“I’m Paying It For It Now” is another mid-tempo, but with fiddles and a prominent steel guitar built around a fairly weak hook and plotline.
#Chrome trace adkins full
The hackneyed subject matter is elevated by verses full of the narrator’s broken thoughts and a tinkling piano track throughout. Trace plays the part of a man full of “I’m sorry’s” trying to put back together a broken relationship. Sanders, is a mid-tempo delight in the neo-traditional mold. “Come Home”, written by Ed Hill, Bob DiPiero and Mark D. Some songs break through the shuffle, buoyed by the songwriting or the singer’s commanding performance. It’s interesting that two producers independently helmed these tracks since nearly all of them fall into the same medium tempo pace and nearly every one outside the singles have an interchangeable melody. The Chevelle-driving girl whose “favorite color is chrome”, and who will appear repeatedly in future Adkins singles, makes her first one-dimensional appearance here, and provided the singer with another top 10 radio hit. The title track impacted radio as the third and final single, and just 10 seconds in, when the electric guitar begins to moan softly and Adkins’ throaty scatting begins, it becomes apparent this is a song with more groove than goods.
Akin to Tanya Tucker’s gorgeous ballad “(Without You) What Do I With Me”, it clearly captures the hurt, but also the confusion, that comes with the abrupt end of a relationship, and was the only one of the album’s three singles not to reach the top 10, stalling out at #17. “Help Me Understand” is one of Adkins’ best releases in his career, even if it is marred a bit by Huff’s heavy-handed production. Adkins authoritative voice finds its way through the production and effectively delivers Anthony Smith and Jeffrey Steele’s well-written lyric. Lead single “I’m Tryin'”, a first-person account of a man with many problems, a demanding job and more demanding ex-wife not the least of them, is recounted to a soaring 70s rock production, complete with Guitar Hero-worthy licks and layers of percussion. This time out the singles would fare much better than those from his previous album with 2 top 10 hits here and another top 20, and the album would also add to his collection of precious metal with a gold-sales certification. Trace enlisted the production of Dan Huff and Trey Bruce to separately produce the album’s tracks, and all the single releases come from Huff’s half. To his credit, Adkins had seen little chart success following the neo-traditional format, and while Chrome features flashes of the singer’s past sounds, it is mostly a stepping stone to later testosterone-filled ditties. Trace Adkins’ first album of the new millennium, released October 2001, was the first to showcase his pivot from ’90s crooner to the eventual second stage of a career now filled with forgettable anthemic singles.
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