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6 of 6 people found the following review helpful:
5.0 out of 5 stars
This Album Is Perfectly Named (III), October 17, 2003
At the point in which Garth released this album, his career was so large, that Garth had become an icon-more of an idea than a real person-in which people invested their beliefs, and indeed their wallets, with unwavering support. Garth was selling out arena size concert venues in record times (as when he was in Cleveland, selling out 5 shows in 18 minutes). So it was no suprise that "In Pieces" would meet with the success that it did.This album, perfectly named for its disjointed collection of songs, written in styles ranging from driving rock to almost folk/country, was a reflection of the many directions Garth's professional and private life was going. By this point, he was a television star, with several live performances and cameo television appearances on such shows as Empty Nest and SNL. He was reaching ever larger audiences, performing at Superbowls and much more. "In Pieces" was also a stronger effort to provide an audience with music they could come to expect from Garth. Stylistically, he had become known for taking country and making it very mainstream by giving it an edgier feel that was reminiscent of his own exposure to such bands as KISS and QUEEN. This album, whether a carefully calculated product of commercial merchandising, or a genuine effort to really push the limits of country music, succeeded in doing that. The opening track, "Standing Outside the Fire" is an upbeat reworking of the themes found in "The River" (on "Ropin' the Wind). The song is up-tempo, that feels more like rock and roll than country. The album continues in the same vein with "The Night I Called the Old Man Out", a song that some might correlate with child abuse, while others might view it as a coming-of-age piece in which a father confronts his son when the son stands against him for something he believes in. Rounding out the first third of the album is "The American Honky-Tonk Bar Association", a piece that is vaguely reminiscent of "Friends In Low Places" (on "No Fences"). A good song, but not as good as earlier efforts to write about acceptance in your local bar after confronting the challenges of daily life. This album does contain some beautiful ballads, which Garth executes beautifully. On this album, it could be said that the ballads are the bigger strength, and although none of them went on to become huge hits for him, they remain pure to the Garth Brooks that we saw most vividly in his earliest albums. "The Red Strokes" is a power-ballad, almost in the stylings of Elton John or Billy Joel. "One Night A Day", a song about a man who has lost his lover, is still more rock than country, but beautiful nonetheless. But it is "The Cowboy Song" that rises above the rest, and gives us a glimpse at the Garth we all came to love. It is a wonderfully conceived piece, reminiscent of his early years, about a cowboy "pushin 'horns'", living the rough life of ranching steer and surviving the western frontier, and at the same time, embracing the simple, rugged beauty of that life. As Garth fans know, his final song on each album is the one that holds most personal meaning to him, and so it is no suprise to find that this icon would be drawn to a song that would remind him of his roots. In total, the album went on to produce a total of four No.1 hits, including the line dance favorite "Callin Baton Rouge" a cross between rock, country and bluegrass-banjo picking and all. The album, still an inferior addition to such records as "Ropin the Wind", "No Fences", and "Garth Brooks", is still a great album, even if reflects Garths obvious strength in marketing rather than his inane talent for songwriting. A solid effort and worth the time and money.
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