Lonestar's last album, LET'S BE US AGAIN, was a charged pop-country effort that left little to the imagination, fueled mainly by vocalist Richie McDonald's incredible singing. COMING HOME finds the band broadening out; they're still the pop-country group that contemporary radio listeners know them as (their first-two albums all but forgotten), but this time the songs are well-crafed, well-performed, and mostly un-cliched.

Okay, I'll get the 3 duds out of the way first: "I'll Die Tryin'" is another powerhouse ballad in the vein of "Amazed;" if that's your cup of tea, go for it; otherwise, it's pretty typical fare. The lyrics in "Wild" play out so true to form that you can sing along even if you've never heard the tune before; and "I Just Want To Love You," while better than the two afore-mentioned duds, still lacks any true resemblence of heart and passion.

Now for the rest of the album. The opener and first single, "You're Like Comin' Home," is a picturesque romp that you just can't help but listen to and sing along. "I Am a Man" is not as cliched as one would think, and is one of McDonald's best performances on the album; "Two Bottles of Beer," "Noise," and "What's Wrong With That" are some good-time fun songs that are truly enjoyable. And Sara Evans's harmonies on "I Never Needed You" make the song even better than it would've been originally. The album ends with the quirky, country stomper "When I Go Home Again."

There ya go. Overall, COMING HOME is one of Lonestar's best efforts; certainly, their best since LONELY GRILL. But that's only for those of you who go back that far. For the newer fans, just know that this is one of the best releases of 2005, and that these four guys have the talent and experience to make some great (modern) country music.

I'll admit that I didn't expect to like this release nearly as much as I do. I assumed that it would be catchy-yet-indistinct middle-of-the-road country-inflected pop. And though it is catchy, and it does drive a bit towards the centerline, there's a tremendous amount of heart and craft, with vocals that are a lot more country than pop. The band's new producer, Justin Niebank, streamlined their sound, allowing the electric guitars to soar, but reducing the overall instrumental footprint (particularly the drums) in a way that keeps from obliterating the vocals.

There's no mistaking that this came from Nashville, but not the sort of factory product one would expect from such high-flying hitmakers. The opener rings with twin acoustic guitars and moving vocal harmonies that sound a bit like The Delevantes, underlining the album's thesis statement: home is where the heart is. The songs lack the sort of drama, strife and hard-times one normally associates with country music, opting instead to essay the comforts of family, friends, work and living in a close-knit community. The few minor traumas - the singer's wandering eye and late poker night in "Doghouse" - are more "aw, shucks" than "oh, no!"

Introspective songs and societal observations like "I Am a Man" and "Noise" carry some of the flavor of Rodney Crowell's recent trilogy of albums, if perhaps not the philosophical depth, and "Wild," though a bit perfunctory in the lyrics department, has a nice bit of '70s grit in the playing. The album sticks mostly to mid-tempo numbers, with ballads that include the warm romance of "Two Bottles of Beer," and the sprightly bluegrass closer, "When I Go Home Again." This is an exceptionally pleasant album, smoothed out for the mainstream's listening pleasure, but much more than another flavorless cookie from Nashville's bakery. 3-1/2 stars, if allowed fractional ratings. [©2005 hyperbolium dot com]

I had pretty much given up on Lonestar after seeing the direction they were trying to take following their smash hit "Amazed". This song became a template they tried to follow up with "I'm Already There", which happened to be a great track in itself. But the ones they released after that in the hopes of expanding their fan base were songs that were almost unbearable to listen to (take note: Let's Be Us Again and My Front Porch Looking In).

It was not until I finished previewing this album (in some site) that I decided to give em another chance and boy did they hit HOME on this as they went back to basics by making this a country album...well, almost. Though not as country as their first ever album, I got the same refreshing feeling I had when I listened to LeAnne Rimes' "This Woman", Faith Hill's "Fireflies" and Trisha's "Jasper County"; the feeling that country is cool again.

Given that this album still contains the power ballads that lean towards the pop/rock side (if it were not for Richie's voice), it also contains treasures like the opening cut "You're Like Comin' Home" and the no-place-like-home themed "Little Town".

Overall, this album is solid and worth buying...way better than "Let's Be Us Again" (darn I really don't like that album).

Prime Cuts: I'll Die Trying, When I Go Home Again, I Never Needed You

Described by Lonestar's Richie McDonald as the group's "t-shirt and jeans" CD, "Coming Home" is indeed a tepid return to the countrier side of the genre without any polished pretension. Unlike last year's highly manicured to radio faux of an album "Let's Be Us Again," "Coming Home" has a fresher and more organic sound that comes across as more earthy and sincere. Perhaps this is due to the import of minimalist producer Justin Niebank who has been known for helming roostier records such as Patty Loveless' latest effort "Dreaming My Dreams" and Patricia Conroy's classic "You Can't Resist It." Nevertheless, the pop sheen that has so earmarked Lonestar's numerous hits has not been entirely eradicated as evidenced by the album's opener and lead single "You're like Coming Home." A pop anthem reminiscent of Bon Jovi in their heydays augmented by some razor-edged guitars and fiery fiddling, "You're Like Coming Home" may not be mountain moving, but it's postcard perfect for being a radio darling.

Even much better is the other "home-"related number "When I Go Home Again" which dovetails the close of the album. Crafting a domestic soundscape complete with the feel of a domiciliary fireplace vis-à-vis some gentle strumming of the acoustic guitar, "When I Go Home" brings a passel of warmth and affection so devoid of in today's music. Taking a trip into the muskiness of the Deep South is "Two Bottles of Wine." With its moaning fiddling, this thoughtful romantic tale of reminiscence finds the boys finally stepping out of their pop-country box. For fans that cannot get enough of Lonestar's lofty pledges of love, "I'll Die Trying" is indulgent. A surging ballad bolstered by McDonald's powerhouse performance, "I'll Die Trying" truly showcases what a great balladeer McDonald is. Crossing over to the Faith-Hill-Tim-McGraw-duet terrain, "I Never Needed You" features label mate Sara Evans on this soaring love ballad of dependence making no concessions for the emotionally uncommitted.

On the more peppy side, "Doghouse" is an understated acoustic-sounding number that finds McDonald delivering with a wry smirk despite being kicked to the curb by his paramour. "Noise," an ode to simplify living, ironically is one of the most busiest-sounding pieces framing a catchy melody. On the other hand, tracks like "Wild" and "Small Town" deal with perennial themes (such as partying and small town values) in country music without much depth or new insights. Even the titles themselves are not creative and what's the deal with monosyllables (such as "Wild" and "Noise")?

Overall, "Coming Home" finds the boys leaving their pop-country dormitory and coming back to their rustic roots of their first couple of albums. And through these 12 tunes, Lonestar has created an atmosphere of contemplative warmth and romantic realism, that makes us as listeners thankful that Lonestar are finally home and let's pray they never leave.

This is a good CD it is full of heartfelt and feelgood songs