Garth Brooks Albums (11)
What The Critics Say
Garth Brooks had a real hard time in the latter half of the '90s, running through a couple of muddled near-crossover records before diving off the deep end with the extraordinary In the Life of Chris Gaines. Following that historic bellyflop -- few albums in history have been as misconceived and as widely rejected -- Brooks took some time off, retreating from the spotlight (which was particularly helpful when he divorced his high-school sweetheart) and laying low until late fall of 2001, when he returned with Scarecrow. The extended time off turned out to be a blessing, since it seemed to help him focus for Scarecrow, his strongest album since he delved into unabashed crossover with Fresh Horses. Sure, there's still a healthy dose of pop here -- he does cover America's fine Californian folk-rock "Don't Cross the River," for instance -- but this is a clean, spare record that never overplays its hand and, in turn, it showcases Brooks' talent for synthesizing popular music styles particularly well. Really, there are no new twists here, but that's part of what's good about the record: He's returned to his strengths, whether it's boozy barroom ravers like the deliriously good George Jones duet "Beer Run" or the preponderance of dramatic, portentous ballads like "The Storm." On paper, this may sound like a retreat, but it plays like a revitalization since it plays to Brooks' strengths -- a country boy raised on Eagles who likes country when it rocks, but pumps up power ballads with fiddles and twang. This is no surprise, of course, but it's refreshing to hear him in such a simple, unadorned context, performing good songs with conviction -- performances good enough to prove that there's more soul here than on most alt-country records. The friskier songs, from "Beer Run" to "Big Money," fare better than the ballads, but those ballads still work, and overall Scarecrow proves that mainstream modern country doesn't have a better singer than Brooks at his best. And it's good to have him at his best again. ~ Stephen Thomas Erlewine, All Music Guide
'The Magic of Christmas: Songs From Call Me Claus'
Release Date 9/25/2001
Tracks 14
Label Capitol
See Album Tracklist and Review
'Garth Brooks & the Magic of Christmas'
Release Date 11/23/1999
Tracks 14
Label Capitol
See Album Tracklist and Review
What The Critics Say
Despite a massive publicity campaign, Fresh Horses failed to match the success of its predecessors, which meant that its successor, Sevens, had to return Garth Brooks to his superstar status in order to be considered a hit. Part of the problem with Fresh Horses is that it embraced arena rock instead of merely flirting with it; as a result, large portions of his audience refused to follow him. Sevens corrects that misstep by retreating to traditional country territory and establishing a new, folky country-pop direction. ~ Stephen Thomas Erlewine, All Music Guide
'Fresh Horses'
Release Date 11/21/1995
Tracks 10
Label Capitol Nashville
See Album Tracklist and Review
What The Critics Say
Garth Brooks had to move forward in a dramatic way with Fresh Horses, his first new album since 1993. Following the massive successive of The Hits -- which effectively recapped why the singer became the single most popular American performer of the '90s -- Brooks positioned himself for a new direction with Fresh Horses. The problem is, he doesn't know which way he should go. When he lets his guard down -- such on as the melancholy ballad "The Beaches of Cheyenne" and the sassy, suggestive "It's Midnight Cinderella" -- he can still come up with winners. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
After the relative commercial disappointment of The Chase, Garth Brooks toned down his experimental eclecticism on In Pieces. Alternating between heavily rock-influenced numbers, dramatic ballads, and revamped honky tonk, In Pieces appeals to the audience that found The Chase too pretentious and overly serious. That doesn't mean Brooks abandoned his desire to bend the rules -- he's just masked his more ambitious material with crowd-pleasing up-tempo numbers like "American Honky-Tonk Bar Association" and "Ain't Going Down (Til the Sun Comes Up)." In Pieces is an album that was made for the fans, and it shows -- it is one of Brooks' most energetic and exciting collections. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
The Chase is Garth Brooks' most ambitious and personal album. Not coincidentally, it is one of his least popular releases, selling about half of what the previous Ropin' the Wind had. But in its own way, The Chase is more rewarding and deeper than Ropin' the Wind. That's partially due to Brooks' naked ambition; not only does he record "We Shall Be Free" with a gospel choir, but he tackles deeper social and personal issues than he has before. However, the true key to the album is Brooks' conviction; even when his musical experiments don't quite work, it's easy to admire and respect his ambition. Although there are light moments like "Night Rider's Lament" and a cover of Little Feat's "Dixie Chicken," The Chase is a more somber, reflective record than his previous three albums; but given a bit of a time, it's as satisfying as anything he's ever recorded. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
One of the most succesful Christmas albums ever, Beyond the Season is a varied collection for a country star, even one as "progressive" as Brooks. The tunes range from a gospel version of "Go Tell It on the Mountain" to a song-play where Brooks's songwriters take the roles of animals in the manger. It's about half traditional and half original, with Brooks co-writing the hardest rocking tune, "The Old Man's Back in Town." ~ Brian Mansfield, All Music Guide
What The Critics Say
With Ropin' the Wind, Garth Brooks begins to make his '70s rock influences more explicit. Naturally, that is most notable in his reworking of Billy Joel's "Shameless," which he transforms from a rock power ballad into contemporary country. But that influence is also evident on ambitious epics like "The River" and even the honky tonk ravers of "Papa Loved Mama" and "Rodeo." Some might say that those rock influences are what make Brooks a crossover success, but he wouldn't be nearly as successful if he didn't have a tangible country foundation to his music -- even when he comes close to standard arena rock bombast, there are gritty steel guitars or vocal inflections that prove he is trying to expand country's vocabulary, not trying to exploit it. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Essentially, Garth Brooks's second album, No Fences, follows the same pattern as his debut, but it is a more assured and risky record. Brooks still performs neo-traditional country, such as the honky tonk hit "Friends in Low Places," but now he twists it around with clever pop hooks. Those pop/rock influences are most apparent on the ballads, which alternate between sensitive folk-rock and power ballad bombast. But what makes No Fences such a success is how seamlessly he blends the two seemingly opposing genres, and how he chooses a set of material that makes his genre-bending sound subtle and natural. Of course, it doesn't hurt that the songs are consistently entertaining, either. ~ Stephen Thomas Erlewine, All Music Guide
