insomniac1587's Full Review: Tough All Over by Gary Allan
I’ve heard that pain breeds hope. In times when it’s almost too much to bear and you cannot see making it through something, focusing on something that allows for outlet of emotions can bring about a peace of mind not otherwise available. Never has this been more apparent, at least in new millennia country music, than with Gary Allan.
An artist I was somewhat familiar with in his earlier work (previous hit Songs About Rain was basically a national anthem in my high school at its peak), Allan’s 2005 effort was born out of tragedy and loss. His wife of some time committed suicide, sending Allan spiraling into a serious depression. Many didn’t think that he would be able to come back as quickly as he did; however, he managed to turn his loss into a true moment, as this record produced two successful radio singles and eventually went gold.
From the first notes of the opener Tough All Over, I could tell that something was very different with Gary. Amid rock-ish guitars, storming fiddle and chugging drums (remember, this man’s biggest singles have been, for the most part, ballads and midtempos), he gives a superb vocal. Raspy, expressive and emotional, his growl makes for an impressive introduction. His cover of Best I Ever Had (also the first single) didn’t really resonate with me until I heard the background behind where Allan had been since his last hit. A cover of that Vertical Horizon song, it’s a very emotionally draining composition, Allan breaking your heart over a very pensive, mournful meshing of fiddle, acoustics and steel guitar. He does remain hopeful on the song, which saves it from crossing into the depressing category.
I Just Got Back From Hell is a weary glimpse into Allan’s psyche, which is truly fascinating material. It reads almost as a letter to his wife, painfully poetic and intensely personal. Again, he puts forth a stunning performance over the slightly affected production, managing to make the song more emotionally wrenching. Ring brings a little more optimism, more of an uptempo with very steady acoustics. Though you wouldn’t think a song written to a ring would be that captivating, Allan proves you wrong, making this creatively written gem a major winner.
Another “concept” song, Promise Broken is very thoughtful and quite understated. Culminating in a juiced up hook and a powerful climax, it shows how good country music can be; when Allan hits some of these notes, you feel yourself transported back to where the song was born, almost. It’s one of those songs where you have to hear it for yourself, because there’s no way anyone could describe it and give it justice. Nickajack Cave (Johnny Cash Redemption) may open with a slightly pointless spoken intro but manages to give Allan even more edge, as this song is probably the darkest, most out of character on the record. However, it ends up sounding very much in its element, an ominous narrative whose details are as uncomfortable as you would expect. It’s realistic, generously rootsy and just flat out cool.
Second (and last) single Life Ain’t Always Beautiful makes for a gorgeous piano ballad. A cautionary, harrowing advisory song (with a silver lining), this is one of the songs that is most focused on Allan and his performance, almost exclusively. As he defiantly spouts lyrics about becoming stronger and how life’s actually not so bad, his voice becomes quite husky albeit more clear. It’s a very complex, earnest performance. Kudos. My personal favorite song present is the raucous He Can’t Quit Her, a tale of a doomed bar patron and the dangerous woman that he encounters who will change his life forever. Swaggering and deliciously intense (yet still quite catchy), it explodes on the thunderous hook while the raw verses are solid. Allan, who sounds like a less-mannered Rob Thomas on here, makes the song what it is, quite amazing.
What Kind of Fool lays back in the cut a little more, so to speak. It’s not as forthright of a listen but is exceptional nonetheless. With pitter-patter guitar, lacey fiddle and lush production, it’s a proper showcase for Allan, one of the strongest male voices out right now. Puttin’ Memories Away recalls a lot of traditional country, only acoustics and fiddle to accompany Allan. It’s a very refreshing listen, as our hero details stripping his house of anything that reminds him of his beloved. Everyone who has lost a loved one can identify with the core of the song, though he does a wonderful job of adding personal touches.
No Damn Good isn’t as powerful or affecting, but it’s kind of cheeky and self-deprecating; safe to say, it’s the most mainstream track that resides on here. Puttin’ My Misery on Display recalls older arena rock (its intro put me in mind of Aerosmith) with a brilliant country twist, an autobiographical narrative of why he’s in this business and what it means to him. It’s strikingly honest and well-written, putting no walls between himself and the listener. A perfect way to end things, I have to say.
Even without the story behind these songs, this still happens to be the best country record that I own. Yes, it’s that good. This is the album that made me a true Gary Allan fan, as it showcases his obvious vocal talent (he’s my favorite male vocalist in country music because of the grit and edge his voice has) like no other type of record could have. I recommend this to everyone; country fans need this for their record collection to be complete, rock fans need it for the rough guitars and power ballads, pop fans need it for the hookiness and confessional lyrics, etc. Pain not only breeds hope, it breeds brilliance. Just ask Gary Allan.
Great Music To Play While: not being able to voice your love for this record enough
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