Who is Trace Adkins

After a decade of recording, the no-nonsense, deep-voiced Adkins has blossomed recently with riproaring, crowd-pleasing fare like "Honky Tonk Badonkadonk." Similar material turns up this time in the form of "Swing" (will it be Major League Baseball's answer to Hank Williams Jr.'s "All My Rowdy Friends Are Comin' Over Tonight"?) and the sing-along anthems "Ladies Love Country Boys" and "Fightin' Words." Beyond that, Adkins's honest, emotive blue-collar substance emerges on the thoughtful small-town chronicle "I Came Here to Live" and the sensual, contrite "Words Get in the Way." He similarly excels with "Ride," a hard-edged trucker tune; the anti-drug cautionary "High"; and "The Stubborn One," a poignant tale of the lifelong bond between a young man and his dying grandfather. In this day and age, it's a no-brainer that Adkins has to give the masses (and radio) the kinds of anthems they want. But unlike some artists, capable of doing that and not much more, his ability to project honesty, heart, and empathy is undeniable. --Rich Kienzle

It's no surprise that the best cuts on Songs About Me are produced by Scott Hendricks, the man who gave Trace Adkins his major-label deal and best understands the psyche of a 6-foot-6 Louisianan with a past full of close calls, high emotions, and deep soul searching (getting shot and nearly dying, later going to rehab). Adkins, with his tender-tough, bottom-of-the-riverbed baritone, sings country music because he's lived its eventful story songs. That's something he celebrates in the title song, which deftly lays out the reasons for the genre's popularity, even to folks who wouldn't ordinarily gravitate to the twangy side of the radio dial. Perhaps anyone could make that song a hit, but it takes a singer of far more subtlety to deliver the incredibly well-written (by Jeremy Spillman and Dave Turnbull) "Arlington," a uniquely different type of war song. Elsewhere, Adkins runs the gamut of themes, from the heartfelt ballad "I Learned How to Love from You" to the randy "Baby I'm Home" to the high-octane "Honky Tonk Badonkadonk" (produced by Dann Huff). If some of it seems like awfully familiar territory, Adkins elevates it to the art of blue-collar soul. --Alanna Nash

This is a small selection of Trace's videos, very good indeed, but I expected more, something like "greatest hits on video". For the price paid it's OK though...
Trace got a great voice and trully reflects the song lyrics through his voice. -- Christian Szita (Santiago, Chile)

For Comin' on Strong, Adkins rejoins producer Scott Hendricks, who discovered the rangy Louisiana native in the '90s, signed him to a recording contract, and helmed his initial hits. On Chrome, Adkins's previous release, producer Dan Huff had taken him the predictable pop route--and scored a top five album--but apart from his perfect fit with blue-collar themes, Adkins never sounded completely at home with the album's gussied-up backgrounds. Now Hendricks brings him back to a rootsier sound and makes the most of his distinctive, deep-sea baritone, the likes of which country hasn't heard since Ed Bruce's early-'80s hits. "Missing You," which captures the loneliness of a oil driller far from home, is one of several tunes that show a new maturity and believability in the singer's material, just as "I'd Sure Hate to Break Down Here" and "One Nightstand" again prove Adkins's ability to convey vulnerability in an ultra-masculine fashion. Yet none of those tracks are likely to receive as much attention as "Hot Mama," a tune of middle-aged lust that's sure to keep Adkins popular with both polyester-clad Wal-Mart shoppers and jaded radio programmers, the real gatekeepers of any country singer's career. --Alanna Nash

Import-only 2006 compilation album from the Country superstar. Features 14 tracks including four (!!!!) versions of the international smash hit single 'Honky Tonk Badonkadonk': Single Edit, '70's Groove Mix, Country Club Mix and Eurofunk Mix. Other tracks include 'I'm Tryin'', 'Hot Mama', 'Every Light In The House' and more. Capitol.

