Album Review – Alan Jackson’s “Where Have You Gone”
Releasing his new album thirty years to the day of releasing his landmark album Don’t Rock the Jukebox, and after the longest pause between studio albums of his career allowing the heart to only grow fonder, and after having his name officially enshrined in the Country Music Hall of Fame, let’s face it, Alan Jackson has reached that topmost stratosphere in a musical legacy where it doesn’t really matter what he releases.
Just the sound of his voice, just the image he displays, just the shadow that he casts is enough to stir something deep inside of us that’s warm and favorable from all the memories made that Alan Jackson has been a part of. He has reached that level reserved for only a select few artists of any genre—Willie, Dolly, Loretta, Strait. A legend.
With Alan Jackson, there’s also the assurance of knowing whatever he delivers is going to be country, with fiddle and steel behind heartfelt songs, and producer Keith Stegall piloting the ship. The career of Alan Jackson is a great case for holding steady to your sound and sincerity, and it paying off for you with the undying loyalty of fans even after the hits stop coming.
Where Have You Gone might be Alan Jackson’s most personal album yet, though they’re pretty much all personal, since he’s always written most of his own songs—a fact that makes Jackson a rare specimen in the country superstar class, and a fact many are quick to forget. Even if Alan was just a songwriter for others, he’d still be considered a legend from the catalog he’s amassed. He wrote fifteen of the 21 songs for this new record, for example.
Inspired to write not one, but two songs for the weddings of his daughters in “You’ll Always Be My Baby” and “I Do,” along with a splendid tribute to his mother in “Where Her Heart Has Always Been,” Alan Jackson draws from the well of his own emotions to give Where Have You Gone one touching moment after another.
Though some may focus on Alan’s lament about the state of country that comes in the form of the title track, really the deeper theme of Where Have You Gone is one of someone later in their life taking stock, reassessing priorities, and slowing down, just like Alan Jackson is doing in his real life. You could perhaps consider him reaching the Don Williams phase of his career in that respect. It’s the songs like “Things That Matter,” “A Man Who Never Cries,” and “The Older I Get” that teach some of the deepest lessons of the record, which are prioritizing the most important things in life, working on your personal relationships, and slowing down while you can before it’s too late.
Some of the criticism centered on the record has been how slow it is, and it’s true that it is a mostly slow and staunchly traditional country record. I’m not sure what some were expecting, perhaps for Jackson to return after a 6-year absence from the studio water-skiing in jeans again like it’s 1993. But he’s 62-years-old now. Life has slowed down, and so has his music. This is on purpose, and is part of the theme and message of Where Have You Gone. Don’t let the rush of everyday events allow life to pass you by.
21 songs is a lot to digest though. And if we’re being honest, Where Have You Gone is a large lot of slower songs that by the latter stages feels like a slog to get through as an album. Though multiple songs from the album slide perfectly into your classic country or Alan Jackson listening rotation and there’s really not a clunker in the lot, the sheer volume of slow songs is what begins to weigh the album down by the end.
Usually we might say with a 21-song album that it could’ve benefited from trimming the fat. It’s not that there’s a bunch of fat here. It’s just at some point your appetite is satisfied for the slow stuff, but it keeps coming, and the few faster songs like “Back” inspired by Justin Timberlake, or the 20th track “Beer:10” feel like too little too late to add the variety and energy this album needed earlier on to keep a wider audience intently engaged.
But hey, slow or not, a song like “Way Down in My Whiskey” feels like an instant country music classic from Alan, and he does show some variety in the slow material, like the unexpected more folkish-sounding and sweet “So Late So Soon.” It’s hard to hate any of the songs on the album when selected individually.
You could say Alan Jackson is past his prime, but on Where Have You Gone he’s actually right where he should be, reminiscing on life, enjoying his semi-retirement, and showing fair concern about the direction country music is taking as a country legend with a conscience and an important voice. If Alan Jackson was out there trying to run down a late career radio hit, or trying not to show his age, that’s where he would run into trouble like so many aging country performers do.
