Gary Allan’s career seemed to be on a bit of slowdown, with his last top 10 single coming in 2007. Gary has responded by turning to a variety of producers, often a ploy of the artist in decline and desperate to get another hit, but on the whole it seems to have worked. The result is probably the artist’s most sonically adventurous album to date, which is a mixed blessing, but after an initial sense of disappointment on my first hearing, I’ve warmed to the record more than I was expecting.
His biggest hit single in years, the resigned ‘Every Storm Runs Out Of Rain’, is a good song in a contemporary vein. The production (overseen by Gary with Greg Droman) is adventurous and a long way from Gary’s earliest traditional leanings, but not unattractive (apart from an echo which I could do without but is only used a couple of times). It places Gary’s best plaintive vocal at the heart of the track, supported by an effective harmony from co-writer Hillary Lindsey. This is the song which give the album its title.
Gary and Droman also produced ‘You Without Me’, a weary reflection on dealing with having split from someone the protagonist still loves, which Gary wrote with John Lancaster and Rachel Proctor, with another fine vocal. ‘Sand In My Soul’, their third collaboration, on the other hand, is a boring Warren Brothers song about depression on the beach, with a weird echoey sound. The bluesy rocker ‘Bones’, written by Keith Gattis, has an interesting lyric but it sounds like a loud tuneless mess. Disappointingly it is one of the songs flagged on the CD packaging as a likely single.
Gary turned to Mark Wright to help with a further three tracks. The best of these is ‘Hungover Heart’ which is a solid number despite a sometimes heavy hand with the electric guitars. Gary’s vulnerable vocal is perfect for the song, written by Matt Warren and James Leblanc. Gary’s own ‘No Worries’ is bland and boring reggae-lite which sounds like a Kenny Chesney reject, with irritatingly whispery, echoey production. ‘Good As New’ closes the album with an air of philosophical resignation, and is okay but a little over-produced.
The producer with the biggest role is Jay Joyce, best known for his work with Eric Church, and although I was concerned that I wouldn’t care for his work with Gary, it turns out to be better then expected. The best track on the album is one of his production efforts, is the downbeat ‘It Ain’t The Whiskey’, which showcases Gary’s grainy voice and is reminiscent of his best work, and where the production choices are inventive in a mostly good way (although the last instrumental break is pointlessly loud). An unusual opening with the faint sound of an organ leads into the body of the song, in which Gary declares to an AA meeting “in the church of the broken people” that depression is the root of his addiction, and
It ain’t the whiskey that’s killing me
The song was written by Greg Barnhill, Jim Daddario and Cole Degges.
Joyce also does a good job with the chugging ‘Tough Goodbye’, about a commitment-phobe with some qualms about breaking up with his latest victim. Penned by Josh Thompson and Tony Martin, the song is pretty good and gets a committed delivery from Gary, with an interesting ending where he suddenly sounds more vulnerable and even regretful. It might make a good single.
‘Drop’, another likely single does have a compelling, sexy vocal, but the song is just okay and the instrumental arrangement and production don’t really appeal to me, although it might work on radio. The mid-tempo ‘Pieces’ (written by Gary with Odie Blackmon and Sarah Burton) isn’t bad but is a bit loud, while ‘One More Time’, written by Gary with Hillary Lindsey and Matt Warren, is inoffensive but boring.
Overall, I think this album is a distinct improvement over his last couple of albums, although the quality of the material is not up to his classic work.