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Jackson's 18th album (including two hits
collections), Freight Train was produced
by longtime collaborator Keith Stegall and
features 12 songs, one of which is Jackson's
hot new single, the Stegall co-write, "It’s Just That Way." The
single is already on the express track to the top of the country
airplay charts, with Music Row Magazine praising, "Alan has
seldom sounded warmer than he does on this lovely ballad."
Eight of the album's dozen tracks bear Jackson's songwriting
credit, including one he penned with Roger Murrah, with whom
he wrote one of his biggest hits, "Don’t Rock the Jukebox."
In a moving tribute to the legendary Vern Gosdin, who passed
away last year and for whom Jackson has long expressed
admiration, Jackson enlisted Lee Ann Womack to record
"Till the End," Gosdin’s 1977 classic duet with Janie Fricke.
Personnel: Brent Mason (acoustic guitar, electric guitar); Bruce Watkins (acoustic guitar, banjo); Greenwood Hart (acoustic guitar); Paul Franklin (steel guitar); Stuart Duncan (mandolin, fiddle); Andy Leftwich (fiddle); Gary Prim (piano, Hammond b-3 organ, Wurlitzer organ); Hargus "Pig" Robbins (piano, Wurlitzer organ); Eddie Bayers (drums); Ryles Vincent, Rhonda Vincent, John Wesley (background vocals).
Audio Mixer: John Kelton.
Liner Note Author: Judy Forde-Blair.
Recording information: The Castle, Franklin, TN; The Sound Station, Nashville, TN; Wedgewood Sound, Nashville, TN.
Photographers: Russ Harrington; Timothy Monnig.
Freight Train, Alan Jackson's 16th album, has none of the momentum of a locomotive but all of the reassuring sturdiness of a hulking piece of steel: this is music built for distance, not speed. Appropriately, not much on Freight Train moves all that fast -- there is a bit of a skipping gait to the title track -- and nothing hits that hard; it all rolls along comfortably, never pushing at the edges of Jackson's comfort zone. More than ever, the singer sounds like part of the old guard, willfully ignoring anything modern or rocking, preferring to sing swaying ballads and pay tribute to Vern Gosdin via a cover of "Till the End." As relaxed as this is, Jackson isn't necessarily coasting -- he wrote the lion's share of the 12 songs here, choosing his four covers wisely -- but his touch is so relaxed it sometimes it feels as if he is. Certainly, there's a fair share of charm to Jackson's cozy confidence, but Freight Train doesn't offer a sustained romantic mood along the lines of 2006's understated gem Like Red on a Rose. Instead, it's the sound of a major star gently easing away from the spotlight, deciding that he's so comfortable in his old clothes that there's no reason to try something new. ~ Stephen Thomas Erlewine
Entertainment Weekly (p.75) - "[T]he results float comfortably in the haze of Jackson's 20-year career."
Billboard - "Jackson combines genuine emotion with a clever twist on 'Tail Lights Blue.'"
Uncut (magazine) (p.91) - 3 stars out of 5 -- "He's uncontroversial and reliable, singing mostly about love, and loss."