Instead, Alan Jackson is being Alan Jackson—a constant, a rock, someone you can count on. It’s the legacies guys and gals like Alan Jackson have contributed to country music that have created the foundation from which everything else is built from. And on Where Have You Gone, Alan Jackson has added a few more stones to that foundation, while also trying to repair some of the cracks that have formed from the neglect and misuse in recent years.
1 3/4 Guns Up (8/10)
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Purchase Where Have You Gone
May 17, 2021 @ 9:45 am
Album of the year.
Pure country music.
May 17, 2021 @ 9:46 am
I was a lot younger man when I started listening to this album last week. It’s too damn long to get through in one sitting or MLB game.
The strength of this album is it’s comfort and nostalgia. There’s no new message or anything groundbreaking (and I question it’s staying power), but it remarkably takes me back to when I was a kid living in Hopkinsville, Kentucky in 1992. It does feel like a more than semi-retired man emptying out the coffers.
May 17, 2021 @ 1:24 pm
Well that’s the beauty you can stop listening to it when you want and comeback and finish it in another setting unless someone has you tied down and forcing you to in one sitting
May 17, 2021 @ 9:49 am
I find it incredibly gratifying that we’ve received a new studio work from each Class of ’89 member within the span of a year: Clint Black’s Out of Sane in June 2020, Garth Brooks’ heavily delayed (and somewhat reviled) FUN in November 2020, Travis Tritt’s Set in Stone last week and now Alan Jackson’s Where Have You Gone. With the possible exception of Garth’s album, they’re all solid, if unremarkable, late-period efforts from some of the biggest names of the last 30 years in country.
Whereas his three compatriots all have albums that are great and albums that aren’t so great under their belts, I’d say that Alan has largely been consistent with the quality of his output. In some ways, this is a double-edged sword: on one hand, I don’t think he’s ever put out a “bad” album, not one. On the other hand, I’d say that he also hasn’t put out very many “great” albums, though he’s had dozens and dozens of great songs, and I certainly don’t say this to take anything away from him or his legacy. I’ve seen the same said about Merle Haggard, whereas Hank Williams pretty much just released singles, and that’s pretty good company to be in. Alan’s albums are comfort food and comfort food is what he does best. Where Have You Gone doesn’t muck with this formula at all. Also, if you’ll permit me an aside: anybody who thinks that Alan isn’t authentically country is fucking nuts. Every legend receives criticism in their time, but what they do in response makes all the difference. Alan has earned his place in country music and then some. “Back then they called him crazy (poppy), nowadays they call him a saint (traditional).”
All of that notwithstanding, Where Have You Gone does feature some weak writing at moments, particularly in the album’s latter half. “Back” is probably the single track that I feel most conflicted about. In some ways, it’s like a sequel to “Gone Country,” featuring the same ironic, tongue-in-cheek approach to its subject matter as that song. But it’s also every bit as laundry list as the worst country rap songs we’ve heard over the years, and drops many of the same countryisms in the verses as the worst of those songs. There was a time that I personally enjoyed some laundry list songs, but that was before the genre was leaking them all over the place like a bad cold. Alan’s had moments where he’s been a bit generic in the past — “Good Time” and especially “Country Boy” come to mind — but that was right before his loss of relevance at radio. Viewed in those terms, his exile to pasture was downright dignified. But this is over a decade and almost zero radio play later, so it’s hard for me to give the song a pass even if I appreciate the story behind it (inspired by Justin Timberlake, of all people) and the irony. The only thing that makes this song better than other similar songs is that the arrangement features actual country music instrumentation. Or, if you’re a hardass that can’t let go of their hard-on for the Nashville Sound of the 1950s and 60s or the outlaws, “country pop” instrumentation.
