ALBUM REVIEWS
THE LAST RIDER Ron Sexsmith Compass Records
Ron Sexsmith maintains his melodic consistency on The Last Rider, 15 pop songs absorbed by the threat of loneliness and ways to avoid it.
The St. Catharines, Ont., native recorded his 13th solo album with his touring band, adding to its ease and intimacy. Sexsmith has said he thought this could be his final recording for some time, but the pleasure of the experience might make him reconsider.
Sexsmith is at his most romantic on Evergreen, Our Way and Worried Song, his significant other appearing in different guises as the source of hope, security or inspiration.
Radio is low-voltage power pop about the days when young lives revolved around the AM/FM dial. Sexsmith sounds a little like Rufus Wainwright on the lighthearted West Gwillimbury, also a trip down memory lane.
There are no surprises here but don’t be distracted by the apparent familiarity of some of the tunes. Sexsmith’s range may not be wide but his aim is true.
LOVE AND WAR
Brad Paisley Arista Nashville
When you can namecheck the UFC and Zebco fishing reels in the lead track to your 11th studio album, Love and War, you are probably Grammy Award-winning country music machine Brad Paisley.
All of the familiar icons are here: beer cans, pickup trucks, lip-kissing and jobs you have to get to. But the hidden secret is that Paisley can play the paint off a guitar and get the biggest names in the business to sing along with him.
Sir Mick Jagger helps him out with stellar vocals on Drive of Shame. John Fogerty weighs in on the album’s title song, Love And War, a soaring call-out to take care of America’s veterans when they come home broken.
Love and War has tracks that will burn up hot country spots on the radio and cement his place as the most dependable act in the business.
THE SEARCH FOR EVERYTHING John Mayer Columbia
Earth’s reigning guitar god, John Mayer, is out with his seventh studio album, which reveals a calmer artist taking a measured approach to accessible funk-laced songs.
This is a confident album that feels less like an artistic exploration and more like plate of musical comfort food. The arrangements are solid, if a slight bit predictable.
Still Feel Like Your Man is the track that stands out most — the easy-to-feel rhythm is accessible and the lovelorn message is a good fit. Slow breaks give way to a danceable hook and a sunny outlook for Mayer.
Helpless continues the newfound funky Mayer approach. It’s a tight song, but doesn’t reveal the ever-evolving Mayer much for us.
The album is good enough and there are no plum awful tracks. But The Search for Everything gets softer and softer with each song. Too much piano here, not enough guitar there.