Zach Top’s Ain’t In It For My Health is the ’90s Country Revival We Needed—Authentic Heart, Modern Polish
By Christian Lamitschka for Country Music News International Magazine
Zach Top’s second major label album, Ain’t In It For My Health, is not merely a throwback to the glory days of 1990s country; it is a meticulously crafted statement from a neotraditionalist determined to carry the torch forward. Top, a native of Sunnyside, Washington, grew up steeped in the tradition of bluegrass, performing in a family band called Top String. This foundation is crucial to his style, which blends the instrumental precision of bluegrass with the smooth baritone and polished sound of ’90s icons like George Strait, Keith Whitley, and Randy Travis. Produced by Carson Chamberlain, the 15-track collection proves that Top is not in this for a trend, but for a lifelong devotion to authentic country music. The album successfully navigates between upbeat, honky-tonk anthems and emotionally weighty ballads, all while maintaining a cohesive, classic sound rich with fiddle and pedal steel.
Track-by-Track Review
1. “Guitar”
The album explodes open with a spirited honky-tonk track that serves as an immediate mission statement. “Guitar” features a light, lively bluegrass groove layered with prominent pedal steel. Lyrically, it’s a love letter to the instrument that defines his career and sacrifices, featuring the line that gives the album its title: “I damn sure ain’t in it for my health.” It sets a high-energy, traditional tone, paying homage to the ’90s country spirit.
2. “Good Times & Tan Lines”
The lead single, this track offers a breezy, summer-ready anthem reminiscent of Alan Jackson’s feel-good hits like “Chattahoochee.” It’s pure ’90s country radio fodder, celebrating carefree summer nights with a lighthearted, beachy vibe. It’s a moment of levity and positivity, showcasing Top’s ability to nail the accessible, singalong country hook without sacrificing traditional instrumentation.
3. “When You See Me”
This track is an early standout, revealing Top’s sincere, heartfelt side. Sonically upbeat, it cleverly masks a deeper sense of heartbreak and struggle. The lyrics put a unique spin on a moving-on song, detailing how the protagonist hopes to be—a man who has completely recovered—by the time he next runs into his ex, acknowledging he still has a long road ahead. The gentle instrumentation allows Top’s earnest crooner vocal to truly shine.
4. “Splitsville”
One of the best concept songs on the record, “Splitsville” takes the metaphorical place of heartbreak and turns it into a literal town. Set against a beautiful countrypolitan backdrop, the song envisions a bar crowd of the brokenhearted. The steel guitar is exceptional here, underscoring the raw emotion of being a “lonely member of the heart broke club.” It’s a classic-sounding country ballad that manages to feel fresh thanks to its unique lyrical structure.
5. “Between The Ditches”
A more introspective and personal track, “Between The Ditches” is a reflective song about life’s journey, staying on the straight and narrow, and the importance of having people in your life who guide you. The song uses powerful road analogies to explore his struggles with keeping to the right path. It possesses a reserved, reflective nature that grounds the listener in the reality behind the touring lifestyle.
6. “Flip–Flop”
A playful and humorous track with a slight tropical, Caribbean backbeat, “Flip–Flop” is a witty tale of a vacation romance gone sour. The song is catchy and lighthearted, especially with the clever, drawn-out delivery of the title phrase in the chorus. The mandolin adds a bright, distinctive touch, proving Top can inject humor into his repertoire.
7. “Livin’ A Lie”
This is a solid country waltz that delves into the theme of self-deception and emotional pretense. It speaks to the universal experience of putting on a brave face while secretly “dyin’ one day at a time.” The gentle, rhythmic three-quarter time gives the track a melancholic dancehall feel, emphasizing the heavy theme beneath the smooth melody.
8. “Tightrope”
Injecting some much-needed honky-tonk energy back into the album, “Tightrope” delivers a humorous perspective. Lyrically, it pokes fun at modern wellness culture and the loss of a friend to domesticity (“yard sales and honey-do’s all weekend” instead of football). The honky-tonk piano is a highlight, giving it a strong groove perfect for two-stepping.
9. “I Know A Place”
A beautiful, relaxing ballad about escapism. In a world of stress and constant movement, Top sings about finding a quiet sanctuary with a loved one—a place where they can stay for “a couple of lifetimes or a couple of days.” It has a calming, crooner quality reminiscent of a George Strait tune, providing a romantic and relaxing moment on the album.
10. “She Makes”
A respectful and devotional song of gratitude. Top quite literally thanks God for creating the woman in his life, using clever wordplay around the phrase “she makes” to list all the wonderful effects she has on him. It’s a sincere and thoughtful homage to a special someone, with a beautiful melody and instrumentation that echoes the smooth style of Don Williams.
11. “South Of Sanity”
A cinematic and emotionally intense ballad about the struggles of a touring musician. Set against a rodeo backdrop in Montana, the song captures the agonizing distance and strain on a relationship. The comparisons to George Strait’s “I Can Still Make Cheyenne” are earned, as the protagonist learns his partner is considering leaving him while he’s on the road. The emotional vulnerability here is palpable and marks one of the most serious moments on the record.
12. “Like I Want You”
A dancehall-ready track that brings a quick, vibrant pace back to the record. It’s an explicit and charming proclamation of affection, focusing on the simple, electric connection between two people. The instrumentation is geared toward two-stepping, making it a guaranteed floor-filler in any traditional dance hall.
13. “Country Boy Blues”
This track is a sharp, yet humorous, commentary on the current state of Nashville’s Lower Broadway. Top laments the lack of genuine country music in “Music City,” feeling like a “dinosaur down on the Vegas strip.” It’s a passionate defense of traditional sound, illustrating his commitment to real-deal country amidst commercialization. It’s short, punchy, and hits home for traditional country fans.
14. “Lovin’ The Wrong Things”
A reflective, mid-tempo track that explores the theme of chasing bad habits and making poor choices. It’s a sincere moment of self-reflection about the temptations and pitfalls that come with a life in music or a life lived on the edge. The honesty in the lyric elevates it above a simple genre exercise.
15. “Honky Tonk Till It Hurts”
The album closes with a perfect, celebratory bookend. This track embodies the spirit of traditional country—a simple ode to the joy of hitting the local honky-tonk to forget your troubles. It connects classic country instrumentation with a slightly modern polish, ending the 15-track odyssey on a fun, catchy, and deeply authentic note.
Final Verdict
Ain’t In It For My Health solidifies Zach Top’s role as one of the genre’s most promising neotraditional voices. While some critics note that the songwriting occasionally leans on familiar country tropes, the execution is flawless. The album’s strength lies in its commitment to a single, pure vision: delivering traditional country music with impeccable musicianship, production that feels both polished and raw, and a vocal performance that commands attention. This record is required listening for anyone who misses the sound of ’90s giants and confirms that the traditional heart of country music is beating stronger than ever.