Keith Urban - Love, Pain & the Whole Crazy Thing (CD)

All Music Guide

Love, Pain the Whole Crazy Thing is being released on November 7, 2006, just after country singer and songwriter Keith Urban entered of his own accord into treatment for alcoholism. With Urban having married actress and fellow Australian Nicole Kidman just months before, the timing couldn't be better. After all, Urban is trying to get well at the very peak of his life thus far personally and professionally. Be Here, his last album, is, at the time of this writing, at nearly the fourmillion mark in sales. As fine as that disc is, this one is another giant leap for Urban as an artist. Love, Pain the Whole Crazy Thing is slicker than anything Urban has issued before, but that's because it's more ambitious as well. Urban is a rocking guitarist, a complete wildman on the electric sixstring, and he can combine his tough, unhinged approach to playing guitar with pop songwriting and utterly brilliant production elements that layer strings, drum loops, fiddles, banjos, EBows, and Hammond ...B3s. Add a songwriting style that touches on the classic elements of rock, country, and mainstream pop, and you have something that hasn't been heard in the country genre in this way before. That's right the album is further proof of his ability to stretch the genre to the breaking point by bringing in more of modern pop's elements while remaining firmly within it. This albums feels, song by song, as if there isn't anything he can't do. Coproducing with Dan Huff, Urban wrote or cowrote ten of the album's 13 cuts there's a hidden track buried in the CDR portion of the disc. The production is thoroughly modern, but feels like the country equivalent of George Martin. It's positively baroque in places, and there is so much packed in that it almost, ALMOST feels claustrophobic, but he makes it work beautifully. No record since Neil Diamond's brilliant Beautiful Noise produced by the Band's Robbie Robertson has sounded so regal and inviting. The album's first single, "Once in a Lifetime," opens the set; it entered the Billboard chart at number 17, the highest debuting single since the chart's inception. But the shock is simply that it's not the best track on the record. Urban has packed this disc with fine writing and excellent, even defining versions of the songs he chose to cover. There are a number of rockers, including "Faster Car," with its smoking, funky bassline and layered power chords on guitars and his "ganjo" that ring above the horn section, and "I Told You So," which uses acoustic guitars, fiddles, and the ganjo to usher in some twisting, minorkey electrics. Both songs are based on tight little hooks; both songs build to the breaking point and allow Urban's voice to soar above the instruments. On the latter tune, Uilleann pipes and bouzouki are layered into the mix in a melody that brings to bear Celtic cowboy lyric frames and tribal rhythms that just explode near the end when Urban cuts loose in a serious, distortionladen guitar wrangle. Read more Less