McGraw's second hits collection contains 16 tracks, half of which come from 2001's Set This Circus Down, 2002's Tim McGraw and the Dancehall Doctors and 2004's Live Like You Were Dying. Those albums found a more mature McGraw appreciating life ("Live Like You Were Dying"), a buddy ("My Old Friend"), and his woman ("Watching The Wind Blow By," "She's My Kind Of Rain"), plus exhibiting an increased sensitivity ("Grown Men Don't Cry").

McGraw also reaches back to the era of the first hits collection to include the chart-toppers "Not A Moment Too Soon" (1994) and "Everywhere" (1997). Eight other top five hits have yet to be anthologized, including number ones "Angry All The Time" (2001), "Unbroken" (2002), as well as McGraw's strongest vocal performance to date, "One Of These Days" (1998). The other omitted hits include "Refried Dreams" (1995), "Can't Be Really Gone" (1995), "All I Want Is A Life" (1998), "Back When" (2004), and Do You Want Fries With That" (2005).

Two collaborative hits are making their debut on a McGraw album and both sound out of place: the rapper's delight "Over And Over" with Nelly and the Faith Hill-dominated "Like We Never Loved At All." Much better are the new four new recordings, two of which - "My Little Girl" and "I've Got Friends That Do" - McGraw co-wrote (his first self-penned recordings). Hopefully, as his musical horizons expand, McGraw will provide us with more quality compositions in the future.

Southern Voice has a decidedly mellow tone to it throughout most of its 12 tracks, the majority of which never really move past mid-tempo. This pattern is broken up only by the two songs chosen as lead singles: Business Doing Pleasure with You and Southern Voice. These songs were undoubtedly tapped by the label to market an album that, while it doesn't quite reach the territory of "dark" (though the theme of Good Girls and parts of I'm Only Jesus certainly qualifies), contains a number of, in McGraw's words, "flawed characters" that explore a sizable amount of pretty heavy territory and give the album a pretty dominant somber tone.

That being said, the album is strongest when immersed this heavy subject matter and those songs seem to have an underlying power combined with an atmosphere of reverence and immediacy, due part to excellent production, but mainly because McGraw is the master of conveying emotion and these songs involve very emotional subject matter. On first listen, I felt the album was really good, but after a dozen listens, I'm of the opinion that Tim has crafted a masterpiece of a record.

With Southern Voice, Tim McGraw as given us an album that is a mature masterpiece; these are songs by a mature artist in his prime who has no peer when it comes to conveying emotion and feeling through his music. Never have I listened to a collection of songs, album or otherwise, that have hit a nerve and given me the chills like the songs on Southern Voice have. These are songs about mature people, for mature people; a collection of statements by a husband, father and son about life and what it's really like to live and grow for forty years.

Love You Goodbye: 5/5. This is one of the most powerful, heart-wrenching songs I have ever heard...never has a song given me as many chills as this one does. The subject matter of this song makes me tear up every time I hear it because so much of it is my life; I was raised by a single mom, my father has struggled with substance abuse for decades, I left home at 18 and (somehow) made a life for myself including my beautiful wife and now 2 year old boy. This song, more than maybe any other on this record, showcases Tim's ability to convey emotion with his voice. Tom Douglas is one country music's most underrated songwriters and this song is another masterpiece from him and Tim.

Good Girls: 5/5. Tim has never one to shy away from "controversial" material and usually when he takes it on, it ends up being some of his best work. Nothing changes here as Good Girls has a stunning melody and haunting feel to a story about two best friends, one whose boyfriend is cheating on her with.....yep, the best friend. I won't spoil it if you haven't heard it, but the story does not end well and therein lies the "controversy". Tim has said this is the best track he's ever cut and while I can't label any track of his "the best" this one is certainly in the discussion. Another incredible Warren Brothers composition.

