X

X

4.4 5
by Trace Adkins
     
 

Trace Adkins puts a cherry on top of a career-making year with X. He finished as a runner-up on TV's Celebrity Apprentice, flogged a well-received book (A Personal Stand: Observations and Opinions of a Freethinking Roughneck), landed a featured role in the right-wing comedy An American Carol, and scored a No. 1 Country record, “You’reSee more details below

Overview

Trace Adkins puts a cherry on top of a career-making year with X. He finished as a runner-up on TV's Celebrity Apprentice, flogged a well-received book (A Personal Stand: Observations and Opinions of a Freethinking Roughneck), landed a featured role in the right-wing comedy An American Carol, and scored a No. 1 Country record, “You’re Gonna Miss This,” from his greatest hits collection.

Editorial Reviews

All Music Guide - Thom Jurek
If you didn't know better, the blasting guitar riff on "Sweet," the opener from Trace Adkins'X (Ten), might be mistaken for one off a .38 Special cut from the late '70s. The track has the single potential of one of Adkins' many hits. The song has an infectious hook in its refrain -- and yes, it rocks. But by the time the set's second number, "Happy to Be Here," commences with a similar big guitar entrance -- albeit on a midtempo ballad -- "Sweet" isn't even a memory. And the same happens for the latter when "All I Ask for Anymore" arrives with strings, an acoustic guitar, and a pedal steel whispering in that big gritty baritone of Adkins. It's a ballad drenched in personal truth, and gratitude that is profound. Adkins is actually trying to get across something of a "message" here, albeit one that is humble in scope. The funky B-3 and snare WHOMP that introduces "Let's Do That Again" is a nice curve ball, even if it sounds like an outtake from a Josh Turner record. The wide-open slide and pedal steel guitars ride the shuffling rhythm; the singer's delivery has that balance of swagger and warmth that makes it soulful. The acoustic country blues (à la John Hurt style) on "Marry for Money" is deceptive in that it is merely the intro to a modern honky tonk tune that is the lyrical Nash Vegas equivalent of bling rap -- and is every bit as sexist. The album's best track is easily "Til the Last Shot's Fired," written by Rob Crosby and Doug Johnson. It's an antiwar song from the point of view of the ghosts of soldiers who served in the Confederacy, on Omaha Beach during WWII, in Vietnam, and in Afghanistan. Its dobro, acoustic guitars, brushed snare, and gorgeous choral arrangement at the end make it stand out from the pack, not just on this set, but from contemporary country in general. It's followed by the stellar "I Can't Outrun You," a broken love song about a different kind of ghost. And like its immediate predecessor, it sounds like Adkins means it. The façade of the good-time shaggy-dog honky tonk boy is ripped away, and what remains is a man with some regrets, some baggage, and some hard-won, hard-lived truth, helping him move through the world. With every '70s rock and funky-lite cliché in the book tossed in the mix, it's debatable. If you need further proof of the dilemma, check the straight-ahead melody, whining steel, and shimmering drums on the honky tonk ballad "Sometimes a Man Takes a Drink," a paean to alcoholism. It's a country song that isn't a bevy of ridiculous lyrics celebrating the "good" life, but a story that points to something more poignant, larger, and embedded in the bone of the singer. It isn't even the singer's fault that half of this -- no doubt the more commercially successful half -- will continue to perpetuate Nash Vegas' identity crisis that walks between '70s radio rock and its own tradition. If one wants to really hear the gifts that Adkins is endowed with as a vocalist, one that can reach people in the marrow of where they live, toss away the hits and listen to the rest.
Rolling Stone

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Product Details

Release Date:
11/24/2008
Label:
Liberty
UPC:
5099952028120
catalogNumber:
20281

Tracks

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Album Credits

Performance Credits

Trace Adkins   Primary Artist
Eric Darken   Percussion
Mike Brignardello   Bass
Pat Buchanan   Electric Guitar,Harp,Guitar (Baritone)
John Catchings   Cello
J.T. Corenflos   Electric Guitar,Guitar (Baritone)
Shannon Forrest   Drums
Paul Franklin   Steel Guitar
Kenny Greenberg   Electric Guitar,Guitar (Baritone)
John Hobbs   Conductor
Dann Huff   Electric Guitar
B. James Lowry   Acoustic Guitar
Greg Morrow   Drums
Gordon Mote   Piano,Hammond Organ,Hammond B3
Aubrey Haynie   Fiddle,Mandolin,Electric Guitar
Pat Bergeson   Acoustic Guitar
Ben Isaacs   Background Vocals
Sonya Isaacs   Background Vocals
Bryan Sutton   Acoustic Guitar,Banjo,national steel guitar
Love Sponge String Quartet   Strings
Wes Hightower   Background Vocals
Frank Rogers   Banjo,Electric Guitar
Michael "Mike Dee" Johnson   Dobro,Steel Guitar
Ilya Toshinsky   Banjo
Jim "Moose" Brown   Piano,Keyboards,Hammond Organ,Clavinet,Hammond B3
West Point Cadet Glee Club   Vocals
Love Sponge   Strings
Michael Johnson   Dobro,Steel Guitar

Technical Credits

Rob Crosby   Composer
Tim Owens   Composer
Tim Mensy   Composer
Larry Cordle   Composer
Kelly Garrett   Composer
Neal Cappellino   Engineer
John Hobbs   Arranger,String Conductor
David Huntsinger   Arranger
Kristin Wilkinson   Arranger
Chris Latham   Engineer
Jim Beavers   Composer
Casey Beathard   Composer
Monty Criswell   Composer
David Frasier   Composer
Richard Barrow   Engineer
Doug Johnson   Composer
Jay Knowles   Composer
Rick Huckaby   Composer
Tim James   Composer
Frank Rogers   Producer,Audio Production
Joanna Carter   Art Direction
Jason Matthews   Composer
Christophe Dubois   Composer
Ben Glover   Composer
Dave Turnbull   Composer
Johnny Parks   Composer
Jim McCormick   Composer
Jimmy Melton   Composer
Chris Stapleton   Composer
Amanda Martin   Composer
Lee Wright   Graphic Design
Kyle Jacobs   Composer
Joe Leathers   Composer
Kendall Marvel   Composer
Mike Mobley   Composer
David Lee   Composer

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