George Strait Albums (29)
What The Critics Say
Tempting as it may be, Twang cannot be classified as a thematic counterpart to 2008's Troubadour, an album that followed through on its rugged journeyman title. Once the opening title track twangs out of view, the album quickly veers toward the comfortably weathered balladeering that Strait has made his stock in trade for the better part of three decades now, quick enough to suggest that Twang might be little more than another reliably steady Strait record. To be sure, this is recognizably within his comfort zone -- as always, when you do it as well as he does, there's no need to change -- but beneath that supple exterior there are a few surprises, chief among them the re-emergence of Strait the songwriter. George hasn't penned many songs since the early '80s, when his son George "Bubba" Strait, Jr. was just a baby, but now that he's a grown man Bubba has turned into a songwriter in his own right, coaxing his dad into composing three songs with him, including the terrific tear-in-my-beer single "Living for the Night" and the breezy lament "He's Got That Something Special" (Bubba also pens the excellent Johnny Cash homage "Arkansas Dave" on his own). These are change-ups, not curveballs; Strait saved his twists for the end, when he slides into some "Hot Grease and Zydeco" or goes full-on Mariachi for the closer "El Rey." It's these little twists -- the stylistic stretches and original tunes -- that give Twang some serious character and make it more than just another sturdy Strait record. ~ Stephen Thomas Erlewine, All Music Guide
'Classic Christmas'
Release Date 10/7/2008
Tracks 10
Label MCA Nashville
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What The Critics Say
For his third holiday album -- he releases one every decade, more or less like clockwork -- George Strait concentrates on the basics, something that's evident from the very title of Classic Christmas. There's not a new tune or obscurity among the album's ten songs, as Strait relies heavily on carols like "Silent Night," "Joy to the World," and "O Come, All Ye Faithful," adding a couple relatively newer standards like "Jingle Bells" and "Up on the Housetop" for balance. This makes Classic Christmas quite a bit different from 1999's Merry Christmas Wherever You Are, which concentrated on brand-new tunes and secular favorites like "Let It Snow! Let It Snow! Let It Snow!," "The Christmas Song," and "Rudolph the Red-Nosed Reindeer" -- songs that he pulled off nicely, but the simplicity of these standards is well suited for Strait's warm, easygoing touch. Indeed, Classic Christmas is quite warm and easygoing, a relaxed collection of gentle acoustic numbers and subdued Western swing ("Jingle Bells" and "Upon on the Housetop" benefit quite a bit from the latter) that feels as true to Strait's sound as it does to the spirit of the season. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
George Strait's greatest attribute is his consistency. It's not just how he rarely delivers a bad album but how his music remains rooted in pure Texas honky tonk, a fact that makes his reliably excellent music all the more remarkable. Sometimes Strait steps beyond reliable and delivers something close to transcendent, and 2006's nothing-but-the-basics It Just Comes Natural was one of those times. Playing exclusively to his strengths, the album was lean and strong, yet another hit under his belt, and more than earning its honors as the CMA's Album of the Year. It would be tempting for most artists to turn out another album just like the last but Strait isn't like most artists, as his 2008 follow-up, Troubadour, gracefully illustrates. Troubadour finds Strait turning introspective, getting softer and mellower, perhaps even slightly melancholy, yet it's a comforting melancholy, as the album never wallows in sadness -- there are plenty of Texas 2-steps, breezy mid-tempo tunes, and love songs to temper the blue moments here. Nevertheless, Strait is the troubadour of the title, a musician who bears the scars of the road and is a richer singer for it. This is especially evident on Troubadour, as it has a warm, burnished sound suited for his gently weathered voice, and its 12 songs are by and large exceptionally crafted and deceptively simple; they're songs that benefit greatly from Strait's casual virtuosity. As always, he has his pick of the best songsmiths -- Dean Dillon, Robert Earl Keen, Al Anderson, Buddy Cannon, Monty Holmes, and Scotty Emerick are among the writers bearing credits here -- and he has an unerring ability to pick songs that suit his strengths and weave together to form a cohesive whole (the only minor misstep being a too-anthemic tribute to Johnny Cash, "House of Cash"). Here, the mood is subdued, with even the lighter numbers not quite breaking a sweat, but that's the charm of Troubadour: in its relaxed, intimate way it recalls Merle Haggard's quieter, story-heavy albums of the early '70s, only with Strait's signature, unhurried attitude, a trait that only grows more attractive over the years. ~ Stephen Thomas Erlewine, All Music Guide
'Somewhere Down in Texas'
Release Date 6/28/2005
Tracks 11
Label MCA Nashville
See Album Tracklist and Review
What The Critics Say
