Brad Paisley Albums (8)
'American Saturday Night'
Release Date 6/30/2009
Tracks 15
Label Arista
See Album Tracklist and Review
What The Critics Say
An American Saturday Night is not an unusual topic for a country song, but Brad Paisley's celebration is. Paisley sees a typical weekend night as a cultural collision of French kisses, Italian Ices, Canadian bacon, and margaritas, a place where Mexican and Dutch beers chill side by side in a bucket of ice. If he leans too heavily on labels, referring to those beers by brand name, it's merely a reflection of Paisley's uncanny knack for capturing the casual contemporary details of American life at the tail-end of the 2000s. It's not just the pile up of iPhones and international video chats on "Welcome to the Future," the first country anthem of the Obama era, it's how he'll pick up prescription for his girl and flips macho stereotypes on their head on "The Pants." He's a thoroughly modern man and that attitude helps invigorate his traditional country, a sensibility that's welcome on American Saturday Night, which veers toward the mellow despite its rollicking title track or the breakneck "Catch all the Fish" and the odd burst incongruous gurgling synth. On the whole, American Saturday Night is one of his dreamier albums, filled with swaying slow dances, sweet love tunes, and the occasional brokenhearted blues, all delivered with a worn-in ease. Paisley prevents things from getting too relaxed by juxtaposing his every-guy vocals with spitfire guitar, something that gooses even the sleepiest tempos, just like how he spikes his party tunes with sly humor. He never lets things get too serious or too maudlin, he cracks jokes at himself and his friends, he lets everybody into his Saturday night party, because he knows that what makes an American party -- and what makes America -- is how all the best things wash up on the U.S. shores. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Brad Paisley never made his love of classic '60s country a secret, often inviting his idols into the studio to record cornpone skits straight out of Hee Haw. Paisley is so steeped in the '60s that it's easy to ignore that he was born much, much later, growing up in the heyday of shred guitarists in the late '80s. These two seemingly opposed sides surface on Play, a predominantly instrumental album where the spotlight shines so brightly on the six-string that even the cuts with vocals are either about or are showcases for the guitar. Some of this falls well within the bounds of the expected chicken-picking, with Paisley paying such loving, explicit tribute to Don Rich that he quotes the "Buckaroo" theme on the opening cadence of his duet with the late Buck Owens, "Come on In." Paisley's picking on the hypercharged "Huckleberry Jam" and "Cluster Pluck" is a pleasure, but it's also nice to hear him stretch out and play some deep blues on "Kentucky Jelly," trade licks with B.B. King on "Let the Good Times Roll," cop some swinging jazz from Les Paul on the aptly titled "Les Is More," and roll on the breakers on "Turf's Up" (there may not be any novelty songs here, but Paisley sure makes up for that with his punning song titles). As good as these are, it all falls within the realm of the expected; what surprises on Play is how the '80s shred gods surface -- how Paisley's love letter to his wife, "Kim," sounds like how Joe Satriani slowed things down (and Satch surfaces again on the slow-rolling "Departure"), or how he answers Eric Johnson's "Cliffs of Dover" with "Cliffs of Rock City." These ventures into pure '80s shred go a long way to illustrating just how versatile a guitarist Brad Paisley is, and they wind up as accidental autobiography, revealing a side he's previously camouflaged -- but now that it's surfaced, it's easy to see why his albums are always among the most adventurous and best country music of this decade. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Brad Paisley is in a strangely nostalgic mood on 5th Gear, its title both a reference to its status as Paisley's fifth studio album and to the numerous car songs scattered across this album. Those car songs aren't mere celebrations of magic machinery; they're infused with nostalgia -- he holds to a very teenage interpretation of the power of the car, meaning that the automobile is the embodiment of freedom, and this isn't his only gaze back to adolescence, either. He's even writing letters back to his 17-year-old self, consoling him that things are gonna turn out OK after all is said and done, which gets to the core of 5th Gear: Paisley is happy about how things have turned out but he still can't help but look back just a little wistfully. He may be a little melancholy about his teenage wildlife, but he acknowledges that things don't get any better than this in not one, but two songs -- in "It Did," where a storybook romance just grows stronger, and "Better Than This," where he says the only way the party could improve is if there were a 1,000 gallon keg and Merle and Willie provided a live soundtrack. It's a curious mix of acceptance and regret, but it's appropriate for somebody who is