There’s really nothing spectacularly new about this album. There’s nothing really about it that Paisley hasn’t done before and there’s really nothing about it that he probably won’t do again. And while he may have some unique takes on certain themes, overall, Paisley isn’t breaking new ground on this collection. Overall though, how does the album fare?
And of course when he suggests that his low life family living the “High Life” sue Carrie Underwood because she wrote a song that kind of reminds him of a poem his brother wrote in second grade, only to have Carrie Underwood join in on the joke, and the song.
But Paisley’s at his best when he’s singing something with actual substance. The best tracks on the album are songs like “Perfect Storm,” “Shattered Glass,” and “American Flag on the Moon.” Paisley still has the ability to write and sing high quality music. And the album would benefit from a couple more songs of that nature and a couple less of “Crushin’ It” or “Cover Girl.”
Of course some of these tracks may already sound familiar. Paisley made a big deal of “leaking” his new album “against the wishes of his label.” Of course such a stunt wouldn’t be complete if his label didn’t get their retribution in some way, late last week, releasing
Brad’s personal email address
The album would benefit from a couple more songs of that nature and a couple less of “Crushin’ It” or “Cover Girl.”
But I digress.
Is this album traditional country music? Hell, no! Is it solid contemporary country? Much of it is, but it almost feels like Paisley is experimenting too much with sound in some places. One thing notably missing is an instrumental track, which has been a staple of Paisley’s albums since his debut release Who Needs Pictures.
The album is far from career-defining. Overall, Wheelhouse was a superior album. But strewn among a few throwaway tracks here, after you weed through some of the radio-ready single cuts, are a few diamonds in the rough. It’s an album worth taking the time to listen to.