Clint Black was at the vanguard of the '80s/early-'90s new traditionalist movement that brought country back to its roots. But while he had no inclination toward pop crossovers, he was no retro fetishist either. Sure, he tosses plenty of twang into the philosophical "No Time to Kill" and the spurned-lover's road song "Nothin' But the Taillights," but instead of trying to revive an old-school honky-tonk template on these highlights, he uses streamlined production to bring a modern gleam to his influences.