George Thorogood Albums (19)
What The Critics Say
After more than a decade of recording for other labels, George Thorogood & the Destroyers moved back to EMI/Capitol for the release of 2009's The Dirty Dozen. Split into two sides (just like a vinyl album!) and consisting of covers of classic blues songs, some bar band favorites, and a couple of lesser-known tracks, the album showcases the current sound of the band and digs back into the archives to uncover some buried tracks from the '80s and '90s. What's uncanny is that apart from the tinny sound of the recordings from the late '80s/early '90s, the band and Thorogood sound exactly the same almost two decades later. Just as they sound virtually unchanged from the first time they stepped into a recording studio. George still has the same ferocious slide technique, his growling vocals have barely aged, and the band still has the feel of skilled musicians who know how to play it simple. In other words, GT & the Destroyers still rock, and if you were ever a fan, you still should be. The only real problem with this record is that as cool as it is to hear the band's 1991 take on "Six Days on the Road" or their tumble through Howlin' Wolf's "Howlin' for My Baby," it'd be better to hear more of the new tracks. They have a more immediate feel and the group sounds like they're playing for fun rather than chasing commercial success. There's a fire in "Born Lover" and a bounce in "Run Myself Out of Town" that the old, muffled production can't reproduce. Not that the old tracks are bad by any means, and longtime fans of GT will be glad to have them. Just as they will be glad that he and the Destroyers are still around and still rocking out. ~ Tim Sendra, All Music Guide
'30th Anniversary Tour: Live'
Release Date 10/18/2004
Tracks 13
Label Eagle Rock Entertain
See Album Tracklist and Review
What The Critics Say
Recorded on May 4, 2004, at the Royal Concert Hall in Nottingham, England, George Thorogood & the Destroyers sound as spirited and enthusiastic as they did 30 years ago playing bars in their Delaware hometown. While some naysayers might call the track listing repetitive, they obviously miss the point of Thorogood's live gigs to begin with. Hardcore Thorogood fans will wonder what happened to certain staples like "Move It On Over" or "I'm Wanted," but basically all of the tried and true showstoppers are included: "Bad to the Bone," John Lee Hooker's "One Bourbon, One Scotch, One Beer," Bo Diddley's "Who Do You Love," and "I Drink Alone." George Thorogood & the Destroyers' 30th Anniversary Tour: Live is raucous, fun, and passionate, finding both band and audience having a great time. ~ Al Campbell, All Music Guide
What The Critics Say
Fans of George Thorogood & the Destroyers would probably stage a minor rebellion if their man strayed from his well-worn path of bloozy boogie. Luckily, there is no need to take up arms anytime soon, as Thorogood's sound remains unchanged on Ride 'Til I Die. Good-natured, guy-at-the-end-of-the-bar vocals, buzzing slide guitar, and solid American blues-rock are still the order of the day. The album is the usual mix of covers (Thorogood adds only one original, the forgettable "Sweet Little Lady") played with a barroom-friendly wink and smile. Songs like Eddie Shaw's "Greedy Man, " J.J. Cale's "Devil in Disguise, " Nick Lowe's "That's It, I Quit," and Chuck Berry's "Move It" are perfect for Thorogood's good-time persona, and he plays them with energy that has been lacking on the last few records. Best of all is his cover of Eddie Cochran's strutting "My Way," which Thorogood delivers with a punch that puts the song right up there with some of his early classic work. Less successful is the slow blues number, Elvin Bishop's "Don't Let the Boss Man Get You Down," on which his voice is strained and the energy level dips precipitously. The gospel nugget "I Washed My Hands in Muddy Water" is another failure, as his emotionless vocals and the lifeless performance let down the side. The last track, a cover of John Lee Hooker's "Ride 'Til I Die," is a nice addition to the record. Recorded at a soundcheck before a show in Texas in early 2002, it shows that while Thorogood's strength will always be good-time blooze 'n' boogie, he can do a credible job on acoustic blues too. The sound of the Ride 'Til I Die album is not a surprise; the surprise is that the record is as good as it is. ~ Tim Sendra, All Music Guide
'Live in '99'
Release Date 11/23/1999
Tracks 11
Label CMC International
See Album Tracklist and Review
What The Critics Say
