What The Critics Say
Never let it be said that Sugar Ray doesn't know its audience. They make no bones about making Music for Cougars, those cougars being the very girls that shook their hips to "Fly" back in 1997 and are looking for a little bit of the same breezy vibe 12 years later, a little bit of sexy nostalgia to get them through their summer, a soundtrack to a few girls' nights out. Sugar Ray is not only comfortable with this vibe, they embrace it with open arms, dropping references to Sex & the City on their discofied "She's Got The (Woo-Hoo)," taking time to remember "When We Were Young," but they also have a keen eye on the present, and are not above trying to seem modern, rewriting Katy Perry's "Hot & Cold" for the chorus of "Closer." This kind of cheerful opportunism has always served Sugar Ray well -- remember, they abandoned their sub-Chili Peppers shuck-and-jive as soon as Lemonade and Brownies didn't work out -- and it does so here, probably because their half-decade rest has given them time to recharge the batteries, letting them pile up some typically infectious sunny pop hooks, the kind that worm into the subconscious no matter how hard you resist. Not that everything on Music for Cougars works -- like the titular aging sex kittens, Sugar Ray can sometimes try too hard to seem younger than their years, pushing the dance beats a little bit too hard, and Mark McGrath relies on some unseemly Auto-Tune, but even with this too-evident aural botox, the group remains a guilty pleasure that's a bit hard to resist. ~ Stephen Thomas Erlewine, All Music Guide
'My Life, My Friends, My Music'
What The Critics Say
Sugar Ray Norcia is well respected on the blues circuit for his contributions to electric Chicago blues, but he has had a fondness for jump blues for some time -- and on My Life, My Friends, My Music, the singer/harmonica player pleasantly surprises us by making jump blues and early R&B (of the jazz-influenced, pre-soul, pre-James Brown variety) the main course. Norcia doesn't stay away from Chicago blues altogether on this 60-minute CD; he is in fine form on Big Maceo Merriweather's "Do You Remember?" and Sonny Boy Williamson's "I Don't Know," both of which were written by singers who epitomized blues in the Windy City. Nonetheless, jump blues and early R&B certainly dominate the album. Norcia and his skillful Bluetones open My Life, My Friends, My Music with a passionate, hard-swinging performance of Louis Prima's "Oh, Babe," which sets the tone of the disc -- and Norcia's celebration of jump blues and early R&B continues with inspired originals such as "The Last Words of a Fool," "Shut Your Face," the Charles Brown-ish "Think It Over Again," and the goofy "Little Green Talking Frog." Another memorable, jazz-influenced highlight of My Life, My Friends, My Music is Norcia's version of "Until the Real Thing Comes Along"; the expressive Norcia has no problem giving this well-known standard the type of earnestness it needs, and his obvious awareness of the influence that jazz (especially swing) had on early R&B in the mid- to late '40s and early '50s (just before the dawn of rock & roll) is a definite plus. My Life, My Friends, My Music is an excellent addition to Norcia's catalog and is among his best releases. ~ Alex Henderson, All Music Guide
'Hands Across the Table'
What The Critics Say
Ray Norcia is known as a blues harmonica ace, but when all is said and done, his greatest strength may well be his voice, and when he sings at his best, he brings a touch of country and a little bit of jazz swing to the blues. Hands Across the Table, his third release on David Earl's Severn Records, and the first to feature new guitarist Paul Size, doesn't push for too much. There's plenty of harp soloing here, naturally, and things are helped out immensely by the presence of the Providence Horns on several tracks, which adds a solid punch to the rhythm section, but things don't really rise much above journeyman blues until halfway through the album when Norcia decides to let in the country R&B on the Fats Domino-styled reworking of Frankie Laine's "That's My Desire." A case could be made that Norcia is the Charlie Rich of East Coast blues, and on "I Wanna Marry You Girl" his vocal strikes close to the spot where country and the blues still have a shared agenda. His voice even sounds a little bit like the great Jack Teagarden on the two best tracks here, the jazzy "River Stay 'Way from My Door" and the magnificent "The Last Blues Song," which features the subtle and perfectly nuanced phrasing of a master vocalist. No one is suggesting that Norcia toss away his harps -- his driving (but not overdriven) tone on harmonica is always a plus -- but this man can sing, and not just the blues. ~ Steve Leggett, All Music Guide
