Ronnie Milsap Albums (25)
What The Critics Say
Prior to 2006's My Life, Ronnie Milsap had not made an album of new material for a major label in years. The last was True Believer, recorded for Liberty in 1993, which followed Back to the Grindstone, his parting of ways with RCA Records, by two years. Over that decade-and-a-half, Milsap wasn't exactly inactive -- he continued to play shows and record, including re-recording his biggest songs for Capitol in 1996, and a collection of standards in 2004, but My Life qualifies as a genuine comeback, as it finds Milsap returning to RCA and recording songs that are not only new, but addresses American life in the early 2000s. This, of course, is most explicit on "A Day in the Life of America," a chronicling of mundane everyday events that borders on the depressing, but My Life finds Milsap reminiscing about his life in a manner appropriate only for a singer in his sixties. This provides My Life with slightly nostalgic undertones at times, but the album never feels melancholy: it's as bright and tuneful and relaxed as the best of his early-'80s crossover albums. In fact, if it wasn't for Keith Stegall's crisp, thoroughly modern production, it would be easy to mistake My Life as an unearthed lost album from Milsap's early-'80s peak, and that's what makes it such a good comeback: song for song, this stays true to Milsap's strengths as a country-pop hitmaker, yet recasts it in a manner that's fresh without pandering to the charts. If he doesn't make another record, My Life will stand as a worthy coda to his career, but hopefully, this excellent album will be the start of a third act in a career that's been quite remarkable. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Just for a Thrill was first put into motion in 2000 when producer Jerry F. Sharell approached Ronnie Milsap about recording a standards project. Sharell proposed over 150 songs to Milsap, which were then whittled down to 40 and finally the 14 included on this Image release. Milsap's voice is in great shape. His vocals and piano complement the arrangements of Jimmie Haskell, Charles Calello, Sammy Nestico, and Doc Mulligan on such standards as "Bewitched," "Haunted Heart," "Every Time We Say Goodbye," "In the Wee Small Hours of the Morning," and "Since I Fell for You." While not as radio friendly as some of the chart-topping covers Milsap recorded in the '80s like "Snap Your Fingers," "Any Day Now," and "He Got You," the string-laden Just for a Thrill works in same the manner as similar undertakings by Linda Ronstadt, Carly Simon, and Rod Stewart, in that Milsap has an obvious love of these tunes that shines through all 14 tracks. ~ Al Campbell, All Music Guide
'Christmas with Ronnie Milsap'
Release Date 9/11/2001
Tracks 10
Label RCA
See Album Tracklist and Review
What The Critics Say
Inside is arguably the strongest album Ronnie Milsap released at the peak of his slick contemporary country hit-making streak. The key to the album is that its consistency is married to a thoroughly appealing production equal parts Nashville and Californian soft rock. Make no mistake, this is glossy, slick music, but that's its charm -- the surface is seductively slick, giving Milsap's warm baritone a sympathetic musical bed. Though he does dip outside of adult contemporary-oriented country-pop on "I Love New Orleans Music," this truly soars when its feet are planted firmly in the mainstream and he has melodic tales of heartbreak, whether it's on the hits "Any Day Now" and "He Got You" or album tracks like "Hate the Lies - Love the Liar" or "It's Just a Room." These are corny and slick, but they work thanks to their production and Milsap's performances. He had a number of number one singles and albums, but few were better than Inside. ~ Stephen Thomas Erlewine, All Music Guide
'Night Things'
Release Date 1/20/1998
Tracks 10
Label Koch International
See Album Tracklist and Review
What The Critics Say
Night Things is an appropriate title for Ronnie Milsap's fourth LP for RCA, since this ten-track collection from 1975 carries the distinct mood of a late-night album. But where most late-night country albums are built for solitary listening, this is a romantic record, where even songs about separation and being no good at goodbyes are better for slow dances than for crying in your beer. On that level, Night Things would seem to offer further proof that Milsap simply plays nothing but slick, commercial pop, but the opposite is true. While there are a couple of bright, catchy items here, including the bouncy title track, along with a few sweeping strings, this is his purest country album yet, since most of the songs are given relatively spare production (there is only one truly corny moment, thanks to the backing vocals and canned synths on the classic "I'll Be There (If You Ever Want Me)") and Milsap's singing is impassioned and convincing. Plus, there's a consistency in the songs: "(After Sweet Memories) Play Born to Lose Again" and "Who'll Turn Out the Lights (In Your World Tonight)" constitute a terrific one-two opener, and the rest of the album follows through on its promise, thanks to songs like "Just in Case," "Remember to Remind Me (I'm Leaving)," and a fine version of Conway Twitty's "(Lying Here With) Linda on My Mind." All this pushes Night Things to the forefront of Milsap's catalog. ~ Stephen Thomas Erlewine, All Music Guide
