The secret to George Strait’s soothing, “traditional” country isn’t tradition, it’s modesty. Never does he boast or get wild or throw his weight around, nor does he ever fall for trends, giving his plainness a Zenlike heft. He’s likable but a little quiet. You’d trust him with your car. To note that Cowboys and Dreamers marks his fifth decade in country is to suggest that it somehow feels different from his fourth decade, or his first. It doesn’t. He counts his blessings (“The Little Things”) and salves some wounds (“People Get Hurt Sometimes”) and gives a little time to his rebellious side, which was always less of a rebellious side than a joke about a guy like George Strait having a rebellious side to begin with (“Honky Tonk Hall of Fame”). But best and most felt is Guy Clark and Keith Gattis’ “Rent,” in which a guy ponders what his life was worth only to conclude that at least he paid his rent. Sad on paper, maybe. But Strait makes it sound proud.