Alan Jackson Albums (16)
What The Critics Say
Alan Jackson has never been away, so why does 2008's Good Time feel like a comeback album? Because this, his 14th album, is a return to straight-ahead modern country after several years of detours, including a late-night saloon album produced by Alison Krauss (Like Red on a Rose) and an austere collection of spirituals (Precious Memories). Even his last full-fledged country album, 2004's What I Do, felt a little understated and modest, adjectives that can't quite be applied to Good Time, even if it bears Jackson's unmistakable mark of casual authority. That casualness can disguise his ambitions, especially on an album as shining and snappy as this. It's only upon close inspection that the audacity behind Good Time becomes apparent: it's Jackson's first album of all-original material, and at 17 tracks it's the effective equivalent of a double-album in country music, where all albums outside of Vince Gill's mammoth triple-disc These Days are brief and to the point. Unsurprisingly given its length, Good Time drifts amiably and takes its time, lingering on its ballads and gliding through the faster tunes, sustaining a cheerful mood. It's so easy to enjoy that it takes a bit of attention to dig out the true gems lying here, and there are many: the brisk bluegrass strut of "Long Long Way," brought down to earth by Jackson's Haggard-esque phrasing; the slightly gangly, tongue-in-cheek Western swing of "I Still Like Bologna," which finds a more straightforward cousin in "Nothing Left to Do"; the gentle roll of "Listen to Your Senses," as sweet and light a song as Jackson has ever cut. These are the exceptions on an album that feels big and bright, a throwback to the days of '80s new country, especially on "Never Loved Before," a zippy duet with Martina McBride that finds its flip on "Laid Back 'n Low Key," a piece of soft rock that could have fit onto the airwaves during the prime of urban cowboy. And that is the sly genius of Good Time -- it demonstrates that Jackson is as comfortable with the poppier side of country as he is with the harder stuff, and he can deliver it without seeming as if he's pandering, a feat that is almost as impressive as those generic detours he's taken in the past few years. ~ Stephen Thomas Erlewine, All Music Guide
'Live at Texas Stadium'
Release Date 1/1/2007
Tracks 15
Label Universal Denmark
See Album Tracklist and Review
What The Critics Say
Live at Texas Stadium captures a concert Alan Jackson, George Strait and Jimmy Buffett gave at the venue on May 29, 2004. What connects these three? Well, Jackson and Buffett dueted on the chart-topping "It's Five O'Clock Somewhere," they're all superstars renowned for giving audiences their money's worth, and in 2004, Buffett released his country crossover License to Chill, so what better way to promote the platter than with a concert with the biggest country star of the 2000s and a legend? It made perfect sense and it made for a good show, too, if Live at Texas Stadium is any indication. According to the poster (which may or may not be accurate) featured in the CD booklet, the batting order for this particular show had Strait opening, Jackson hitting in the middle and Buffett closing it down, which is more indicative of the crossover nature of Buffett's crowd than the fact that he's a bigger country star than either Strait or Jackson. On record, Jackson and Buffett swap places, but position in the lineup doesn't matter as much on record as it does in concert, since it's possible for a listener to start listening anywhere -- and no matter where you start Live at Texas Stadium, it's one big party. And like any party with too many guests, different listeners will gravitate toward different groups of people. Those who like their country served straight-up naturally will find Strait's set the best, since he and his band have a casual virtuosity that's mesmerizing for its ease. Those listeners will also play well with Jackson's crew, who may not be as steeped in tradition as the Ace in the Hole Band but they sure can play pure country with skill and heart, and they provide the bridge to Buffett, who, as always, is the self-styled life of the party. Longtime Parrottheads will be familiar with his shtick -- the boisterous between-songs babble, the jokey asides on "Hey Good Lookin'" -- and find it intoxicating, but Strait fans may just see Buffett as intoxicated, and skip by his numbers. That said, Strait and Buffett play well together -- Strait isn't as loose as Buffett, but they harmonize well on "Sea of Heartbreak," and Jackson acts as the amiable host, bringing these two sides together and ensuring that everybody on-stage and in the audience (and now at home) has a good time: and they do. And it's good enough to take home a souvenir, since Live at Texas Stadium can serve as a soundtrack for many a summertime party in the future. