Robert Cray Albums (17)
What The Critics Say
Because of the five-year gap between studio albums and a major overhaul of his touring and recording band (only keyboardist/songwriter Jim Pugh remains from his last group), This Time is being touted as the beginning of a new era in soul/bluesman Robert Cray's long career. For better or worse, that's not really the case, as this is another in a long line of classy, well- produced, and immaculately played and sung releases from the always dependable Cray. The ballads, especially the slow-burning seven-minute title track, are some of the finest he has penned, although the singer/guitarist's well-worn themes of the emotional disconnects between the sexes haven't changed. Upbeat, more lighthearted material such as the opening "Chicken in the Kitchen," the organ-led jazzy "That's What Keeps Me Rockin'," and the tough Memphis groove of "Trouble & Pain," a tune that sounds like an Otis Redding outtake, alter the generally serious mood. The same holds for the jaunty Caribbean-inflected rhythms of "To Be True." But even though this isn't much different from Cray's previous 14 studio releases, it's a consistently engaging set that will please his existing fans. His expressive voice has always been the secret sauce that brought much needed spice to even ordinary material. This beautifully recorded, strong batch of songs doesn't contain any clunkers and Cray's distinctive vocals, especially on the more heartbreaking material such as the closing "Truce," are some of his best. As usual, his staccato guitar lines enliven the proceedings, even if they are generally kept on the back burner. When all the pieces slide into place, as they do on the six-minute funk-soul ballad "Love 2009," it's obvious that Cray has locked into his groove and the occasional experimentation of his previous studio release seems somewhat superfluous. Other Cray discs have been criticized for falling on the wrong side of the sleepy/stylish tightrope. Yet this one features excellent material played and sung with a timeless sophistication and intensity that, while not pushing the artist in any new directions, show that he doesn't need to expand his lyrical or melodic boundaries to excel at his craft. His commercial radio play days might be behind him, but that doesn't stop Robert Cray from being a master of the soul/blues field where he clearly belongs. ~ Hal Horowitz, All Music Guide
'Live from Across the Pond'
Release Date 9/12/2006
Tracks 14
Label Vanguard
See Album Tracklist and Review
What The Critics Say
Live from Across the Pond finds blues guitarist Robert Cray and his band performing live over seven nights in May 2005 at the Royal Albert Hall in London. A journeyman guitarist with a knack for mixing a classic electric blues sound with various contemporary pop sounds, Cray has remained a consistent if underappreciated artist since his 1986 crossover/breakthrough album Strong Persuader. Recorded on the heels of the similarly stellar studio effort Twenty, this two-disc set features Cray and co. in superb form moving from straight-up blues, to soul-infused pop and gutbucket ballads. For longtime fans and newcomers alike, Live from Across the Pond works well as both an encapsulation and introduction to Cray's unique, eclectic blues sound. ~ Matt Collar, All Music Guide
What The Critics Say
After 25 years and 14 albums, it seems a little churlish to complain that Robert Cray has been mining the same low-key, mellow Memphis soul-blues groove for well over two-thirds of his career. Not only is that kind of the point -- he's found his sound and he's sticking to it -- but many of Cray's influences didn't vary all that much on record, either. Besides, if an artist were going to make a living out of carrying on a tradition, it only makes sense that all his records would be cut from the same cloth. And so is the case with Robert Cray. Not long after Strong Persuader became an unexpected crossover hit in 1986 -- which was hard to imagine then and seems like a near impossibility now -- Cray decided that he would rather pursue the sound of Stax and Hi soul than be a full-fledged bluesman. He punctuated his songs with stinging licks not dissimilar to Albert King, but the sound was closer to O.V. Wright. But what really separated Cray from his forefathers is that instead of getting dirty and gritty, he stayed classy and tasteful. At first, that seemed like it might have been a market concession, but as the years rolled on, it seemed like a conscious matter of taste, which is something Twenty, his 14th proper studio album, confirms. As his second album on Sanctuary and his fourth since leaving major labels behind, Twenty is relaxed and well scrubbed, to the point of being kind of sleepy. Superficially, that increased laid-back vibe is the biggest difference, but