Mr. Whoever You Are: 5/5. I'm a huge fan of Sean McConnell and McGraw not only does this composition justice, he hits it out of the park. I get chills from the vocal delivery and the story of a lonely working girl who find solace in men she meets at a bar. The unique waltz-like pacing of the music fits the theme of the song and moves the song along just right. As always, what would appear to be a simplistic "story" song manages to convey an all-encompassing statement about loneliness and despair when Tim sings it.

If I Died Today: 5/5. One of the more up-tempo songs on the record, this is a really special song lyrically and, particularly, musically. Darran Smith's guitar work is really special and reminds me very much of 1970's rock. The first time I heard the song I thought "The Eagles" and that makes sense as they are Tim's (as well as my own) favorite group and the song has a very "country rock" feel to it. This song is another well penned Warren Brothers song and speaks to a very positive and motivating message.

I Didn't Know It At the Time: 5/5. This song sucks you in from the first lines. Tim's vocals are just unbelievable; you can feel how the character misses his old friend he hasn't seen in 15 years, you feel how the character just couldn't imagine his father growing older. The song is so well paced; it starts out slow, slowly crescendos and then motors along until the end. I feel this songs message so strongly, thinking back to what I really didn't know 10 years ago and what I know now. A true, honest song about growth and the wisdom that comes with age.

I'm Only Jesus: 5/5. This is the rawest song on the record and I use that word in a complimentary light; this song, from the almost hard rock use of guitar to the opening line that speak of pointing a gun at ones head and "playing Russian Roulette with the long white line" grabs you by the shoulders and makes you pay attention to it. The contrasting stories of the first, second and third verses is a brilliant way to make one of the songs' main points and, frankly, I don't think I've ever heard the concept of "free will" expressed so well or so succinctly in a song before. The fact Tim can tackle a song like this and make it work this well, is proof of his chops.

Forever Seventeen: 5/5. This was the last song I listened to when going through the album the first time. I just didn't think, from the title, that I was going to like it. After a few listens, I've decided I think this is one of the best songs on the record. The music is really interesting...not sure how to explain it, but it's different and intricate. The lyrics do speak to a woman struggling with getting older, but to me the theme can be extrapolated to anyone; when I hear the line "it's hard enough to learn to love yourself" that just hits home...who hasn't felt that.

Still: 5/5. This is, from what I understand, the third single and that makes sense. This is a radio ready track that should perform well. I happen to think this is the most, well...generic, song on the album. It's a really good song, but I guess what hear from it musically and lyrically is stuff I've heard before. That said, the song really motors forward after the introduction and I love the theme of finding peace in a world that is just going crazy around you. The imagery is awesome as well, from the description of seeing the beach for the first time, to being in bed with your lover, to finding faith and peace in the stained glass.

You Had to Be There: 5/5. A song about a father that comes to see his grown son (who he has never met) in prison and the son's less than enthusiastic response to the visit. I grew up with a father that was not there for me and a mother that struggled to keep me in line so, even though I ended up okay (I think), this song really speaks to me. It also reminds me of why I am such an involved and committed father to my daughter and little boy; the song can speak to your experience, yes, but it's also a painfully brilliant cautionary tale.

Ghost Train Town: 5/5. The only romantic love song on the album, this lyrically intricate song is one of the most twangy, straight ahead country numbers Tim has ever recorded. The combination of the descriptive lyrics and metaphors, combined with the music propel this song along and make it instantly infectious. I find myself singing the lyrics without even thinking about it, while my foot taps out the rhythm

Southern Voice: 4/5 This song is creative and different, so it wins points with me. It loses points because subject matter is a little too narrow for broad appeal; I'm from California, so I don't associate with the South much. It will ring true in the heartland, but not so much on the coasts. This reminds me of the song Louisiana that was delivered to Curb with Greatest Hits II and was on the NBC special, but never got released. That's too bad, because that song, though about the South, has more broad strokes to the lyrics and I think is one of the better songs Tim has done. Still waiting for that to be released.

