After recapping 2017's not-so-pleasant offerings, let's take a look at we loved from the past year. Past winners have included Jason Aldean's "Fly Over States" (2012), Kacey Musgraves' "Follow Your Arrow" (2013), Maddie & Tae's "Girl In a Country Song" (2014), Tim McGraw and Catherine Dunn's "Diamond Rings and Old Barstools" (2015), Eric Church's "Record Year" (2016) and Jon Pardi's "She Ain't In It" (2017). What will be crowned 2018's finest moment? Read on to find out!

2018 had a lot of highs, but first, let's recap what we found to be the more underwhelming side of country music. As an aside, this is the first year to feature an entry on both the Best and Worst lists - but you'll have to wait to find out what it is!

Chris Young, "Hangin' On"

A bland hook elevated only slightly by Young's vocal proficiency. The lyrics don't say a whole lot, and the production even less. Little more than fluff by an artist capable of more, but who has rarely shown so in recent years.

Grade: C

Jason Aldean feat. Miranda Lambert, "Drowns the Whiskey"

A tighter production would have elevated it further, but as it stands this is Aldean's strongest single in a long time. Rarely has he sounded so poised and strong behind the mic, and singing a good song at that. Lambert, though unfortunately not all that prominent, does add a level of nuance to the record.

Grade: A-

Kane Brown, "Lose It"

Mindless, pointless nothingness, hammered home by a sloppy production and detached performance. Despite their obvious pop tendencies, Brown's last two hits demonstrated a degree of talent. This just has nothing going for it.

Grade: D

Chris Stapleton, "Millionaire"

A mature take on love, elevated by an outstanding vocal and sparse acoustic production. His performance is, appropriately, given room to breathe. As per usual, Stapleton proves that oftentimes, less is more.

Grade: A-

Danielle Bradbery feat. Thomas Rhett, "Goodbye Summer"

A pair of young talents who play nicely off of each other. Bradbery allows desperation and melancholy to shine through, while demonstrating the extent of her technical strengths. Perhaps a little polished, but that's a minor knock against a wholly solid piece of work that should be Bradbery's breakout hit.

Grade: B+
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​Author: Markus Meyer

The mainstream of country is currently plagued by an influx of generic songs sung by generic male up-and-comers. While it would be easy to slot Jimmie Allen into this category, what he brings to the table with "Best Shot" is extremely solid in nature.

The weakness of the song is perhaps the weakness, relying on thematic content that is perhaps cliche and somewhat underdeveloped. However, there are nonetheless some strong lines, backed by a refreshing sense of maturity. What truly allows the record to stand out is the simplicity of its production. Backed by little more than a tender acoustic arrangement, Allen's strong voice is allowed room to thrive and evoke a true sense of self-awareness. Additionally, the melody holds its own, elevating an otherwise mediocre hook and allowing the song to hold up upon repeat listens.

"Best Shot" is by no means ground breaking, and it does have its flaws. However, it does demonstrate enough that there's reason to go back to hear it again, and to be intrigued by what else Allen may have to offer artistically.

​To read Zack's take on this, check out this link! 

Grade: B
Listen: "Best Shot"

While it seems a little cheap to rely on Taylor Swift to truly seize a comeback hit after "Still The Same" didn't exactly live up to the hype, at least this is a pretty decent song ... even if it has so much going against it. 

The song starts with a loud clapping beat, and considering the acoustic riff that accompanies it isn't all that exciting, it's fair to call the production fairly stale, which is why I didn't really care for "Still The Same." 

Another knock to make is in the writing, mainly because it's a pretty plain kiss-off song that we've heard from Swift before. It's fine I guess, but there's not really a story as to what the ex-lover in question actually did that was so wrong. It seems like I repeat myself with this time and time again, but fleshing out the story always helps to add more meat to a song. 

On top of that, Swift doesn't really contribute a whole lot of anything to the track other than singing "this is the last time" a bunch of times. I think even Kristian Bush got as much time as she did. Plus, the hook is fairly unmemorable, as the lover in question could be "babe," "honey," "bunky," "sugarmuffin," or in this case, likely something far worse. 

