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Summary:

Artist : Tim McGraw
Album : Southern Voice
Release Day : Oct 20, 2009
Genre : Country
Styles : Contemporary Country, Country-Pop, Neo-Traditionalist Country
Size : 60 MB

Track List:

01. Still (Lee Brice, Kyle Jacobs, Joe Leathers)
02. Ghost Town Train (Marv Green, Troy Olsen)
03. Good Girls (Chris Lindsey, Aimee Mayo, Brad Warren, Brett Warren)
04. I Didn’t Know It at the Time (Lee Thomas Miller, Chris Stapleton)
05. It’s a Business Doing Pleasure with You (Brett James, Chad Kroeger)
06. If I Died Today (Blair Daly, Brad Warren, Brett Warren)
07. Mr. Whoever You Are (Sean McConnell)
08. Southern Voice (Bob DiPiero, Tommy Douglas)
09. You Had to Be There (Casey Beathard, Kenneth Wright)
10. I’m Only Jesus (Pat Buchanan, Brad Warren, Brett Warren)
11. Forever Seventeen (Joe Doyle, Josh Kear)
12. Love You Goodbye (Douglas, Jamie O’Hara)

Link Download [MP3 Album]

http://hotfile.com/dl/23403358/df36671/003_Southern_Voice_-_Tim_McGraw_2009.rar.html

Review:

Based on title alone, it would seem that Southern Voice picks up on the harder country edges of Let It Go, but that's not the case: this is Tim McGraw's rockiest album yet, opening with a slow, spacy crawl called "Still" that would not be out of place on a record by a U2 knockoff and often revisiting that territory, taking the occasional detour to Nickelback territory on the Chad Kroeger co-written "It's a Business Doing Pleasure with You." That tune bristles with Kroeger's barely veiled, unwitting hostility, something that the big-hearted McGraw doesn't wear well — not in the least, because it sounds like a boneheaded swipe at his jetsetting wife Faith Hill — and it's something he wisely side-steps on the rest of the record, choosing to mine a sentimental, meditative vein, musing on major changes in his life and wondering what will happen after he's gone. Such big themes fit both the big, atmospheric rock sounds and the reflective acoustic ballads well, creating an inward vibe that is occasionally punctuated by a hackneyed rocker, like the laundry list of great Southern names on the title track, or the mess of clichés on "It's Only Jesus," changes of pace meant to goose along the record but instead wind up as speed bumps on a mellow trip.