by Stephen Thomas Erlewine
When his popularity reached a plateau in the late '90s, Garth Brooks knew it was time to try something new, deciding to become somebody new: Chris Gaines, a brooding, leather-clad rock star. When Brooks' new persona and his album was revealed to the public, they were unforgiving - they didn't think that he was playing a role, they simply though he'd lost his mind. Granted, the story behind Chris Gaines - both the invented biography and the reasons why Brooks decided to become Gaines - is more interesting than the record itself. Instead encapsulating mainstream pop from the mid-'80s through the end of the '90s, thereby sounding like a true &greatest hits,& it's basically the state of adult pop at the close of the '90s. Essentially, the record is anchored in the acoustic balladry Babyface constructed for Eric Clapton's &Change the World,& with little touches of Mellencamp rock, lite Prince funk, and Beatlesque pop-craft. While the tunes might not have much flair, they're all sturdy, whether it's the silky ballad &Lost in You,& the self-conscious Beatles tribute &Maybe,& the folky &It Don't Matter to the Sun,& or the Wallflowers-styled &Unsigned Letter.& Judged as Brooks' first pop album, it's pretty good, and if it had been released that way, it likely would have been embraced by a wide audience. As it stands, it's an album more fascinating for what it is than for the music itself.