As anybody who follows music knows, is acknowledged among audiences and critics alike as the standard-bearer for the 2000s -- the new guy that not only keeps the fire burning, but also rakes in the cash, having number one hits along with good reviews. He's not big and brassy like ; he's the heir to , , and , the guy who hails back to but is savvy enough not to play to overly serious fans, the listeners who like their music somber. That's not -- he may take his music seriously and will sing a serious or two, but he also likes to crack wise and have a little fun. Although that's certainly preferable to colorless singers, has been known to overdose on fun, favoring a cute turn of phrase or a knowing wink to his audience. Of course, humor has always played a big part in -- , one of 's heroes, made his stock-in-trade -- but there was a terminal cutesiness that threatened to overwhelm his otherwise excellent third album, . Thankfully, has reigned in this trait on its superb follow-up, 2005's . hasn't suddenly become a humorless bore -- how could he be when he persists on reviving the Grand Ole Opry's old-fashioned cornpone radio plays, heard here on which, like before it, features and adds for good measure (which naturally results in some silly boob jokes: "he turned around to see two huge 38s pointed right into his face"). The difference is, no longer leans hard on either his silly or sentimental streak, preferring to lay back and let everything flow naturally. That gives his already attractive music a greater appeal, since his humor is now sly and lived-in, a perfect match for his faithful but not dogmatic . As should be expected by any deliberately traditionalist musician, there are no surprises, no left turns here -- remains indebted not only to , but to how fused this holy trinity into a fresh yet familiar sound that encompassed the best of Bakersfield, Texas, and Nashville. Change can be overrated, particularly in regard to traditionalist music, and benefits from mining the same musical vein each time around. He's turned into a genuine craftsman, both as a songwriter and musician, and now with four albums to his credit, he's hitting his stride. His band sounds looser, warmer than it did on -- and they're given another dazzling showcase for their prowess on the frenzied which is as delirious as prime -- and 's singing is relaxed and assured. These are welcome subtle improvements, but what makes 's best record yet is the writing. Song for song, this is his best set of tunes, whether it's one of his ten originals or the sharply selected professionally written numbers that round out the album (these are highlighted by the sentimental but not saccharine and a duet with on 's ). Although hasn't abandoned goofy humor -- indeed, has mock crying built into its chorus, and a pivotal line in concerns how it makes "white people dance" -- this tendency is balanced by wittier jokes and his knack for keenly observed human nature, best heard in the savvy but not isolated to that, either. It's not just that the words are stronger, but the music is weathered and sturdy, sounding familiar on the first spin and getting stronger with each play. Each of 's prior albums gained stature with repetition, but is not only richer than his first three records, it's more gripping upon its first play. Paradoxically, it demands attention partially because isn't trying too hard to deliver a classic, nor is he working overtime to please his fans. Instead, he lays back and delivers his songs with the ease of an old pro, which means for the first time, he's made a record that can hold its own next to his idols. ~ Stephen Thomas Erlewine