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Upon first glance, Alan Jackson's devout album of Christian spirituals, Precious Memories, seemed like a worthy but curious detour, a step off the hard country path for the best of all modern honky tonk singers, and that the next time around he would be back in familiar territory; after all, he made a career out of being reliable. As it turned out, that studiously quiet collection of traditional gospel tunes kicked off a particularly adventurous 2006 for Jackson, since he followed it up seven months later with Like Red on a Rose, a record quite unlike any other he's made. This is a smoky, intimate record; it's romantic, to be sure, but not seductive -- instead, it's the sound of longtime love, the sound of happiness. Which is hardly the same thing as a bright, sunny record, since Like Red on a Rose is anything but that. This is a record designed for late-night listening, either with the one you love or as you're lost in reflection on your own. In a sense, it's a country variation on Frank Sinatra's classic late-night saloon records. Jackson is certainly not as haunted as Frank was on In the Wee Small Hours -- if anything, he's the opposite, pleased with where he's at in life -- but it has the same sense of introspection, and Like Red on a Rose is also at its heart an interpretive work. There is only one Jackson original here, a revival of his 1998 tune "A Woman's Love." The other 12 songs are all penned by other writers, largely songs that aren't well known to the general public (only the closer of Leon Russell's "Bluebird" can qualify as a popular classic). There are plenty of songs about love, but also songs about growing older, having and enjoying a family, yet still sometimes feeling restless. So, it's every bit the concept album that one of Sinatra's albums is, and in its own way, Like Red on a Rose is just as effective, thanks to Jackson's supple singing; he's always rightly been acknowledged as one of the great singers in country music, but he's never had a chance to show such a range as he does here. Give some credit to producer Alison Krauss, whom Jackson originally approached with the idea of recording a bluegrass record. Krauss helped steer Alan in this direction, and he ran with it, winding up with a record that's every bit as surprising as Precious Memories, yet greater. On that record, it was possible to hear Jackson work at achieving his goal. Here, he's effortless, and the result is an uncommonly rich and moving album. If 2006 has been this eventful, who knows where Jackson will go in 2007? ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Ten studio albums into his career, Alan Jackson takes a bit of a breather with 2006's Precious Memories, his first ever gospel album. Not coincidentally, it's his quietest record to date, as hushed and reverent as a Sunday service, with each track boasting little more than a piano, acoustic guitar, harmony vocals, and maybe an organ. There may not be much musical variety to these spare, intimate arrangements, but they suit this set of sturdy traditional gospel classics, and they also suit Jackson, who always has been eager to pay respect to his idols and influences. On most of his albums, this reverence doesn't sound overly reverent since he does sing loose, rocking honky tonk and indulges in a sense of humor, two things that help illustrate his good taste. Here, every song is deliberately calm and consciously tasteful, which may make for perfect music for church, but hardly makes for a dynamic record. As the album rolls on, the similarity in tempo and arrangements gives the album a monotonous, sleepy quality; each individual track is well crafted and sincere, but taken as a whole, it all blurs together and winds up seeming twice as long as its 37 minutes. But even if Precious Memories winds up as something slightly underwhelming, there's no denying that this is precisely the album Jackson wanted to make, one that's consistent in tone and exact in its vision. It may not make for everyday listening, even an album that would be played every week, yet it would make a good soundtrack for a reflective, reverent Sunday afternoon. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Alan Jackson had been a star for a long time before he released Drive in 2002, but that album turned him into a superstar, largely because it had the post-9/11 anthem "Where Were You (When the World Stopped Turning)," a crossover smash that made Jackson a household name. Unlike some of his peers, he didn't embrace this opportunity to become an omnipresent celebrity, he turned out a second greatest-hits album in 2003 -- complete with another crossover hit in the Jimmy Buffett duet "It's Five O'Clock Somewhere" -- before returning with the full-length What I Do in September of 2004. Filled with straightforward, unadorned honky tonk and gentle, rolling ballads, What I Do makes it clear that Jackson doesn't have the slightest interest in becoming a full-fledged, crossover country-pop star. This is the purest country album he's cut in a long time, but what makes it one of his very best albums isn't its purity, it's how it's delivered with a quiet confidence, a big heart, and a sly sense of humor. Jackson has backed away from any big social statements -- there