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Brad Paisley: Time well Wasted

 A l b u m   D e t a i l s


Label: Arista Records
Released: 2005.08.15
Time:
 57:08
Category: Country
Producer(s): Frank Rogers
Rating: ******.... (6/10)
Media type: CD
Web address: www.bradpaisley.com
Appears with:
Purchase date: 2009.12.22
Price in €: 2,00





 S o n g s ,   T r a c k s


[1] The World (B.Paisley/K.Lovelace/L.Thomas Miller) - 4:01
[2] Alcohol (B.Paisley) - 4:52
[3] Waitin' on a Woman (D.Sampson/W.Varble) - 4:32
[4] I'll Take You Back (B.Paisley/R.Arthur/T.Owens) - 4:23
[5] She's Everything (B.Paisley/W.Nance) - 4:26
[6] You Need a Man Around Here (B.Paisley/Lovelace) - 3:33
[7] Out in the Parkin' Lot (G.Clark/D.Scott) - 4:43
[8] Rainin' You (B.Paisley/Owens) - 4:16
[9] Flowers (B.Paisley/Ch.DuBois/Miller) - 3:50
[10] Love Is Never-Ending (J.Goodwin/B.Terry) - 3:58
[11] The Uncloudy Day (Rev. J. Alwood) - 0:53
[12] When I Get Where I'm Going (R.Rutherford/G.Teren) - 4:08
[13] Easy Money (B.Paisley) - 4:14
[14] Time Warp (B.Paisley/F.Rogers) - 3:56
[15] Time Well Wasted (A.Gorley/Lovelace) - 3:56
[16] Cornography (B.Paisley/Rogers/P.Tilden) - 3:56
[17] Outtake 1 - 0:15
[18] Outtake 2 - 0:13
[19] Outtake 3 - 0:35
[20] Outtake 4 - 0:34
[21] Shatner Says Goodbye - 0:27

 A r t i s t s ,   P e r s o n n e l


Brad Paisley – Lead Vocals, Background Vocals, Electric Guitar, Acoustic Guitar, Baritone Guitar, 12-String Electric Guitar, Hi-String

Jim "Moose" Brown - Piano, Keyboards, Hammond Organ, Background Vocals
Randel Currie – Steel Guitar
Eric Darken - Percussion, Vibraphone
Jerry Douglas - Dobro
Stuart Duncan - Fiddle, Mandolin
Kevin Grantt - Bass Guitar, Tic Tac Bass, Upright Bass, Background Vocals
Bernie Herms - Piano
Wes Hightower - Background Vocals
Gary Hooker - Electric Guitar, 12-String Electric Guitar, Background Vocals
Michael "Mike Dee" Johnson - Dobro, Steel Guitar
Kenny Lewis - Bass Guitar, Background Vocals
Kendal Marcy - Banjo, Background Vocals
Guitar, Mandolin
Ben Sesar - Drums
Bryan Sutton - Mandolin
Bobby Terry - Bass Guitar
Justin Williamson - Fiddle

Alan Jackson - Voclas on [7]
Dolly Parton - Vocals on [12]
James Burton and the Kung Pao Buckaroos - Vocals on [16]
William Shatner - Vocals on [17]-[21]

Scott Hamilton And "The 12 Steps" - Background Vocals on [2]
Carol Lee Singers:
Carol Lee Cooper - Vocals
Norah Lee Allen - Vocals
Rod Fletcher - Vocals
Dennis J. McCall - Vocals

Frank Rogers - Producer
Christophe Dubois - Executive Producer
Phillip Stein - Production Assistant
Brian David Willis - Engineer, Digital Editing
Richard Barrow - Engineer
Neal Cappellino - Engineer
John Kelton - Engineer
Jason Lehning - Engineer
Justin Niebank - Mixing
Hank Williams - Mastering
Brady Barnett - Digital Editing
Adam Hatley - Digital Editing
Drew Bollman - Assistant
Scott Kidd - Assistant
Melissa Mattey - Assistant
Steve Short - Assistant

