“A Father’s Pride, Framed in Time” He’s worn many hats in his life — country superstar, patriot, rebel — but in this moment, Toby Keith simply stood as a proud dad. Holding the wedding portrait of his daughter, his smile said what words never could: this is what truly matters. Years of touring stages couldn’t compare to standing still for this kind of memory — the kind built on family, love, and legacy. You can feel it in his eyes: a quiet joy, a little nostalgia, and a whole lot of heart. ▶️ Listen to “Love Me If You Can” — because behind every tough guy is a man who fights for the ones he loves most.

Introduction

Why Toby Keith Is Wrong About Writing Songs for Radio - Saving Country Music

Love Me If You Can” is a stirring mid-tempo country ballad performed by Toby Keith and released on June 26, 2007, as the second single from his Big Dog Daddy album. Written by acclaimed country songwriters Chris Wallin and Craig Wiseman, the song became Keith’s 34th Top Ten hit and marked his 16th #1 on the U.S. Billboard Hot Country Songs chart . Notably, it was his first chart-topping single since founding his own label, Show Dog Nashville, in 2005 .

Musically, “Love Me If You Can” is characterized by its reflective, mid-tempo melody that supports deeply personal and socially conscious lyrics. The song directly addresses the backlash Toby Keith received after his 2002 patriotic anthem “Courtesy of the Red, White & Blue (The Angry American)” . In this new track, Keith embraces his stance as a “man of [his] convictions,” calling attention to the importance of standing firm in one’s beliefs, even when they provoke controversy. The refrain — “Hate me if you want to / Love me if you can” — underscores his appeal for mutual respect despite divided opinions .

Critically, the song was praised for softening Keith’s image and advocating for civility in public discourse. Reviewer Kevin John Coyne from Country Universe gave the single a “B,” noting its earnest message of agreeing to disagree with dignity and praying for peace, even when war seems necessary .

Accompanying the release was a music video directed by Michael Salomon, debuting on July 3, 2007 . The song made a strong debut, entering the Billboard Hot Country Songs chart at No. 42 in the week of June 23, 2007, before rising to the top.

In the context of Toby Keith’s career, “Love Me If You Can” stands as a significant milestone: a self-produced, introspective anthem that reaffirmed his artistic independence and ability to balance conviction with reconciliation.

Video

Lyrics

Sometimes I think that war is necessary
Every night I pray for peace on Earth
I hand out my dollars to the homeless
But believe that every able soul should work
My father gave me my shotgun
That I’ll hand down to my son
Try to teach him everything it means
I’m a man of my convictions
Call me wrong, call me right
But I bring my better angels to every fight
You may not like where I’m going
But you sure know where I stand
Hate me if you want to
Love me if you can
I stand by my right to speak freely
But I worry ’bout what kids learn from TV
And before all of debatin’ turns to angry words and hate
Sometimes we should just agree to disagree
And I believe that Jesus looks down here and sees us
And if you ask him he would say
I’m a man of my convictions
Call me wrong, call me right
But I bring my better angels to every fight
You may not like where I’m going
But you sure know where I stand
Hate me if you want to
Love me if you can
I’m a man of my convictions
Call me wrong, call me right
But I bring my better angels to every fight
You may not like where I’m going
But you sure know where I stand
Hate me if you want to
Love me if you can

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LORETTA LYNN HAD FOUR CHILDREN BEFORE SHE TURNED TWENTY. NASHVILLE HAD NOT HEARD HER NAME, BUT THE SONGS WERE ALREADY STARTING IN THE KITCHEN. Loretta Webb was fifteen when she married Oliver “Doolittle” Lynn. He was a war veteran from Kentucky. She was a coal miner’s daughter from Butcher Hollow who had barely been away from the hills where she grew up. Not long after the wedding, they left for Custer, Washington — a logging town far from Appalachia, far from Nashville, and far from any place that looked like a music career. Loretta was pregnant with her first child when they arrived. By the time she was twenty, she had four children. There were diapers, laundry, meals, bills, and a small house crowded with the ordinary work of keeping a young family alive. Doolittle worked. Loretta worked at home. Nobody was waiting in Nashville for a woman with four little children and no record deal. Then Doolittle bought her a guitar. It was a seventeen-dollar Sears guitar. Loretta did not know many chords. She learned them one at a time. She played around the house, then at local clubs, then wherever somebody would let her stand near a microphone long enough to prove she could sing. The songs came from the life she already had. They came from women who worked all day and still had to deal with a husband coming home drunk. Women who had babies too young. Women who knew what it felt like to be left behind, talked down to, cheated on, or expected to smile anyway. Loretta did not need Nashville to invent those women for her. She had grown up around them. In 1960, she recorded “I’m a Honky Tonk Girl.” Doolittle helped press the records, mail them, and drive from station to station trying to get disc jockeys to listen. The song became a hit. Then came Nashville. Then “Success.” “You Ain’t Woman Enough.” “Don’t Come Home a-Drinkin’.” “Coal Miner’s Daughter.” But the real beginning was earlier. It was a young mother in Washington State, with four children in the house and a cheap guitar close enough to reach after the work was done.

10 STUDIO ALBUMS. 13 COMPILATIONS. MILLIONS OF RECORDS SOLD. BUT BEHIND COUNTRY MUSIC’S GREATEST DUET HID A BOND THAT EVEN DEATH COULD NOT SILENCE. For decades, Conway Twitty and Loretta Lynn ruled the Nashville charts. When they stepped up to the microphone to sing “Louisiana Woman, Mississippi Man,” the chemistry was so electric that fans swore they were witnessing a real-life romance. They were the undisputed king and queen of the country duet, delivering fiery hits with a gaze that could melt an arena. But the truth offstage was far more profound. They weren’t hiding a scandalous love affair; they were building an unbreakable, platonic devotion. Through the chaotic machinery of the music industry, they became each other’s safest harbor. It wasn’t just about perfectly timed harmonies; it was about late-night conversations, shared laughter in dressing rooms, and a trust that never wavered. When Conway passed away suddenly, that harmony was broken. Loretta didn’t just lose a singing partner; she lost the brother she never had. For years, she had to stand on those stages alone, singing their songs while the silence of his absence echoed in the room. Today, as fans remember Conway’s heavenly birthday, the sorrow of his departure is replaced by the warmth of what they left behind. Conway and Loretta are both gone now, reunited somewhere beyond the stage lights. But drop a needle on one of those old records, and they are instantly alive again. Every duet needs its echo. And as long as country music exists, theirs will never fade.