is a song called "USA Today," but far from being a comment on either the state of the world or his celebrity, it merely tells the tale of "the loneliest man in the U.S.A. today" -- and sings about love, heartache, churches, fixing cars, and wishing "If French Fries Were Fat Free." As that last song suggests, he's learned from his idol George Jones that even songs about heartbreak can be just as effective if delivered with a sense of humor, but the best joke here is "The Talkin' Song Repair Blues," where Jackson haggles with a mechanic who fancies himself a songwriter. Despite these moments of levity, much of What I Do is heavy on ballads. While it's true that the loping drinking song "Strong Enough" and rip-roaring "Burnin' the Honky Tonks Down" are so good it's hard not to wish Jackson threw a few more ravers into the mix, each of these ballads works splendidly, whether it's the sweet "Too Much of a Good Thing," the gently supportive "There Ya Go," or the aching "Rainy Day in June." Given the preponderance of ballads and the laid-back delivery, What I Do has an intimate, relaxed feel, the polar opposite of a sequel to a blockbuster like Drive usually is. But instead of feeling like a retreat, What I Do feels like one of Jackson's most assured and best albums, proof positive that he's the best mainstream country singer of this decade. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Alan Jackson returned just months after the zeitgeist-defining, blockbuster success of "Where Were You (When the World Stopped Turning)," with his holiday album, Let It Be Christmas. Jackson has always been a bit of a traditionalist, but it's still kind of surprising just how traditional this album is, recalling seasonal records from the '50s and '60s instead of the glitzy, lavish productions of the '80s and '90s. This is a brilliant move, actually, since the warm, intimate arrangements that dominate the album give Jackson's rich baritone a perfect counterpoint, even when he stretches out with big-band arrangements on occasion (where Garth Brooks sounded lost surrounded by blaring big bands on The Magic of Christmas, Jackson glides into the lazy swing of "Winter Wonderland" and "Santa Claus Is Comin' to Town"). Smartly, these are almost all popular classics, apart from the title song which is a nice original from Jackson in the vein of "Have Yourself a Merry Little Christmas" and "White Christmas," meaning it's closer to traditional pop than country music. Out of all country music, it's closest to Western swing when it veers toward big bands, but there's not even a touch of countrypolitan here -- it's all Sinatra and Johnny Mathis. Instead of sounding incongruous, it's a perfect fit for a warm crooner such as Jackson, and by concentrating on classics, Let It Be Christmas is much stronger than most contemporary Christmas album. In fact, this is the best holiday album, regardless of genre, in many a moon. It has a rich, burnished feel that's perfect for snowy nights by the fire and the Christmas tree. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
The odd thing about Drive is that its centerpiece and its emotional fulcrum is a song that was likely one of the last recorded for the record. That song, of course, is "Where Were You (When the World Stopped Turning)," Alan Jackson's attempt to capture the hurt, pain, confusion, and overwhelming sadness caused by the terrorist attacks on the World Trade Center and Pentagon on September 11, 2001. The song works because Jackson keeps his sights simple as he conveys the bewilderment and sadness of the average American in the days after the attack, sketching the little things that people did to just get through the hours or how time just stopped cold. Given the enormity of the subject -- it's simply not something that can be summarized in song -- it's a surprisingly effective and moving tune, something that signals that Jackson is indeed in the forefront of the country singers of his time because it plays to his strengths: it's within the tradition of classic country and delivered simply, but with the vernacular and production of the modern day. And that's why even if it was a last-minute addition to the record, it fits so well into a typically strong collection of material from Jackson -- musically, it fits perfectly among these heartache ballads and mid-tempo honky tonkers, but it also gives it significant emotional weight. It, in effect, acts as the anchor for the rest of the album, lending songs that are very good genre pieces -- whether it's outside material like the excellent, poppy "A Little Bluer Than That" or original material -- extra weight. The great thing is that Drive doesn't really need it, since it's filled with top-notch songs, including the great George Strait duet "Designated Drinker" and "Drive," a tribute to his dad that's nearly as affecting in its own way as "Where Were You." This is not a total shock, since Jackson's track record is one of the strongest in '90s country, but nevertheless a record this solidly crafted and emotionally resonant is a welcome event all the same. ~ Stephen Thomas Erlewine, All Music Guide