It's a Business Doing Pleasure with You: 3/5. I didn't like this song when it came out...and I still don't. The song really harkens back to All I Want Is a Life Tim which isn't necessarily bad, but it's out of place on this album. The music is funky (in a good way) and reminds me a lot of Joe Walsh guitar work (which I like), but the lyrics are horrid. I would have given it a 2/5 except it is a fun song for the occasional listen AND the line "I pray to God this song will be a success" makes me laugh.

At its core, Southern Voice is a concept album very much in the tradition of the Eagles whose albums Desperado, One of These Nights and Hotel California were narrative concept albums (and who are major inspirations for Tim). In this case, the narrative or underlying theme is "the human condition". There are no traditional love songs here-no My Best Friend, no It's Your Love. There are no rockers-no I Like It I Love It, no Where the Green Grass Grows. Instead, the songs explore people and the trials and triumphs of people and while that may not necessarily have mass appeal, it is what makes the album such a benchmark piece of work.

I hesitate to make quick judgments about any record I hear, even more so with Tim's work because I find my relationship with his music tends to evolve over time. I also have never stated "this is his best record" because I find that each record he puts out stands tall beside the others in different ways. However, I find that after listening to Southern Voice more than three dozen times over the last week and a half, that this is in fact the best album Tim McGraw has ever done. Moreover, this is one of the best albums I have ever heard; Southern Voice is an album for the ages and everyone would do well to take notice of it.

McGraw's second hits collection contains 16 tracks, half of which come from 2001's Set This Circus Down, 2002's Tim McGraw and the Dancehall Doctors and 2004's Live Like You Were Dying. Those albums found a more mature McGraw appreciating life ("Live Like You Were Dying"), a buddy ("My Old Friend"), and his woman ("Watching The Wind Blow By," "She's My Kind Of Rain"), plus exhibiting an increased sensitivity ("Grown Men Don't Cry").

McGraw also reaches back to the era of the first hits collection to include the chart-toppers "Not A Moment Too Soon" (1994) and "Everywhere" (1997). Eight other top five hits have yet to be anthologized, including number ones "Angry All The Time" (2001), "Unbroken" (2002), as well as McGraw's strongest vocal performance to date, "One Of These Days" (1998). The other omitted hits include "Refried Dreams" (1995), "Can't Be Really Gone" (1995), "All I Want Is A Life" (1998), "Back When" (2004), and Do You Want Fries With That" (2005).

Two collaborative hits are making their debut on a McGraw album and both sound out of place: the rapper's delight "Over And Over" with Nelly and the Faith Hill-dominated "Like We Never Loved At All." Much better are the new four new recordings, two of which - "My Little Girl" and "I've Got Friends That Do" - McGraw co-wrote (his first self-penned recordings). Hopefully, as his musical horizons expand, McGraw will provide us with more quality compositions in the future.

Southern Voice has a decidedly mellow tone to it throughout most of its 12 tracks, the majority of which never really move past mid-tempo. This pattern is broken up only by the two songs chosen as lead singles: Business Doing Pleasure with You and Southern Voice. These songs were undoubtedly tapped by the label to market an album that, while it doesn't quite reach the territory of "dark" (though the theme of Good Girls and parts of I'm Only Jesus certainly qualifies), contains a number of, in McGraw's words, "flawed characters" that explore a sizable amount of pretty heavy territory and give the album a pretty dominant somber tone.

That being said, the album is strongest when immersed this heavy subject matter and those songs seem to have an underlying power combined with an atmosphere of reverence and immediacy, due part to excellent production, but mainly because McGraw is the master of conveying emotion and these songs involve very emotional subject matter. On first listen, I felt the album was really good, but after a dozen listens, I'm of the opinion that Tim has crafted a masterpiece of a record.

