BlackHawk Albums (5)
What The Critics Say
Blackhawk's fifth album comes following many fundamental changes for the group. First and foremost, co-founder Van Stephenson died of cancer, leaving Henry Paul and Dave Robbins to carry on. The two were faced with further challenges. After a promising and successful beginning, the trio, all songwriters, had taken to putting out albums largely consisting of songs written by Nashville professionals that sold less and less well, to the point that Arista Records dropped them. So, Paul and Robbins signed to Columbia and tried to take back their music. The result is their most personal album. The title track, not surprisingly, is a tribute to Stephenson, and it's one of several earnest and sincere efforts, including "Days of America," a chart single ten months in advance of the album's release that unintentionally touched on the spirit of the country in the wake of September 11, 2001, and "Brothers of the Southland," Paul's attempt to honor the dead among his old Southern rock colleagues in the Allman Brothers Band, the Marshall Tucker Band, and Lynyrd Skynyrd. (He himself used to be in the Outlaws, another Southern rock outfit.) In other words, this is not your typical country album. The question is whether, for all its good intentions, it's any better. The music is defined by Paul's distinctively whiny voice, which cuts through the country-pop arrangements, and that voice is best put to use in the more introspective songs, such as "Forgiveness" and "Leavin' the Land of the Broken Hearted," which reflect on personal and professional mistakes. They may not be any more deeply felt than the other deeply felt songs on the album, but they're more revealing and touching. This is an album Blackhawk probably had to make. It's a risk, but at this point in the band's career, one worth taking.~ William Ruhlmann, All Music Guide
What The Critics Say
Blackhawk, like many of their contemporary country peers, struggle to have it both ways. They want to have the hits, but they also want to keep country. At times, the scales have tipped toward the pop end, but with The Sky's the Limit, they move back toward country, coming up with a record that harks back to their organic debut. There is a difference, however. Here, they have more confidence, not only in their performances but in the way they merge their pop songwriting instincts with more authentic country instrumentation. It's a combination that works terrifically, enlivening even the weaker songs. Unfortunately, there are a few of those here, but that's part and parcel for a contemporary country album. What counts are the moments that work, and there enough of those -- "There You Have It," "Think Again," "Nobody Knows What to Say" -- to make it rank as one of their better efforts. ~ Thom Owens, All Music Guide
What The Critics Say
Love & Gravity finds BlackHawk breaking away from the standard slick contemporary country formula and attempting to deepen their musicality with layered harmonies and subtly structured songs. Although the results don't always work -- several of the songs are simply unmemorable -- its best moments demonstrate that BlackHawk is more talented and diverse than their previous two albums would suggest. ~ Thom Owens, All Music Guide
What The Critics Say
After their debut album became a platinum success, Blackhawk decided to follow the same formula for their follow-up, Strong Enough. Not merely a reproduction of their self-titled debut, Strong Enough finds the group consolidating their strengths as songwriters and performers. Throughout the album, the group turns in first-rate songs and tight performances, distinguished by their strong harmonies. ~ Stephen Thomas Erlewine, All Music Guide