Personally, I also found that some of the songs (such as “Things That Matter” and “I Was Tequila”) reinforce some of the criticisms I’ve seen for Mr. Jackson over the years: chiefly that he tends to stay surface-level in his writing. I have no doubt that every single song on this album is heartfelt and was settled on honestly, but these two (and a few others, like “Chain,” which is like a silly Fleetwood Mac rewrite) don’t really say anything that we haven’t heard a million times before in country music. You could say the same about “You’ll Always Be My Baby,” “I Do,” and “Where Her Heart Has Always Been,” but those songs are so personal and sincere that I wouldn’t trade them for anything. But what of the other positives? As I implied, I think the three songs that Alan dedicated to his family are great for what they are, but the title track is also wonderful. Writing what is essentially a love song but then making it about country music at large is clever, even moreso than it may first seem. “The Boot” has a great hook and message to go along with it, so it stands as a highlight. “Beer:10” is a fun drinking song done right, with just the right amount of horns and crowd vocalizing to get the blood going (and I don’t even like beer). Along the same lines, “Wishful Drinkin'” and “Way Down in My Whiskey” are both great fun as well.
“The Older I Get” is probably my favorite song on the album, featuring a conceit that’s every bit the antithesis of the “let’s party and be forever young” hooks of today’s country and the rest of the music world. But it’s also an awkward inclusion for a several reasons: firstly, this album is just a few minutes too long to fit on a single compact disc, which relegated one of the songs to a download-only bonus track (the streaming versions are all sequential). Personally, it makes perfect sense to me for that track to have been “The Older I Get”; not only has it been out for several years as a single, the production is just different enough from the main body of the album that it stands out a bit (if you’re paying attention, anyway — it seems of a different session to my ear). It’s also the last track on the album, so one would think it was meant to be. But for some bewildering reason, Alan and co. decided to pull his wonderful cover of “That’s The Way Love Goes” (which resides a few tracks above the end) and exile it from the disc itself. Adding insult to injury, the file itself is an MP3 at 160kbps that you can only download three total times. What is this, 2002? I buy CDs both for the art and aesthetic, but also the sound quality. If I want crappy MP3s I’ll go to YouTube. I remedied this a bit by purchasing the 256kbps AAC file from iTunes, but I really shouldn’t have had to do that. Great song or not, “The Older I Get” is the outlier here and really should have been the download-only track, both because it’s at the end of the album and also because it feels ever so slightly out of place (though thematically, “Back” should have probably bookended the album). It seems to me that this really is something of a double album on one disc, as if in attempt to make up for Alan’s long absence from the studio, but wasn’t long enough to justify two discs to the parties involved.
Speaking of the mastering of the album, I’d like to commend Keith Stegall for helping to maintain Alan’s sound, but also not compressing the shit out of the dynamic range. This has to be one of the only modern albums I’ve bought that isn’t mastered louder than hell, and I have to say that it was extremely pleasant to the ears and also the soul. (If anybody reading this has no idea what I’m talking about, research the Loudness Wars and you’ll begin to understand). But moreso than anything else, this album sounds like vintage Alan Jackson. I’d imagine that’s pretty easy when you’ve been working with the same producer for 30 years, but when compared with each of the other albums I outlined in my first paragraph, I think it’s to be commended. I know that plenty of people liked Travis Tritt’s newest and for what it’s worth I did too, but I had some major issues with the production. The reverb that Dave Cobb slathered on the tracks, particularly Tritt’s vocals, made certain songs sound like they were coming out of a tin can. Worse, Travis often sounded like he was hovering over the arrangements like a ghost rather than existing organically as a part of them. No such issues with Where Have You Gone.
I’d say that Alan’s contribution is likely the best of the new Class of ’89 projects. Again, some might give the edge to Travis, but I think the production of that album holds it back (as well as strange songs like “Smoke in a Bar,” where the irony of using something as fleeting as tobacco smoke as a representation of the past seems intentional on the surface, but Tritt’s arrogant persona makes it seem lost on the participants — that and criticizing seatbelt laws in the same breath just strikes me as dumbassery personified). I also haven’t bothered with Garth’s newest, primarily because the pre-order debacle, the cringey title and the garish cover all add up to a perfect storm of what I find hard to stomach about him (the mastering issues I’ve heard about don’t help). But overall, I’m extremely happy to have the artists that were so important to my favorite era of this music active again (if only for now).