starting to realize that he's settling into his mid-thirties, recognizing that things are changing, sometimes not always in comfortable ways. Case in point: he snipes at Internet nerds sequestered in their basements, lying about themselves on MySpace in "Online," an obvious joke that comes just a bit too close to bullying, but he saves himself with his smarts -- not just verbal (obvious they may be, the jokes are cutting) but musical, as he ends it with a marching band that delivers an aural punchline set up by the words. This isn't the only time that he tells jokes (and that's outside of his traditional cornpone down-home Grand Ole Opry shtick that closes his records): there's the wonderful "Ticks," which has the best pickup line in many a moon, and he pulls off a great musical joke on "Mr. Policeman," where he captures a getaway with a torrid instrumental break that slows down into a very funny quote of "In the Jailhouse Now," capped off by a bizarre, unexpected, yet fitting allusion to South Park's Cartman. That fleeting joke, along with "Online" and a duet with American Idol winner Carrie Underwood, is one of the clearest indications that Paisley is a modern guy, but as always his greatest trick is that he's modern while being proudly traditionalist, never copping to the arena rock bombast of Garth Brooks, never going for a boot-scooting shuck-and-jive crossover, and never succumbing to the goofy Big & Rich cabal. Paisley just lies back and turns out songs that flow naturally, then pumps them up with hot-wired guitar. Even if he's from West Virginia, this is the sound of modern-day Bakersfield and he proves that this lean country sound never grows old provided it's executed right and with good songs, which is what Paisley always does. This is a form that's flexible -- depending on the attitude, it can sound old, it can sound contemporary, and Paisley is both a classicist and a modern guy, at once sounding like his idols but sounding like nobody else in 2007. He distinguishes himself on 5th Gear by deepening his attitude with that longing look back at his own past, which combined with his reliable sharp wit, strong songs, and blazing guitar, gives this album some considerable weight. ~ Stephen Thomas Erlewine, All Music Guide
'A Brad Paisley Christmas'
Release Date 10/10/2006
Tracks 12
Label Arista
See Album Tracklist and Review
What The Critics Say
Brad Paisley has made it no secret that he wants to be seen as part of a tradition of country singers, one that hails back through not just through his obvious musical forefathers Buck and Merle, but stretches back to such Grand Ole Opry mainstays as Jimmy Dickens and runs through George Strait, the gold standard for contemporary country singers. So, it should come as no surprise that when he decided to record a Christmas album -- humbly titled A Brad Paisley Christmas -- he followed the examples of his heroes and kept things simple, cutting an 11-track record that captures the spirit of the season while staying true to the sound of his band. Unlike Buck, Paisley didn't write a bunch of new material for his holiday album: he covers a bunch of standards, including Buck's "Santa Looked a Lot Like Daddy," adding a handful of originals to the mix, plus a seasonal variation on his cornpone comedy sketches that traditionally close his albums. It's simple and unassuming, but it's also tremendously entertaining, more so than most contemporary Christmas records. That's because Paisley not only has a sharp ear for picking songs that work for his band, he also lets his band work, giving them the room to turn such standards as "Away in a Manger," "Winter Wonderland," and "Silver Bells" into songs that sound like Paisley and his band -- and on top of that, he's thrown in some new songs that meet these high standards, like the whimsical "Penguin, James Penguin" and the lazy, jazzy "364 Days to Go," which provides the perfect soundtrack to a snowy night wrapping presents. In fact, that sentiment applies to A Brad Paisley Christmas as a whole: it's a sweet, warm, big-hearted Christmas record with more musical weight than the average modern country record -- or, in other words, it has more in common with classic Christmas records, and it feels every bit a classic holiday record itself. ~ Stephen Thomas Erlewine, All Music Guide
'Time Well Wasted'
Release Date 8/16/2005
Tracks 21
Label Arista Nashville
See Album Tracklist and Review
What The Critics Say