With Southern Voice, Tim McGraw as given us an album that is a mature masterpiece; these are songs by a mature artist in his prime who has no peer when it comes to conveying emotion and feeling through his music. Never have I listened to a collection of songs, album or otherwise, that have hit a nerve and given me the chills like the songs on Southern Voice have. These are songs about mature people, for mature people; a collection of statements by a husband, father and son about life and what it's really like to live and grow for forty years.

Love You Goodbye: 5/5. This is one of the most powerful, heart-wrenching songs I have ever heard...never has a song given me as many chills as this one does. The subject matter of this song makes me tear up every time I hear it because so much of it is my life; I was raised by a single mom, my father has struggled with substance abuse for decades, I left home at 18 and (somehow) made a life for myself including my beautiful wife and now 2 year old boy. This song, more than maybe any other on this record, showcases Tim's ability to convey emotion with his voice. Tom Douglas is one country music's most underrated songwriters and this song is another masterpiece from him and Tim.

Good Girls: 5/5. Tim has never one to shy away from "controversial" material and usually when he takes it on, it ends up being some of his best work. Nothing changes here as Good Girls has a stunning melody and haunting feel to a story about two best friends, one whose boyfriend is cheating on her with.....yep, the best friend. I won't spoil it if you haven't heard it, but the story does not end well and therein lies the "controversy". Tim has said this is the best track he's ever cut and while I can't label any track of his "the best" this one is certainly in the discussion. Another incredible Warren Brothers composition.

Mr. Whoever You Are: 5/5. I'm a huge fan of Sean McConnell and McGraw not only does this composition justice, he hits it out of the park. I get chills from the vocal delivery and the story of a lonely working girl who find solace in men she meets at a bar. The unique waltz-like pacing of the music fits the theme of the song and moves the song along just right. As always, what would appear to be a simplistic "story" song manages to convey an all-encompassing statement about loneliness and despair when Tim sings it.

If I Died Today: 5/5. One of the more up-tempo songs on the record, this is a really special song lyrically and, particularly, musically. Darran Smith's guitar work is really special and reminds me very much of 1970's rock. The first time I heard the song I thought "The Eagles" and that makes sense as they are Tim's (as well as my own) favorite group and the song has a very "country rock" feel to it. This song is another well penned Warren Brothers song and speaks to a very positive and motivating message.

I Didn't Know It At the Time: 5/5. This song sucks you in from the first lines. Tim's vocals are just unbelievable; you can feel how the character misses his old friend he hasn't seen in 15 years, you feel how the character just couldn't imagine his father growing older. The song is so well paced; it starts out slow, slowly crescendos and then motors along until the end. I feel this songs message so strongly, thinking back to what I really didn't know 10 years ago and what I know now. A true, honest song about growth and the wisdom that comes with age.

I'm Only Jesus: 5/5. This is the rawest song on the record and I use that word in a complimentary light; this song, from the almost hard rock use of guitar to the opening line that speak of pointing a gun at ones head and "playing Russian Roulette with the long white line" grabs you by the shoulders and makes you pay attention to it. The contrasting stories of the first, second and third verses is a brilliant way to make one of the songs' main points and, frankly, I don't think I've ever heard the concept of "free will" expressed so well or so succinctly in a song before. The fact Tim can tackle a song like this and make it work this well, is proof of his chops.

Forever Seventeen: 5/5. This was the last song I listened to when going through the album the first time. I just didn't think, from the title, that I was going to like it. After a few listens, I've decided I think this is one of the best songs on the record. The music is really interesting...not sure how to explain it, but it's different and intricate. The lyrics do speak to a woman struggling with getting older, but to me the theme can be extrapolated to anyone; when I hear the line "it's hard enough to learn to love yourself" that just hits home...who hasn't felt that.

Still: 5/5. This is, from what I understand, the third single and that makes sense. This is a radio ready track that should perform well. I happen to think this is the most, well...generic, song on the album. It's a really good song, but I guess what hear from it musically and lyrically is stuff I've heard before. That said, the song really motors forward after the introduction and I love the theme of finding peace in a world that is just going crazy around you. The imagery is awesome as well, from the description of seeing the beach for the first time, to being in bed with your lover, to finding faith and peace in the stained glass.

