Toby Keith

( 2 )

Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
On the cover of his eponymous 1993 debut, Toby Keith doesn't quite look like the big, swaggering dog that became a superstar roughly seven years later -- he's too thin, his shirt too crisp, his mullet too drastic, his smile too eager -- but image isn't everything. Underneath that cover, it sure is possible to hear the roots of modern Toby Keith on this appealing debut. It is given a production that's a bit too big, clean, glossy and cavernous for Keith's good -- it fits the outsized sound of early-'90s radio, but not his outsized talent -- but beneath that sheen the songs are very strong. He wrote all but two here -- the cheerfully swinging "Some Kinda Good ...
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Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
On the cover of his eponymous 1993 debut, Toby Keith doesn't quite look like the big, swaggering dog that became a superstar roughly seven years later -- he's too thin, his shirt too crisp, his mullet too drastic, his smile too eager -- but image isn't everything. Underneath that cover, it sure is possible to hear the roots of modern Toby Keith on this appealing debut. It is given a production that's a bit too big, clean, glossy and cavernous for Keith's good -- it fits the outsized sound of early-'90s radio, but not his outsized talent -- but beneath that sheen the songs are very strong. He wrote all but two here -- the cheerfully swinging "Some Kinda Good Kinda Hold on Me" and the very good "A Little Less Talk and a Lot More Action," which winningly echoes the Georgia Satellites' "Keep Your Hands to Yourself," aren't his -- and he's already showing considerable range as a writer, already revealing his wry sense of humor on "Close But No Guitar" and expertly playing of Western mythology on "Should've Been a Cowboy" which was his deserved breakthrough. But if that song, combined with his latter macho stance, suggests that he was always all outlaw, most of Toby Keith is surprisingly within poppier territory, as "Ain't No Thang," "He Ain't Worth Missing" and "Wish I Didn't Know Now" all bear influences from Ronnie Milsap. He'd later develop this influence, blending it to a rowdier stance that became his signature, but looking back on this debut it's clear that Keith was a writer and singer of considerable skill even at the outset of his career.
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Product Details

  • Release Date: 4/20/1993
  • Label: Mercury Nashville
  • UPC: 731451442124
  • Catalog Number: 514421
  • Sales rank: 51,945

Album Credits

Performance Credits
Toby Keith Primary Artist, Vocals
Troy Turner Keyboards
Don Potter Acoustic Guitar, Guitar
Ken Bell Guitar
Mark Casstevens Acoustic Guitar, Guitar, Harmonica
Michael Crossno Guitar, Electric Guitar
Thomas Flora Background Vocals
Sonny Garrish Dobro, Steel Guitar
Carl Goff Jr. Bass
Chuck Goff Jr. Bass
Johnny Helms Steel Guitar
Clayton Ivey Keyboards
Gary Lunn Bass
Scott Marcha Drums
Keith Mellington Drums
Milton Sledge Drums
Denis Solee Saxophone
Chris Trupe Keyboards
John Willis Electric Guitar
Lonnie Wilson Background Vocals
Reggie Young Electric Guitar
Kenny Bell Acoustic Guitar
Jim Kimball Electric Guitar
Michael Black Background Vocals
Dennis Wilson Background Vocals
Technical Credits
Jim Cotton Engineer
Nelson Larkin Producer
Joe Scaife Engineer
Harold Shedd Producer
Ronnie Thomas Digital Editing
Hank Williams Mastering
Joe Sciafe Engineer
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Customer Reviews

Average Rating 5
( 2 )
Rating Distribution

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Sort by: Showing all of 2 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    What a Debut Album!

    Our first introduction to Toby Keith is a strong one. Instant classics like "Should've Been a Cowboy" and "A Little Less Talk" are supplemented with ballads, a tribute to his mom, and the funny "Close But No Guitar". From this CD we know we can expect a lot more hits from Toby Keith.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted October 25, 2008

    No text was provided for this review.

Sort by: Showing all of 2 Customer Reviews