With all of these criticisms, I can't understand for the life of me why I don't think this is so bad. Honestly, it just might come down to Nettles herself. While the production is stale, it also stays out of the way to let her work her vocal magic and deliver a dynamite performance, and the chorus is fairly catchy as well even if it's lacking lyrically. 

Overall, "Babe" is an enjoyable, but ultimately lacking song that only fully utilizes one of the three artists involved with this. Still, it works in spite of its flaws, so if you're curious, it's worth a listen. 

Grade: B-
Listen: "Babe"

Author: Zackary Kephart

Roughly one month ago, Bobby Bones made the idiotic claim that artists need to continue feeding us new material continuously to satiate fans instead of taking the time to perfect their art.  

Carrie Underwood on the other hand is one of the few artists willing to debunk that theory, with others including Eric Church and ... wow, that might be it. Say what you will about her music whether you like it or not, but Underwood makes her fans miss her and wonder where she's been. Of course, that's not to say it's totally positive. You can also have media hounds wanting to see pictures of her face after her fall to see what she looks like now instead of how she actually is, but that's in the past. 

I bring up that last part to show how it could have potentially helped frame "Cry Pretty," because instead of a story song this time around, Underwood delivered a shockingly personal, vulnerable tune. 

For the most part (at least at the beginning), this song is mostly restrained, making me wonder about the claims that Underwood went full on Pop or some other asanine statement like that. I mean, a happy Pop-Country balance has always been her cup of tea, but I digress. There's some electric guitar strumming, some faint pedal steel that kicks in a little ways in as well as a drum-like effect that sounds like someone hitting a can. In honesty, it doesn't fit well with the song, and if the first two elements had been what remained, it would have sounded a little better. 

Once the chorus kicks in, it enters a comfortable ballad territory for Underwood, the electric guitars kick it up a notch, with the pedal steel remaining to help carry the more vulnerable nature of the track. With the exception of a well-done guitar solo, this fits comfortably not only in the current Country landscape, but also well within Underwood's discography. 

Because this is a more vulnerable track as well, Underwood mostly handles herself very well vocally. She has a tendency on other songs to start belting, and while that talent is admirable, she shows that she's best when she's quieter and exposed like this. 

Lyrically, we also explore a more defenseless side of Underwood, one where she admits that she's a human who has emotions like the rest of us. You can lie and smile to fake when you're down, but when you're alone crying, that's when the dam breaks, and more importantly, that's alright for everyone to do. 

I do wish the lyrics had a little more meat to them. The message is received, but with only two verses (one of which is considerably short), the song doesn't quite take off the way it should, with the hook ultimately being a tad unmemorable. Even after the first verse, we turn the attention away from Underwood and onto advice for anyone going through these emotions, and again, I just wish it pushed itself a little to explore those emotions on a deeper level. 

Despite that though, in terms of every other area, this is a top-notch single from Underwood, displaying great production and a vocal performance that's excellent. This shouldn't be touted as a "comeback" considering Underwood simply hasn't released music in three years (which isn't THAT long), but hey, if it's ultimately giving more attention to a good song, I'll take it. 

Grade: B+
​Listen: "Cry Pretty"

Author: Zackary Kephart

Kenny Chesney really shouldn't be allowed to speak on the "real" issues, because everytime he does, he ends up saying nothing at all really. 

To be fair, Chesney has proved in the past that he can handle serious material with ease. Songs like "Don't Blink" and "There Goes My Life" are some of the finest Country songs of that decade. However, ever since 2016 or so, Chesney has felt this urge to "say something" with his music, beginning with "Noise" which wanted to tackle our obsession with technology. Instead, in an attempt to prove how we get lost in this metaphorical noise of nothingness, Chesney just made a loud, obnoxious tune that didn't say anything. 

This time around, Chesney still doesn't say anything profound, but at least it sounds nice ... I guess. In the age of identity politics dividing us from one another, Chesney wants to all "get along" on his new single. While he isn't obnoxiously accusatory like he was on "Rich and Miserable," Chesney still fails to really dig at the heart of his message. He presents two verses that offer nothing coherently relevant to his overall point. Verse one presents a man holding a bible and a bottle promoting happiness, but having an optimist attitude isn't going to make all the problems in the world go away. In the other verse, Chesney examines a model and ponders her backstory, but wait, is the point to make better life decisions, or is it about getting along? 