As anybody who follows country music knows, Brad Paisley is acknowledged among audiences and critics alike as the new traditionalist standard-bearer for the 2000s -- the new guy that not only keeps the fire burning, but also rakes in the cash, having number one hits along with good reviews. He's not big and brassy like Toby Keith; he's the heir to George Strait, Randy Travis, and Alan Jackson, the guy who hails back to George Jones, Merle Haggard, and Buck Owens but is savvy enough not to play to overly serious Americana fans, the listeners who like their country music somber. That's not Paisley -- he may take his music seriously and will sing a serious ballad or two, but he also likes to crack wise and have a little fun. Although that's certainly preferable to colorless alt-country singers, Paisley has been known to overdose on fun, favoring a cute turn of phrase or a knowing wink to his audience. Of course, humor has always played a big part in country -- George Jones, one of Paisley's heroes, made novelties his stock-in-trade -- but there was a terminal cutesiness that threatened to overwhelm his otherwise excellent third album, Mud on the Tires. Thankfully, Paisley has reigned in this trait on its superb follow-up, 2005's Time Well Wasted. Paisley hasn't suddenly become a humorless bore -- how could he be when he persists on reviving the Grand Ole Opry's old-fashioned cornpone radio plays, heard here on "Cornology," which, like "Spaghetti Western Swing" before it, features George Jones, Little Jimmy Dickens, and Bill Anderson and adds Dolly Parton for good measure (which naturally results in some silly boob jokes: "he turned around to see two huge 38s pointed right into his face"). The difference is, Paisley no longer leans hard on either his silly or sentimental streak, preferring to lay back and let everything flow naturally. That gives his already attractive music a greater appeal, since his humor is now sly and lived-in, a perfect match for his faithful but not dogmatic country. As should be expected by any deliberately traditionalist musician, there are no surprises, no left turns here -- Paisley remains indebted not only to George, Merle, and Buck, but to how George Strait fused this holy trinity into a fresh yet familiar sound that encompassed the best of Bakersfield, Texas, and Nashville. Change can be overrated, particularly in regard to traditionalist music, and Paisley benefits from mining the same musical vein each time around. He's turned into a genuine craftsman, both as a songwriter and musician, and now with four albums to his credit, he's hitting his stride. His band sounds looser, warmer than it did on Mud on the Tires -- and they're given another dazzling showcase for their prowess on the frenzied "Time Warp," which is as delirious as prime Speedy West & Jimmy Bryant -- and Paisley's singing is relaxed and assured. These are welcome subtle improvements, but what makes Time Well Wasted Paisley's best record yet is the writing. Song for song, this is his best set of tunes, whether it's one of his ten originals or the sharply selected professionally written numbers that round out the album (these are highlighted by the sentimental but not saccharine ballad "Waitin' on a Woman" and a duet with Alan Jackson on Guy Clark's "Out in the Parkin' Lot"). Although Paisley hasn't abandoned goofy humor -- indeed, "I'll Take You Back" has mock crying built into its chorus, and a pivotal line in "Alcohol" concerns how it makes "white people dance" -- this tendency is balanced by wittier jokes and his knack for keenly observed human nature, best heard in the savvy "Alcohol," but not isolated to that, either. It's not just that the words are stronger, but the music is weathered and sturdy, sounding familiar on the first spin and getting stronger with each play. Each of Paisley's prior albums gained stature with repetition, but Time Well Wasted is not only richer than his first three records, it's more gripping upon its first play. Paradoxically, it demands attention partially because Paisley isn't trying too hard to deliver a classic, nor is he working overtime to please his fans. Instead, he lays back and delivers his songs with the ease of an old pro, which means for the first time, he's made a record that can hold its own next to his idols. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Ever since 1999, Brad Paisley has been touted by some critics and fans as new traditionalist country's great hope. Blessed with good looks, good taste, and a nice twang in his voice, Paisley could have gone pure country-pop but decided to stick fairly close to his roots and play a nice amalgam of honky tonk, Western swing, and pop. It was straight out of the George Strait handbook, but it was nicely done on his first two records, particularly compared to a crop of new artists who seemed anxious to gun for the big hit. Paisley never seemed that desperate for chart success; he took it easy, so any sales seemed to be the side effect of his easygoing charm. That, along with his exceptional taste, garnered critical favor and a nice, dedicated base of fans, but his third album, 2003's Mud on the Tires, is where some cracks in the facade are revealed. It's not that it's a bad album, because it isn't. Far from it, actually -- it's a really good record, boasting a set of songs that are arguably his most consistent and illustrating Paisley's capable grasp on a wide variety of styles and sounds, from honky tonk and Western swing to plaintive bluegrass, country-folk, and even country-pop novelties. These are all the things that have made Paisley such a hot commodity among those listeners who prize traditionalism in country music (which, let's face it, most country fans do). With his crackerjack band, featuring guitarist Redd Volkaert and bassist Kevin "Swine" Grantt, he sounds