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Alan Jackson - Good Time
| Allmusic | | Alan Jackson has never been away, so why does 2008's Good Time feel like a comeback album? Because this, his 14th album, is a return to straight-ahead modern country after several years of detours, including a late-night saloon album produced by Alison Krauss (Like Red on a Rose) and an austere collection of spirituals (Precious Memories). Even his last full-fledged country album, 2004's What I Do, felt a little understated and modest, adjectives that can't quite be applied to Good Time, even if it bears Jackson's unmistakable mark of casual authority. That casualness can disguise his ambitions, especially on an album as shining and snappy as this....full text |
| | Rollingstone | | Country superstars don't come any more reliable than Alan Jackson. Closing in on two dec-ades on the job, he still hasn't broken his string of strong singer-songwriter records, without ever wandering anywhere near the mainstream-pop spotlight. On Good Time, he doesn't push himself hard, sticking to the familiar themes of "Small Town Southern Man," "Country Boy" and "Laid Back 'N Low Key." When he gets hold of a honky-tonk ditty like "Good Time," he lets it roll on past the five-minute mark just to prove he can. Sometimes he goes overboard, as in "I Still Like Bologna," where he gets sentimental over cold cuts on white bread as a refuge from the world of laptops and cell phones....full text |
| | Slantmagazine | | return to traditional mainstream country after 2006's Like Red on a Rose alienated fully two-thirds of Alan Jackson's fanbase (who bristled at the idea that he'd recorded an album of sophisticated pop-leaning country, even if that album challenged criticisms that he's every bit as one-note as his contemporaries and illustrated that "pop-country" itself doesn't have to be an artistic dead-end), Good Time plays like a protracted mea culpa and engages in the kind of open demo-baiting to which Jackson has very rarely stooped over the course of his nearly two-decade career....full text |
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