beneath that polished surface there are some unexpected barbs, whether it's how the lightly swinging "My Last Regret" camouflages some vicious intentions or how the title track is one of the harshest anti-Iraq War songs to date. These are the songs that indicate Cray is more restless than his recordings make him seem, and if the production on Twenty weren't so slick, these emotions would jump to the forefront. Alas, this album is as polished and as refined as any recent Cray record. Which hardly means it's bad -- it's thoroughly pleasant, the rare up-tempo cuts pack a punch, Cray is an effective soul singer -- but it just sounds a bit too familiar. And that's unfortunate, because a close listen reveals that Cray is taking some subtle risks. They're just so subtle, they're hard to catch without very, very close listening. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Even diehard Robert Cray fans admit that over the course of the last decade, the singer/guitarist/songwriter has crafted albums that are practically interchangeable. Although Cray has created his own niche with a slick but powerful Memphis-styled R&B/soul/blues stew, his sound become repetitious; even though the songs' quality remained way above average. Since leaving Ryko (after two albums), he and keyboardist Jim Pugh -- an increasingly pivotal player in Cray's work -- produced this 13th disc between labels. That provided them the freedom to experiment without corporate intervention. While his "if-it-ain't-broke-don't-fix-it" ethic allowed multiple Grammy wins, Cray clearly wanted to step outside the box he built, resulting in a slightly different direction this time around. Those who enjoy the comfy fit of his previous work have little to fear; there is plenty of the love-lost/found R&B that he's known for. In particular "Lotta Lovin'" is a pleasant ballad that is about as novel as its pedestrian title. "Spare Some Love" likewise treads familiar musical ground although lyrics about finding love before getting old and frail ("I can only hang so long/ if I go another week/ I might have just passed on") show Cray may be feeling his mortality. But the slightly off-kilter Sly & the Family Stone horns from Cynthia Robinson and Jerry Martini on "Your Pal" twist that tune towards a more edgy approach. On the album's leadoff track, Cray unloads more unusual -- at least for him -- material. The opening tune, "Survivor," is a protest tune about the Middle East war ("you take a little schoolboy and teach him who to hate/ then you send him to the desert for the oil near Kuwait") with Pugh's minor key piano adding a curious boogie-woogie feel. "Distant Shore" is likewise anti-war with a deceptively bubbly percolating beat. "Up in the Sky" finds Cray debuting on electric sitar. It's a slightly psychedelic slant, more commendable for the guitarist dipping his toes into unlikely musical waters than for its clunky and slightly depressing lyrics about an older couple wanting to die together. It is also one of two tracks accompanied by the Turtle Island String Quartet, another unique addition. "Back Door Slam" -- likely a play on the "Back Door Man" cliché of so many blues tunes -- might be the funkiest Cray has gotten; and his shimmering guitar solo is just tangled enough to push the song into more exotic territory. While he's not making radical moves, Time Will Tell is a promising route for Robert Cray. If anything, he hasn't gone far enough afield from his MO to attract a new audience. Meanwhile, established fans should welcome the few newfound twists in the soul/bluesman's approach. ~ Hal Horowitz, All Music Guide
What The Critics Say
Perhaps the most telling tune on Shoulda Been Home is the T-Bone Walker-influenced "Renew Blues," not because of the style, but because the slow blues fades out after just one tiny minute. By contrast, the mellow soul sway of "Out of Eden" stretches out to over nine minutes. Robert Cray has been heralded as a savior of modern blues, but the truth is Cray's music is much closer to the vintage soul of O.V. Wright and Otis Redding than the 12-bar form of B.B. King or Albert King. Granted, his punctuating Stratocaster guitar riffs borrow from the books of all the blues masters, but his songwriting and arranging don't. Often backed by arpeggiated guitar chords, Cray's vocals are front and center here, passionately leaning into these predominantly slow or mid-tempo tunes. By contrast, only a couple of cuts are upbeat enough to really get the knees a-shakin'. The infectious opening cut "Baby's Arms" -- the best tune on the record -- could have been a hit single for Stax Records, and Sir Mack Rice's upbeat "Love Sickness" was a hit for Stax Records. Meanwhile, "Help Me Forget," with its mellow, candlelight mood, could have been a hit for Barry White. In fact, most of the tunes on Shoulda Been Home are the perfect compliment for sharing a big can of Schlitz Malt Liquor with the one you love in a dimly lit room. Ironically, three of the 12 tunes herein are much more standard blues forms than Cray may have ever released: the aforementioned "Renew Blues," as well as a pair of Elmore James covers. Robert Cray may be the savior of vintage soul, but he does just enough to warrant the label of "blues savior" as well. ~ Scott Cooper, All Music Guide
