Well, this is a bit awkward – mostly because there’s absolutely no way I come out of this review looking good, especially given the complicated circumstances behind how and why this album got made.
See, I would put money on the vast majority of you knowing who Tim McGraw is – one of the most consistent hitmakers in mainstream country for the past twenty years and counting – but if you don’t know your recent pop or country history, you might not know that Faith Hill was arguably even bigger than he was, especially at her peak in the pop country crossover boom of the late 90s. Seriously, she’s sold over forty million records and has had top ten hits on the Hot 100 – even if you didn’t like a lot of her music, in the era of easy listening power ballads she was absolutely huge.
And yet that was fifteen years ago at least, so where has she been? Well, it’s tough to put your finger on why the hits dried up, but I’d argue it’s a confluence of factors. She took a break from touring when she had a baby so momentum sputtered, her release schedule became more scattershot, but I’d put more on the changing trends in pop and country. In the early 2000s country got a lot rougher and more lyrically charged, and if the pop divas found it hard to transition into the R&B era without getting an edge, adult contemporary -leaning artists like Faith Hill found it even harder. I’ve criticized Tim McGraw for making very sedate country music, but with Faith Hill the polish was even more pronounced. Shania Twain at least had a little more rollicking energy and even that would dry up in the face of stiff competition like Miranda Lambert and Carrie Underwood. And when Taylor Swift showed up a few years later and pushed country’s innocent side into territory that trended younger, it didn’t help matters. Couple it with the bro-country boom and the club era and suddenly it’s 2017 and Faith Hill hasn’t released a non-Christmas album since 2005 – regardless of who you are in the industry, very few if any mainstream acts can be out of the spotlight for that long.
But Faith Hill was going to make a valiant effort anyway, and with Tim McGraw providing his cosign, they went on a tour as a couple this year, husband gallantly trying to revive his wife’s career. And yet I had friends and family who were not music critics and who were fans went to those shows and the reviews were shockingly negative, that the performances were underwhelming or unpolished, that Faith Hill’s hits hadn’t lingered in the public consciousness and she wasn’t doing a good job bringing them back. And thus I had some serious misgivings about covering their collaborative album The Rest Of Our Life, because ‘Speak To A Girl’ had only been okay and just like her husband Faith HIll never wrote her own material. At least Lori McKenna was back to contribute cowriting credits to two songs, but so was Meghan Trainor, so I wasn’t sure this would stick the landing. So, how did it go?