The chorus offers no resolution. It's the same list style that Chesney adopts on all of his more "serious" songs as of late, telling us to learn to dance, call our moms, and oh! Make sure you buy a boat too. That'll solve our grouchiness. Dude, even Chris freakin' Janson can't buy his own boat, so don't be preaching to me about what we need to do to love one another. Maybe my criticism of this track isn't helping the "love" necessarily, but I'm doing just as good of a job as you are. Don't get me wrong, I agree with the sentiment, but again, it presents the usual problem with Chesney's material as of late - it's scattershot. 

At least this time around the instrumental and production mix fits the song in a good way. The gentle, warm acoustics give off a friendly vibe, and the banjo that kicks in during the chorus definitely helps this song's catchiness. Even though Chesney can't make me care from his lyricism or his vocal delivery, this is at least a better part of the track. 

Overall though, it's an ultimate miss for Chesney. I have no problem with Chesney wanting the world to be a better place. As evidenced on this song as well as his latest single with David Lee Murphy however, he offers very little substance to his messages. I can tell you that we're all going to win the lottery tomorrow, but it doesn't mean it's going to happen. 

Grade: D+
Listen: "Get Along"

Author: ​Zackary Kephart

*Sigh* ... I had a feeling this might happen. 

I liked Russell Dickerson's debut single, "Yours", probably more than most. In fact, it grew on me more throughout the year. Call it a gut feeling or something else though, but I had a feeling he might be a one trick pony with that song. Hearing his debut album confirmed that (I didn't cover it, but it wouldn't have been pretty), and while his latest single, "Blue Tacoma" isn't the worst offender in his catalog, it still has its fair share of problems. 

Sure, the song dances around typical bro-cliches at times by drinking a different type of beer, name-dropping Shania Twain over Hank Jr., and driving during the daytime instead of the nighttime, but it's still a pretty faceless tune overall. There are too many songs adopting this same theme right now, and unfortunately while it tries to go for different details, it's still lacking in overall depth. 

Then again, a lack of lyrical depth can be excused provided that everything else is good, and unfortunately it's not. The production on this song is terrible, with the loud drum machine pushed way too far to the front of the mix completely swallowing the tune. Yeah, the atmospheric banjo is nice and all, but it's so buried that it feels simply tacked on rather than essential to the song. 

Dickerson is a better vocalist than he'll get credit for, with a surprisingly good range and likable personality, however it's hard to really get excited for a song about nothing at the end of the day. 

Grade: C
Listen: "Blue Tacoma" 

Author: Zackary Kephart

Kelsea Ballerini's "I Hate Love Songs" presents a fascinating, unique problem - a song that sounds confusing and grating in the context of the album it's in sounds great as a standalone song. 

If anything, it might even just prove that albums are never just collections of singles no matter how hard they try. While "I Hate Love Songs" is literally sandwiched in between love songs on Unapolgetically, on its own it's better than I gave it credit for. 

I'm not a huge fan of the waltz craze in Country music right now, mostly because most of the songs adopting it are schmaltzy or bad for some other reason. With this song, the waltz beat has a very relaxing, retro atmosphere to it, creating something that excellently matches the lyrical content. 

Speaking of lyrical content, this song is clever and humorous in the way that it debunks romantic cliches. What I like is that she's so specific about the love-related things she dislikes, and lines like "you'd die if your heart really skipped a beat" or "we were drunk when we met, so we don't know our anniversary" are witty, charming, and overall funny. Despite these cliches though, she loves her significant other because of other elements beyond those cliches, and while this song could have afforded to go more in depth about why she DOES love him (it's the Eric Paslay "Song About A Girl" syndrome, only here the chorus really underwhelms), this is solid nonetheless. 

I won't say that Ballerini is really exuding as much personality on this track as she usually does (the jokes can fly right by you if you're not careful), but she's able to keep a steady flow regardless. 

Overall, this is a solid offering from Kelsea Ballerini that's very witty and tasteful. 

Grade: B
Listen: "I Hate Love Songs"

Author: Zackary Kephart