Texas native’s 1989 debut a fresh breath of air in stale genre
During much of the late 1970s and most of the ‘80s, traditional country-western music was notably absent from the airwaves.
Sure, you had old-timers such as George Jones and Merle Haggard turning out popular albums, and George Strait burst onto the scene and brought back western swing, but country had gone pop in that era. The urban-cowboy style was dominant during the early ‘80s with artists such as Mickey Gilley, Eddie Rabbitt, Crystal Gale and Barbara Mandrell all topping the charts. Later, groups like Alabama and artists too numerous to count had their heyday throughout the ‘90s and continue to serve as a touchstone for modern country music.
But there was no doubt that country music – much like rock in the late ‘70s – had lost its way. Younger generations and older critics alike lampooned the style for the stereotypical tropes it had come to embrace. It was time for a revolution. Not of the nonconformist variety like the punk movement that brought us bands such as the Clash, X, the Ramones and the Sex Pistols, but one that sought to reestablish the working-class roots, heart and soul of the genre.
In 1989, the neo-traditional country movement was instituted, which took country back to its roots. It lasted well into the aughts, just before pop country made an unfortunate comeback and returning mainstream country back into a slump. One of the primary artists that spearheaded neo-traditional country was Clint Black.
Black released his debut LP “Killin’ Time” in 1989, and it took off almost immediately. With contemporaries that included Garth Brooks, Mark Chestnutt, Tim McGraw and Alan Jackson, he wasn’t the first neo-traditional artist, having been preceded by Randy Travis, who emerged a few years before and might have been the first and possibly the best of the bunch. But, along with Brooks, it was Black who made people take country music seriously again and listen unabashedly to it.
Black’s smooth delivery and songwriting prowess are absolutely, well, killer on this classic LP that spawned several hit singles including “A Better Man,” “Walkin’ Away,” the title cut and “Nothing’s News.” And while those all are great tracks, deep cuts like “Nobody’s Home” (released only on compact disc), “Straight From the Factory,” “Winding Down,” “You’re Going to Leave Me Again” and “Live and Learn” represent some of the best work in the artist’s long and distinguished career.
There’s simply not a bad song on this 10-track collection. It has everything a traditional country album should: heartbreak, beer-drinking, fun, hope and working-class songs. It has soul, swing and blues. “Killin’ Time,” which is a breath of fresh air, should be owned by anyone who considers themself a fan of country music.