To wrap this all up, Where Have You Gone feels almost like a coda in many ways, a summation of Alan’s career. This could be his final album (though I doubt it) and it would be a perfect note to end on. Play on, Mr. Jackson, play on.
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There wasn’t really a place in the body of my comment to include this note, but the line “I’m not sure what some were expecting, perhaps for Jackson to return after a 6-year absence from the studio water-skiing in jeans again like it’s 1993” made me laugh out loud. I was also reminded of Don Williams while listening and agree that it runs a little long (I still feel like some of the weaker songs are in the home stretch, which can’t help). It is certainly heavy on the ballads, though. Great review, Trigger.
May 17, 2021 @ 10:39 am
I really don’t know what to make of track listings and discs these days. Morgan Wallen released a double album, and it probably could have been three. Eric Church released a triple album, and it probably could have fit on one or two. Cody Johnson apparently has a double album on the way, and it will have less tracks than this Alan Jackson album. It’s like everyone’s trying to make a big splash with their track listings or disc counts, when really a more measured approach to packaging music that presents the best tracks to the public in the best way should be taken.
May 18, 2021 @ 2:36 pm
I always liked how CDs in the infancy fit only about ten songs. It seemed to force artists to get really good with song selection. Way to many album across all genres feel bloated today. Hell even in the 90 Shania bloated her albums. I wonder how much of the extensive track listening is to game streaming number for some artists?
I know Alan probably doesn’t give a hoot nor holler about streaming numbers. BUt I do wonder if that is an angle some are are playing.
May 17, 2021 @ 1:56 pm
This review is almost as long as the album
May 17, 2021 @ 2:53 pm
Yes, and your response is about as insightful as Florida Georgia Line.
May 17, 2021 @ 3:41 pm
Someone’s nipples are tender. I think Trigger summed it up personally. No need for a review length reply. Perhaps start your own site? You could call it longwindedandboring.com.
May 17, 2021 @ 3:51 pm
Oh, please. I’ve been leaving long-winded and boring comments on this site for almost a decade at this point. Not every article; I pop in and out on topics I care about. If you don’t want to read my comments, skip along. I know that certain others like to actually have a discussion in the comments, and there were a lot of elements to this album that I wanted to cover. Trigger has never complained, so why would I care if readers do? If he has an issue he’ll contact me.
May 17, 2021 @ 4:18 pm
I appreciate everyone’s comments on the site as long as they respect this community, Acca Dacca’s included, and his comments on this album specifically. If he felt inclined to share some long-winded thoughts, I’m not sure what the harm is here, and he’s certainly not the only one who has left longer comments on the site. If you don’t want to read them, don’t read them. The same goes for articles on the site that may not appeal to you in particular.
More discussion is better and healthier than less in my opinion.
May 17, 2021 @ 4:25 pm
Thank you, Trigger.
May 17, 2021 @ 4:47 pm
Acca, your comment is excellent, and the insight about the 21st track being download only (and a limited download at that) and in garbage MP3 format is important. If Trigger ever allowed guest contributors to do reviews, you would be a great choice!
May 18, 2021 @ 8:40 am
Thank you, NPC.
May 20, 2021 @ 3:14 pm
Anal, long-winded critique emanating from some self-absorbed wannabe! Just relax and enjoy real, time-proven AJ country magic!
May 20, 2021 @ 4:46 pm
My comment is absolutely anal and long-winded, but I’m at a loss for how that makes me a “self-absorbed wannabe.” What exactly is it that I want to be that can somehow be gleaned from a comment about a CD? Pretty sure I iterated that I enjoyed the album in as well so I really have no idea what your ultimate point is, aside from irritation that somebody left a comment that’s longer than a few sentences.
May 17, 2021 @ 9:55 am
He is doing what he has consistently always done well and that is sing country music. A great album and good to have new music from him. No question, this is country music.
May 17, 2021 @ 10:24 am
I agree with the “slowness” criticism. It’s really good country music. But at the same time it was a little hard to get through.
May 17, 2021 @ 11:05 am
I have not received my CD yet. It can’t come soon enough.
