Okay, so honestly, this is the kind of album that really doesn’t give me much passion to write. It’s not great, it’s not terrible, it just exists. The vast majority of it is just kind of forgettable. That’s a pretty good summary of this, and I could take the quality songs from this and easily fit them into Memorable Songs.
But the fact that I can pull songs from this into that feature is improvement in and of itself. I feel I at least owe Luke a proper review because he’s showing some maturity and making at least marginally better music. His last album was mostly horrendous, and I’ve hated a good majority of his singles for the past five years. So when you go from spectacularly awful to okay, and even sprinkle in some quality, it should be commended. I’ve been one of Luke Bryan’s biggest critics–anyone who knows me at all will know this–and so I can’t ignore it when the guy’s making better music.
So let’s talk about the quality because you actually do get a few really solid tracks here. “Drinking Again” reminds you that one, Luke can actually use his charisma for good, as opposed to singing hookup songs in trucks, and two, that not all drinking songs are bad. This one’s fun and catchy and would make a good single. I daresay his fans would have enjoyed it more than the insufferable mess that is “Light it Up,” and hopefully, he will release this. “Most People Are Good” is just simply a nice song, and when the world’s going to hell all around us, we need stuff like this to remind us it’s not as bad as the media would have us believe. This is not going to be anyone’s Song of the Year or anything, but it’s a case of less is more, and it’s just nice to hear a song like this. Also, the production, as is actually the case for most of this record, is much closer to pop country than much of Bryan’s previous output, and although modern, this actually sounds like it should be allowed to be in the genre. “Land of a Million Songs” displays some of that too, as we have some prominent piano featured here, and the song itself is another highlight, an extremely well-written tune about doing anything to make it in the music business and constantly looking for things to say and adding verses to your songs. I can’t believe we’re getting a song like this from Luke; actually, it reminds me of a hidden gem we might have seen on one of Blake Shelton’s more recent albums–you know, before he released this current piece of shit. Side note here, isn’t it sad that Luke Bryan has actually produced a better album than Shelton this year?…but I digress.
Then we’ve got some decent songs–not anything necessarily to write home about, but definitely some more proof that Bryan strove for more maturity with this project. “Pick it Up” actually portrays a grown man–I didn’t know the same person who sang “Light it Up” was capable of this–hoping his son will learn from him and adopt some of his cool habits and good values. It’s kind of cheesy, but I’m sure it’s personal to Luke, and that’s more than I can say about every sex anthem by a river in a truck he’s ever produced. The title track isn’t bad either; it’s pretty catchy, and the overall idea is nice, asserting that anyone can be country, and it doesn’t matter where you’re from or what background you have. Good idea, but played out badly, as he then asserts he’s country because of pretty much all the clichés he normally uses in all his other songs. Still, I see what it was going for, and I’ll give him some credit. Same goes for “Sunrise, Sunburn, Sunset,”–it’s the same clichés as well, but at least there’s a story and a bit of depth to this.
There’s nothing that makes me cringe quite like any of Luke’s previous work, except the God-awful “Light it UP.” Even his loyal fans aren’t liking this too much, as they know it’s creepy and lame. His neurotic obsession with his cell phone would be enough to make me break it off if I were the girlfriend, but hey, that’s just me. Also, like him or not, Luke does have charisma, allowing him to pull off a lot of his previous material, and here, he just sounds completely checked out. The whole thing would really just be lifeless and boring but for the embarrassing lyrics. We don’t have anything else that horrible, but we do get some ill-advised R&B sex jam attempt in “Hungover in a Hotel Room” that just shouldn’t exist. It is just not sexy in the least bit and therefore does not accomplish its purpose at all. And there’s “She’s a Hot One,” which honestly sounds like a leftover from one of Bryan’s bro country albums that didn’t make the cut–and understandably, because it’s like a wannabe version of all those songs. I can’t be too disgusted by this one because it’s just…lame.
As for the rest, there’s literally nothing to say. It just runs together. The good thing here is that none of this is atrocious, and Luke Bryan has certainly proven he’s capable of atrocious. The bad thing is that although it’s a major improvement for Luke, it’s still not a good album. It’s just under exactly half good, and that’s simply because it drags along to fifteen tracks. “Win Life,” there at the end, isn’t a bad song, but by this point, you’re just tired of listening. They could have trimmed this down a little and risen this rating to a 5, even a 6. As it is, the ultimate flaw is it’s uninteresting. But that’s also a noticeable sign of growth because while the quality does stand out, the lesser material mostly just fades into the background. Coming from someone as polarizing as Luke Bryan, that’s improvement, and maturity, and he’s shown both on this album. I hope we get more interesting selections next time, but he’s definitely going in the right direction, even if he’s not quite there yet with this record.