 C o m m e n t s ,   N o t e s


2005 CD Arista 69642

Brad Paisley's music is an interesting amalgam of country sub-genres, a paradigm all its own. He melds straightforward,pop-friendly New Country with clever, somewhat Lyle Lovett-like songwriting and the occasional flutter of Joe Maphis/Jimmy Bryant-style guitar virtuosity. Surprisingly or not, this country combo platter made Paisley a star, and TIME WELL WASTED continues in the aforementioned vein. While there are some fairly mainstream moments here that wouldn't ruffle thefeathers of, say, the average Kenny Chesney fan, WASTED boasts plenty of smart, sassy tunes brimming with lyrical witticisms worthy of Tom T. Hall or Shel Silverstein. "Alcohol", for example, is a first-person narrative from the beverage'spoint of view, and in retrospect it's shocking that it tookthis long to get written. Guest shots from both Dolly Parton and Alan Jackson show that Paisley's work has earned respect from disparate corners of the country scene, a respect that's amply justified by TIME WELL WASTED.



Time Well Wasted is the title of the fourth studio album released by American country music artist Brad Paisley. It was released on August 16, 2005 on Arista Nashville. It was the Country Music Association's Album of the Year for 2006. The album produced the singles "Alcohol", "When I Get Where I'm Going", "The World", and "She's Everything". "Alcohol" was a #4 hit on the Billboard Hot Country Songs charts, while the other three singles were all Number Ones. "Waitin' on a Woman" was re-recorded in mid-2008 as a bonus track for Paisley's 5th Gear album, and this re-recording was issued in June 2008 as a single. The first single from Time Well Wasted was "Alcohol", which reached a peak of #4 on the Billboard country charts in mid-2005. After it came "When I Get Where I'm Going", featuring background vocals from Dolly Parton. This song became Paisley's fifth Number One and Parton's twenty-fifth, as well as her first since the Ricky Van Shelton duet "Rockin' Years" in 1991. It also made her the oldest female artist to have a Number One hit on the country charts. "The World", the third single, became Paisley's highest-debuting single when it entered the charts at #37, and was his sixth Number One. Finishing off the single releases was "She's Everything", also a Number One. "Waitin' on a Woman", a cut from this album, was re-recorded and released to radio in 2008, and was added to his next studio album, 2008's 5th Gear. Upon its reaching Number One, the re-recording of "Waitin' on a Woman" became Paisley's eighth Number One in a row, setting a new record for the most consecutive country Number One hits since the inception of Nielsen SoundScan in 1990.

Wikipedia



Brad Paisley's previous release, Mud on the Tires, was the sort of landmark album nearly every artist has difficulty topping. Not so this time. On Time Well Wasted, Paisley's voice - never overwhelmed by overmixed instruments (a problem dogging many current vocalists) - remains keenly focused. There's quality material in abundance, heavy on originals and delightfully quirky bonus tracks. The album's first hit, Paisley's self-penned "Alcohol," has the potential to become a lasting anthem in a genre where booze songs long ago became an art form. Guy Clark's "Out in the Parkin' Lot," a duet with Alan Jackson, sounds more organic, less contrived than most Music Row pairings. The same applies to "When I Get Where I'm Going," a spiritual duet with Dolly Parton. As in the past, Paisley's country-jazz Telecaster prowess (phemonenal on the dazzling instrumental "Time Warp") remains remarkable, as does his insistence that his sidemen get ample space to shine. Such assets set Paisley apart, as does his ability to make real creativity commercially successful in a Nashville concerned mainly with the latter.

Rich Kienzle - Amazon.com



Der Junge ist ein echter Tausendsassa: smart, charmant, gut aussehend, hochgradig talentiert. Er singt großartig, schreibt Songs mit Witz und Tiefgang und spielt dazu Gitarre wie ein Weltmeister. Dazu gelingt dem 1972 in der am Ohio gelegenen Kleinstadt Glen Dale geborenen Brad Paisley perfekt der Spagat zwischen Tradition und Moderne. Auch auf seinem neuen Album Time Well Waisted. Die von Frank Rogers produzierte CD knüpft genau da an, wo das hochgelobte Vorgänger-Album Mud On The Tires endete – mit einem packenden, höchst unterhaltsamen Mix aus Country-Rock und Country-Roots, gewürzt mit einer erfrischenden Prise Selbstironie und einem als Bonustrack getarntes Hörspiel. Doch der Reihe nach ...

