The album's secret weapon arrives courtesy of Steve Ferrone, whose legendary status needs no elaboration for anyone who knows their musical history. His presence elevates every track, providing the kind of backbone that lesser drummers can only dream of delivering. Ferrone doesn't simply keep time; he converses with the music, pushing and pulling against Brae's guitar work with the confidence of someone who's spent decades making great musicians sound even better. The recording process—guitars tracked in Vancouver, drums added in Los Angeles—could have resulted in a disjointed mess, but instead yields a cohesive whole that speaks to the professionalism of all involved.

Producer Kaj Falch-Nielsen at Blue Light Studio deserves considerable credit for the sonic landscape here. The production strikes that difficult balance between warmth and clarity, allowing each instrument its moment without sacrificing the collective groove. The horn section—Jocelyn Waugh, Kaylar Chan, and Nebyu Yohannes—adds texture and colour where needed, particularly on "It Ain't Perfect But It's Free," which channels the funk-rock spirit of the mid-1970s with admirable authenticity. The wah guitar pedal makes its appearance without descending into parody, while Cameron Wilson's violin work adds unexpected sophistication.

Brae's songwriting reveals a student of the masters, particularly in his absorption of Keith Richards' approach to rhythm guitar. The Stones influence runs deep through "Slide" and "Do What You Do," though Brae wisely avoids mere imitation. These tracks capture the swagger and strut of classic Stones without attempting to replicate Jagger and Richards wholesale. The country rock detour of "Girl In The City" demonstrates range, its opening lick promising something different and delivering on that promise with a ballad that wouldn't sound out of place on a mid-1970s Eagles record.

The album's stylistic diversity proves to be both strength and calling card. From the funk-infused grooves to the country-tinged balladry, from the Bryan Adams-influenced arena rock of "Take Me Back" and "Say That You Will But You Won't" to the bluesier moments scattered throughout, *Paint* refuses to settle into comfortable predictability. This could have resulted in incoherence, but Ferrone's drumming provides the thread that binds these disparate elements into a unified statement.

Lyrically, the lead single "It Ain't Perfect But It's Free" stakes out anti-authoritarian territory, though one suspects the real rebellion here lies in the very act of making straight-ahead rock and roll when contemporary trends point elsewhere. The album artwork, featuring a historic East Vancouver neon sign photographed by Nathan Gowsell, provides fitting visual accompaniment—a piece of fading Americana that mirrors the musical touchstones Brae holds dear.

What distinguishes *Paint* from countless other retro-rock exercises is its lack of ironic distance. Brae clearly believes in this music, respects its traditions, and brings enough skill to justify that belief. Vinay Lobo's guitar contributions and Alison Jenkins' harmony vocals add further depth, while Brae's own multi-instrumental work demonstrates admirable versatility.

This may well be, as Brae claims, his finest release to date. More importantly, it's a reminder that classic rock forms needn't be museum pieces. Approached with respect, skill, and genuine affection, they remain vital and viable. *Paint* makes a compelling case for the continued relevance of guitar-driven rock performed by musicians who understand the language fluently rather than speaking it as hesitant tourists.