'Take Your Shoes Off'
Release Date 4/27/1999
Tracks 12
Label Rykodisc
See Album Tracklist and Review
What The Critics Say
It's evident right from the start that Robert Cray's aiming for a Memphis soul groove on Take Your Shoes Off. Willie Mitchell of Hi Records fame co-wrote and did the horn arrangements for the lead-off cut, "Love Gone to Waste," and Jim Pugh's burbling organ would have fit snugly into the mix of an early '70s Al Green record. The blues is not missing from this effort, but is most present in Cray's usual assertive blues guitar lines. Otherwise, this is far more appropriately pegged as a blues-soul album, or even just a retro-soul album, than a straight blues one. Cray, indeed, only writes about half of the songs, covering soul classics identified with Mack Rice's "24-7 Man" and Solomon Burke's "Won't You Give Him (One More Chance)," as well as Willie Dixon's "Tollin' Bells." No one would be claiming that this disc plows new territory, but to Cray's credit, he fits the quasi-Hi and (less frequently) Stax-type grooves with an unforced ease. It's a lot harder to do than it sounds -- for Cray or anyone in the late 1990s -- and it's frankly more interesting than a straightahead blues album from the singer-guitarist would have been. ~ Richie Unterberger, All Music Guide
What The Critics Say
Robert Cray always flirted with gritty Southern soul, but it wasn't until Sweet Potato Pie that he made a full-fledged soul-blues record in Memphis. Cray hasn't abandoned blues, but he's woven punchy horns and sexy rhythms into the mix, resulting in one of his stronger records of the '90s. The material remains a bit uneven, but his taste is impeccable -- few blues guitarists are as succinct and memorable as he, and the soul settings of Sweet Potato Pie only confirm that fact. ~ Thom Owens, All Music Guide
What The Critics Say
Typically well-produced and well-played outing -- mostly originals, with smoldering covers of Syl Johnson's "Steppin' Out" and Wilson Pickett's "Jealous Love" for good measure. Cray's crisp, concise guitar work and subtly soulful vocals remain honed to a sharp edge. ~ Bill Dahl, All Music Guide
What The Critics Say
This time, Cray veered back toward the blues (most convincingly, too), even covering Albert King's "You're Gonna Need Me" and bemoaning paying taxes on the humorous "1040 Blues." Unlike his previous efforts, Cray produced this one himself. Also, longtime bassist Richard Cousins was history, replaced by Karl Sevareid. ~ Bill Dahl, All Music Guide
What The Critics Say
Robert Cray's soulful vocals and spanky, sustainless guitar enliven the fairly by-the-numbers blues-influenced R&B on I Was Warned. The band itself is solid (especially tough-as-nails drummer Kevin Hayes), if unexceptional; the addition of the Memphis Horns (Andrew Love on tenor sax and Wayne Jackson on trumpet and trombone) on many of these tracks is a definite step in the right direction. However, the tracks are devoid of any kind of dirt whatsoever, which prevents them from really kicking the listener the way that they should. Granted, Cray isn't R.L. Burnside or even Buddy Guy, but a little more grit to the band performances, arrangements, tones, and recording would go a long way toward aiding the emotional kick of his admittedly great set of pipes. Cray is also not aided by the writing, which is hit or miss throughout. Such standout tracks as the anguish-laden "He Don't Live Here Anymore" and the swinging "Our Last Time" serve to offset missteps such as the title track. The production even actually helps the Steve Cropper co-written "On the Road Down," which features a great vocal performance from the leader. In addition to his wonderful singing voice, Cray's unique guitar sound and approach, one of the most distinctive in blues, is on full display on I Was Warned. Take a listen to the beginning of his solo on "Just a Loser," to the way that the phrase just flows out of his guitar in a way that suggests the blues without being overtly bluesy, for a good indication of his extremely effective instrumental skills. His playing is powerful and idiosyncratic, but his intensity and focus are unfortunately not matched by other aspects of this recording. I Was Warned is not a bad Cray album by any means; it just lacks the sort of fire that would make it really take off. ~ Daniel Gioffre, All Music Guide
