经过了上一张专辑所取得的巨大成功之后，Brad Paisley的这张专辑被歌迷寄予厚望，并且在发行首周取得了19万3千张的高销量名列排行榜的亚军，创下了其个人生涯中的最高首周排名纪录，远远超过了他上一张专辑《Mud On The Tires》首周8万6千张销量的第八名成绩，并成为他个人生涯中的第二张乡村专辑榜冠军专辑。 为了这张突破性成功之后的高期待专辑的制作，Brad Paisley在录制中投入颇大，请来了乡村音乐大腕Alan Jackson助阵，合录了单曲《Out In The Parkin' Lot》，还与Dolly Parton录制了《When I Get Where I'm Going》，以及与年近七旬的老牌乡村歌手James Burton和the Kung Pao Buckaroos录制了专辑的收尾单曲《Cornography》。 这张专辑也没有辜负对Brad Paisley的期待，Brad Paisley深情的演唱，配以他英俊的外形，在70一代的美国乡村歌手中毫无疑问的成为了最富有吸引力的歌手之一。在这张专辑中，当Brad Paisley把他的温柔的演唱，辅以或轻微或有活力的吉他或其他乡村乐器伴奏是，可以清晰的沉浸其中，他所营造的环境，以及音乐的魅力已经让他足以在当今浪漫主义演唱的美国优秀乡村歌手中占据一席之地。如果说这张专辑中的不足的话，就是他并没有那一首歌能够给人留下特别深刻的印象，或许是因为其中的单曲的实力都很平均。这张制作相当精良的专辑可以说能够将Brad Paisley前作积累下的声望继续保持下去，一张奠定Brad Paisley在乡村歌坛一流歌手地位的作品。 by Stephen Thomas Erlewine As anybody who follows country music knows, Brad Paisley is acknowledged among audiences and critics alike as the new traditionalist standard-bearer for the 2000s -- the new guy that not only keeps the fire burning, but also rakes in the cash, having number one hits along with good reviews. He's not big and brassy like Toby Keith; he's the heir to George Strait, Randy Travis, and Alan Jackson, the guy who hails back to George Jones, Merle Haggard, and Buck Owens but is savvy enough not to play to overly serious Americana fans, the listeners who like their country music somber. That's not Paisley -- he may take his music seriously and will sing a serious ballad or two, but he also likes to crack wise and have a little fun. Although that's certainly preferable to colorless alt-country singers, Paisley has been known to overdose on fun, favoring a cute turn of phrase or a knowing wink to his audience. Of course, humor has always played a big part in country -- George Jones, one of Paisley's heroes, made novelties his stock-in-trade -- but there was a terminal cutesiness that threatened to overwhelm his otherwise excellent third album, Mud on the Tires. Thankfully, Paisley has reigned in this trait on its superb follow-up, 2005's Time Well Wasted. Paisley hasn't suddenly become a humorless bore -- how could he be when he persists on reviving the Grand Ole Opry's old-fashioned cornpone radio plays, heard here on "Cornology," which, like "Spaghetti Western Swing" before it, features George Jones, Little Jimmy Dickens, and Bill Anderson and adds Dolly Parton for good measure (which naturally results in some silly boob jokes: "he turned around to see two huge 38s pointed right into his face"). The difference is, Paisley no longer leans hard on either his silly or sentimental streak, preferring to lay back and let everything flow naturally. That gives his already attractive music a greater appeal, since his humor is now sly and lived-in, a perfect match for his faithful but not dogmatic country. As should be expected by any deliberately traditionalist musician, there are no surprises, no left turns here -- Paisley remains indebted not only to George, Merle, and Buck, but to how George Strait fused this holy trinity into a fresh yet familiar sound that encompassed the best of Bakersfield, Texas, and Nashville. Change can be overrated, particularly in regard to traditionalist music, and Paisley benefits from mining the same musical vein each time around. He's turned into a genuine craftsman, both as a songwriter and musician, and now with four albums to his credit, he's hitting his stride. His band sounds looser, warmer than it did on Mud on the Tires -- and they're given another dazzling showcase for their prowess on the frenzied "Time Warp," which is as delirious as prime Speedy West & Jimmy Bryant -- and Paisley's singing is relaxed and assured. These are welcome subtle improvements, but what makes Time Well Wasted Paisley's best record yet is the writing. Song for song, this is his best set of tunes, whether it's one of his ten originals or the sharply selected professionally written numbers that round out the album (these are highlighted by the sentimental but not saccharine ballad "Waitin' on a Woman" and a duet with Alan Jackson on Guy Clark's "Out in the Parkin' Lot"). Although Paisley hasn't abandoned goofy humor -- indeed, "I'll Take You Back" has mock crying built into its chorus, and a pivotal line in "Alcohol" concerns how it makes "white people dance" -- this tendency is balanced by wittier jokes and his knack for keenly observed human nature, best heard in the savvy "Alcohol," but not isolated to that, either. It's not just that the words are stronger, but the music is weathered and sturdy, sounding familiar on the first spin and getting stronger with each play. Each of Paisley's prior albums gained stature with repetition, but Time Well Wasted is not only richer than his first three records, it's more gripping upon its first play. Paradoxically, it demands attention partially because Paisley isn't trying too hard to deliver a classic, nor is he working overtime to please his fans. Instead, he lays back and delivers his songs with the ease of an old pro, which means for the first time, he's made a record that can hold its own next to his idols.