Mit „The World“ beginnt Brad Paisley sein viertes Album modern, rockig: Ein Country-Boogie, der mit seinen spacigen Gitarrensounds an ZZ Top erinnert und der Neon-Cowboy-Optik des Covers perfekt gerecht wird. Das ist natürlich nur eine Seite des bereits 1999 von der Country Music Association mit dem „Horizont Award“ ausgezeichneten Musikers. Die verschiedenen Facetten seiner musikalischen Seele offenbaren sich nach und nach, Track für Track. So macht gleich mal Song Nummer zwei, „Alcohol“, mit traditionellen Klängen und tiefschürfendem Text klar, dass es sich bei Brad Paisley um keinen stromlinienförmig geformten Hitlieferanten aus Nashvilles-Musikfabrik handelt. Das gilt umsomehr für den nächsten Titel „Waitin‘ On A Woman“ – eine in bester Bluegrass-Tradition gehaltene Ballade mit der Paisley vor Bill Monroe und Earl Scruggs, den Urvätern des Genres, den Stetson zieht. Flott; gut gelaunt; moderat; nachdenklich; hintergründig ... Das Wechselbad der Gefühle und Stile zieht sich durch alle Songs seiner neuen CD. Mal dröhnen Country-Rock-Riffs, mal weint eine Pedal-Steel-Guitar, mal hat er richtig Spaß, mal schiebt er kitschfrei Frust. Mal teilt er sich mit Alan Jackson das Mikro („Out In The Parkin‘ Lot“), mal mit Dolly Parton (großartig bei „When I Get Where I’m Going“), und gegen Ende der CD präsentiert Paisley das obligate Instrumental: „Time Warp“ – ein Destillat seiner ambivalenten Persönlichkeit, die vom relaxten Western-Swing bis zum Honky-Tonk in Lichtgeschwindigkeit reicht und ihn ein weiteres Mal als schnellsten Gitarristen-Finger im Wilden Westen auszeichnet. Muss man gehört haben ... was nicht unbedingt für den Bonustrack „Cornography“ gilt, bei dem Brad Paisley gemeinsam mit Prairie-Haudegen wie George Jones, Bill Anderson und Dolly Parton ein paar Schenkelklopfer zum Besten gibt. Die ausnahmslos 15 tollen Songs davor machen den Bonus-Malus allerdings mehr als wett.

Gunther Matejka - Amazon.de



Brad Paisley's previous album, Mud on the Tires, went double platinum, and Time Well Wasted ought to see that and raise it a couple. Paisley's calling card remains boogie, blues, ballads, and a lotta righteous twang. He is, after all, one hotshot guitar picker - as he demonstrates, often, here - and a songwriter of wit and depth, more than most mainstream heartthrobs could ever muster. He comes out of the gate with guitar blazing on a hot-rockin' love song, "The World," and barely lets the listener take a breath before rolling out one of his instant classics, "Alcohol," a clever southern rock anthem in which the demon drink speaks in the first person about its pervasive and lasting influence in both personal and world history. The tune builds from a solid thump into a roaring maelstrom of snarling guitars, honky-tonk piano, and soaring harmonies, all serving a memorable observation: "I been makin' a fool out of folks just like you / and helping white people dance." Paisley's idea of a power ballad is more rustic than most. The dobro- and acoustic guitar–tinted soundscape on "When I Get Where I'm Going" sets the stage for a song that muses on the better world that awaits in heaven, as Paisley is joined by Dolly Parton on the spiritually resonant, triumphant choruses. In a textbook example of piling on, Alan Jackson comes by to swap wry verses and harmonies on "Out in the Parking Lot," a stomping bit of honky-tonk brio that only makes the Brad Paisley juggernaut doubly awesome. There's no time wasted here.

