Clint Black is Fine with the Same on “Out of Sane”
In many respects, it’s never been a better time to be an aging mainstream artist in country music. Where before once your career lost radio relevance, you were relegated to the pasture pretty quickly, perhaps performing at theaters in Branson, or on the county fair circuit if you could, now Americana has become a second home for many older country performers, producers such as Dave Cobb and Dan Auerbach have shown great interest in working with older artists, and with streaming and the internet, fans can stay connected regardless if the radio is paying attention or not.
We’ve seen a wide array of older performers taking advantage of these opportunities to relaunch their careers or maintain their prominence by releasing inspired and rejuvenated projects lately—artists such as Tanya Tucker, Reba McEntire, and John Anderson. But it just doesn’t feel like Clint Black is ready for any reinvention just yet. Instead, continuing on with the status quo, and recording safe songs in a safe manner that he’s comfortable with is where he’s at with his career, and that’s what you get with his latest record, Out Of Sane.
It’s not a bad record whatsoever, nor does it feel ill-advised in any significant way, whether you’re considering the song selection, or the music or production style. It just feels like Clint Black is going through the motions. The “Class of ’89” member who’s now 58-years-old has put together a strong legacy of songs over his career, and very well might end up in the Country Music Hall of Fame someday. But Out of Sane won’t really lend much to his resume. It probably won’t hurt it either. It’s just one of those records you listen to once or twice, and with so many other options for audio entertainment, you move on from fairly quickly.
Part of the issue with the record is a few of the songs meant to anchor it just don’t really work. The lead single was the very sappy “America (Still In Love With You)” that’s like an overly-sentimental love song rendered even worse when they try to twist it into a patriotic anthem. “A Beautiful Day” is so happy and inspirational, it makes you resent it. Out Of Sane feels very much like maudlin version of dad country. The title may imply we’ll get a record focusing on the unsettled mind perhaps proceeding a heartbreak, but most of the record surrounds the warm and fuzzy sentiments of love.
That said, that’s what some may seek out Clint Black for these days, and in that capacity he’s definitely capable. It’s not a bad version, and we really don’t need yet another take on Harry Nilsson’s “Everybody’s Talkin’,” but it may be one of the more pleasant moments of the record. Out Of Sane is country, but there are a few more rock-style moments, which might be Clint Black’s attempt to make this record feel relevant. But the song “The Only One” sounds like something that would be playing in the background of a Miami Vice scene while Don Johnson pulls up in a Corvette wearing a pastel suit.
Clint Black is probably in a satisfied and content moment in his life, and there’s not a lot of pain or frustration he feels the need to exorcise through music. He does come through with some solid material though. “Found It Anyway” is more along the lines of the Clint Black you go looking for in a new record, with quality writing, and a hot fiddle part. The bluesy “Find Myself” also marks a high point, and yes, it does feel like Black might benefit from a little soul searching about what kind of stamp he wants to leave with his music in the present tense.
It’s been a strange career track for Clint Black, from getting shot out of a cannon as part of the “Class of ’89,” to falling off sharply when he chose to put his family before his career, which you can’t blame him for. But now he’s sort of in that no man’s land—no longer popular enough for radio, though not quite all the way to that legendary status where maybe he feels compelled to return to his roots, or work in a more “Americana” direction with more interesting songs and a more eclectic approach.
Instead, he’s just content being Clint Black, which may not be very compelling for the country throwback hipsters or the exclusive Americana crowd. But to Clint’s core fans also probably in their late 50’s, his sentimental and pleasant songs that remind them of the time country actually sounded country are just fine.
1 1/4 Guns Up (6.5/10)
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OlaR
June 21, 2020 @ 11:04 am
I was a kid when Clint Black started & like ’89 or ’92 i still don’t “feel” Clint Black.
He is releasing solid material. His voice is recognisable & i find 1-2 tracks on every album i like. That’s it.
His new album is no exception to the rule…the majority of songs come & go…not bad enough to be really bad…not good enough to make my playlist.
I like “Found it Anyway” & “With Love”.
More New Music:
The MyClymonts – Mayhem To Madness – Album (10 Tracks) – Released (06/11)
Australias favourite country trio the three McClymont sisters morphed into the 2020 version of Wilson Phillips. First single “I Got This” became a Top 10 hit.
The album is filled with up-to-date pop with a second of banjo here & a moment of fiddle there. Only the harmony vocals are 100% McClymonts.
The cover of “Little Lies” is not bad…but miles away from the Fleetwood Mac original.
I like “I Got This”, “Open Heart” & “Lighthouse Home”.
