High Mileage (CD - 1998)

Personnel includes: Alan Jackson (vocals); Steve Dorff (conductor); Tom Rutledge (acoustic guitar, mandolin, dobro); Bruce Watkins (acoustic guitar); J.T. Corenflos, Danny Groah, Brent Mason (electric guitar); Robbie Flint (guitar, steel guitar); Paul Franklin (steel guitar); Stuart Duncan (mandolin, fiddle); Bruce Dukov, Jenny Bellusci, Berj Garabedian (violin); Larry Franklin, Mark "Hoghead" McClurg (fiddle); Brian Dembow, Bob Becker, Keith Greene, Janet Lakatos (viola); Dennis Karmazyn, Bob Adcock, Vage Ayrikyan, Jodi Burnett (cello); Monty Parkey, Hargus "Pig" Robbins (piano, keyboards); Roger Wills, Glenn Worf, John Kelton (bass); Bruce Rutherford (drums, congas); Eddie Bayers (drums); John Wesley Ryles (background vocals).

Principally recorded at The Castle Recording Studios, Franklin, Tennessee; Ocean Way, Nashville, Tennessee; Compass Point Studio, Nassau, Bahamas.

This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.

Personnel: Tom Rutledge (acoustic guitar, dobro, mandolin); Bruce Watkins (acoustic guitar); Danny Groah, J.T. Corenflos, Brent Mason (electric guitar); Robbie Flint, Paul Franklin (steel guitar); Stuart Duncan (mandolin, fiddle); Gil Romero, Katia Popov, Alan Grunfeld, Pat Johnson , Rachel Purkin, Roman Volodarsky, Daniel Shindaryov, Bruce Dukov, Sheldon Sanov, Berj Garabedian (violin); Larry Franklin (fiddle); John Scanlon, Brian Dembow, Keith Greene, Janet Lakatos, Bob Becker , Harry Shirinian (viola); Paula Hochhalter, Dennis Karmazyn, Jodi Burnett, Bob Adcock, Vage Ayrikyan, Larry Corbett (cello); Monty Parkey (piano, keyboards); Hargus "Pig" Robbins (keyboards); Bruce Rutherford, Eddie Bayers (drums); John Wesley Ryles (background vocals).

Audio Mixer: John Kelton.

Recording information: Castle Recording Studios, Franklin, TN; Compass Point Studios, Nassau, Bahamas; Ocean Way Studios, Nashville, TN; Sound Stag.

Photographer: Pamela Springsteen.

Six albums and nearly a decade into his career, perhaps it could be said that Alan Jackson was beginning to rack up the miles in 1998 when he released High Mileage, but he surely doesn't sound ragged or rickety on this typically stellar affair. As always, one of the most impressive things about Jackson is that he never seems forced -- he always sounds relaxed and natural, especially on the lazy Western swing of the opener, "Right on the Money," which starts the album off on an appropriately unhurried note. This is a mood that Jackson sustains throughout High Mileage, which is by far the most relaxed album he's made to this point, with even the livelier numbers -- such as the skipping Bakersfield redux of "Another Good Reason," a particularly funny drinking song -- being a little bit subdued, carrying some of the mellow vibe of this ballad-heavy album. This may be long on slow tunes and laid-back melodies, but that doesn't make High Mileage dull. There's a certain level of introspection to the songs, a meditative quality, that gives the album depth, but the songs (half of which are originals) are strong and Jackson's delivery, as ever, is warm and compelling, making High Mileage a startling, rewarding departure from his previous records and proof of his depth as an artist. ~ Stephen Thomas Erlewine

Alan Jackson delivers what his fans expect here--well-written songs and outstanding vocals--plus a bit more. The main topic is love, but Jackson's treatment of the theme is far ranging. In the jaunty album opener, "She's Right On the Money," a smitten man has nothing but the highest praise for his girl: "She's a three point jump shot that's nothin' but net." "Gone Crazy," one of five Jackson-penned songs on the CD, paints a picture of a man losing his mind after a breakup.

The lovely "What A Day Yesterday Was" celebrates a longtime relationship, while "Dancin' All Around It" captures the nervous excitement of a new romance. The most startling track, though, is "I'll Go On Loving You," which resurrects that old country tradition: the recitation. Love or hate it, it'll make you sit up and take notice. For comic relief there's "Another Good Reason," the tale of a boozer terrified he's going to "end up like old Hank." "Little Man" is a true standout--another Jackson composition about the fate of the small businessman in today's America. It's a neat piece of social commentary, proving that when it comes to song ideas, Jackson still hasn't run out of gas. minimize