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Released: Apr 9, 2013
Genre: Country, Alternative Country, Blues Rock, Southern Rock
Label: Arista Nashville
Number Of Tracks: 17
This album was called an experiment by mainstream media, I just call it good music.
WheelhouseFeatured review by: UG Team, on april 11, 2013 1 of 1 people found this review helpful
Sound: Brad Paisley is a very successful Southern Country musician. He has had ten consecutive singles go to #1 on the country charts and his single from this album, "Southern Comfort Zone", reached #2. All seven of his previous albums have gone gold. He was named "Entertainer of the Year" at the Country Music Awards in 2010. With this fair amount of success, it leaves Paisley room to experiment, which he apparently did a lot of on "Wheelhouse". Admittedly, I'm not that familiar with Paisley, but I just like to call this good music.
From what I can tell many if not most people look to Brad Paisley as a storyteller, using his Southern accent and guitar twang to get a message/story across, humorous or otherwise. While I can definitely see the storytelling capabilities on this album, I think that his instrumental ability outweighs that. The point is that I'm spending more time listening to the weaving of instruments than to the lyrics of the songs.
While all of the songs on "Wheelhouse" are definitely Country in terms of vocals, much of Paisley's musicianship reeks of Blues and Southern Rock. I use "reeks" because I would feel that I am listening to a country song when Paisley puts on a slide and does a standard blues lick, changing the mood for someone like me who picks the Blues out of songs and regards it as central to the song. This harmony, in my opinion, leads to an album that can be equally appreciated by those who look for musicianship as well as sing-along tunes. One small, yet important characteristic of the album is that Paisley easily lets you know, through his music, what he is emphasizing in any given song, the vocals or the music.
While Paisley's country vocal delivery remains constant throughout the album, despite the huge lyrical changes, the music of each song is distinct to the point that I advise listening to the whole album before passing judgment on it. Some of the songs are fun to hand clap with, others are just fun to listen to, and all should be relatively easy to sing along with. The way he uses the musical aspect is how the songs are differentiated. Trust me, the songs are definitely different, you just wouldn't know that from his vocal delivery.
Typical of country, Paisley uses a bevy of instruments including some Fenders, a violin or two, a mandolin, an acoustic, and couple of studio percussion effects apart from the standard clapping effect. And while these aren't specifically instruments, Brad Paisley invites a couple of guest musicians on the album ranging from "Monty Python"'s Eric Idle to rapper LL Cool J (a man of much discussion, you will see).
In terms of guitar, Paisley uses a delay pedal at many points on the album, but mainly as an effect instead of a way of adding texture to the sound. He relies on triads much of the time to make his rhythms as well as a sprinkling of Country and Blues riffs. His guitar solos are the bluesiest part of the album, usually containing fast, twangy pentatonic licks. This is easiest to see on the instrumental named "Onryo". // 9
Lyrics: The mainstream crowd, as usual, concentrates on Brad Paisley for his lyrics. Again, just to point out, his country vocal delivery remains constant throughout the album, even when it makes sense for him to change it.
Now, lyrically, Brad Paisley goes many routes, sometimes using humor, at other times just telling a story, and yet at other points of the seventeen song album, he is dead serious. In my opinion, all of the lyrics could carry a heavier meaning if they were put with matching music and delivery. Still, they're pretty damn good.
As to the humor, in my opinion, the funniest is "Harvey Bodine":
"Harvey Bodine Died at 11:09 And he left behind A miserable wife. And at 11:14 His heart came back on the screen. Thanks to that defib machine, He came back to life.
Oh but those five minutes were heaven. A peace unlike he'd ever known. And as he came back to the living He thought 'Please God, don't make me go Back to life.'"
There is plenty of storytelling on the album, none of which is notable enough to write here, but his serious lyrics, for one reason or another, have been viewed as inflammatory.
Along with "Those Crazy Christians", the first of the serious song is "Karate", a song about spousal abuse:
"She doesn't dare go in the place with those bruises on her face So she goes through the drive-thru and keeps her sunglasses on She didn't know when she married that man She'd get to know him like the back of his hand But now she's had enough, and the battle lines are drawn."
The second song, featuring African-American rapper, LL Cool J, is "Accidental Racist". I truly don't know why, but some over-sensitive, mainstream media, attention-greedy, people took offense with the lyrics of this song, so much so that LZ Granderson wrote an article on CNN defending Paisley.
Here are the lyrics to the song. The bolded words are sung by LL Cool J.
"To the man that waited on me at the Starbucks down on Main, I hope you understand
When I put on that t-shirt, the only thing I meant to say is I'm a Skynyrd fan The red flag on my chest somehow is like the elephant in the corner of the south And I just walked him right in the room Just a proud rebel son with an 'ol can of worms Lookin' like I got a lot to learn but from my point of view
I'm just a white man comin' to you from the southland Tryin' to understand what it's like not to be I'm proud of where I'm from but not everything we've done And it ain't like you and me can re-write history Our generation didn't start this nation We're still pickin' up the pieces, walkin' on eggshells, fightin' over yesterday And caught between southern pride and southern blame
They called it Reconstruction, fixed the buildings, dried some tears We're still siftin' through the rubble after a hundred-fifty years I try to put myself in your shoes and that's a good place to begin But it ain't like I can walk a mile in someone else's skin
'Cause I'm a white man livin' in the southland Just like you I'm more than what you see I'm proud of where I'm from but not everything we've done And it ain't like you and me can re-write history Our generation didn't start this nation And we're still paying for the mistakes That a bunch of folks made long before we came And caught between southern pride and southern blame
Dear Mr. White Man, I wish you understood What the world is really like when you're livin' in the hood Just because my pants are saggin' doesn't mean I'm up to no good You should try to get to know me, I really wish you would Now my chains are gold but I'm still misunderstood I wasn't there when Sherman's March turned the south into firewood."
You'll have to forgive me for including so many lyrics to that song, but I felt obligated by the buzz that this song received. One notable thing is that this is the song where the instruments are totally laid back and the music matches the vocal delivery 100%. So make your own opinion and weigh in with comments. Personally, and I live in the part of the country where all of the old New Yorkers have moved to, this song isn't offensive. // 9
Overall Impression: Overall, while this may be considered experimental as far as Brad Paisley goes, I don't think that he pushed his musical limits and that he still has room to grow. This album is great to listen to because of the musical aspect of it; the blending of Country, Blues, and Rock. The instrumentals are my favorite part of the album, showing Brad Paisley isn't just a storyteller. In fact, on "Wheelhouse", I thought that he was a much better musician than lyricist. Still, his lyrics were good enough to stir conversation and they're better than the lyrics of many other artists, if you know what I mean.
On a scale of all the music I've ever heard, it ranks around a seven, but when put into proper perspective, it deserves the overall rating that is given.