'Christmas in Dixie'
Release Date 9/23/1997
Tracks 10
Label BMG Special Products
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What The Critics Say
This seasonal entry into BMG's budget-line "Back to Back" series will undoubtedly be more worthwhile to fans of Ronnie Milsap than Alabama -- while the set contains five holiday favorites from both artists, the Alabama tracks are all readily available on the superior Alabama Christmas collection, while the Milsap tracks are all otherwise out of print. By that token, the value of the disc varies according to the priorities of the consumer, who should be aware that the fidelity is just fine in spite of the dodgy packaging. ~ Jason Ankeny, All Music Guide
'Sings His Best Hits for Capitol Records'
Release Date 1/1/1996
Tracks 10
Label Capitol Nashville
See Album Tracklist and Review
What The Critics Say
As the title suggests, Ronnie Milsap's Sings His Best Hits for Capitol Records consists of re-recorded versions of ten of his biggest hits -- including "Lost in the Fifties Tonight (In the Still of the Night)," "Snap Your Fingers," "(I'm A) Stand by Your Woman Man," and "(There's) No Gettin' Over Me" -- which were all originally recorded for RCA Records. ~ Thom Owens, All Music Guide
What The Critics Say
If only the whole album had the energy of the John Hiatt title track (not to mention the wit of the Hoss Allen intro), Milsap's Liberty debut would have been a record to reckon with. ~ Dan Cooper, All Music Guide
What The Critics Say
Back to the Grindstone was an excellent return to form from Ronnie Milsap and, not coincidentally, it was his last great record, as well as his last hit album. Throughout Back to the Grindstone, Milsap displays his talent for eclectic, soul-inflected R&B, tearing throug a gritty duet with Patti LaBelle on "Love Certified," covering "Since I Don't Have You" with heart, and then slipping into hard country with "Turn That Radio On." Not one of the 10 songs on the record is weak, and Milsap responds with a gutsy, powerful performance, easily making Back to the Grindstone one of his best albums. ~ Thom Owens, All Music Guide
'It Was Almost Like a Song'
Release Date 1/1/1977
Tracks 10
Label RCA
See Album Tracklist and Review
What The Critics Say
Country singer Ronnie Milsap's breakthrough pop album might not have been as earth shattering as Ray Charles Modern Sounds In Country & Western Music, but it did much to modernize mid-'70s C & W with its fusion of the adult contemporary style Barry Manilow introduced with "Mandy," and the formulas Kenny Rogers employed when "Lucille" brought his career back to life. The blind keyboard player/singer shifts from pure country to pure pop like a chameleon on this disc, and does it effortlessly. "Here In Love" plays like Jimmy Buffet's "Margaritaville," while "The Future Is Not What It Used To Be" pours Bergen White's strings, and The Lea Jane Singers offer a Southern twang -- that fusion of styles executed to perfection. Having players like Hargus "Pig" Robbins, and fiddler Tommy Williams on this album, and co-produced by the singer and Tom Collins, only adds to its mystique. Milsap writes no tunes here, he's just a great interpreter, his voice ever so mournful inside "Crystal Fallin' Rain," and commanding on the title track. "It Was Almost Like A Song" was Number One on the country charts, and in the pop Top 20, a big ballad which Manilow could have easily added to his repertoire. "Selfish" works like a second cousin to the Brenda Lee/Juice Newton hit "Break It To Me Gently," while the repeating title "What A Difference You've Made In My Life" captured some additional adult contemporary airplay for the performer in the mid-'70s. Like that other blind pianist, female country singer Terri Gibbs and her hit from four years later, "Somebody's Knocking," the music here changed what radio programmers would accept. It's music that sparkled on the airwaves when artists had the chance to effectively crossover. ~ Joe Viglione, All Music Guide
