Gerry Rafferty Albums (9)
'On a Wing and a Prayer'
Release Date 1/1/1992
Tracks 12
Label Avalanche
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What The Critics Say
Gerry Rafferty's '80s and '90s albums were so low-key and infrequent that a rumor actually went around that the singer/songwriter had made so much money off his monster 1978 hit "Baker Street" that he'd simply bought an island and retired. He might not have made that much, but it's clear from the casual, relaxed vibe of 1988's North & South that Rafferty is a man with little to prove and no concern as to whether his sound is particularly commercially viable. As a result, North & South sounds remarkably like Mark Knopfler's post-"Money for Nothing" records. (The title track and the slide guitar-enhanced "Hearts Run Dry" are particularly Dire Straits-like.) The ten songs take their own sweet time to unfold -- six are over six minutes long -- but Rafferty's knack for simple but memorable melodies and his inimitable voice, which sounds as great as ever, are enough to keep even a casual listener interested. The unexpectedly Celtic-sounding "Tired of Talking" is a particular highlight, but the '70s-phobic should note that this album is as smoothly produced and utterly sweat-free as Rafferty's best-known work. ~ Stewart Mason, All Music Guide
What The Critics Say
Two years after the release of Night Owl, Gerry Rafferty presented his fans with Snakes & Ladders, and although some of his former album's charm and lyrical appeal manages to resurface, the whole of the album comes up short. The memorable melodies, moving allegories, or genuine lyrical warmth that was put into past efforts arise in a couple of tracks, like in the beauty of "Bring It All Home" or in the mystique of "Look at the Moon." It's not that Rafferty's writing is weaker or has been restrained, it's the fact that he fails to present enough passion from an instrumental standpoint throughout the entire album, and to a lesser extent a vocal one, to establish the same type of emotion or atmosphere as he did with City to City or Night Owl. "Royal Mile" was released as a single in the U.K., but only climbed as high as number 67 there and number 54 in the U.S. The album went to number 15 in Britain, but Rafferty showed signs of relinquishing his genuine style ever so slightly, and 1982's Sleepwalking disappointingly confirmed this. Even though his exterior talents had dwindled only slightly, the intangible qualities that made Rafferty such a compelling artist seemed to be left behind in the past decade. ~ Mike DeGagne, All Music Guide
What The Critics Say
On his second release for United Artists, Gerry Rafferty focuses an equal amount of attention on his lyrics and on the sincerity of the song's moods to create one his strongest and most heartfelt albums. Delicate, touching, and extremely poignant, Rafferty blankets all of Night Owl's tracks with a late-night/early-morning earnestness that is highly effective throughout. Although he managed to do just that with 1978's City to City, Night Owl generates a stronger intimacy and a genuine romantic feel through Rafferty's guitar playing and the way in which his lyrics are sung. The sentimental softness of "Days Gone Down," the controlled exuberance in "Get It Right Next Time," and the pathos which is instilled for the lonely wanderer in "Night Owl" all add to the album's solemn yet moving atmosphere. Rafferty continues this mood with tracks such as "Why Won't You Talk to Me," "Family Tree," and "It's Gonna Be a Long Night," giving the traditional singer/songwriter style some enchantment and allure through his vocal subtlety. In the U.K. the album broke into the Top Ten, and in the United States it sold 500,000 copies, earning Rafferty a gold disc. "Night Owl," "Days Gone Down," and "Get It Right Next Time" all cracked the Top 30, but unfortunately Rafferty failed to match the success of Night Owl with any of his albums that followed. ~ Mike DeGagne, All Music Guide
What The Critics Say
Gerry Rafferty is a huge talent, but a reluctant star. Management struggles and sundry other hindrances limited his output, but couldn't avert the Scot from releasing two legendary singles -- the Tarantino-ized "Stuck in the Middle With You" and the unforgettable "Baker Street," the latter included on this record. Just a glimpse of John Patrick Byrne's cool cover art lets the listener know City to City houses Rafferty's day in the sun as he conquers the world one metropolis at a time, his guitar and amp in tow. Setting out in his apocalyptic "Ark," each song radiates the confidence of a master craftsman cruising in his prime, constructing brilliant pop confections with top-flight support while awaiting the crunch of civilization. The dreamy reality check "Baker Street" rightfully remains one of the greatest cuts in pop history. Forever-lost B-side "Big Change in Weather" further demonstrates Rafferty was on a rare roll. Domestic valentine "Right Down the Line" snugly followed to the height of the charts, and third release, "Home and Dry," while not of an immortal status, stands as a quality song. He even stomps out a smooth hoedown on the title track. Rafferty's turns of phrase and tight composition skills create a fresh sound and perspective all his own. Any diverse style (and he attempts many) filters through his unique mindset, resulting in a classic platter buoyed by many moments of sheer genius. "Whatever's written in your heart, that's all that matters." ~ Doug Stone, All Music Guide
'Can I Have My Money Back?'
Release Date 1/1/1973
Tracks 13
Label Blue Thumb
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What The Critics Say
The gifted Gerry Rafferty sometimes soared the staggering singer/songwriter heights of that unattainable deity, Dylan. Unfortunately, this cynical Scot also encountered a variety of corporate roadblocks (hence the title track) that continually affected his productivity. Another blatant shot at the bigwigs looms in "Sign on the Dotted Line," written with future Stealers Wheel partner Joe Egan (the duo detailed industry fatigue further in the sinister "Stuck in the Middle With You"). The limited Rafferty works that actually made it to wax remain potent years later. Song by song, Rafferty delineates life ("New Street Blues"), love ("Didn't I"), and fitness ("Mr Universe") with a classy professionalism that still retains an emotional impact, a trait unique to the '70s, and Rafferty is a consummate '70s star. This record harnesses the cosmic production presence prevalent in the latter discs of the decade, when Rafferty's commercial Renaissance arrived with City to City, but returns to earth with intrinsically fluid melodies, facile poetry, and folksy playing. Simply superlative, Can I Have My Money back is the first of too few full-lengths from a sporadic but splendid talent. ~ Doug Stone, All Music Guide