David McGee - Barnes & Noble



As anybody who follows country music knows, Brad Paisley is acknowledged among audiences and critics alike as the new traditionalist standard-bearer for the 2000s -- the new guy that not only keeps the fire burning, but also rakes in the cash, having number one hits along with good reviews. He's not big and brassy like Toby Keith; he's the heir to George Strait, Randy Travis, and Alan Jackson, the guy who hails back to George Jones, Merle Haggard, and Buck Owens but is savvy enough not to play to overly serious Americana fans, the listeners who like their country music somber. That's not Paisley - he may take his music seriously and will sing a serious ballad or two, but he also likes to crack wise and have a little fun. Although that's certainly preferable to colorless alt-country singers, Paisley has been known to overdose on fun, favoring a cute turn of phrase or a knowing wink to his audience. Of course, humor has always played a big part in country - George Jones, one of Paisley's heroes, made novelties his stock-in-trade -- but there was a terminal cutesiness that threatened to overwhelm his otherwise excellent third album, Mud on the Tires. Thankfully, Paisley has reigned in this trait on its superb follow-up, 2005's Time Well Wasted.

Paisley hasn't suddenly become a humorless bore -- how could he be when he persists on reviving the Grand Ole Opry's old-fashioned cornpone radio plays, heard here on "Cornology," which, like "Spaghetti Western Swing" before it, features George Jones, Little Jimmy Dickens, and Bill Anderson and adds Dolly Parton for good measure (which naturally results in some silly boob jokes: "he turned around to see two huge 38s pointed right into his face"). The difference is, Paisley no longer leans hard on either his silly or sentimental streak, preferring to lay back and let everything flow naturally. That gives his already attractive music a greater appeal, since his humor is now sly and lived-in, a perfect match for his faithful but not dogmatic country. As should be expected by any deliberately traditionalist musician, there are no surprises, no left turns here -- Paisley remains indebted not only to George, Merle, and Buck, but to how George Strait fused this holy trinity into a fresh yet familiar sound that encompassed the best of Bakersfield, Texas, and Nashville. Change can be overrated, particularly in regard to traditionalist music, and Paisley benefits from mining the same musical vein each time around. He's turned into a genuine craftsman, both as a songwriter and musician, and now with four albums to his credit, he's hitting his stride. His band sounds looser, warmer than it did on Mud on the Tires -- and they're given another dazzling showcase for their prowess on the frenzied "Time Warp," which is as delirious as prime Speedy West & Jimmy Bryant -- and Paisley's singing is relaxed and assured. These are welcome subtle improvements, but what makes Time Well Wasted Paisley's best record yet is the writing. Song for song, this is his best set of tunes, whether it's one of his ten originals or the sharply selected professionally written numbers that round out the album (these are highlighted by the sentimental but not saccharine ballad "Waitin' on a Woman" and a duet with Alan Jackson on Guy Clark's "Out in the Parkin' Lot"). Although Paisley hasn't abandoned goofy humor - indeed, "I'll Take You Back" has mock crying built into its chorus, and a pivotal line in "Alcohol" concerns how it makes "white people dance" - this tendency is balanced by wittier jokes and his knack for keenly observed human nature, best heard in the savvy "Alcohol," but not isolated to that, either. It's not just that the words are stronger, but the music is weathered and sturdy, sounding familiar on the first spin and getting stronger with each play. Each of Paisley's prior albums gained stature with repetition, but Time Well Wasted is not only richer than his first three records, it's more gripping upon its first play. Paradoxically, it demands attention partially because Paisley isn't trying too hard to deliver a classic, nor is he working overtime to please his fans. Instead, he lays back and delivers his songs with the ease of an old pro, which means for the first time, he's made a record that can hold its own next to his idols.

Stephen Thomas Erlewine - All Music Guide



He represents the convergence of Buck Owens and legendary Buckaroos fretman Don Rich in one package: part Hee Haw hoariness-monger, part guitar hero. (A-)

Chris Willman - Entertainment Weekly

 

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