You Had to Be There: 5/5. A song about a father that comes to see his grown son (who he has never met) in prison and the son's less than enthusiastic response to the visit. I grew up with a father that was not there for me and a mother that struggled to keep me in line so, even though I ended up okay (I think), this song really speaks to me. It also reminds me of why I am such an involved and committed father to my daughter and little boy; the song can speak to your experience, yes, but it's also a painfully brilliant cautionary tale.

Ghost Train Town: 5/5. The only romantic love song on the album, this lyrically intricate song is one of the most twangy, straight ahead country numbers Tim has ever recorded. The combination of the descriptive lyrics and metaphors, combined with the music propel this song along and make it instantly infectious. I find myself singing the lyrics without even thinking about it, while my foot taps out the rhythm

Southern Voice: 4/5 This song is creative and different, so it wins points with me. It loses points because subject matter is a little too narrow for broad appeal; I'm from California, so I don't associate with the South much. It will ring true in the heartland, but not so much on the coasts. This reminds me of the song Louisiana that was delivered to Curb with Greatest Hits II and was on the NBC special, but never got released. That's too bad, because that song, though about the South, has more broad strokes to the lyrics and I think is one of the better songs Tim has done. Still waiting for that to be released.

It's a Business Doing Pleasure with You: 3/5. I didn't like this song when it came out...and I still don't. The song really harkens back to All I Want Is a Life Tim which isn't necessarily bad, but it's out of place on this album. The music is funky (in a good way) and reminds me a lot of Joe Walsh guitar work (which I like), but the lyrics are horrid. I would have given it a 2/5 except it is a fun song for the occasional listen AND the line "I pray to God this song will be a success" makes me laugh.

At its core, Southern Voice is a concept album very much in the tradition of the Eagles whose albums Desperado, One of These Nights and Hotel California were narrative concept albums (and who are major inspirations for Tim). In this case, the narrative or underlying theme is "the human condition". There are no traditional love songs here-no My Best Friend, no It's Your Love. There are no rockers-no I Like It I Love It, no Where the Green Grass Grows. Instead, the songs explore people and the trials and triumphs of people and while that may not necessarily have mass appeal, it is what makes the album such a benchmark piece of work.

I hesitate to make quick judgments about any record I hear, even more so with Tim's work because I find my relationship with his music tends to evolve over time. I also have never stated "this is his best record" because I find that each record he puts out stands tall beside the others in different ways. However, I find that after listening to Southern Voice more than three dozen times over the last week and a half, that this is in fact the best album Tim McGraw has ever done. Moreover, this is one of the best albums I have ever heard; Southern Voice is an album for the ages and everyone would do well to take notice of it.

My wife and I just went to a double-feature. I picked AVATAR and she picked THE BLIND SIDE. Now, there couldn't be two movies on a different plateau than AVATAR and BLIND SIDE, but I'm so glad that she brought me to see this movie. AVATAR, I gave 4 stars, BLIND SIDE, 5 stars. BLIND SIDE, for what it was, was flawless.

With BLIND SIDE, the story tells itself, because it's the true story of 2009 Baltimore Ravens Right Tackle Michael Oher, or possibly Michael Williams, or maybe something else, and his improbable escape from oblivion with the love and care of a rich white family in Memphis, Tennessee. Michael Oher's greatness, first showed up in his size and athletic potential and then in his courage to forget and go forward. Michael Oher, a kid who struggled at basic study skills and education, but scored a 98% in protective instincts. A tribute to his lifestyle and his ability to survive, homeless, with two shirts, a pain on his face that couldn't be explained.

