11 work that brought him fame and it keeps the focus on the basics: love, drinking, heartbreak, forgotten anniversaries, tequila, family, and happiness. Keith's humor is out in full force, and not just on the three new "Bus Session" songs that conclude the record. He's loose and limber, bringing a big heart to these tunes, and to the album as a whole. This is an addictive record, enveloping in its sound and memorable in its songs, and it's proof positive that there has been no other country artist as risky, rich, or consistent as Toby Keith this decade.
The exquisitely produced "It's a Little Too Late" is among the best-sounding tracks Keith has ever laid down, and the swampy "Can't Buy You Money" practically oozes out of the speakers. Ray Waddell

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Product Details

Release Date:
Show Dog Nashville


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Album Credits

Performance Credits

Toby Keith   Primary Artist
Phil Madeira   Dobro,Accordion,Hammond Organ,Slide Guitar
Lari White   Kazoo,Background Vocals
Dan Dugmore   Pedal Steel Guitar,Electric Guitar
Chris Dunn   Trombone
Shannon Forrest   Drums,Background Vocals,Box
Kenny Greenberg   Acoustic Guitar
Jim Horn   Tenor Saxophone
John Jarvis   Piano,Background Vocals
Randy Leago   Baritone Saxophone
Steve Patrick   Trumpet
Biff Watson   Acoustic Guitar,Background Vocals
Glenn Worf   Bass,Background Vocals
Jonathan Yudkin   Fiddle
Glen Caruba   Percussion
Tim Akers   Synthesizer,Keyboards,Hammond Organ
Chris Carmichael   Fiddle
Scotty Emerick   Background Vocals,Classical Guitar
Wes Hightower   Background Vocals
Perry Coleman   Background Vocals
Tom Bukovac   Electric Guitar
Jarrod Emerick   Background Vocals
George Del Barrio   Conductor

Technical Credits

Toby Keith   Composer,Producer,Audio Production
Lari White   Producer,Engineer,Audio Production
Chuck Cannon   Engineer
Jim DeMain   Mastering
Dean Dillon   Composer
Peter Doell   Engineer
Jim Horn   Horn Arrangements
Wayne Killius   drum programming
Mills Logan   Engineer
Jason Lehning   Engineer
Wayne Brezinka   Art Direction
Adam Hatley   Engineer
Scotty Emerick   Composer
Darren Welch   Art Direction
George Del Barrio   Orchestral Arrangements

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