Sammy Kershaw Albums (11)
What The Critics Say
After about a decade, Sammy Kershaw parted ways with Mercury Nashville after his 1999 album Maybe Not Tonight, resurfacing four years later on Audium/Koch with I Want My Money Back. A switch to an independent at this stage of the game pretty much takes Kershaw out of the running for the charts, but he thanks God in the liner notes "for giving me another chance to do what I love to do so much," so chances are, his eyes aren't on the charts anyway. Kershaw also calls it the best album he's done to date, and he very well might be right, because I Want My Money Back boasts a strong set of songs and performances that make it one of his most satisfying efforts. Part of the reason that this works is the fact that he isn't concerned about hits -- there are no Leo Sayer covers, in other words -- and with producer Richard Landis, he has picked a fine set of songs that highlight Kershaw's country roots. Not that this is an unadulterated honky tonk record; there are plenty of songs that are rock-influenced, neo-traditionalist country, which is now firmly part of contemporary country's tradition. But the difference is, there's not a song that feels pop, not a song with a false performance, not a moment that doesn't feel like Kershaw has made the comeback that he's needed for a long time now. It's easily his best since 1993's Haunted Heart. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
This record is pure Nashville by the numbers. Not a displeasing affair, but certainly not inspired either. Covering all bases, there is a romantic duet with Lorrie Morgan (the title track), the requisite honky-tonk rocker ("Louisiana Hot Sauce"), a re-vamped cover of the old Leo Sayer hit, "More Than I Can Say," and plenty of heartbreak songs thrown in for the sensitive crowd. Present throughout Maybe Not Tonight are catchy melodies and tasteful playing, but in Nashville, where many of the best studio musicians and writers reside, those elements are a given and the difference between a good album and a great one is a wide bridge to cross. ~ Steve Kurutz, All Music Guide
'The Legend of Hank Williams'
Release Date 8/20/1996
Tracks 20
Label Polygram
See Album Tracklist and Review
'Politics, Religion and Her'
Release Date 1/1/1996
Tracks 12
Label Mercury
See Album Tracklist and Review
What The Critics Say
Sammy Kershaw knows the sights and smells of true honky tonks, but he keeps moving further away from the soulful slur and fun-loving style that made him sound so promising a few years ago. After too many novelty songs and misdirected pop-country moves, Kershaw tries to focus himself and get serious on Politics, Religion and Her...with a couple of powerful, soul-baring ballads...even if some of his covers aren't quite up to that level. ~ Michael McCall, All Music Guide
'Christmas Time's a Comin''
Release Date 10/4/1994
Tracks 12
Label Mercury
See Album Tracklist and Review
What The Critics Say
Except for the brisk party-kicker title track, Kershaw offers safe, safe, safe warm and toasty by the fire stuff. ~ Roch Parisien, All Music Guide
What The Critics Say
"National Working Woman's Holiday" was a perfect example of Sammy Kershaw's strengths and weaknesses: few people, if any, had sung about the psychological toll the economic reality of the two-income family took on Southern men whose mothers had probably stayed at home to raise them. He still sounds too much like George Jones to be a great singer (just try to tell the two apart on the duet "Never Bit a Bullet Like This" -- just try), but he gets in a couple of strong ballads with "If You Every Come This Way Again" and "Southbound." Feelin' Good Train also contains a cover of the Amazing Rhythm Aces' 1975 hit "Third Rate Romance." ~ Brian Mansfield, All Music Guide
What The Critics Say
The more you know about Sammy Kershaw, the more there is to like about his albums. Though Kershaw doesn't write his songs, he makes some of the most autobiographical albums to come from Music Row. If you know that Kershaw quit performing for a year and a half when it threatened his marriage, "Still Lovin' You" assumes greater significance. Even a song as strange as "Queen of My Double Wide Trailer" makes more sense when you learn that Kershaw still owns a trailer in Louisiana, "in case things don't work out." Sure, he still sounded a lot like George Jones with a south Louisiana accent. But Haunted Heart showed that Kershaw was coming into his own as a vocalist. Just as important, he was choosing songs that set him apart from the pack. If some of those were as offbeat as "Double Wide" and "Neon Leon," well, that's just part of what made him distinctive. ~ Brian Mansfield, All Music Guide
