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Performer: Trace Adkins
Engineer: Chris Latham; Neal Cappellino; Richard Barrow
Producer: Frank Rogers; Frank Rogers
Distributor: EMI Music Distribution

Notes: Personnel: Bryan Sutton (guitar, acoustic guitar, National guitar, banjo); Pat Bergeson, B. James Lowry (acoustic guitar); Pat Buchanan (electric guitar, baritone guitar, harp); Kenny Greenberg, J.T. Corenflos (electric guitar, baritone guitar); Frank Rogers (electric guitar, banjo); Aubrey Haynie (electric guitar, mandolin, fiddle); Dann Huff (electric guitar); Michael "Mike Dee" Johnson, Michael Johnson (steel guitar, dobro); Paul Franklin (steel guitar); Ilya Toshinsky (banjo); John Catchings (cello); Love Sponge String Quartet (strings); Jim "Moose" Brown (piano, Clavinet, Hammond b-3 organ, keyboards); Gordon Mote (piano, Hammond b-3 organ); Mike Brignardello (bass instrument); Greg Morrow, Shannon Forrest (drums); Eric Darken (percussion); Sonya Isaacs, Wes Hightower, Ben Isaacs (background vocals). Audio Mixer: Justin Niebank. Recording information: Blackbird Studios, Nashville, TN; The Castle, Franklin, TN; The Ice Box, Brentwood, TN; The Sound Kitchen, Franklin, TN; United States Military Academy, West Point NY. Photographer: James Minchin. Arrangers: David Huntsinger; John Hobbs. Nashville star Trace Adkins returns with his 10th album in a dozen years, a no-nonsense collection of traditional-style country tunes with subtle rock and R&B influences. The gospel-tinged first single, "Muddy Water," and the old-fashioned country tearjerker "Sometimes A Man Takes A Drink" are particular highlights, as are the funky, R&B-flavored "Better Than I Thought I'd Be" and the sly "Marry For Money" and "Hillbilly Rich." Adkins adds to the patriotic tradition of country music with the heartfelt "Till The Last Shot's Fired," which also features the West Point Cadet Choir. Well into his second decade as a hitmaker, X shows Trace Adkins maintaining his signature sound without falling into the danger of retreads or self-imitation.

Billboard (p.42) - "Adkins has an innate ability to make a song his own, as is the case with the seemingly autobiographical 'Happy to Be Here'..."

Part of the second wave of neo-traditionalists, former oil rig worker Trace Adkins found a decent amount of success in the early during the late 1990s. Then troubles with the law and dwindling record sales forced Adkins from the spotlight. The occasional Top 10 country charter kept Adkins on Nashville's radar, but it was 2005's single "Honky Tonk Badonkadonk" and its subsequent video that relaunched Adkins and positioned him closer to the "hick-hop" movement exemplified by the likes of Big & Rich and Kid Rock than to popular Nashville hat acts.

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