Recorded almost two months after the release of Half a Boy/Half a Man, his first album for CMC International, and released five months later, Live in '99 is what you'd expect from an artist who has spent over 20 years playing the same blooze 'n' boogie. That's right -- a little more blooze 'n' boogie. Depending on your point of view, Thorogood has either kept it real or has recycled himself since the second song on his first album, but either way, Live in '99 offers no surprises in either camp. He keeps the same roadhouse grooves, the same thundering slide guitar, and the same songs ("Bad to the Bone," "Who Do You Love," "I Drink Alone," "Move It on Over," "Get a Haircut," and "One Bourbon, One Scotch, One Beer" all make another appearance). The only thing that's changed slightly is the banter -- thanking Budweiser and the Fox Theater, saying there will be no violence or guns tonight, only love and rock & roll. The performances probably sounded fine in concert, where there's a palpable dynamic between the artist and audience, but on record, they're flat. Not necessarily unenjoyable, but certainly flat, with no real spark from the band nor any exceptional solos or singing. In other words, this album is a bit predictable. That might not bother indiscriminate hardcore fans -- who, after all, haven't objected to hearing the same basic album for over two decades -- but some discerning diehards may question why he does the same songs the same way year after year, especially when he has more than enough rarities or covers to choose from. The answer? The hits are crowd-pleasers and the crowd wouldn't be happy if they didn't hear them. There's no rule, however, that a live album needs to be a replica of a concert (though those are occasionally nice), and given how the familiarity of the performances and material makes Live in '99 feel a little ordinary, perhaps Thorogood should take the opportunity with his next album to shake things up a little bit. Not that he would abandon blooze 'n' boogie -- but it would be enough to hear blooze 'n' boogie through different songs. ~ Stephen Thomas Erlewine, All Music Guide
'Half a Boy/Half a Man'
Release Date 4/13/1999
Tracks 11
Label CMC International
See Album Tracklist and Review
What The Critics Say
Capitol/EMI finally dropped George Thorogood after 1997's Rockin' My Life Away stiffed, so where else was there for him to go than CMC International, the label that doesn't care if their artists keep remaking the same record for years on end? That's exactly where Thorogood and his Destroyers landed in 1998 and they released their first record for the label, Half a Boy, Half a Man, the following spring. Not surprisingly, there are no surprises anywhere on the album, unless you count the fact that it was a good idea for him to tackle Nick Lowe's great rocker "Half a Boy, Half a Man." No, the album serves up the blooze-n-boogie that Thorogood fans love and his detractors have come to despise. The difference is, Terry Manning's production keeps things moving, resulting in his liveliest record in nearly a decade. Unfortunately, the album isn't blessed with the strong material that characterized Rockin' My Life Away, but that album didn't have the raw, visceral edge that this album does. And when it comes to rockin' blues, sometimes it's better to have better sound than better songs. ~ Stephen Thomas Erlewine, All Music Guide
'Nadine'
Release Date 4/7/1998
Tracks 10
Label Universal Special Products
See Album Tracklist and Review
What The Critics Say
MCA Special Products' Nadine is a repackaging of the material that comprised Better Than the Rest, which itself was a compilation of unreleased demos that George Thorogood recorded for MCA in 1974. The recordings capture Thorogood's bull-headed boogie in its formative stages, and while he hadn't quite found the right tone, there are enough flashes of his future self to make it of interest to hardcore fans who have never heard this music. ~ Stephen Thomas Erlewine, All Music Guide
'Rockin' My Life Away'
Release Date 3/25/1997
Tracks 12
Label Capitol
See Album Tracklist and Review
What The Critics Say
You wouldn't expect any changes from George Thorogood, whose pile-driving rocking-blues and boogie have maintained their appeal despite the emergence of numerous similar-sounding ensembles. Thorogood's rough-hewn singing and always tantalizing playing are on target through the usual mix of originals and covers (this time including Bo Diddley and Willie Dixon). Besides the bonus of major label engineering and production, Thorogood's work has never lost its edge because he avoids becoming indulgent or a parody, and continues to sound genuinely interested in and a fan of the tunes he's doing. ~ Ron Wynn, All Music Guide