The slow pacing comment reminds me of Like Red on a Rose. I think the fastest songs on that album, such as “Nobody Said It Would Be Easy” or “Where Do I Go From Here”, would be the slowest on any other album.
I remember reading an Alan Jackson interview back in the mid-90s (might have been around the Who I Am album) where he said he found faster songs harder to write than slower ones.
Either way, I am absolutely looking forward to this album. It’s just in time for power washing season in my backyard.
May 17, 2021 @ 11:25 am
No one is more of a fan of Alan Jackson than I am. He’s the third greatest country singer of all-time (1. Strait; 2. Williams). I was excited to hear this album, but I agree it was too many slow/boring/depressing songs. I’m also tired of his “It ain’t country anymore.” I agree- but he’s starting to sound like a bitter old man. I love him and always will. I want him to go out with class. Below are my top five songs (didn’t like the other one’s):
1. “Where the Cottonwood Grows”
2. “Where Her Heart Has Always Been
3. “You’ll Always Be My Baby
4. A Man Who Never Cries
5. “That’s The Way Love Goes”
May 17, 2021 @ 12:02 pm
I respectfully disagree about him sounding like a “bitter old man”. He’s an American country music legend, fighting to keep alive the very thing that put him in the Country Music Hall of Fame. His love of pure country music speaks to those of us who understand it, believe in it, and miss it. I’ve missed the fiddle, the steel and the rest of it, just like he does. Thank God, he’s in a place to do something about it. This album was well worth the wait and delivers on the classic Alan Jackson promise.
May 17, 2021 @ 12:51 pm
What’s the fight? I put down my sword when Tyler Childers and Cody Jinks scored Gold. It’s not on mainstream, but there is A TON of great, authentic country music out there. More than I can ever remember. If AJ doesn’t sound bitter, he at least comes off as a lazy listener.
May 17, 2021 @ 11:34 am
Out of all the artists to hit it big in the 90’s mainstream country radio I’d say Alan Jackson is the best. Alan music has been so good for so long that in some ways we take it for grant it. Alan’s music has been songbook of my life. His songs and albums are what country music is all about. Simple songs that tell the stories and life lessons of everyday people. Another great album from a great country singer
May 17, 2021 @ 11:38 am
Absolutely love this album and has been on repeat since friday. Just pure country music and true Alan Jackson. Don’t really understand the criticism for “Back”. It’s a good fun song and AJ has always had that playfulness at concerts that this would be a fun concert song. Everything doesn’t have to be serious people. All in all everything I was looking forward to, no disspointments. Hope he continues making music and can’t wait to see him in concert again!
May 17, 2021 @ 12:43 pm
Awesome album. I don’t agree with the reviewer in that too much is too slow. Yea there are a lot more slower more heartfelt songs but reading what Alan has said recently, it was kind of expected and far as my opinion, appreciated. Too much of a good thing is a good thing to quote Alan. In fact I would argue that the up tempo songs for the most part are the weaker though still good songs. I like the fact Alan keeps it simple, never really deep. I have never liked fancy deep poetry or songs that try to do too much. I’m a simple man, give it to me straight. Alan has done that here. This album doesn’t have a bad song at all in my opinion, very rare for anybody. I don’t like the fact that the merle haggard song tribute got left off the album, kind of feel like that should have been The older I get. It does feel different than the others and is alot older. That’s the only knock against the album and it’s really a knock on the album more as to their decision making. One thing I’ll leave with far as being too long or too many slow songs. Most people nowadays don’t just listen to one CD. I know there are some older people that do that but as I’m getting fairly old myself, a lot of people have adapted to music services and playlist, so I don’t feel it’s any real issue. To me this album is a 10/10.
May 17, 2021 @ 2:07 pm
“it gets easier as we get older” – I don’t have to do one damn thing I don’t want to do-
Heads up kids- your time will come of you’re lucky-
May 17, 2021 @ 2:14 pm
It definitely has a tin can quality to the production & vocals.
Sad topics, nostalgia.
