The 90s were a line in the sand for a lot of casual country fans, who loved Dolly Parton and Willie Nelson but couldn’t deal with Garth Brooks and Shania Twain. Mainstream country from this point on becomes an acquired taste, a saccharine mix of folksy heartland signifiers and studio hyperpolish. It can also be extraordinarily moving, whether eliciting ‘Hell yeah’’s on “Redneck Woman” or buckets of tears on “Live Like You Were Dying.” It’s even capable of smuggling in subversion, as on the liberation anthem / murder fantasy “Goodbye Earl.”