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Country - Released April 5, 2019 | Arista Nashville

Hi-Res Booklet

Country - Released April 17, 2012 | Arista Nashville

Kix Brooks and Ronnie Dunn both brought considerable songwriting chops to the table when they joined forces in 1988, and both had a sharp eye for a good song, and together they had a vision for country music that was as much Southern rock as it was honky tonk. Their stage shows were high-octane, theatrical affairs, and when all was said and done, Brooks & Dunn ended up being the best-selling duo of all time, country or pop, with an astonishing string of Top Ten hits, including "Neon Moon," "Husbands and Wives," "Red Dirt Road," "My Next Broken Heart," and so many more. This two-disc, 30-song set brings the duo's key and signature tracks (including, of course, the ubiquitous "Boot Scootin' Boogie") together, and everything absolutely essential is here, as well as two new tracks, "Honky Tonk Stomp" and "Indian Summer," that fit seamlessly beside all those hits. Brooks & Dunn brought a lot of kick and fun to contemporary country radio, and they did it with focus and integrity. When they decided to call it quits and parted ways in 2010, Brooks & Dunn handled it amicably and on their own terms. This set is not only a great introduction to this innovative duo, it also shows how sharp the pair's vision was for what contemporary country should sound like. Oh, and they sold a gazillion records doing it. ~ Steve Leggett

Country - Released August 25, 1997 | Arista Nashville


Country - Released April 16, 2001 | Arista Nashville


Country - Released October 19, 2004 | Arista Nashville


Country - Released September 3, 2009 | Arista Nashville


Country - Released August 30, 2005 | Arista Nashville


Country - Released May 4, 1998 | Arista Nashville

The studio formula that melded vocalist Ronnie Dunn with Kix Brooks is still in effect on cuts like "Your Love Don't Take a Backseat to Nothing" and a duet with country-pop diva Reba McEntire ("If You See Him, If You See Her"); there are some good moments here. Dunn's cover of Roger Miller's "Husbands and Wives" displays his abilities nicely, while Brooks comes to life as a rock & roller on "Way Gone." Also good are "Brand New Whiskey" and "Born and Raised in Black and White." However, the final cut, a gospel-kissed tune ("You're My Angel") that shows just how strong Dunn's voice is, evokes the most emotion. Dunn, when allowed to free himself from trite material and heavy production practices, is amazing. ~ Jana Pendragon

Country - Released February 22, 1993 | Arista Nashville

As with most second albums, the successful traits started to isolate themselves on Hard Workin' Man: macho stuff like "Hard Workin' Man" and "Rock My World (Little Country Girl)" rocked harder than anything on Brand New Man, though Brooks & Dunn made sure their women came off as good as they did (catch the "and women too" tag on "Hard Workin' Man"). The slower songs ("That Ain't No Way to Go," "She Used to Be Mine") tended toward the sort of evocative images that ran all through their debut. The pair never put all the elements together they way they did their first time out, but they came close enough that few people noticed. ~ Brian Mansfield

Country - Released July 15, 2003 | Arista Nashville


Country - Released April 15, 1996 | Arista Nashville

Brooks & Dunn get a lot of mileage out of two potent personalities. Ronnie Dunn's expressive voice, underrated even with the band's huge success, and Kix Brooks' energized stage presence gave their otherwise routine material enough of a spin to earn them their status as country music's leading duet team of the 1990s. With Borderline, their fourth and weakest album, they have to strain a bit too hard to give their songs weight. The primary exception is an outstanding cover of B.W. Stevenson's 1972 pop hit "My Maria," which Dunn elevates with an outstanding vocal performance that puts him in a league with the Mavericks' Raul Malo. Other than a powerful ballad or two and an entertaining novelty number about a wife bluntly persuading her man that they are going out on the town that night, too much of Borderline relies on country clichés and formulaic arrangements. These two failed to make an artistic statement that went beyond light entertainment. ~ Michael McCall

Country - Released August 13, 1991 | Arista Nashville

An impressive debut that proudly proclaims its country roots without being afraid to dip its toes into pop and rock, Brand New Man is an entertaining listen. Like most Nashville records from the early '90s, Brand New Man is short, barely clocking in over 30 minutes, but Brooks & Dunn have clearly brought their A material to the table. The voices of the leaders blend well, and they are backed by a crack Nashville band that handles the all-original material with ease. Highlights include the insanely catchy title track and the almost Springsteen-esque "Lost and Found." Fairly traditional country songs such as "Cheating on the Blues" cohabitate peacefully with more pop-oriented fare like "Neon Moon" and "Still in Love With You." Thankfully, these latter tracks do not follow in the all-too-common mold of over-production that would bury the charms of these songs beneath string orchestras, rock guitars, and huge drums. As individual vocalists, both Brooks and Dunn are competent and expressive, although they do lack something in originality and distinctiveness. Although it's probably too much to ask from this kind of record, it would still be great to hear this great band really letting loose in extended fashion; such small tastes as at the end of "Cool Drink of Water" make the listener thirsty for more. Occupying the middle ground between Johnny Cash and the Eagles, Brooks & Dunn have put together a terrific group of songs that are memorable, hummable, and, most importantly, fun. Despite the diversity in the material, the album works well as a coherent whole. All in all, Brand New Man is a fine, fine collection of pop-country songs, masterfully played. ~ Daniel Gioffre

