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Clint Patrick Black (born February 4, 1962 in Long Branch, New Jersey, USA) is a neotraditional country music singer, songwriter, producer and occasional actor. He grew up in Katy, TX (west of Houston) and spent a good portion of his high school years touring Houston's club circuit. Check our available Clint Black concert ticket inventory and get your tickets here at ConcertBank now. Sign up for an email alert to be notified the moment we have tickets!

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5.0 (based on 9 reviews)

Whether you find yourself enjoying Clint Black's When I Said I Do depends wholly on whether you're a fan of his vast collection of hits. Released exclusively to Cracker Barrel Old Country Store and iTunes, When I Said I Do is a collection of re-recorded versions of love songs which hold a special meaning to Clint. While most of these songs were hits, some of them were once 'just' album cuts...
It's not surprising that Clint Black's third album, The Hard Way, makes a stylistic tip of the hat to '70s singer-songwriters Jimmy Buffett, Dan Fogelberg, and James Taylor. After all, hasn't Black sat back and watched onetime close rival Garth Brooks shoot to crossover superstardom by mixing his own traditional country soundwith those same pop elements? What's far more unexpected on this long-awaited follow-up to PutYourself in My Shoes (1990) is the album's somber, reflective mood...
Clint Black, who's been as creatively stale as a year-old Communion loaf, hauls out the big guns on his sixth album of new material, Nothin' but the Taillights, writing with Matraca Berg, Marty Stuart, and Steve Wariner; dueting with Martina McBride; and picking with Chet Atkins and Mark Knopfler. Problem is, he needs all that window dressing: Other than the spirited title tune and a bluegrass ballad with Alison Krauss, this is the dullest set of songs since, well, his last album....
Sixteen years into his career, Clint Black returns to the simplicity ofbarroom songs that informed his heroes Haggard, Nelson, and Jones. WhileDrinkin' Songs & Other Logic occasionally delivers a wincing lame line ("It's not that kind ofclass that made Budweiser"), Black works his magic on the dance floor.There he evokes the best of old-fashioned honky-tonk and Texas Westernswing, even as his rhythmic shuffles make him the Ray Price of hisgeneration.
The heroes of Clint Black's songs are young men in a hurry. On themillion- selling Killin' Time, Black's 1989 debut disc, they wereobsessed with making better men of themselves and walking away fromfailing romances when it looked like the jig was up. But more oftenthan not they were merely traveling in circles, fraught withindecision...
When Clint Black jumped out of the box with Killin' Time in 1989, he looked as if he'd soon own the store. He was the premier hat act, with good looks, terrific neotraditional songs about calloused factory workers and bruised lovers, and a pure Texas tenor that broke in all the right places. But that was before Garth Brooks and all the other go-for-broke cowpokes...
In today's brave new Nashville, artists fall into neat categories: the docile crooners, like Randy Travis and George Strait, who sing pretty and pretty much toe the line; and the hell raisers, like Steve Earle and John Anderson. But, lucky for us, twenty-seven-year-old Clint Black doesn't fall into one of the neat categories. Neither choirboy nor hellion, he writes and sings about battered hearts, broken dreams and tortured emotions with an unflinching directness...
If you were Clint Black and your debut album remained Number One on the country charts for twenty-eight weeks, you might ask, "What next?" On his follow-up, Put Yourself in My Shoes, Black provides the answer. He continues staking out eclectic turf and, with his co-writer Hayden Nicholas, advances a point of view that is rather uncommon in the country mainstream ? tender but unsentimental, tough but courageous enough to admit vulnerability.Against producer James Stroud's uncluttered aural backd...
Country music is for those old or repressed enough to care deeply about monogamy--one-on-one love in all its passion, comfort, consternation, impossibility, and routine. That's why I doubt the Nashville hunks have siphoned much support from Nirvana, Madonna, or Public Enemy--their targets are Richard Marx and Bryan Adams. Still, this is a sad one...
Google+ by Chris Robertson