IN: Brooks & Dunn is an American country music duo consisting of Kix Brooks and Ronnie Dunn, both vocalists and songwriters. The duo was founded in 1990 through the suggestion of Tim DuBois. Before the foundation, both members were solo recording artists. Brooks wrote number one singles for John Conlee, Nitty Gritty Dirt Band, and Highway 101; both he and Dunn also charted two solo singles apiece in the 1980s, with Brooks also releasing an album for Capitol Records in 1989.

In addition to persuading the duo to stay together, Galante suggested that they record the song "Ain't Nothing 'Bout You", because he felt it had potential as a hit. The song served as the lead single from their seventh album, 2001's Steers & Stripes. It became their longest-lasting number 1, with a six-week stay at that position. This song was the second song of the duo's career to be named the top single of the year according to Billboard Year-End; it was also their highest peak on the Billboard Hot 100 at the time, peaking at number 25 there. For this album, the duo worked with producer Mark Wright, who also produced for Lee Ann Womack and Gary Allan at the time.  The next two singles from Steers & Stripes both made number 1 as well: "Only in America" and "The Long Goodbye", the latter of which was written by Irish pop singers Ronan Keating and Paul Brady. After it, the duo charted at number 5 with "My Heart Is Lost to You" and number 12 with a cover of Kim Richey's "Every River", featuring a backing vocal from Richey. All of these other singles also made the pop charts. "Only in America" was later used by George W. Bush in his 2004 re-election campaign, and again in 2008 by Barack Obama in his campaign. Noting that the song was used by both a Republican and a Democrat candidate, Brooks (who wrote the song with Cook and Ronnie Rogers) said that it was "very flattering to know our song crossed parties and potentially inspires all Americans."  This album was generally well received, with the reviews in Allmusic and Country Standard Time noting that the album was more consistent than the previous ones. Nash was less favorable, referring to the up-tempos as "retreads" but praising Dunn's voice.

Who else was involved in that album?

OUT: For this album, the duo worked with producer Mark Wright, who also produced for Lee Ann Womack and Gary Allan at the time.

input: Drugstore Cowboy's exploration of the lives of those living on society's outer fringes, as well as its Portland setting, were mirrored in Van Sant's next effort, the similarly acclaimed My Own Private Idaho (1991). Only with the success of Cowboy was Van Sant now given license to make Idaho (a film he had originally pitched but was knocked back several times as the script was deemed 'too risky' by studios). Now New Line Cinema had given Van Sant the green light, he was on a mission to get the Idaho script to his first choices for his two young leads. After months of struggle with agents and managers over the content of the script, Van Sant finally secured River Phoenix and Keanu Reeves in the roles of Mike Waters and Scott Favor. Centering around the dealings of two male hustlers (played by Phoenix and Reeves), the film was a compelling examination of unrequited love, alienation, and the concept of family (a concept Van Sant repeatedly explores in his films). The film won him an Independent Spirit Award for his screenplay (he had won the same award for his Drugstore Cowboy screenplay), as well as greater prestige. The film also gained River Phoenix best actor honors at the Venice Film Festival among others. In addition, it helped Reeves--previously best known for his work in the Bill and Ted movies--to get the critical respect that had previously eluded him.  Van Sant's next film, a 1993 adaptation of Tom Robbins' Even Cowgirls Get the Blues, was an excessive flop, both commercially and critically. Featuring an unusually large budget (for Van Sant, at least) of $8.5 million and a large, eclectic cast including Uma Thurman, John Hurt, Keanu Reeves and a newcomer in the form of River Phoenix's younger sister Rain (at Phoenix's suggestion), the film was worked and then reworked, but the finished product nonetheless resulted in something approaching a significant disaster.  Van Sant's 1995 film To Die For helped to restore his luster. An adaptation of Joyce Maynard's novel, the black comedy starred Nicole Kidman as a murderously ambitious weather girl; it also stars Matt Dillon as her hapless husband and, the third Phoenix sibling in as many projects, Joaquin Phoenix, as her equally hapless lover (River had died from a drug overdose a year and half earlier). It was Van Sant's first effort for a major studio (Columbia), and its success paved the way for further projects of the director's choosing. The same year, he served as executive producer for Larry Clark's Kids; it was a fitting assignment, due to both the film's subject matter and the fact that Clark's photographs of junkies had served as reference points for Van Sant's Drugstore Cowboy.

Answer this question "how was it reviewed"
output:
its success paved the way for further projects of the director's choosing.