'When Somebody Loves You'
Release Date 11/7/2000
Tracks 11
Label Arista
See Album Tracklist and Review
What The Critics Say
Before talking about what a fine country album When Somebody Loves You is, there's a disclaimer: If you're a woman, or somebody who wants a great deal of change or evolution in an artist's music, this set won't do much for you. Here are 13 songs about love and being a blue-collar guy who doesn't mind being a redneck, digs the old hillbilly sounds, and hates sushi. Alan Jackson's been at these anthems for an entire career. He's also had the same producer for the whole run. But there has been some change. The truth of the matter is, as close to the line as Jackson has kept his brand of country, it's actually become more so. There are less and less canned sounds on every record, whether it's on a killer love song like the title track with its Spanish guitar overtones that are reminiscent of Marty Robbins or the slamming honky tonk of "The Thrill Is Back" with the rawest sounding fiddle on a country record in a decade. And on the dumbly titled "WWW.Memory," Jackson gets down into a place where the sad lyric fits the tinkling of the upright piano (it's probably synthesized but doesn't feel like it). "Where I Come From" is another redneck anthem, but it rocks a little harder with a ZZ Top-styled guitar. The point is simple: If you like guitars, banjos, pedal steels, and songs about simple things -- "I Still Love You" is one of those songs and one of the best Jackson's ever recorded -- then When Somebody Loves You is your kind of record. This is trad honky tonk country in a country-pop age. Jackson gets a vote not only for holding on to the tradition but because he is able to articulate its heart in a heartless age. As long as Jackson, Montgomery Gentry, and George Strait are hanging in there on the male side of things, country music won't disappear into the ether of pop music schlock. ~ Thom Jurek, All Music Guide
What The Critics Say
Anyone who doubts Alan Jackson's roots as a honky tonk singer should turn to Under the Influences, his heartfelt salute to his favorite country singers. According to his self-penned liner notes, Jackson has "always wanted to do this album," and that's evident from the songs he chose to cover. There are several hits here, but they're the kind that aren't regularly covered -- "Pop a Top," "Kiss an Angel Good Mornin'," "Revenooer Man," "She Just Started Liking Cheatin' Songs," and "Once You've Had the Best." That, along with Jackson's loving reverence, makes this a step above the average covers album. Much of the material dates from the late '70s and early '80s, which makes sense, since he's a fourth-generation honky tonker raised on second and third-generation honky tonk. When he dips into Merle Haggard's catalog, he chose 1979's "My Own Kind of Hat." He picks songs written in the late '70s by Bob McDill. He also pays tribute to Hank Williams -- but Junior, not Senior. This all gives Jackson and Under the Influence true character. He's not going out of his way to pick historically correct songs, he's just choosing ones he likes. The album is all the better for it -- it's relaxed, warm, and entertaining, as he casually shows off his talents with some of his favorite songs. He rarely makes an effort to reinterpret the songs or contemporize the material, although the arrangements can occasionally be a little too clean. It also has to be said that the closer "Margaritaville," performed as a duet with Jimmy Buffett, sticks out like a sore thumb, but these two complaints wind up being nitpicking, since mainstream country didn't produce a better honky tonk album in 1999 than Under the Influence. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Six albums and nearly a decade into his career, perhaps it could be said that Alan Jackson was beginning to rack up the miles in 1998 when he released High Mileage, but he surely doesn't sound ragged or rickety on this typically stellar affair. As always, one of the most impressive things about Jackson is that he never seems forced -- he always sounds relaxed and natural, especially on the lazy Western swing of the opener, "Right on the Money," which starts the album off on an appropriately unhurried note. This is a mood that Jackson sustains throughout High Mileage, which is by far the most relaxed album he's made to this point, with even the livelier numbers -- such as the skipping Bakersfield redux of "Another Good Reason," a particularly funny drinking song -- being a little bit subdued, carrying some of the mellow vibe of this ballad-heavy album. This may be long on slow tunes and laid-back melodies, but that doesn't make High Mileage dull. There's a certain level of introspection to the songs, a meditative quality, that gives the album depth, but the songs (half of which are originals) are strong and Jackson's delivery, as ever, is warm and compelling, making High Mileage a startling, rewarding departure from his previous records and proof of his depth as an artist. ~ Stephen Thomas Erlewine, All Music Guide
