Randy Travis Albums (20)
What The Critics Say
Around the Bend is Randy Travis' first secular album in nearly a decade, but he was hardly inactive in the years following 1999's A Man Ain't Made of Stone. After that record, Travis settled into a gospel career, which wasn't surprising as sacred music was never far from his heart to begin with. This extended sojourn was fruitful, producing a series of good heartfelt records, yet they also had a nice side effect of putting commercialism way on the back burner, as the gospel albums were made without the charts in mind. The same thing can be said about Around the Bend, as it stands apart from trends, not defiantly but comfortably. This doesn't quite mean that Around the Bend is a pure hardcore country record, however. There are times where things get a little sweet, even syrupy -- as on the sweeping "Faith in You," a ballad that's nearly drowning in strings -- but these play by old-fashioned rules, sounding as if they were unearthed from another era. Fortunately, the big ballads are the only time that Around the Bend feels a little creaky, as the rest of the record is blessed by a light touch that gives the album a freshness. This is most evident on tunes that rely heavily on nimble acoustic guitars, such as "Turn it Around" and a surprisingly jazzy reading of Bob Dylan's "Don't Think Twice, It's All Right," both excellent showcases for Travis' relaxed delivery. As always, that easy touch is Travis' greatest strength, as it gives the best songs authenticity and makes the weaker songs palatable -- and as Around the Bend is a fairly strong set of songs, it's easy to enjoy Travis' gentle authority, how he slyly delivers the punch lines on "Everything That I Own (Has a Dent)" and gives "'Til I'm Dead and Gone" a muscular pulse. These are the moments that give Around the Bend some blood and force, making it a welcome secular comeback from this peerless singer. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
If 2004's Passing Through was comprised primarily of inspirational songs with a modern bent, Randy Travis's 2005 follow-up Glory Train: Songs of Faith, Worship and Praise acts as its flip-side, being devoted largely to traditional spiritual songs. More than that, the songs on Glory Train are by and large classic Black gospel tunes, which is something that Travis hasn't explored before, and his mild stretching here results in a splendid album. Not only does he tackle standards like "Sing Down Chariot" and "Oh Death" along with several Sister Rosetta Tharpe tunes, including "This Train" and "Down by the Riverside," he brings in the Blind Boys of Alabama for harmonies on several songs. Although there are a few detours into tasteful, calm contemporary inspirational material, such as "Shout to the Lord," this grounding in classic gospel gives this album both gravity and soul, and when Travis marries this sound to his light, clean, impeccable neo-traditional country, the results are enormously appealing. This is a warm, relaxed, friendly, soulful album that's arguably Travis's best gospel album to date. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
In 2000, Randy Travis devoted himself to gospel music, and 2004's Passing Through is the fourth religious record he cut since then, but there's a difference here: instead of focusing on explicitly Christian material, Travis has collected a set of songs and stories about how faith affects life. It's inspirational music in the purest sense -- it doesn't preach, it instructs and inspires through its carefully observed tales. Musically, Passing Through is classic hardcore country, alternating between sentimental ballads and straight-ahead honky tonk and country-folk. Similarly, the songs themselves tell tales that are classic country, but the difference is that each has a subtle message or religious undercurrent to it. It all makes for a very strong album, either in contemporary Christian terms or by a purely musical yardstick, and it's further proof that Travis's traditionalist country continues to reap considerable rewards. ~ Stephen Thomas Erlewine, All Music Guide
'Worship & Faith'
Release Date 11/11/2003
Tracks 20
Label Word Entertainment
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What The Critics Say
This may be Randy Travis' second gospel album in three years, but that doesn't make it redundant. Travis, like George Jones, Merle Haggard, and George Strait, could sing the back of a can of peas and make it sound inspired. When the material he takes on is the absolute core of country gospel and public domain spirituals, the result is nothing less than soul-stirring, powerful, honest, and truly beautiful. Here Travis takes on the reverential hymns such as "How Great Thou Art," "Peace In The Valley," "Room at the Cross For You," and "In The Garden," and makes them sound fresh and new. They are startling in their intensity and bare bones homage. In addition, the great nuggets of country gospel, such as "The Unclouded Day," "Will The Circle Be Unbroken," and "I'll Fly Away," are taken back to the country church where they came from. From the bluesy, honky tonk alleyway, Travis sings songs from the cannon like "He's My Rock, My Sword, My Shield," and "Just A Closer Walk With Thee." He reports from the dancefloor as the barroom clock is crossing over from Saturday night into Sunday morning. This is direct, unfiltered, hard-line gospel at its best, by a master. ~ Thom Jurek, All Music Guide
'Rise and Shine'
Release Date 10/15/2002
Tracks 13
Label Warner Bros.
