Clint Black Albums (11)
'Drinkin' Songs & Other Logic'
Release Date 1/1/2005
Tracks 12
Label Equity Music Group
See Album Tracklist and Review
What The Critics Say
Partway through Drinkin' Songs & Other Logic, his second album for Equity Records, Clint Black sings about how "there's just too much rock in this country," which is kind of a funny sentiment for a singer who delivered a slick crossover effort called Spend My Time last time around. On this fine straight-ahead effort, Black never addresses that contradiction but rather quietly ignores Spend My Time and returns to the hardcore country that made his reputation. The title alone explains what the album is all about -- it's all about pure country, usually hardcore honky tonk ranging from fiddle-fueled dance tunes to barroom ballads. Occasionally, Black steps away of the sound, as on the anthemic "Code of the West," which may not sonically fit with the rest of the record, but its swaggering recasting of the war of terror as a cowboy battle does fit in with the sentiment of the album. Judged on sound alone, it's a minor misstep -- as is the wah-wah guitar on the riff for "Undercover Cowboy," which is just a bit silly -- but the rest of the album is quite good. There's nothing surprising, but Black has written a strong set of songs and they're brought to life but his crack supporting band, who keep things lean, muscular, and very enjoyable. This may fall short of Killin' Time, but it surely returns Black to the musical ground where he's at his best, and it's his most satisfying album in a long time. ~ Stephen Thomas Erlewine, All Music Guide
'Christmas with You'
Release Date 9/14/2004
Tracks 12
Label Equity Music Group
See Album Tracklist and Review
What The Critics Say
Clint Black was one of the leading figures of the new traditionalist movement of the early '90s, riding it to stardom. By the end of the decade, his celebrity was still rather potent -- helped slightly by his marriage to actress Lisa Hartman -- but his profile had declined, so when his contract with RCA expired after 1999's D'Lectrified, he left his longtime home for a new venture, a new label called Equity, where he was a co-partner with several Nashville industry insiders. It was a good time for Black to move away from the majors: his sales were sliding slightly, and as D'Lectrified illustrated, he wasn't exactly interested in pursuing a purely commercial direction. Some of his early-'90s peers, such as Sammy Kershaw, followed a similar patter, but where Kershaw returned to hardcore country on his first-post major album, 2003's I Want My Money Back, Black uses his freedom to drift away from country, turning in a straight-up singer/songwriter album with Spend My Time, his first record for Equity. This album isn't just laid-back, it's subdued, filled with earnest ballads and lazy rockers, all given a sleek, professional production by Black himself, who wrote all of the material as well (usually with collaborators, particularly Hayden Nicholas). It's a little strange that Black would use his first independent record to make an album so firmly entrenched in the middle of the road -- after all, most artists get rougher, not smoother, when they strike out on their own -- but it's a sturdily constructed album, fitting well within the borders of adult pop, even adult contemporary. And, if there's a problem with the record, it's that -- that it's an adult contemporary singer/songwriter record, lacking the punch and grit of Black's best recordings. Where Merle Haggard provided inspiration on Clint's earlier records, the touchstones here are the Eagles and James Taylor, filtered through modern mature, pop radio. On that level, Spend My Time isn't bad -- Black is still an engaging vocalist, and he's convincing on this rather samey, mid-tempo material -- but it isn't a patch on his best work. It's unsatisfyingly ironic that his first independent venture has resulted in his safest record to date. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Clint Black also produced D'Lectrified -- his first time as producer -- and it's probably a good thing, because this is easily the most eccentric and personal recording project he has ever released. The album opens with a jazzy cover of Toy Caldwell's "Bob Away My Blues," complete with horns. The sound is very uptown and snazzy, and Black sings the hell out of the song. This track may not exactly set the mood of the album, but it sure states the mindset. Black pulls tunes from all over the ballpark: Eric Idle's "Galaxy Song," Leon Russell's "Dixie Lullaby," and a slightly revised cover of Waylon Jennings' "Are You Sure Hank Done It This Way" (titled "Are You Sure Waylon Done It This Way"). Black also wrote/co-wrote several songs, including "Hand in the Fire" and "Been There." His wife, Lisa Hartman-Black, sings with him on "When I Said I Do," and she's believable. He also includes rearranged versions of his hit singles "Burn One Down" and "No Time to Kill." Guest players include Jennings, Bruce Hornsby, Jerry Douglas, Stuart Duncan, and Steve Wariner. Amid the welter of ideas, players, and influences at work here, Black's singing shines through. When it's all said and done, D'lectrified is a pretty wonderful album, easily the most musical record Black has ever done. ~ Philip Van Vleck, All Music Guide
'Nothin' But the Taillights'
Release Date 7/29/1997
Tracks 12
Label RCA
See Album Tracklist and Review
What The Critics Say
Nothin' But the Taillights doesn't find Clint Black stretching himself too much -- he's pretty much content to turn out workmanlike neo-traditionalist country. Black has less twang to his music than ever before, but he remains a charimatic vocalist and he's given generally sturdy songs on Nothin' But the Taillights, which makes the record worthwhile for dedicated fans. ~ Thom Owens, All Music Guide
What The Critics Say
Clint Black's Looking for Christmas consists entirely of new seasonal songs that he wrote or co-wrote himself. This clearly breaks country music law, and the Nashville police must be in hot pursuit. Black often lets schmaltzy production overcome him, but the many fine songs include killer ballad "The Kid" (co-written with Merle Haggard) and the back-porch bluegrasss of "The Coolest Pair." ~ Roch Parisien, All Music Guide
What The Critics Say
One Emotion continued Clint Black's streak of uneven albums, featuring a handful of exemplary tracks, including the Merle Haggard collaboration "Untanglin' My Mind," but just as many mediocre songs, like "You Made Me Feel," which was written with Michael McDonald. Nothing on One Emotion is particularly bad, but it doesn't sound like Black is pushing himself into new territories, either. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Clint Black's albums seems to alternate between the remarkable and the merely pretty good. No Time to Kill, which plays off the title of his first album, is one of the latter. All of this is acceptable, though little matches quality of the title track. Black does a duet with Wynonna Judd called "A Bad Goodbye." ~ Brian Mansfield, All Music Guide
What The Critics Say
Back to form, Clint Black put some of his most exciting singles on his third album. "We Tell Ourselves" rocked without resorting to Southern boogie, and "When My Ship Comes In" contained a masterful chorus. The album also included the hit "Burn One Down." ~ Brian Mansfield, All Music Guide
What The Critics Say
Put Yourself in My Shoes never approaches the perfection of Clint Black's debut, but it still produced a number of singles, including "Put Yourself in My Shoes," "Loving Blind," "Where Are You Now," and "This Nightlife." ~ Brian Mansfield, All Music Guide