New Stuff:
Will Carter – “Fallin’ In Love” – Single/Track – Released
The Buckleys – “Breathe” – Single/Track – Released (Australia)
Paladin – “And I Miss You” – Single/Track – Released (Australia)
Ray Frost – “You Had Me Running” – Single/Track – Released (Australia)
Paul Bogart – “When She Gets A Hold On You” – Single/Track – Released
Jon Young – “You’re Gonna Miss Me When I’m Gone” – Single/Track – Released
Jody Booth feat. Tracy Byrd – “Lonesome, On’ry & Mean” – Single/Track – Released
Kristy Cox feat. Tommy Emmanuel – “Finger Picking Good” – Single/Track – Released (Australia)
&
Carlton Anderson – Yours – EP (4 Tracks) – Released (06/18)
Jake Cutter
June 21, 2020 @ 12:27 pm
That Daytona was pretty badass though.
Ian
June 21, 2020 @ 1:07 pm
I pretty much always judge an album by its cover, and this review matches the art perfectly.
Dan
June 21, 2020 @ 1:20 pm
I want to like Clint, I really do. But his music has become redundant, boring and predictable. It’s not pure 90’s country, it’s not contemporary pop country. It’s a bland mix of outdated late 90’s country pop. Won’t win him new fans, won’t entertain his old fans quite enough. Another wasted opportunity.
Acca Dacca
June 22, 2020 @ 6:32 pm
I like Clint Black quite a bit: he’s easily one of my all-time favorite artists. But your analysis is spot on. These last few records of his have leaned a lot harder into adult contemporary country than he ever did in the ’90s, so even if there are echos of his heyday, it’s a pale imitation at best. They’re not even bad, just boring.
Dan
June 23, 2020 @ 2:10 pm
I read your point of view on the comment below and I completely agree. And yeah, I am a big CB fan. I own all his pre-2000 albums except for his first one ‘Killin Time’ and they had personality. They were strong. Think about the angst on a song like “Something to Cry About”, or the freshness of “Our Kind of Love”. All that is gone, Clint really run out of interesting things to say.
On the other hand, an artist that’s been able to reinvent himself and come back with renewed energy is Clay Walker. His new single “Easy Goin” might be the best song he has released since “A Few Questions” in 2003, and one of the best singles of his career.
I wish Clint would be as “creative”…
Acca Dacca
June 23, 2020 @ 6:28 pm
“Something to Cry About” is a song I find myself humming quite a lot. Did you listen to the song I linked below, “No One Here For Me”? I’m curious about your take on it. Also “This Old House.”
Doug
June 24, 2020 @ 5:59 pm
Killin’ Time is a killer album. Agreed on Clint’s unfortunate to MOR sentimentality, though. Too bad. He’s a monster guitarist, too.
Doris
June 21, 2020 @ 2:40 pm
I do like Clint Black’s music style, he is the “just stand there & sing” entertainer, not at all like the newer majority of country singers today (little rock, little country). He is a joy, I love his style, and his looks are tough too. (I do wish he would record a new single more often from a variety of new writers, would be to his benefit,) Love “Found It Anyway”..
Keepin it Country
June 21, 2020 @ 2:56 pm
At least he released it, unlike Garth Brooks. And btw trigger I like some of Clint blacks stuff, I’m 18 not 50. I’ll have to check the album out
Acca Dacca
June 22, 2020 @ 7:44 pm
Very true. The Class of ’89 is a strange beast when you look at the big picture. With the exception of Alan Jackson, every single one of them has taken a lengthy hiatus from recording new material, and even touring at certain moments. And even Alan hasn’t dropped a new one in five years, the longest break he’s ever taken between studio records. But he’s downright proliferative compared to Clint Black, Travis Tritt and ol’ Garth Gaines. And next to folks like Willie Nelson, who are significantly older and seem to drop more than one record a year, it’s nothing less than bewildering. I think a lot of these more modern artists experienced a level of success that was unattainable to artists in country music in years previous and it clouded their perceptions of recording. Unless a million copies sold and three number one singles are guaranteed, they seem to not want to bother (exceptions, like Mr. Jackson, notwithstanding).
Keeping it Country
June 23, 2020 @ 6:17 pm
In my opinion George Strait is the only one is is actually still releasing music consistently. Although it is odd to me to never hear from these artist except when they think they have a chance to be in the radio. I remember a few years ago Toby Keith was supposed to release an album called 35 mph Town. That never happened,.these artist could still have an impact on country music if they actually released new material
Acca Dacca
June 23, 2020 @ 6:26 pm
George Strait predates the Class of ’89. Also, Toby Keith’s 35 MPH Town was released five years ago.
https://www.savingcountrymusic.com/album-review-toby-keiths-35-mph-town/
And part of the reason many of these artists have quit releasing new albums is precisely because radio doesn’t give a shit. They’ve been written off. Trigger has written many an article on how older talent is shuffled out to pasture whether they want to be or not.