The “fun, beer drinking” songs are a bit “dad country lame”. This album makes me appreciate how George Strait is still capable of putting out party songs, like “Every little Honkytonk Bar” .
But this Alan album accomplished what it set out to do. A great, simplistic album.
My favorite is “You’ll always Be my Baby”
May 17, 2021 @ 2:21 pm
It’s important to note that “62 years old” ain’t really old. That age is still somewhat “middle aged” to me. Sure, he’s too old for radio – but his music can still be fun & youthful if he wants.
Alan acts as though he’s turning 80 or something.
Keith Urban is only like 8 years younger than Alan. Same goes for Kenny Chesney & Tim McGraw.
May 17, 2021 @ 2:38 pm
62 is old though. Doesn’t mean it’s the end, but it’s still old
May 17, 2021 @ 3:48 pm
Urban, Chesney, and Mcgraw are peculiar counterexamples. May as well throw Garth in there, too.
May 17, 2021 @ 2:28 pm
If young and youthful sound like Keith urban and those other guys, I want Alan to feel old.
May 17, 2021 @ 8:31 pm
Everyone is allowed an opinion but having listened through this album probably 10 times or more since release I just don’t see the issue with the slow songs. Sure it could have used a couple more faster ones for the nontraditionalist out in this audience maybe in the bottom third but to me I don’t really see a song I would want taken out. If there is it would be the more uptempo ones like beer 10 or chains though good songs, just not as quality as the others. I think most people that really follow music outside of radio, listen to playlist anyway and the user controls what’s on there.
May 17, 2021 @ 4:27 pm
Alan Jackson is important piece of country music legacy. Many have taking a very thoughtful approach to commenting on the album show how important he is to us all. The album is a slow burn and too big to digest. I like it. I do feel some of the criticism regarding the album is valid. The older I get, makes me kind of wish there more of outside material on the album and less of his own writes. Alan has written some the most meaningful songs that are standards. A little of that magic is missing here. He is still great and one of the best ever.
May 17, 2021 @ 4:33 pm
I think The Boot, A Man Who Never Cries and The Older I Get all have a Don Williams vibe which is probably why they’re my favorite songs on the new album. Is it fair to say the album has 21 songs if the Hag cover is only available in digital format (I bought the physical CD) since only 20 songs could fit on an 80 minute CD? Overall, this album definitely lived up to my expectations from AJ.
May 17, 2021 @ 5:50 pm
Can one imagine listening to a Justin Lynch or Maren Morris album of the same length as Alan’s? Puts in into perspective I think.
May 17, 2021 @ 8:33 pm
I couldn’t imagine listening to any of their albums no matter what the length though Justin lynch isn’t horrible.
May 18, 2021 @ 7:13 am
It is not.. Justin Lynch.. it is DUSTIN LYNCH. Lol . just to fix that . I am sure you meant Dustin.. not Justin.. ????
May 18, 2021 @ 3:43 pm
Oh well the poster I replied to said Justin, just didn’t catch it.
May 17, 2021 @ 6:33 pm
Yeah, with all due respect to AJ, it’s a little too slow for my taste. I added some of the more energetic tracks like Wishful Drinkin, Where the Cottonwood Grows, and Livin’ on Empty to my playlist.
May 17, 2021 @ 6:41 pm
Album of the year. Album is awesome and true Alan Jackson! Performance of “Way Down in My Whiskey” on Fallon was great. Wish radio would pick that song up. Maybe a song of the year?
May 17, 2021 @ 6:57 pm
What’s wrong with some of y’all in the comments here? Complaining about slow songs like you’re 15 year old girls. That is country music! You all would really struggle with George Jones.
This has to be one of the best, and purest country albums of the year.
Favorite song: Wishful Drinkin’
May 17, 2021 @ 7:50 pm
Slow, sad, country songs are my bread and butter, but if you’re putting out a 21 track album, it doesn’t matter if each one of those songs is good individually, there needs to be some upbeat material in there to keep the listener engaged.
May 18, 2021 @ 11:33 am
I complained that it was slow, but technically it’s not the speed that bothers me so much as the lack of energy. Which isn’t exactly the same thing.