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What The Critics Say
On his second gospel album, Rise and Shine, Randy Travis professes his faith within a traditional/contemporary Nashville setting. As steel guitars keen and fiddles whine, he delivers the message clearly, in his familiar unforced, relaxed style. Aside from "Everywhere We Go," a rousing call to resist secular efforts to "take your Commandments off the schoolhouse walls," these songs generally stick to the rusticities long associated with country Christianity, with evocations of Mama and fishin', a whiff or two of brimstone, and unsubtle wordplay ("The Son/sun's gonna rise and shine"). The music is appropriately sentimental, though the slow-drag, saloon shuffle of "I'm Ready" sounds a lot more like Saturday night than Sunday morning. It adds up to a strong performance, presented with flawless studio clarity and persuasive, understated feeling. ~ Robert L. Doerschuk, All Music Guide
'Live: It Was Just a Matter of Time'
Release Date 8/28/2001
Tracks 20
Label Image
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'Inspirational Journey'
Release Date 10/20/2000
Tracks 12
Label Warner/Reprise
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What The Critics Say
Released during Travis' tenure with Warner Bros. but held for release until 2000, Inspirational Journey is the singer's first religious album. In earlier decades, Tennessee Ernie Ford and B.J. Thomas made second careers by recording specifically for the Christian market. Other country singers would record occasional gospel albums, not to sell records, necessarily, but out of love for the music and perhaps a sense of obligation. Consequently, gospel albums by Loretta Lynn, Johnny Cash, Tammy Wynette, Merle Haggard, and Dolly Parton ranked among those artists' most satisfying efforts. And such is the case here. Kyle Lehning under-produces almost to the point of this sounding like a Don Williams album. The voice is way out in front and the instruments and background vocalists provide a bed of support. There's occasional seasoning by bluegrass instruments including banjo, fiddle, and Jerry Douglas's Dobro. (One exception is "The Carpenter," which features co-lead and harmony vocals by Waylon Jennings and Jessi Colter.) Fact is, if it weren't for the lyrics, Inspirational Journey would sound like any of the other good Randy Travis albums that Lehning produced. Which means that some listeners may find Travis' Lefty Frizzell-derived singing a bit on the sleepy side, despite the occasionally moderate-tempo change of pace from the ballads that constitute most of the album. But the singer's fans will appreciate his warmth, sincerity, and taste. Complete lyrics and musicians' credits are included, though tiny type against a dark background renders them all but unreadable. ~ Todd Everett, All Music Guide
'A Man Ain't Made of Stone'
Release Date 9/21/1999
Tracks 12
Label DreamWorks
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What The Critics Say
Randy Travis has always been a traditionalist, which was fine in the late '80s, when he brought straight-up, hardcore country back into the charts, but a decade later, he was out of step with the charts. After spending his career at Warner, he switched to DreamWorks, adopting a new production team (James Stroud and Byron Gallimore) along the way. Ironically, You and You Alone, his 1998 debut for the label, wasn't up to the standard of Full Circle, his last for Warner, and A Man Ain't Made of Stone, his second effort for DreamWorks, isn't either. Much like its predecessor, A Man is a sturdy, solid affair that takes a couple of chances that don't quite work, while offering several good, no-frills traditionalist numbers. All those are packed toward the front end of the album, and by the sixth song, "No Reason to Change," the record feels like a modest latter-day masterstroke. Things go a little haywire on the second half, beginning with "Where Can I Surrender," a turgid ballad with a gospel choir supporting him. From that point on, Travis isn't on secure ground, as even promising numbers are undone by weird quirks: the enjoyable rocker "I'll Be Right Here Loving You" is undone by a chanted litany of modern conveniences/hassles in the verse, "Once You've Heard the Truth" takes a weirdly anthemic turn in the chorus. Travis retains his dignity throughout it all, and the record is redeemed by the nice closer "Thirteen Mile Goodbye," but by that point, A Man Ain't Made of Stone has revealed itself as nothing new, simply a solid Randy Travis record. Much of it sounds fine, but it doesn't have the character of his earlier records, which proves that it's possible to stay traditionalist and still be memorable. ~ Stephen Thomas Erlewine, All Music Guide
'You and You Alone'
Release Date 4/21/1998
Tracks 12
Label DreamWorks
See Album Tracklist and Review
What The Critics Say
You and You Alone was a pivotal album for Randy Travis and his new label, DreamWorks. For Travis, it was designed to solidify his status as one of Nashville's new elders; for DreamWorks, it would have gotten their foot in the door of the notoriously insular Nashville music establishment. While You and You Alone doesn't quite fulfill either goal, it still is a sturdy record that makes Travis' many talents abundantly clear. It lacks the focus and consistent songwriting of its predecessor, Full Circle, which was his finest record in years, but individual moments shine just as brightly as the best from that album. Furthermore, producers James Stroud and Byron Gallimore (Travis also had a hand in producing) have given the record a clean, appealing sound that accentuates Travis' strengths. There are enough fine songs and good moments -- including cameos from Alison Krauss, Melba Montgomery, and Vince Gill -- to make this a solid entry in Travis' catalog, but it doesn't have enough flair to make it the big splash DreamWorks desired. Still, the small pleasures are as important as the big ones in Travis' music, and that's what makes You and You Alone a modest success. ~ Thom Owens, All Music Guide