Country - Released September 27, 1994 | Arista - Legacy

Waitin' on Sundown didn't depart from Brooks & Dunn's formula much, but the fans didn't mind -- it sold over three million albums anyway. By this point, the duo's albums have become a handful of solid singles -- this time out, they were "Little Miss Honky Tonk," "She's Not the Cheatin' Kind," and "You're Gonna Miss Me When I'm Gone" -- surrounded by filler, but the hits will make the fans forgive the filler. ~ Thom Owens

Country - Released September 20, 1999 | Arista Nashville

Brooks & Dunn have always seemed more tradtionalist than they actually were. Even with their first album, they had a clear commercial mind behind their rootsiest material, and it's undeniable that they were not only one of the driving forces behind the line-dance craze, but that they had some of the better mainstream country ballads of the decade. Their trick was not just strong vocals, but keeping the music lean and direct, so it sounded like straight-up country even when it had pop aspirations. They retained that illusion up until the end of the '90s, when they not only increased their pop quotient, but they started to feel like a collective instead of a duo. That's a roundabout way of saying that 1999's Tight Rope, while a solid album, isn't quite up to their old standards. For instance, such blatant radio crossover moves as covering John Waite's new wave-era classic "Missing You" feels wrong, even if it's done as well as it possibly could be. That's obviously a misstep, but the really strange thing about Tight Rope is how the alternation between a Brooks song and a Dunn song feels like two solo albums pieced together, which is something that's never happened before. That these pieces are musically in line with the duo's previous efforts only hammers home the fact that this record is competent, occasionally enjoyable, but not particularly inspired. Parts of the record work quite well, such as "Temptation #9" or the closer, "Texas and Norma Jean," but there are large stretches that either feel contrived or a little too generic. Since Brooks & Dunn are professionals, Tight Rope is always listenable, but the combination of bland material and the disjointed feeling of the record leaves it a little unsatisfying. ~ Stephen Thomas Erlewine

Country - Released February 16, 2008 | Arista Nashville

Brooks & Dunn began revving up their redneck credentials with Hillbilly Deluxe, a record with no small debt to Big & Rich's gonzo strut, and they continue that path on its 2007 follow-up, Cowboy Town. Despite the title, Cowboy Town doesn't feel that western -- it's a slick, swaggering set of rock & roll, designed for sports bars, not honky tonks. Brooks & Dunn have always teetered between being just a bit too commercial and thoroughly country, but this is one of their efforts where the seesaw tips toward one direction definitively, as this album is as oversized as Texas without sounding a lick like the Lonestar State. Well, there's one exception to the rule -- Jerry Jeff Walker is roped in for a duet on "Ballad of Jerry Jeff Walker," an exceptional homage to his funny, loping signature sound that's easily the best thing here, and not because it's the most country: it's because it's the least mannered tune here. The other highlights on Cowboy Town share a similar wild, wooly spirit, as the duo turns out pretty good Stonesy rockers on "Put a Girl in It" and "Chance of a Lifetime" (which has a nice dip into John Anderson territory on the chorus), grinds out a wonderfully weird slice of ZZ Top boogie on "Drop in the Bucket," and pumps out a deliriously fun "Tequila," whose pumping Farfisa organ on a one-chord riff can't help but bring to mind the Sir Douglas Quintet. All these arrive in the middle of the album, offering a spike of life after it seems that Brooks & Dunn have gotten too mannered with the opening track and the plodding "Proud of the House We Built." And that mannered impression isn't wrong -- Brooks & Dunn have crafted these songs, along with the silly anthem "American Dream" (a song where Merle Haggard, Neil Armstrong, and MLK are shoehorned into one bridge) and "God Must Be Busy" (a litany of destruction and sadness, amber alerts, "the Bloods and Crips are at it...old folks can't afford the drugs they can't live without"), with an eye on the middle of the road, and they do it well enough that this music will likely win them that audience yet again. But it's that section of rowdy rockers in the middle of the album where the duo comes alive, and they're what saves this record from being too studied and dull. ~ Stephen Thomas Erlewine

Country - Released October 8, 2002 | Arista Nashville