Brad Paisley - Moonshine In The Trunk
Arista Nashville
88843055282
This latest Brad Paisley album is a bit of a disappointment following last year’s groundbreaking WHEELHOUSE. The album often displays shiny exuberance, though not the depth of his previous set. A couple of tracks colour outside of the lines, but the bulk of this disc is woefully passe—same old melodies, lyrical approach and guitar licks that Brad has used again and again on earlier recordings. It’s not that any of it is too bad, it’s just too samey in places and I was really looking forward to another giant step forward, rather than a couple of steps back. Having said that, even on an off-day, Brad Paisley surpasses most other artists.
It might be that the conservative approach was taken due to the lower sales for WHEELHOUSE in comparison to his earlier platinum-selling albums. Like that album, Brad has again forsaken the Nashville studios to record at his own Wheelhouse Studio that he built at his home in Franklin and also used his road band augmented by Bryan Sutton (acoustic guitar, banjo) and Gordon Mote (piano) along with guest vocalists Carl Jackson, Emmylou Harris, Carrie Underwood, Wes Hightower and a children’s choir. Brad wrote or co-wrote all but one tune, and he is a gifted writer.
The album bristles with energy and rousing melodies that will please his long-time dedicated fans and his skill and admirable work ethic is clear for all to see and hear. To be sure, Brad and the band know how to have a good time—witness songs like opener Crushin’ It and the title tune. The latter features a typical electrifying Brad lead guitar solo, one that I seem to have heard a dozen times before. So familiar are the licks, that I’m sure that ol’ Brad could possibly have played this solo in his sleep. Having said that, there are few lead guitarists around that come close to matching him, but can we please have something a little different …
River Bank is lyrically evocative of Mud On The Tires; re-treading familiar lyrics and melody continues with Perfect Storm, which it most certainly is not. This track errs on the side of being too conservative. It leaves not a bad taste in one’s mouth, but rather no taste at all. High Life is a good-hearted country romp with plenty of fiddle to keep it strictly country with the familiar tones of Carrie Underwood added to the. The song’s not exactly a world-beater, but the customary Brad Paisley wit remains intact. The rousing Shattered Glass is just that and little more; production, energy, vocal harmonies, rhythm—everything it takes to make a hit song—except a song. Both You Shouldn’t Have To and Cover Girl raise the interest, taking a slightly different presentation that works, but then American Flag On The Moon, though being a bold idea, once again retreads previous Paisley melodic and musical arrangements instead of taking the fresh approach the song’s lyrics demand. So he saves the best for the hidden 15th track, a reverent revival of Tom T Hall’s Me And Jesus. Despite the success of a handful of songs, MOONSHINE IN THE TRUNK comes across as a wasted opportunity to breathe new life into a now-tired formula. If only he’d come up with a couple more like it.
www.bradpaisley.com
88843055282
This latest Brad Paisley album is a bit of a disappointment following last year’s groundbreaking WHEELHOUSE. The album often displays shiny exuberance, though not the depth of his previous set. A couple of tracks colour outside of the lines, but the bulk of this disc is woefully passe—same old melodies, lyrical approach and guitar licks that Brad has used again and again on earlier recordings. It’s not that any of it is too bad, it’s just too samey in places and I was really looking forward to another giant step forward, rather than a couple of steps back. Having said that, even on an off-day, Brad Paisley surpasses most other artists.It might be that the conservative approach was taken due to the lower sales for WHEELHOUSE in comparison to his earlier platinum-selling albums. Like that album, Brad has again forsaken the Nashville studios to record at his own Wheelhouse Studio that he built at his home in Franklin and also used his road band augmented by Bryan Sutton (acoustic guitar, banjo) and Gordon Mote (piano) along with guest vocalists Carl Jackson, Emmylou Harris, Carrie Underwood, Wes Hightower and a children’s choir. Brad wrote or co-wrote all but one tune, and he is a gifted writer.
The album bristles with energy and rousing melodies that will please his long-time dedicated fans and his skill and admirable work ethic is clear for all to see and hear. To be sure, Brad and the band know how to have a good time—witness songs like opener Crushin’ It and the title tune. The latter features a typical electrifying Brad lead guitar solo, one that I seem to have heard a dozen times before. So familiar are the licks, that I’m sure that ol’ Brad could possibly have played this solo in his sleep. Having said that, there are few lead guitarists around that come close to matching him, but can we please have something a little different …
River Bank is lyrically evocative of Mud On The Tires; re-treading familiar lyrics and melody continues with Perfect Storm, which it most certainly is not. This track errs on the side of being too conservative. It leaves not a bad taste in one’s mouth, but rather no taste at all. High Life is a good-hearted country romp with plenty of fiddle to keep it strictly country with the familiar tones of Carrie Underwood added to the. The song’s not exactly a world-beater, but the customary Brad Paisley wit remains intact. The rousing Shattered Glass is just that and little more; production, energy, vocal harmonies, rhythm—everything it takes to make a hit song—except a song. Both You Shouldn’t Have To and Cover Girl raise the interest, taking a slightly different presentation that works, but then American Flag On The Moon, though being a bold idea, once again retreads previous Paisley melodic and musical arrangements instead of taking the fresh approach the song’s lyrics demand. So he saves the best for the hidden 15th track, a reverent revival of Tom T Hall’s Me And Jesus. Despite the success of a handful of songs, MOONSHINE IN THE TRUNK comes across as a wasted opportunity to breathe new life into a now-tired formula. If only he’d come up with a couple more like it.
www.bradpaisley.com