Luckyoldsun
June 24, 2020 @ 3:37 pm
Country radio never played artists once they got into their 50’s–with a few sporadic exceptions–but artists like Hank Snow and Ernest Tubb, and then Faron and Cash and Jones and Loretta and Tammy and Dolly and Bill Anderson and Gene Watson continued recording and releasing albums on whatever labels they could strike a decent deal with.
shawn tackett
June 22, 2020 @ 1:10 am
I like clint. my sister is a huge fan . we both like his new album. clint has never been radical and that is okay with me.
Dawg Fan
June 22, 2020 @ 6:31 am
Not country but are you planning on reviewing Dylan’s new album? Pretty bad ass in my opinion.
Jack W
June 22, 2020 @ 7:34 am
When Bob Dylan puts out an album of original songs, I buy it, but with a little trepidation. I think his last album (2012’s Tempest) was tough to listen to all the way through, but had about 40 minutes of very good stuff. I think the new one is strong all the way through and unlike some of the songs on Tempest, his voice doesn’t grate on me on this one, but as they say, ymmv. Very happy with it.
Trigger
June 23, 2020 @ 7:45 am
We’ll see.
Country When Country Wasn't Cool
June 22, 2020 @ 9:55 am
I love Clint, especially those first five albums or so. I remember when “A Better Man” went to number one, my Dad took me to the state fair to see Clint. He was opening for Ronnie Milsap. The place was absolutely packed. I felt bad for Ronnie after Clint’s set because about 2/3 of the audience left. Ronnie put on a fantastic show too.
On the subject of veteran artists…Barbara Mandrell just released a really fun remix of “Sleeping Single In A,Double Bed” by Dave Aude (Bruno Mars, Mark Ronson, Rhianna, etc). No new music, but she’s releasing a vinyl-only compilation to Cracker Barrel called “After All These Years.” Her UMG back catalog is (finally) being released to streaming platforms for the first time. Most of those albums have never been on CD or re-released since their debuts in the 70s and 80s.
It’s great to see renewed interest and enthusiasm for the artists we love and grew up on. Hopefully the younger fans discover and embrace them as well.
Luiz
June 22, 2020 @ 10:24 am
“A Beautiful Day” and “America (Still In Love With You)” ruins the album.
Luckyoldsun
June 24, 2020 @ 3:44 pm
Wynn Stewart had a #1 hit–his only one–with “It’s Such a Pretty World Today” in 1967 and that was it: He kept putting out singles about “Something Pretty,” “It’s a Beautiful Day,” “Heavenly,” and on and on into “Gag Me With a Spoon” territory. They didn’t do much, but neither did his other non-“pretty” singles.
Maybe Clint dedicated this new song to Wynn.
Tristian Comer
June 22, 2020 @ 11:16 am
Hell Bent is my favorite song from this album. Speaking of new material by 90s artists, any plans to review Clay Walker’s new single, Easy Goin?
Kevin Smith
June 23, 2020 @ 11:43 am
Nobody else mentioned it so I will. Clint and Darius Rucker put on a nice Opry performance Saturday night. It was a pleasure to watch and was certainly a positive considering all that’s going on right now.
Acca Dacca
June 22, 2020 @ 7:26 pm
I’ve listened to Out of Sane cover to cover five or more times and none of these songs stick with me. For me, there are two primary reasons for this: the production and the style. Obviously, all music is composed of production and style in some form or another, but I really wish Clint would quit producing his own records. I admire the man’s stubborn determination to make his music on his own terms, but he would rather have a mediocre song with dull sonic attributes than record a killer song written by someone else with another person’s hands on the knobs. In light of what modern country music has become in the last decade it’s more than a little ironic that anyone would complain about an artist’s integrity, but in this case I think Clint’s determination to have absolute control is holding the material back. It’s not that the songs are terrible, but they just don’t feel like they go anywhere, and the production is so slickly anemic on top of it that there’s just zero personality. And with an artist with such a distinctive writing voice and those telecaster tones, that’s honestly a tragedy.
Every time I think that maybe I’ve grown out of his music, I end up revisiting his heyday and remember what I actually love about him. I’ve said it before and I’ll say it again: Clint Black’s first four records (Killin’ Time, Put Yourself in My Shoes, The Hard Way, No Time to Kill) are all solid country gold. Rare albums that I can genuinely listen to front to back and not grow tired of. And even One Emotion, flawed though it is (the title track would fit right in on Out of Sane) has “Untanglin’ My Mind,” which is worth the price of admission by itself. things improved with Nothin’ But the Taillights, though it still wasn’t up to the standard set by the first set. It took me a few years to warm to D’lectrified, but I’ve come to view it as a strong record in its own right, even if it’s more big band music than it is straight country.