I like the variety of music on this video, from Rough and Ready to Lonely Won't Leave Me Alone. Trace's rich deep voice and tall frame make him easy on the ears and eyes! I just wish he'd dance a little more -- on video and in concert! -- L. Schmucker "ToOzToto" (North Canton, OH United States)

Graced with one of 2001's most distinct voices, Adkins begins by sinking his leathery growl into the title number--a rap track, but one possessing enough wit to avoid falling into gimmickry. From there, the curve is upward. The hit "I'm Tryin'," a simple inspirational message wrapped in a complex arrangement, possesses strength and integrity too rarely seen in hit singles. Adkins's real-life blue-collar past imbues "Thankful Man" with a believability missing when such songs wind up in the hands of singers from middle-class college backgrounds. While keeping the otherwise mundane "Scream" and "Once a Fool Ago" above water, he rises above the norm with "I'm Goin' Back." This take on the timeless country-boy-hates-the-big-city scenario succeeds on every level, even if the word "discern" seems a bit out of place. The excruciating anguish of "Help Me Understand" and the self-explanatory "Love Me Like There's No Tomorrow" exemplify power ballads done right. The message? One can make a record that reconciles the normally disparate virtues of commerciality and honesty. --Rich Kienzle

After many years on the Gulf Coast and then the Nashville dance-hall circuit, Trace Adkins finally released his debut album, Dreamin' Out Loud, in 1996. Not only did he score three No. 1 hits, but critics responded warmly to his gorgeous baritone, his tasteful sense of understatement, and his neo-honky-tonk instincts. Adkins, though, is not much of a songwriter--he cowrote two songs on his debut and two more on his followup, Big Time. As a result, he's only as good as the songs he sings, and the 10 new tunes on the new album are a pretty lackluster bunch. The title track is one verbal and music cliché after another ("A sip of champagne by candlelight ... let 'em dance until the cows come home" he sings over a generic Brooks & Dunn ripoff), and it sets the tone for the whole project. "See Jane Run" is meant to parody the naivet´ of first-grade readers but merely reproduces it. "Nothin' But Taillights" has the misfortune of appearing in the wake of the much better, similarly-named title track on the new Clint Black album. Adkins can still be an appealing singer when he gets the right material, as he proves on a haunting, unplugged version of the old hymn, "Wayfaring Stranger." --Geoffrey Himes

Trace Adkins is deservedly one of country's brightest young stars of the late 1990s, a new-school traditionalist with a strong voice that prowls the octaves, and songs that empathize with country's working-man roots. Most importantly, though, he has an excellent sense of humor--Adkins's songs delight in clever wordplay, double entendres, and smart, funny lines that might make even non-country fans smile. The highlight here is the country hit "I Left Something Turned on at Home," which as you might suspect, isn't the iron, but rather his wife. Elsewhere he hits all the traditional themes: tough guys falling in love, cheatin' spouses, and odes to Texas. --David Daley

While the term sound-alike easily applies to quite a few singers, Trace Adkins's husky, thoroughly honest baritone is among country's most distinctive and compelling voices. The opening title song of More... sets an optimistic tone that continues with "I'm Gonna Love You Anyway" and "Can I Want Your Love." Contrasting with the jocular Western swing of "All Hat, No Cattle," which pairs Adkins with Ray Benson and Asleep at the Wheel, is the eloquent, authoritative blue-collar homage "Working Man's Wage," free of the posturing that often undermines similar songs. True, George Jones could work wonders with "The Night He Can't Remember," yet Adkins, a cowriter, more than does it justice. Not that he sidesteps sorrow. The bittersweet "She's Still There" and the painful "Don't Lie" face it head-on. "Every Other Friday at Five" takes an uplifting look at the responsible side of divorced fatherhood. Adkins's ability to navigate the decidedly dicey waters of Nashville while maintaining a rock-ribbed traditional perspective reflects talent for the long haul. --Rich Kienzle