Kenny Rogers Albums (43)
'Water & Bridges'
Release Date 1/1/2006
Tracks 11
Label Capitol Nashville
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What The Critics Say
If there was ever a record that sounded like a swan song, Kenny Rogers' fine, vulnerable Water & Bridges is it. The cover is a bit startling; who thought he'd ever age? He always looked like he was somewhere in his middle to late fifties. But that look is traceable if you look deep enough, while Rogers seems to wear his age proudly, like Kris Kristofferson and Willie Nelson. The disc sounds like a goodbye to all the illusions, regrettable mistakes, and foolhardiness brought by living into the wisdom brought by the golden years. Rogers' career has seen so many heights, it's dizzying to think about. And he's still hanging out on Capitol while many of his contemporaries are struggling on independent labels, if they're recording at all. Water & Bridges isn't a perfect record, but it's a sincere one, and there are many tracks here that no other singer could pull off. And to be truthful, as in his very best material, Rogers has this uncanny ability to make everything on this record sound like it came from his own pen. It's a melancholy record about passage, from one stage to the next, of life, of love, of youth, of ignorance, of spirit. The 11 tracks here are all slow, all reflective. It's that particular brand of slick, soft, modern country and pop that he does better than anyone. There is one true dud in the bunch called "The Last Ten Years (Superman)," which is merely a novelty song about all the famous ones who passed on in the last decade. But there are so many tracks here where one can hear the spirit of mortality railing against the dying of the light. There is the title cut, which opens the disc and charts generations of fathers hurting their sons both born and unborn, where the protagonist finds himself as guilty as anybody he's charged; "Someone Is Me," about taking on civic responsibility; the killer "Someone Somewhere Tonight," which finds magic in the mere presence of everyday life. Don Henley joins Rogers on "Calling Me." It's a white man's country-soul tune that sounds too much like Curtis Mayfield's classic "People Get Ready." (Litigants get ready, set, go!) The vocal performances are stellar. "I Can Feel You Drifting" is a fine pop song, and it's a true heartbreaker. In the now thinning grain of Rogers' awesome voice, all the emptiness and sorrow and confusion in the world comes to call. Water & Bridges is as good as anything out there in 2006 and a whole lot better than most of the dross Nash Vegas shovels out. Hopefully Rogers scores big one more time. ~ Thom Jurek, All Music Guide
'Christmas with Kenny'
Release Date 1/6/2004
Tracks 12
Label Rio Creek
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'They Don't Make Them Like They Used To'
Release Date 8/5/2003
Tracks 10
Label Castle
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What The Critics Say
Kenny Rogers' They Don't Make Them Like They Used To album's title track does what one critic said of Neil Young's Time Fades Away: remove the word "time" and the album reviews itself -- "Neil Young Fades Away." The Burt Bacharach/Carole Bayer Sager song and production feels forced -- the only track sounding like classic Kenny and kicking in as it fades. With five producers total it may have been a case of too many cooks, the music here a far cry from the string of hits put together by Larry Butler on Liberty Records for the former lead singer of the First Edition. No, they don't make 'em like they used to, but that doesn't mean this is a bad record; in fact, it's a very good album from a country-pop singer trying his hand at the slick adult contemporary associated with Whitney Houston and Celine Dion. Either of those artists could have sang Dave Loggins' "Anything at All," and it may have hit, same with "You're My Love," which features El Debarge on backing vocals. For Rogers it is a wonderful experiment that sounds good but may have been too much of a paramorphism -- there's just not the balance that the Bee Gees struck with Kenny on Eyes That See in the Dark. Not including songwriters, almost four dozen individuals lent their talents to this underrated and pretty much forgotten 1986 album, Jay Graydon picking up where his colleague David Foster and George Martin left off on other RCA releases. The label didn't seem to be the company to keep this artist at the forefront, despite its fine work with his friend Dolly Parton. You'll find Rogers' co-hort Kin Vassy singing backing vocals on "Life Is Good, Love Is Better," Mike Boddicker on the title track, and Steve Lukather on the tune he co-wrote with Randy Goodrum, "If I Could Hold On to Love," but somehow quasi-disco wasn't going to work for an adult contemporary/country artist. Despite Rogers' friend Kim Carnes' success with "Bette Davis Eyes" at the beginning of the decade, Jay Graydon's guitar work with Alice Cooper and proficiency on Earth, Wind & Fire albums are where the producer leans towards here rather than drawing from his skills with artists like Parton. Make no mistake, this is Graydon's baby and it is admirable, from the stunning portrait of the star surrounded by pastels on the cover to the superbly slick presentation. Rogers is a total professional and pulls it off somewhat, but he does feel out of place. A reunion of the First Edition or the New Christy Minstrels may have been more interesting for the mid-'80s. Those voices would be certainly able enough to bring the title track home, the song "They Don't Make Them Like They Used To" the biggest disappointment here as it has so much to offer. It feels like Bacharach and Sager were going through the motions, and that's the pity, as the success of that soundtrack tune might've given the rest of this adult contemporary work a better chance. ~ Joe Viglione, All Music Guide
'I Prefer the Moonlight'
Release Date 8/5/2003
Tracks 10
Label Castle
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What The Critics Say
By 1985, when The Heart of the Matter was released, Kenny Rogers was making absolutely no pretense about being a country artist, and felt free to indulge his desire to make straight adult contemporary albums, confident that his audience would follow him. This would be the last time a mass audience would turn up for his album, sending it to the top of the country charts even if it never sounded country. Rogers doesn't hide the fact that he's made a pop album with The Heart of the Matter -- after all, he hired the Beatles' producer, George Martin, to helm the affair. Martin gives the album focus, something its haphazard predecessor, What About Me?, lacked, and a nice commercial sheen. It also helps that song for song, this is a much stronger effort than What About Me?; it lacks the skillful songwriting of Eyes That See in the Dark, his best album (in either the pop or country idiom), and the singles aren't nearly as good as those he had at the turn of the '80s, but they are sturdy and consistent, making this a very pleasant listen. But pleasant isn't necessarily memorable, and while the songs aren't bad, they aren't catchy enough to stick around long, and the production is so state of the art circa 1985 (in other words, not sounding like classic George Martin), it will really appeal only to a select group who enjoy recordings that sound dated. So, The Heart of the Matter is far from Kenny Rogers' worst adult contemporary record, nor is it his best -- it's in the middle ground and middle of the road, and it's likely that only dedicated fans will find this worth exploring. ~ Stephen Thomas Erlewine, All Music Guide
'Sing You a Sad Song'
Release Date 12/11/2001
Tracks 16
Label Starburst
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'A&E Live by Request'
Release Date 10/23/2001
Tracks 17
Label Dreamcatcher
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'There You Go Again'
Release Date 10/3/2000
Tracks 12
Label Dream Catcher
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What The Critics Say
The Gambler seems to be drifting farther away from his traditional country roots and more into the adult contemporary field on There You Go Again. With several songs produced by Richard Marx, the album is well recorded and features Rogers' warm, familiar voice offset by clear piano melodies and acoustic guitar work. Guest stars including Alison Krauss, Collin Raye, Steve Wariner, and members of Diamond Rio help to enliven There You Go Again's straightforward pop songs, but overall the album still sounds a little too polished compared with some of Rogers' previous gruff country offerings. ~ Zac Johnson, All Music Guide
