John Paul White
's
The Hurting Kind
has been advanced as a return to Nashville's "countrypolitain" sound of the 1960s. He enlisted the aid of Country Hall of Fame heroes
Bill Anderson
and
Bobby Braddock
as co-writers on three cuts, and his and
Ben Tanner
's production style for the album certainly reflects that influence. But
White
is no stranger to countrypolitain: On his 2016 offering
Beulah
, he delivered "I've Been Over This Before," a classically wrought, languid, honky tonk shuffle guided by an
Owen Bradley
-esque blueprint mix.
recorded
at Sun Drop Sound, a home studio converted from an early 20th century house in the historic district of Florence, Alabama, as well as at FAME Studios in Muscle Shoals, Alabama. Previous to recording, he was immersed in listening to classic country albums by
Jim Reeves
,
Patsy Cline
Roy Orbison
, and
Chet Atkins
, among others. Their vibes inspired him to connect with
Anderson
Braddock
-- they both assented. This album walks the line between his established, original approach to Americana and his lifelong love of '60s country.
Poignant opener "The Good Old Days," with its strident mandolins, electric guitars, fiddle, and drums reflects the latter. It rocks with an approachable mix that contrasts with sardonic indirect lyrics referencing America's dramatic political era without being preachy. There's irony at work here: The tune derides nostalgia even though most of the album is informed by musical history. "I Wish I Could Write You a Song," penned with octogenarian
, is introduced by a twangy Gretsch, upright bass, and pedal steel. It's filled out by an army of guitars, strings, timpani, and
Erin Rae
's sweet backing vocals.
's wafting tenor hovers above the anthemic, sweeping choruses, evoking the spirits of
Orbison
Reeves
. "Heart Like a Kite" is a gorgeous country waltz with twin lead guitars, steel, fiddle, and the right amount of reverb. It's a hell of a heartbreak tune. Both the rocking "The Long Way Home" and the languid title track underscore
's riveting, bluesy approach to Americana. His
collaboration, "This Isn't Gonna End Well" -- with special guest
Lee Ann Womack
as a duet partner -- is one of dramatic, near-theatrical scope; it's framed in strings, vibraphone, timpani, steel, electric guitars, and drums, and so drenched in country-soul it could have been cut by
Conway Twitty
Loretta Lynn
. Immediately following is "You Lost Me," a sultry barroom waltz penned with
Jamey Johnson
that drips with heartache and desperation, and is adorned by
Rae
's backing vocals amid sweeping, old-timey fiddles. While "James" is an exercise in sad, pastoral dreaminess and fine poetry, closer "My Dreams Have All Come True" pairs
's and
Bradley
's production aesthetics with
's particular gift for lyrics and melody. It's a chilling send-off and evidences his finest singing on the set.
stands head and shoulders above
for its mature vision, powerful focus, and poetic songwriting and production. It is
's finest moment thus far. ~ Thom Jurek