James Otto photo courtesy of Warner Bros. Nashville.

The saving grace during this difficult period became Otto's association with the MuzikMafia, the loose, music-first association of creators that built a local and eventually national following. Otto became one of the group's most respected musicians and performers, leading to several co-writes for the album and Mafia godfather John Rich co-producing several sides.

Playing live with the MuzikMafia every week let Otto purge some of the frustration and zero in on the music that had always been his muse. "I had a lot of time to think about what I did and didn't want on my next album, and I really came to a zen about all of it. I had a time to write a lot and really center myself to create, hopefully, a good body of work."

Otto's creative zen did not go unnoticed. Minutes after his contract with Mercury was up, his manager's cell phone started ringing. Within the hour, James was sitting in Paul Worley's office, chief creative officer at Warner Bros. Records. He signed with the label shortly thereafter, and thus began a two year creative journey that also enlisted his brother-in-law Jay DeMarcus of Rascal Flatts as a co-producer.

The recording process was informed by James' experiences on tour with some of country's biggest stars. "When you're out with Big & Rich, Shania Twain, Hank Jr., you see different crowds and what they react to," he says. "Making an album is lot like putting together a good live show, pacing the set and navigating all the ups and downs on that rollercoaster of emotion."

Those lessons quickly find application on Sunset Man. The muscular riff of "Ain't Gonna Stop" opens the album, carrying a chorus that could be a mantra not just for the rest of the record, but perhaps for the rest of Otto's career. "Just Got Started Loving You" reveals James' fondness for soul, and its passionate plea carries over to the album closer, "Man That I Am."

The other side of that pure intimacy is the clouded pain expressed in the wrenching "For You," the searing vocals of "Damn Right" and plain-spoken country truth of the title track. Between those extremes are the relationship struggles of "You Don't Act Like My Woman" and "When A Woman's Not Watching." The good times of "Good Ol' Days" get a little too good with "Drink And Dial." Finally, "Where Angels Hang Around" finds James visiting the emotions a parent prays never to experience in a heart-in-the-throat tribute to St. Jude Children's Hospital in Memphis.

Making a second album, and having so much time in which to record, taught him a few things about his craft. "Don't second guess yourself," he says. "Rely on your gut. Get it down and walk away.

"We recorded 24 songs and it's amazing the range of stuff we cut," he continues. "I really just want it to be a round body of work that's representative of me as a person -- all sides of who I am. Now that it's done, I feel really good about it. I never wanted to make a record that's one dimensional, and I don't think this album could ever be accused of that."