I listen to music to pick up my mood. Low energy and bad mood is kind of my baseline lol, that’s what I’m trying to escape.
May 17, 2021 @ 8:23 pm
I’m also a bit puzzled by all the complaints of too many slow songs, especially on this site. I’m actually glad Alan is not trying to repeat the success of “Chattahoochee” or “Five O’ Clock Somewhere” this time out. A lot of Alan’s ballads from the past 20 or so years have reminded me of the late great Don Williams, and there’s a lot more of that here, which is right up my alley. 1998’s High Mileage also happens to be one of my favorite albums of his, which was more ballad heavy, as well.
Of course, country has always had fun/silly faster songs, but for me, the heart of country music has always been the slower songs, especially the sad ones. And that’s what’s been missing in the mainstream for way too long now (along with the fiddle and steel, or course). Therefore, I find this album to be very refreshing and exactly we needed now more than ever. Thank goodness, he’s not taking after Urban, Chesney or McGraw!
May 17, 2021 @ 9:38 pm
” And on Where Have You Gone, Alan Jackson has added a few more stones to that foundation, while also trying to repair some of the cracks that have formed from the neglect and misuse in recent years…”
Well said, and I agree wholeheartedly.. I feel so inspired, hopeful, and grateful for this album.
May 18, 2021 @ 5:39 am
I like Alan. just like Travis tritt, there are too many ballads for my tastes. but it will probably be a great album anyway. and 21 songs is alot better than 9 or 7 as some artists do.
May 18, 2021 @ 6:01 am
Thank you for this review. With so many songs, I was afraid the album would lose steam by the end, and surely there would be a few clunkers here and there. But I’m happy to say I was wrong! This is an amazing album from start to finish, and one of the best AJ has ever release. I just hope it eventually makes its way to vinyl.
May 18, 2021 @ 3:49 pm
I think I heard something that it was going to be coming to vinyl in the fall but maybe I heard wrong.
May 19, 2021 @ 4:59 am
That would be great. I hope you heard right!
May 24, 2021 @ 12:27 pm
I don’t know where you heard that, but you were right! Just pre-ordered the vinyl from Walmart’s site. It says it will be delivered in September.
May 24, 2021 @ 3:23 pm
Yea that was it. Sorry I couldn’t remember more. I knew it was a few months away. Hope it arrives in good condition.
December 25, 2024 @ 11:57 am
No such thing as an Alan Jackson album that’s too long.
May 18, 2021 @ 6:45 am
I certainly see the Don Williams comparisons which is absolutely fine with me. I think their is a good balance of tempos, slower stuff has always been where Alan shines anyway. As far as the length goes, any other artist i would have an issue with, but with Alan more the merrier. With the long layover, im sure he was just giving his fans their money’s worth. This album will be spinning in my truck for quite sometime, it is as advertised!
May 18, 2021 @ 7:54 am
This record is classic Alan Jackson and I wouldn’t have expected anything less. In fact I would have been disappointed to hear mainstream music from him. What were you expecting when you listen to Alan Jackson’s music? Totally what I needed to hear. Keep those steel guitars going Alan.
May 18, 2021 @ 9:43 am
My CD only has 20 tracks and it got me wondering if the UK market release was different from the American version – now I hear it’s a digital download. There was no advice slip in the case so I’m in the dark as to how to obtain the track.
Why not just include it on the physical disc ?
MAC (Scotland)
May 18, 2021 @ 9:46 am
It’s the Merle Haggard cover of “That’s The Way Love Goes” recorded in tribute to Merle that is not on the CD. I believe it was left off due to space issues.
May 18, 2021 @ 9:57 am
Apologies Trigger, I knew what the additional song was, and should have been clearer.
The prelaunch publicity didn’t say it was not on the disc.
I’m not clued up on the technical issues in respect of space limitations on CDs.
Maybe it could have been held back for a “Under The Influence 2” album ? Now there’s a thought !!!