George Strait has been so good for so long that it's easy to take him for granted, and Somewhere Down in Texas -- his 28th album, if you're keeping score -- is the kind of album that's easy to take for granted, since its scope and scale are so modest. Which isn't to say that it's dull: it's just that it's such a low-key, assured album, it's easy to overlook the craft and skill involved in its production, particularly because Strait always makes his music sound so effortless. He never changes, always staying within the confines of pure country, but part of his genius is that he has an excellent ear for material, picking songs that uphold the hardcore country traditions of George Jones and Merle Haggard yet feel fresh and contemporary. He also knows how to group these songs together, sustaining a mood throughout a full album. If 2003's Honkytonkville was a lean, tough honky tonk record, this 2005 sequel is its more sedate, introspective flip side. There are still moments that are pure honky tonk -- from the mid-tempo anthem "If the Whole World Was a Honky Tonk" to the quick two-step "High Tone Woman" -- but this is a gentle, nostalgic, ballad-heavy affair that takes its tone from Strait's terrific cover of Hag's sweet, lazy (and often overlooked) "The Seashores of Old Mexico." It's a warm, occasionally bittersweet, often soothing collection of perfectly pitched, reflective tunes, ranging from the clever breakup tale "She Let Herself Go" and the Lone Star valentine "Texas" to the excellent slow duet with Lee Ann Womack, "Good News, Bad News." Again, there's nothing new or surprising here, but it's a completely satisfying listen thanks to the strong material, sustained mood, and Strait's unhurried, confident performance. These have been hallmarks of Strait's work throughout the decades, and they haven't let him down yet, nearly 30 years and 30 albums into his career, as Somewhere Down in Texas proves. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
The release of Honkytonkville should make anyone who harbored insane thoughts about George Strait having his best years behind him certifiable. While it may be his 27th album -- not counting greatest-hits and Christmas records -- Strait sounds hungrier than ever here. Produced by Strait and Tony Brown, the tough barroom ballads and breakneck dance tracks are back with a vengeance, and the material, written by the more imaginative tunesmiths in Nash Vegas, is his strongest in a decade. A quick for-instance is the jukebox-breaking opener, "She Used to Say That to Me," penned by Jim Lauderdale and John Scott Sherrill. Done is a slick 4/4 with a Wynn Stewart-esque melody line and a lyric that's as tender as it is tough, Strait wraps that voice of his around all the pain in it and comes out still standing. The title track, written by Buddy Brock, Dean Dillon (who is well represented here), and Kim Williams, is a fiddle-laden traditionalist anthem to the ghosts of people and places gone yet ever present. "Look Who's Back in Town," with its gorgeous piano lines (reminiscent of a Billy Sherrill production) sounds like a country version of Johnny Rivers' "Poor Side of Town," while everybody had better watch it because "Cowboys Like Us" could signal a return to outlaw country. The weepers work too, such as "Tell Me Something Bad About Tulsa," the Guy Clark-inspired "Desperately" by Bruce Robison and Monte Warden, and the soul-country of "Heaven Is Missing an Angel." But the barnburner on this one is "I Found Jesus on the Jailhouse Floor." It may be a gospel song, but it'll have the honky tonky line dancers pounding the beer before sweating it out on the dancefloor on the Saturday night before Sunday morning. It is completely conceivable to hear this song being done by Merle Haggard's Strangers in 1967 or by Buck Owens in 1969. "Honk if You Honky Tonk," another Dillon joint, is harder rocking than anybody but Montgomery Gentry -- and they will kick themselves for not recording it first. If the DJs at country radio can hear, they'll be playing the hell out of this one -- it's got five or six singles if it has one. Not that Strait was ever anything but country; this is the first hard country album of 2003, and he's got the torch burning bright for the tradition while not giving up an inch of his modernity. ~ Thom Jurek, All Music Guide
'For the Last Time: Live from the Astrodome'
Release Date 2/11/2003
Tracks 16
Label MCA
See Album Tracklist and Review
What The Critics Say
The "For the Last Time" in the title does not refer to the last concert George Strait ever gave, nor does this suggest that this is a farewell to live albums; in fact, it's the first live album Strait has ever released. The "last time" refers to the last concert of the Houston Livestock Show and Rodeo ever given in the Houston Astrodome, a show that Strait headlined, breaking records by drawing 68,266 people, the largest audience the venue ever saw (for the record, he top-lined the first Livestock Show at its new home, Reliant Stadium). This was a big, big occasion -- highlighted by an on-stage guest spot by former President George Herbert Walker Bush, where number 41 proclaimed that "everyone in Texas loves him and everyone across this country loves his music" -- so it makes perfect sense that it would be commemorated with an audio souvenir, and For the Last Time isn't bad at all on those terms. Its biggest problem is its nature: it captures a big-stage, big-sound production, where it's about the spectacle as much as the music, so when it's presented as a CD, it's not as exciting as the concert, nor is it as exciting as many of his straight studio records. It's professional, well-performed, and enjoyable without being dynamic, surprising, or lively; it never feels as lived-in or real as the best of Strait's music. Part of the reason for that is the song selection, which is heavy on ballads and mid-tempo numbers, de-emphasizing harder country and Western swing. When they do go for purer country, such as on the death-of-country-music lament "Murder on Music Row," it sounds great, but this is not about gritty country, this is a soundtrack to spectacle. It's fine as that, but it's not the great live George Strait album it could have been. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Industry icon George Strait is obviously still "countrified" in The Road Less Traveled, but the country traditionalist has a few out of the ordinary tricks up his sleeve this time. After 25 platinum albums flavored mainly with Texas swing and grassroots country, Strait is now playing the experimentalist. Though the album does touch upon traditional Strait material with songs such as "She'll Leave You With a Smile" and "Don't Tell Me You're Not in Love," the singer employs uncharacteristic synthetic vocal enhancement à la Cher's (mentioning Cher in the same sentence with George Strait never seemed possible before) "Do You Believe in Love" remix on his Cajun tune "Stars on the Water." The mix may make you check the CD case to make sure it's Strait you're playing, but doesn't come across as that distracting. The irony comes two cuts later, when Strait calls for "The Real Thing," referring to the music of artists such as Johnny Cash and Carl Perkins. The arrangement of the album's first single, "Run," is also a bit of a change for Strait, though the song's idea is undeniably country. The Road Less Traveled finishes out with a song written by Merle Haggard and Terry Gordon that Strait calls "the soundtrack to his life." "My Life's Been Grand" seems like a suitable message to fans after 57 million records sold and, as Strait points out in another cut from this fascinatingly diverse album (contradiction and all), that's the difference between "Living and Living Well." ~ Rick Cohoon, All Music Guide
'Holding My Own'
Release Date 10/24/2000
Tracks 10
Label Universal Special Products
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What The Critics Say
By the time he released his twelfth album Holding My Own in 1992, George Strait had been having hits for over a decade, a long time in any kind of pop music, so it should come as no surprise that when this hit the market it was surrounded by albums cut by singers inspired by Strait. As such, the title itself can be read as a little bit defensive, proving that Strait was indeed comparing well to such new stars as Garth Brooks, and there are other slight signs of Strait and producer Jimmy Bowen reacting to the shifting times. There's the return of a coat of gloss on such slow singles as "So Much Like My Dad," a slight tempering of Western swing, a brightening of the Telecasters and beat on the uptempo tunes, which does result in the delightful modern rockabilly of "It's Alright with Me," reminiscent of nothing less than an updated Ricky Nelson tune. All these changes are incorporated within the framework of Strait's traditional country, sitting alongside the shuffles and barroom ballads that are familiar but have hardly worn out their welcome at this point. It's a sound as comfortable as a pair of slippers and Strait is appealing as ever here; appealing enough to disguise that for as likeable as many of these songs are, they're not among his best. That may be true, but even average George Strait is quite enjoyable, and, in retrospect, this not only held its own against the new guys, it's aged better than many of their LPs -- it only pales in comparison to other records by Strait himself. ~ Stephen Thomas Erlewine, All Music Guide
'If You Ain't Lovin' (You Ain't Livin')'
Release Date 10/24/2000
Tracks 10
Label Universal Special Products
See Album Tracklist and Review
What The Critics Say
George Strait revived the classic Faron Young anthem "If You Ain't Lovin' (You Ain't Livin')" for his eighth album, 1988's If You Ain't Lovin' (You Ain't Livin'). By this time, it was no great surprise to have Strait draw directly from classic country and while there are no great left turns here, it does pack one surprise: the album isn't quite as rip-roaring as its hell-raising title would suggest. Instead of being packed with barroom ravers, this is a pretty laid-back affair, which is part of its appeal. Again, a few of the singles are a bit glossier than the rest -- "Baby Blue," "Famous Last Words of a Fool," both chart toppers, both very good -- but the rest of the material has an appealingly lazy vibe, from the jazzy textures of "Don't Mind If I Do" and "Is It That Time Again," to the hazy, cheerfully resigned closer "Back to Bein' Me." Even the faster tunes here -- and there are really only two, the galloping 2-step "Let's Get Down to It" and the happy Bakersfield shuffle of "Bigger Man Than Me," both echoing classic Haggard moments -- aren't as energetic as companion pieces from earlier Strait albums, and while some may miss that, this slight change of pace makes it a neat little gem within a wonderfully consistent catalog. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
George Strait continues his foray into the neo-traditionalist country style that he helped to pioneer on his 24th album, the simply titled George Strait. His voice has deepened over the years but he sounds just as alive as he did on his 1981 debut, and his songs hold just as much pain. The stark "If It's Gonna Rain" and the rich "She Took the Wind From His Sails" are testaments to the years that Strait has put into his craft and his unique ability to infuse a song with honest heart and soul. While some fans of "young country" might wonder where the screaming guitar solos and distorted fiddles are, fans of traditional country will no doubt be able to tell them where to go. ~ Zac Johnson, All Music Guide