'In the Pursuit of Leisure'
What The Critics Say
Do you want proof that Sugar Ray are smarter, or at least savvier, than they seem? They not only abandoned funk-metal the second they had a hit with the breezy "Fly," they ran with their newfound success, turning into the sunny, good-time summertime band that American pop radio desperately needed in the bleak, self-absorbed aftermath of grunge. Thing was, they were much better as a pop band than a rock band; although they could occasionally hit a rocker out of the park, as they did on the punky power pop of "Answer the Phone," they felt more comfortable when they laid back and let the hooks speak for themselves, something they felt increasingly comfortable doing with each successive album, culminating in their first-rate 2001 eponymous record. That was a clean, straightforward pop album, working within the mainstream tradition and sounding surprisingly timeless in many ways. Its 2003 successor continues in the pop vein, but it tries to be a more contemporary version of that album, overloaded with modern drum beats and loops and processed guitars. Often, this is merely window-dressing on a good pop song, but sometimes it overwhelms the track if there are no hooks there -- as it does, ironically, on the album's first single, "Mr. Bartender (It's So Easy)." So, it's not as consistent as Sugar Ray, stumbling on occasion, but it does deliver some great guilty pleasures -- the opening "Chasin' You Around"; the sweet "Heaven"; the rocker "In Through the Doggie Door," which redeems its title; the excellent cover of "Is She Really Going Out With Him?," where vocalist Mark McGrath precisely mimics the tone, timbre, and phrasing of Joe Jackson; and, finally, "Blues From a Gun," where they appropriate a Jesus & Mary Chain title and come up with a song that's pretty much the polar opposite of the Mary Chain. It all adds up to another winning record by a band who has proven to be far more resilient than anybody could have guessed when "Fly" flew to the top of the charts in 1997. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
By their fourth album, Sugar Ray had developed a real ease to their music. Starting with "Fly," they no longer tried so hard to rock -- they no longer tried to ape the Red Hot Chili Peppers -- and began relaxing into a sun-kissed, laid-back groove, the kind of music where even the fast numbers powered by distorted guitars don't necessarily sound heavy. This came to the forefront on 14:59, but it blossoms on that album's follow-up, Sugar Ray. Where 14:59 was a little self-conscious and jokey (culminating in a cover of Steve Miller's "Abracadabra"), Sugar Ray feels easy and natural, so it's easy to smile at the reference to Run-D.M.C.instead of cringing. And that'sthe key to the record -- it's relaxed, utterly without pretension, and often charmingly melodic. Sure, there are some cuts that fall flat, but this record is more consistent than any of their previous albums, thanks not only to a stronger set of material, but the fact that the band is gelling as a band, which makes even the missteps easier to listen to. Best of all, the band never runs from their past, adding another great summer single to their arsenal with "When It's Over" (easily the equal of "Fly" and "Every Morning"), while even sampling "Every Morning" on "Ours." All this doesn't make Sugar Ray seem new, but there's charm to their performances, which make the album seen fresh, all the same. For a supposed one-hit wonder, it's remarkable that they've released their best album four records into their career. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Kim Wilson-styled vocalist/harmonica player and songwriter Sugar Ray Norcia edges toward Fabulous Thunderbirds territory on his fourth album with his Bluetones band (and first after ending his nearly seven-year tenure with Roomful of Blues). Former T-Bird guitarist Kid Bangham is also on hand to further cement the connection, and with this album's stripped-down sound and tougher R&B approach, it's a ringer for a new release from Austin's favorite blues band. There are differences of course: Ray's band is less pounding and more subtle and swampy in their approach to blues and R&B. His harp work isn't as overdriven as Wilson's and his phrasing remains understated while distinctive in its grits-and-honey delivery, even on the album's most charging tracks. Still, anyone who is a fan of either the Fabulous Thunderbirds or Roomful's more rocking/bluesy side will certainly be attracted to this release. Covers from the catalogs of Slim Harpo ("I Got Love if You Want It"), Little Walter ("Off the Wall"), and Bobby "Blue" Bland (a sizzling, seven-minute "It's My Life, Baby") pepper the predominantly original tunes, which slot somewhere between slinky Texas and rugged Chicago blues infused with classic urban R&B. Ray, whose harp talents were underutilized in the horn-heavy Roomful, makes up for lost time by soloing on almost every track, and Kid Bangham's guitar swings and stings without overshadowing the headliner's work. A deeply soulful and honest album whose understated attack and ensemble playing is more powerful than louder blues bands who substitute volume for passion. ~ Hal Horowitz, All Music Guide
What The Critics Say
Sugar Ray lead singer Mark McGrath had proven himself on national television as a walking rock encyclopedia, in a 1998 episode of VH1's Rock and Roll Jeopardy. It was an impressive feat that could explain the divergent styles of Sugar Ray's 1999 album 14:59. Their third album showed an alarming overhaul in their approach, practically moving Sugar Ray into a new genre. 14:59 steered them from their metal shellac toward a calmer, melodious pastiche of songs. The band on 14:59 has versatility nailed down better than your grade-A wedding band: "Every Morning" bounces with the acoustic pop gentility of their 1997 hit "Fly," while "Falls Apart" and "Personal Space Invader" reflect influences from Synchronicity and Men Without Hats. 14:59 also favors the leaner, faster punk of Green Day in "Aim for Me." There's even a frighteningly faithful cover of Steve Miller's "Abracadabra." If there's one criticism of 14:59, it's that if you listen hard enough you'll be playing "sounds like..." for many songs. In that sense it's almost a parody; the inclusion of two comic songs entitled "New Direction" (one death metal, one circus tent) help that assessment. Finally, though, 14:59 has such catchiness and charm that it's a guilty pleasure of high order, and a bigger step than one might have expected from Sugar Ray. ~ Paul Pearson, All Music Guide
'Sweet & Swingin''
What The Critics Say
After fronting Roomful Of Blues for a half dozen years, Sugar Ray Norcia released this solo collection of tunes that range from bar-band favorites to material he claims he always wanted to record. Far from being just a retro blues album, Norcia digs deep and comes up with nice versions of Arthur Alexander's "You Better Move On" (one of two songs featuring the Jordanaires doing backups), Hank Williams' "My Sweet Love Ain't Around," Lonnie Johnson's "Tomorrow Night" and Jimmy Rogers' "Money, (Marbles and Chalk)." Blues lovers are rewarded with the more-to-form renditions of "Love, Life and Money," "It's A Low Down Dirty Shame," Big Walter Horton's "Need My Baby" and Pee Wee Crayton's "You Better Change Your Way of Loving." An odd collection of tunes and styles that somehow holds together nicely. ~ Cub Koda, All Music Guide
What The Critics Say
Sugar Ray's second album, Floored, is a noticeable improvement from Lemonade and Brownies. The group's fusion of metal, funk, reggae, and rap is seamless and confident, partially because Sugar Ray now emphasize the groove, not the guitars. The group still has difficulty writing a consistent batch of songs, but its hooks are stronger than ever, as evidenced by the single "Fly," which features a cameo from Super Cat. Nothing on the album is quite as memorable as "Fly," but the other songs have similarly infectious beats and hooks, which is especially impressive considering that Lemonade and Brownies was devoid of both. ~ Stephen Thomas Erlewine, All Music Guide