good, reverent, and muscular, recalling classic country in a way that will be appealing to most listeners, whether they prefer George Jones or George Strait. No, the cracks in the facade do not lie in the sound of the music -- it's in the feel and flavor of the music. Brad Paisley suffers from a near-terminal cutesiness that undercuts his music, making even good moments seem a little affected. And this cutesiness just flows from every other song on the record. There's the hit single "Celebrity," where he "skewers" celebrity hijinks in a way that suggests nothing but the "wacky" video that's sure to accompany it. There's "Ain't Nothin' Like," a paean to simple pleasures boasting one of the shrillest kid's chorus ever committed to tape. Then, there's "Spaghetti Western Swing," primarily a showcase for Volkaert, but burdened with an awful mock radio play written by Paisley and performed by George Jones, Little Jimmy Dickens, and Bill Anderson. There are the homespun "truths" on "That's Love" (as in, "That ain't a lie/That's love") that operate on the same level as Tracy Byrd's "The Truth About Men," only without the conviction to be truly silly. The Byrd comparison is a good one -- Paisley has more musical muscle and a better band than Byrd, but he lacks the spirit; he seems to be putting on a show, and that affectation keeps his music from digging as deep as it should. On the surface, Mud on the Tires is a fine, satisfying listen, but to truly live up to the mantle that's been bestowed upon him, Paisley had better start adding substance to his admittedly fetching style. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Like many sophomore efforts called Part II, Brad Paisley's second album is indeed a continuation of the debut, but the singer/songwriter and guitarist hardly sounds like he's repeating himself the second time around. Instead, it sounds as if he's digging in deeper as both a writer and performer, which for the most part means that he's digging deeper into classic country, specifically the Bakersfield and honky tonk of the '60s and '70s. Ironically, one of the exceptions to the rule is the title track, a slow heartbreak ballad that sounds crafted with the radio in mind (even more ironically, it didn't turn into a hit), but apart from this song and a couple other left turns, like the too bombastic power ballad "I Wish You'd Stay," Paisley manages to make Part II sound simultaneously classic and contemporary. This is as true on lean, lively, guitar-heavy tunes like "Two Feet of Topsoil" and the rampaging instrumental "Munster Rag" as it is on the lazy, jazzy "You Have That Effect on Me," the haunting, folky "You'll Never Leave Harlan Alive," and his spare reading of the gospel standard "The Old Rugged Cross." And it's not just that Paisley is faithful to the sound and feel of classic country; he's a sucker for classic country corn, which surfaces as humor -- "All You Really Need Is Love," where all the hidden costs of a wedding are ticked off, or "I'm Gonna Miss Her," where he's enjoying a day fishing so his old girlfriend is slipping his mind -- and sentiment, as on the unapologetically sappy "Too Country," where George Jones, Buck Owens, and Bill Anderson are all hauled out to celebrate country clichés. It's this embrace of Nashville schtick that separates Paisley from other neo-traditionalists -- he values the music and he values the pageantry in equal measure, and he's excellent at both, as this thoroughly entertaining second album proves. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
It's easy to glance at Brad Paisley and assume that he's another in a long line of contemporary country artists that get by on their good looks instead of their talent, but his debut album Who Needs Pictures suggests otherwise. Paisley follows the pattern set by such neo-traditionalists as George Strait, Randy Travis, and Alan Jackson, yet he adds a bit of a pop sheen -- never as much as John Michael Montgomery, but similar to Tim McGraw. Although it boasts a shiny, clean production, Who Needs Pictures keeps itself firmly within country territory, even if it doesn't feel like its roots dig that deep. Similarly, Paisley's voice is a little thin, lacking the resonance of a Travis, but it is appealing, as are his songs, all of which he co-wrote with a host of collaborators (most notably Chris DuBois and Kelley Lovelace). His material may be a little cutesy, but it's catchy, particularly on the faster numbers. Those tunes are surprisingly diverse, ranging from the Western swing-styled "It Never Woulda Worked Out Anyway" and the breezy "I've Been Better" to the skittering Bakersfield instrumental "The Nervous Breakdown," the rocking contemporary country opener "Long Sermon," and the winning honky tonk of "Sleepin' on the Foldout." And even if his ballads tend to drag, "He Didn't Have to Be" is strikingly autobiographical and heartfelt, showcasing his potential in that area, as well. So, even if Who Needs Pictures is a little uneven, it hits considerably more than it misses, and those hits suggest Brad Paisley is an artist worth following. ~ Stephen Thomas Erlewine, All Music Guide
