Brad Paisley 5th Gear CD

Audio Mixer: Justin Niebank.
Highlighted by the smash first single, "Ticks," a goofy-sexy ode to nudity al fresco, Brad Paisley's FIFTH GEAR maintains his string of albums neatly balanced between light pop-oriented material and more traditional country. The latter is best exemplified by the twangy guitar instrumental "Throttleneck," the reverent "When We All Get To Heaven," and the tuneful "Bigger Fish To Fry," featuring guest vocals by Vince Gill, Bill Anderson, and Little Jimmy Dickens.
Elsewhere, a lovely ballad duet with Carrie Underwood, "Oh Love," keeps an eye to Nashville's present as well as its past. As on most of Paisley's albums, the main lyrical topic, even more than the usual love songs, is what it means to be a man in contemporary America: "I'm Still A Guy" is perhaps the most obvious song on the topic, but the country rocker "Mr. Policeman," the wry character study "Online" (a song about Internet personas at odds with reality), and the surprisingly philosophical opener "All I Wanted Was A Car" flirt with the concept as well.
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 punch line 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 schtick 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 execRolling Stone (p.72) - 3 stars out of 5 -- "Smart, low-profile Nashvillean Paisley's sixth album features not one but two songs about how adulthood beats adolescence."
Entertainment Weekly (p.71) - "[T]he guy's a vivid nostalgist, and his duet with Carrie Underwood is a harmonic delight." -- Grade: B+