Sandra Bullock plays Leigh Anne Tuohy, and I haven't seen a whole lot of nominated movies this year, but if she isn't at least a runner up to the best actress of the year, I'll be stunned. This was Sandra Bullock's shining moment. She is strong and she is funny and she is exceedingly brilliant at hiding the tears she sheds throughout the movie as her personna won't allow her to be seen crying. No scene was more poigniant than the one where she makes a bedroom for Michael in her beautiful home with a chipperness that you would expect from a spunky Tennessee mother. Michael says, "I've never had one of these before." and she says, "What, a room?" "No, a bed." he says. She looks at him, stoned faced, gives a quick nod and exits the room, enters the bathroom, locks the door and although we don't see it, we know exactly what she's doing.

THE BLIND SIDE is a testimant to what life is all about. The Tuohy families link to Michael Oher may have been a rare occurence, and that's why there's a movie about it, but if we all looked out for each other a little more, despite color boundaries, despite class boundaries and just showed a little love and extended a helping hand when we could, the world would be a better place.

The Tuohy's didn't just extend a hand, they extended their hearts and lives.

Well, we know who bought the album solely because it was cheap. Tim McGraw has been a long-time favorite of mine and the first two "whiny" songs are just a touch of the great things Tim McGraw has to offer. These span quite a few years of his career. I have heard all of these songs and for those with a limited library, this is an amazing deal. If you like heartfelt and fun country, then this is for you. If you don't know what your musical taste is and you're just looking for the latest cheap deal, go listen around some more. Give the artists the credit they deserve.

Fun and a bit silly, Music City Dirt is like cotton candy - low nutritional value but a really high fun factor.

This review is for both the standard edition of "Country Strong", and the additional music album "Country Strong : More Music from the Motion Picture"

Casting Gwyneth Paltrow as the lead in "Country Strong" may or may not have been a good idea, but she sounds spectacular on record. Most of you must have heard her lead vocals on "Cruisin'" and her lesser-known cover of "Bette Davis Eyes", but as a full-fledged country singer on this album, she really brings it. While I'm certain that country music audiences perhaps won't take too well to her (its hard to imagine someone so prim and proper singing about dusty backtown roads & whiskey, after all), Gwyneth achieved some airplay with her title track from this CD, and even though it stalled at No. 30 on the Country Songs chart, the album as a whole has been a consistent seller (someone compared it to the "Hope Floats" soundtrack, and that is a VERY reasonable comparison).

This review is for both CDs of "Country Strong". The first is the standard release thats available in stores, and the second is the download-only "More Music" album, which ironically contains some of the better cuts. I don't believe that one album can be chosen over the other, as they are both good (and very different) from one another. Still, it gives us a major recording star, a revelation in fact, in Garrett Hedlund, who sounds very close to Ryan Bingham here. The second album is packed with Hedlund tracks and thats a good thing.

Gwyneth Paltrow's songs here are often the highlights - some of them are rather iffy, such as the very un-country "Coming Home", but when she gets it right, she soars. Consider the albums best track - "Me and Tennessee", a duet with Tim McGraw that works on every possible level. Excellent production, songwriting, and Paltrow's vocals are much better than many contemporary country vocalists. Theres a richness there that cant be denied. Granted shes no Miranda Lambert, but I would rate her vocals ahead of Carrie Underwood (whos screeching sometimes borders on annoying) and Taylor Swift (who basically just talks over some instruments). Her "Travis" is exceptional - a rough musical number that is interspersed with dialog from the film, and its a surprising standout even in such demo condition. She has less luck with the overwrought "A Fighter", which seems to try too hard, but even here, you cannot deny her command over her vocal instrument.

However, the vocal standouts come on the second album. Garrett's inspired cover of "Silver Wings" is breathtaking. Its a perfect "cruising down the interstate" song, and one that sounds remarkably deep on a good sound system. Thats the other thing about this album - all the songs, save for "Travis", are mastered so well - even better than most current country albums; certainly light years ahead of even "Speak Now" by Taylor Swift or the last Lady Antebellum CD. I dont know why exactly this is, but its obviously a good thing.

