Review Summary: An attempt at modernization that succeeds, managing to emulate the current trend without actually jumping on the bandwagon.
I must be blunt, ladies and gentlemen. Country music is a shell of it's former self. Repetitive narratives about Ford F-150s, bikinis and beer, monotonous instrumentation, or lack thereof, and an all-out effort by the Luke Bryans and the Florida-Georgia Lines of the world to completely hijack the sensibility of mainstream radio. Of the few solid country acts still standing, is Ohio based trio Rascal Flatts, a Grammy-winning group that pulled themselves up from the depths of scrutiny in their early days, boy-band comparisons, and countless hurdles of personal and financial adversity that made the group's individual and collective aspirations seem unreachable. Rascal Flatts used this as fuel for sold-out shows, number-one hits, platinum-selling records, and a devoted fan base. The group has bucket-listed and achieved accolades only a select slew of artists can ever hope to achieve. Though, with the 2010s decade now half over, their popularity has dwindled in favor of the "bro country" movement. An attempt to keep up and retain their throne as the top dog among country groups, 2014's "Rewind" sees the group attempt to modernize their sound. And on this, their ninth studio album and third full-length outing with Big Machine Records, they succeed.
The album does, however, open with what appears to be one of the weaker attempts to capture the modernized tone, and that comes in the form of opening track "Payback." "Payback sees lead singer Gary LeVox do a lot more sneering than the usual soaring vocals he is known for. Fans of the group will be treated to some solid riffs from guitarist Joe Don Rooney, with audible bass from Jay DeMarcus to boot. The lyrical content is nothing to write home about, but rest assured, listeners, you're about to see Rascal Flatts knock it right out of the park from here on out, succeeding in bridging the gap between their familiar sound, and the sensibility they're trying to emulate.
Lead-off single "Rewind" plays like a Flatts special, perfectly catering to everything the group has done so well over the years. LeVox lets his real voice shine, delivering one of his strongest performances on the album, and the group's collective harmonies are again present, as they have been for 15 years and counting. The next slew of tracks also succeed in this facet, with even the more typical and familiar narratives feeling fresher than ever. "I Have Never Been to Memphis" sees the group's harmonies reign supreme once again, but it's the narrative that stands out. While the concept of the song is very specific, and uses Memphis as the specific location LeVox talks about, the song embodies the idea that a man will follow his lover anywhere just to be with her. Even this kind of lyrical presentation can feel all too familiar, but Rascal Flatts makes it feel brand new here.
"DJ Tonight" reminds the listener that Rascal Flatts can also churn out up-tempo feel good country rockers that are likely to become fan favorites at their live shows. Admittedly, the group enters this track looking to pull off some swagger, if you will, but at least their efforts are genuine and innocent, unlike those in the "bro country" movement, where feel good songs about tricking trucks and girls has become a thing of commonplace. Whereas the Luke Bryans and Thomas Rhetts of the genre know nothing outside of these monotonous themes, at least Rascal Flatts can churn out tracks that delve into themes far beyond that.
What can be said about "DJ Tonight" can also be said to an extent about "Powerful Stuff." Fans of the group will swoon to Rooney's riffs, and LeVox manages to hit the track with more grace and precision than the sneering and even somewhat arrogant tone of "Payback." "Riot" is another track that reminds the listener what makes Rascal Flatts professionals in the task of creating mid-tempo, but very high-flown ballads. Like "Rewind", the song showcases the group's strongest qualities, and will have listeners harkening back to pretty much every ballad in the group's previous discography.
"I Like the Sound of That" also succeeds where "Payback" failed, managing to conjure up the modernized approach, without totally latching onto it. The lyrics might not turn some heads or garner any CMA Song of the Year nods, especially considering pop star Meghan Trainor co-penned the track, but no one is really going to care. The group performs the song well, and the song isn't just a feel good Saturday night special. It's rather infectious, and arguably the best song on this record. "Night of Our Lives" and "I'm on Fire" also embody the aforementioned infectious tone, and are also likely to become favorites among the devoted fans who still flock to Rascal Flatts' live shows, even as their popularity undeservedly diminishes. "Atermath" marks a return of the soaring ballads that fans can expect, though the group once again, makes a stone-age old theme appear brand new.
The album closes with "The Mechanic." Similar to "I Have Never Been to Memphis", the song runs like a well-oiled machine narratively speaking. LeVox hits the listener with an onslaught of analogies that will have you and your significant other reeling for more ("I'm a sinner, you're a King James./When I'm lost, you're the map's missing page./When I'm shaking, you're steady like stone./You fix me.") This rather creative lyrical tone is the perfect cherry on top of this proverbial cake, and with that, "Rewind" draws to a close.
Rascal Flatts came into this record looking to reinvent themselves and make music they themselves wanted to make, having produced or co-produced the entirety of the album themselves. The album may not have all of the staying power of previous hits like "Bless the Broken Road" and "What Hurts the Most", but I feel as though "Rewind" will be remembered as one of the group's best outings, a 13-track full-length that reminds the leaders of the bro country devolution, that Rascal Flatts will remain a fixture on country radio, and deservedly so. By far, one of the best country records to hit store shelves in a long time.