May 18, 2021 @ 10:17 am
Apologies Trigger, and thanks for the response – I should have been clearer – I knew it was that Haggard cover due to the pre-launch publicity.
There was no mention of a digital download that I was aware of, maybe I missed that bit of course.
It could have been held back for an “Under The Influence Vol.2” perhaps ? Now there’s an idea !!!
In respect of the disc space limitations, I’m not clued up on the technical aspects of CDs.
May 18, 2021 @ 12:45 pm
I can’t stop listening. It’s been about two hours and I haven’t even reached the final song, I just keep replaying the first 8 or 9. This is fantastic so far. You can always count on Mr. Jackson.
May 18, 2021 @ 7:19 pm
I’m afraid to listen to it, but gonna have to I guess… Every time someone who did the bulk of their work on tape puts out something new on software recording toys, it’s so disappointing. No fault of their own, just lifeless 1s and 0s.
May 20, 2021 @ 4:45 pm
I agree with your point, but I think there were digitally recording by the early 1990’s. There’s something about that warm analog sound, soul, humanity. The reason everything sounds the same now across genres is that they are using the same computer programs to record everything, and there is something missing : soul. In the future pop-country hits will be written by AI and “performed” by good looking people who can’t play or sing a note.
May 19, 2021 @ 12:09 am
Great country music from a legend. It`s long and has many slower paced songs but who knows if he will do another studio album after this one. The songs fit well for his time of life and stage of his career. Its been a treat to hear this album after 6 years without new material
May 19, 2021 @ 10:24 pm
Listening to this album is like being visited by the angel of country music. Pure, solid, traditional, full of slow songs that say something, with a few fun barn burners thrown in.
May 19, 2021 @ 11:27 pm
I agree Benny. I have been listening to it on repeat for 2 days and absolutely love it. Its high quality thru the whole album,there are no songs that i would cut. I can picture george strait listening on an easy chair with a cold beer enjoying this with a big smile on his face.
May 20, 2021 @ 3:46 am
Alan Jackson does not disappoint and the musicians are phenomenal
May 20, 2021 @ 4:38 pm
It’s good to have some REAL country music back, Alan Jackson in particular. He’s aged gracefully, his voice is a little deeper than it used to be. A lot of slow songs here, it could have benifitted from a few “Playing Possums” and “Chatahoochies”. Other than that, superb album, Alan Jackson is BACK. Me personally, I’d love to see him make another song like “Midnight In Montgomery”, it’s the most haunting minor key country song I’ve ever heard.
May 21, 2021 @ 8:16 pm
I’d like for Alan to do another cover album, spanning from serious to laid back. Top song candidates: Good Directions and Marina Del Rey.
May 22, 2021 @ 7:39 am
Kyle, I really enjoy your reviews, but i feel like you were a little harsh on AJ here. This album is fantastic and exactly what we needed right now. Hey, we all like him “rockin the jukebox”, but Honestly, I think he hit the mark with an unbelievably solid album with nothing “silly”
It’s a 9 on a 10 scale for me!
Between AJ and the Steel Woods, last week was fantastic for new music!
May 22, 2021 @ 8:53 am
I appreciate the feedback. But looking back through the comments, I feel like I got right for what my instincts were telling me. We’re seeing a LOT of people taking this album as too boring. As opposed to not acknowledging this reaction quite a few folks are having, I felt like addressing it, and telling folks to consider the songs individually will hopefully coax people to listen more. If you think this album is fantastic already, you don’t need any convincing from me.
May 23, 2021 @ 5:48 am
People would bitch if the man give a 10lb gold bar with each disc. Stfu and go whine to mommy
May 26, 2021 @ 4:55 am
The complaint about it being too slow actually sold me. Most fast songs sound like forced filler to me
December 7, 2022 @ 10:17 am
I love this album! I love the slow sad stuff. I am a HUGE George Jones fan so slow and sad are just fine with me! Alan is only a few years older than me so I feel like we are aging together. His songs speak to me at this stage in my life. Love love love it!!
February 26, 2024 @ 10:52 am
I was interested to see Hailey Whitters is one of the three co-writers on The Older I Get.