Leighton Meester, who plays Blair Waldorf in "Gossip Girl" is a little out of her element here despite the fact that in real life she is actually a recording star (how on earth that happened one never knows). Pitifully, she is given rather insipid material to work with here, and they are often bookended by such good songs that you end up skipping her tracks entirely. On the first album, she sings "Words I couldn't say" with an affected southern accent that is rather grating. At least Paltrow gets the twang right (on her singing voice). Meester cant do that. Things get better for her on the second album where she gets one of the best songs - "Summer Girl". This sounds like a remnant of the 1990s all spruced up (which it is), but Meester does her best Colbie Caillat imitation here, and it works to some degree. At least its listenable. I much prefer her tracks with Hedlund, especially on "Give in to me".

Elsewhere on the first album, there are some great songs by Faith Hill (a good return to form), Sara Evans (who sounds so much lighter and refreshing on "A Little Bit Stronger" - also her lead single from her 2011 album - than she ever has), and Lee Ann Womack (who according to me is one of the last remaining true country singers). And of course, any compilation has to have a Hank Williams Jr song, so thats here as well. The second album has a plethora of Garrett Hedlund tracks, and in fact at times it feels as an advertisement for perhaps his solo country album, but the fact remains that all of these songs are SO good, and so timeless, that its impossible to find fault with them in any way at all.

Even a 'filler' track sung by songwriter Nikki Williams called "Fly Again" sounds like a radio-friendly country single - so high are the quality of the songs here. Even if you didn't see the movie, "Country Strong" CD1&2 are superb examples of how to create a compilation country album or soundtrack. It has all the elements for repeat playing, the engineering and sound quality are so good that you just have to buy the physical CD (Im an old-school sorta person), and the genre of country here is real country music, not that pop-rock stuff that often passes for country music these days. Just turn the lights down, get yourself a glass of somethin cold and turn on "Me and Tennessee" and tell me I'm wrong. Virtually flawless on some levels.

Five Stars. Finally a country album worth paying full retail for.

Tracklisting:

1. "Country Strong" - Gwyneth Paltrow 4:15
2. "Love Don't Let Me Down" - Chris Young and Patty Loveless 2:57
3. "A Little Bit Stronger" - Sara Evans 5:03
4. "Chances Are" - Garrett Hedlund 3:25
5. "Liars Lie" - Lee Ann Womack 5:19
6. "She's Actin' Single (I'm Drinkin' Doubles)" - Ronnie Dunn 3:28
7. "Shake That Thing" - Gwyneth Paltrow 3:54
8. "Thirsty" - Hank Williams, Jr. 3:12
9. "Give In to Me" - Faith Hill 4:11
10. "Timing Is Everything" - Trace Adkins 3:28
11. "Words I Couldn't Say" - Leighton Meester 4:26
12. "Coming Home" - Gwyneth Paltrow 4:13
13. "Me and Tennessee" - Gwyneth Paltrow and Tim McGraw 4:43

Country Strong (More Music from the Motion Picture)

1. "Silver Wings" - Garrett Hedlund 3:21
2. "A Little Bit Stronger" - Leighton Meester 5:17
3. "A Fighter" - Gwyneth Paltrow 4:33
4. "Hard Out Here" - Garrett Hedlund 3:09
5. "Summer Girl" - Leighton Meester 3:22
6. "Keep Me Hangin' On" - Jypsi 3:36
7. "Take Me Away" - Hayes Carll 4:12
8. "Kissin' In Cars" - Jesse Lee 3:30
9. "Turn Loose the Horses" - Garrett Hedlund 3:05
10. "Travis" - Gwyneth Paltrow 4:49
11. "Fly Again" - Nikki Williams 3:55
12. "Give In to Me" - Garrett Hedlund and Leighton Meester 3:29
13. "Hide Me Babe" Garrett Hedlund 3:08
14. "Timing Is Everything" Garrett Hedlund 3:24