There was a common thread amongst his records heading into the new millennium that has more or less taken over Black’s recording output: he leaned HEAVILY into adult contemporary. To be fair, most mainstream country music around this time was moving in that direction, and I even have a soft spot for much of it (and God knows that I’d take a schmaltzy ballad over another tractor rap laundry list abomination), but Black seems to have been unable to shake this style. Worse, Clint’s approximation of adult contemporary country has no pulse. I quite admire the man for putting family first, I really do. But it came at the cost of his artistry; it’s no secret that every fan has a different idea of when he “lost his way” (the key idea being that most people think he did at one point or another). It’s not that he doesn’t really do heartbreak songs anymore, he just ran out of interesting things to write about. He has no point or thesis that he’s trying to get across in any of his new material (except for “life is good”), and when he does (“America”) it lacks the urgency and wit he used to bring to his writing. It’s the musical equivalent of catching up with a relative at Thanksgiving over small talk: “How are you doing?” “I’m doing well, how are you?” The idea is pleasant enough but you don’t really take anything away from it.
It’s doubly disappointing because his live album from last year, Still Killin’ Time, had two REALLY good studio tracks on it: “This Old House” and “No One Here For Me.” The latter in particular sounds like an outtake from his first record that just didn’t make the cut in 1989, which I’m sure was the idea.
“No One Here For Me”: https://www.youtube.com/watch?v=eBOImTKIAG4
These to songs gave me faith that he was back on the right track after the disappointing On Purpose in 2015. Not only is the songwriting much better, but the production leaned back into the neo-traditional sounds that made Black a star. But clearly, he was just basking in the memory of that album for a session or two before returning to his current style. The notable exception of Drinkin’ Songs & Other Logic (which is merely good, not great) aside, I haven’t genuinely liked a single one of Clint’s albums since his split with RCA after D’lectrified.
I feel like a degenerate complaining about a man that’s content with life and where he’s ended up, but I really don’t know what else to say. Most of my favorite artists are past what most of their fans would consider their prime, but Clint is the only one who I have a hard time enjoying for what he’s doing in the here and now. He hasn’t lost a step live (my single favorite concert that I’ve ever seen was when he came to El Dorado, AR in 2014), but he needs a kick in the ass on the studio side, which will likely never happen. But I suppose I’d rather have him making music than not, so more power to him. And I can’t fault him at all for doing things his way and putting family first.
Career trajectory aside, Out of Sane is an odd collection of songs. Firstly we have “Everybody’s Talkin'” and “A Beautiful Day,” both of which are ever so slight remixes of tracks that are both over a decade old: the former dropped in 2008 on The Long Cool EP (which was pulled from digital outlets when Black’s label Equity folded in the late aughts) and the latter was originally included on the soundtrack to Flicka 2 back in 2010 (which Black also had a supporting acting role in). Obviously, few people, even fans, would know this, but for me it just adds to the “sure, why not” atmosphere of the record as a whole. “America (Still in Love With You)” is probably one of the worst songs Black has ever recorded. I’m not trying to knock his patriotism, but he’s never really leaned into the political or nationalistic side of country music before (with the exception of the non-album single “Iraq and Roll,” which is every bit as 2003 hackneyed as it sounds) and I think it’s a bit late now. Plus, as is the overall issue, it’s much too passive; complain about Toby Keith all you want, but at least there was some fire and brimstone to his ‘Murica anthems. But I appreciate the timely theme of unity in the song, if nothing else.
I think the best track is probably “What I Knew Then,” if only because the vocal filter Clint employs at certain moments gives the song some personality that the others lack. It’s also one of the few songs that rises above the mid-tempo slack. But the overly slick production still lets it down a bit. We’re always complaining about artists like Steve Earle and Sturgill Simpson recording on tape that sounds like it’s been pulled out of a vault from 1957, but it’s kinda hard not to think that they’re trying to avoid the sterile sound of recordings like these.
I was going to try and go through the album track by track like the fanboy I am, but I really just don’t have much to say about the songs themselves. What they say about the man and his career at large is honestly about the only thing I got out of it, and even then (as I said) I feel like a dipshit for complaining. Even though I’m not in my fifties (not even close), I’m certainly in the man’s corner. But if even I didn’t really enjoy this record, I have a hard time understanding who will. It’s pleasant enough but the pure and simple definition of unmemorable.