THE STORM [TRAVIS TRITT]

For old-time purists, the value of "new country" is a matter of some debate. That's putting it mildly. The arena-ready mix of crisply produced guitars, big drums and finely cultivated twang is, for some, a grand old time that's taken the right lessons from pop -- and has put country on the big stages it deserves. For others, though, it's the exact opposite of what Hank Williams was driving at (whether Hank woulda "done it this way" is, everyone can agree, the real benchmark.) Complicating this whole brouhaha is a fellow like Travis Tritt. A key figure in the new country/neo-traditional movement of the past 20 years, the Tennessee native nonetheless has risen above all the partisan bickering. Staying grounded in roadhouse honky-tonk but cleaning up nice, Tritt's appeased folks in both camps.

His role as defiant but approachable man apart is only affirmed on sturdy new album The Storm. Produced by Randy Jackson (of American Idol fame), it's a ripping mix of down-home twang, spirited blues and fierce rock and roll. Indeed, on the title track they're all crammed together. "The Storm" is a microcosm of the album as a whole: a whirling dervish of searing blues-rock riffs, juke-joint piano and wheeling Hammond B-3 organ. Between the genre bending and the sheer homestyle energy of the thing, the sound embodies the wild mess Tritt's hollerin' about: "Cause when it feels like you've been caught up/ In a dark, angry wind/ That blew in on the day you were born.../ It's time to run away from the storm." "Rub Off On Me" is another winning honk-rock barnstormer. Darting between a flaming guitar hook, careening harmonica and gospel bridge, the track turns soulful while staying country.

The other big story of The Storm is Tritt's selection of covers and collaborators. Both first track "You Never Take Me Dancing" and third cut "Doesn't The Good Outweigh The Bad" were penned by or with Richard Marx, who's better known for his shiny soft-rock ballads than his work in the country canon. And the sing-songy tracks do betray their pop origins, though with the exception of some overproduction on the first, they don't suffer for it.

More intriguing still is a cover of Nickelback's "Should've Listened," which for those inclined against new country may be a sign of apocalypse. They should at least give it a listen. Tritt's ability to own the aggro chords of "modern rock" within a country setting is an impressive feat, and the song fits well with his growl.

But given Tritt's betwixt-and-between spot in country music, the most interesting cut has to be a take on Hank Jr.'s "The Pressure Is On." (Speaking of debatable country stars...) In Tritt's steady hands the tune is a smoldering anthem; the B-3 whirrs wildly while strong guitars soldier on, and Tritt's husky voice seems to feel every ounce of said pressure and withstand it just the same. Now there's a country guy.

By Jake Blaine