Vince Gill Albums (15)
What The Critics Say
Vince Gill's studio offering following his paean to his new bride, Let's Make Sure We Kiss When We Say Goodbye, is one of the strongest recordings in a decade. Perhaps it's the freedom from the usual Nashville production bullsh*t -- Gill produced the album himself. His cast of players and singers is a veritable list of stars, including Emmylou Harris, Lee Ann Womack, the Doobie Brothers' Michael McDonald, life partner Amy Grant, Kim Keyes, Andrea Zonn, and Leslie Satcher. Famed producer and engineer Justin Niebank is at the mixing desk, and Gill's regular band propels a mixed bag of pop, boogie, swing, and neo-trad country tunes -- and odd for a Nash Vegas album, there are 17 of them, not ten or 12. Standout tracks are the rollicking title with its booming guitars; the mariachi-tinged "We Had It All"; the slow country stroll of "Young Man's Town," despite its sweeping strings and electric violin moan; and the stunning ballad "These Broken Hearts," with McDonald adding a depth of emotion rarely matched on Gill's records. There is also the Merle Haggard tribute "Real Mean Bottle" that features the opening guitar lines to "Mama Tried." But it's far from syrupy -- it's a tough song about a tougher, more visionary man than the singer could ever hope to be, sung in an unflinching manner. All of this said, there are the now-requisite Gill saccharine tracks such as "Whippoorwill River," an insufferable homage to his father that drowns in syrup. The hardcore honky tonk rock of "The Sun's Gonna Shine on You" is one of the strongest cuts on any Gill album, full of shuffling blues and rockabilly swagger. "Old Time Fiddle" is a cross-pollination of Cajun music and bluegrass that works surprisingly well considering how slick it is -- perhaps it's the layered accordions and the organic-sounding percussion. The album closes with "In These Last Few Days," another ballad; Gill always makes records that are at least 60/40 ballads to up-tempo tunes, and this track is that forlorn, bittersweet ballad that seems to close every record of his. But lyrically it's so strong and vulnerable that it works, leaving the listener haunted with the notion that something special has occurred, that he or she has born witness to a man becoming aware of the preciousness of his own life. In all, it's a strong effort. It's nice to see established artists reclaim control of their careers -- especially when the results are so rewarding. ~ Thom Jurek, All Music Guide
'The Things That Matter'
Release Date 11/7/2000
Tracks 8
Label Buddha
See Album Tracklist and Review
'Let's Make Sure We Kiss Goodbye'
Release Date 4/18/2000
Tracks 12
Label MCA
See Album Tracklist and Review
What The Critics Say
The black-and-white cover photograph and the title of Vince Gill's Let's Make Sure We Kiss Goodbye offer a story that unfolds as the recording itself plays. The album was written in the months preceding his marriage to singer Amy Grant, and if there was ever a record drenched in the kind of transformative rush of new love, this is the one. Yes, it is sappy at times, but the songwriting, as usual, is top-notch, and so are the performances here; mostly they're just really mellow and warm. That doesn't mean that sparks don't fly from some tracks: "Baby Please Don't Go" is drenched in choogling rockabilly swagger, "Shoot Straight from Your Heart is solid -- if softer -- contemporary country, and "Feels Like Love" is a midtempo country-pop tune that has that trademark wonderful rousing Gill vocal in the refrain. The rest are mostly love songs but inspired ones. Grant was clearly his muse on this set, and nowhere is it more clear than on the lilting title cut and "When I Look into Your Heart," where Gill and Grant perform a duet. Tony Brown's production is pristine and everywhere, but the craft and arrangements in these songs are all Gill's. This is a beautiful and sincere recording, one that not everyone will taker a shine to because of its tenderness, but that doesn't make it any less of a quality endeavor. You only make a record like this once in a lifetime; Vince Gill should be proud of this one. ~ Thom Jurek, All Music Guide
What The Critics Say
This early document by Vince Gill (his second proper solo full-length) on RCA, a couple of years after he left Pure Prairie League, offers solid hints of the storied career to come. Gill is one of the architects of the genre known as contemporary country, and The Way Back Home reveals that he was clearly trying something different to break out. But it also tells the story, in a much more subtle manner, that he is deeply steeped in the country music tradition. On The Way Back Home he was still trying to gain his footing as a solo artist -- his excellent instrumental skills also established him early on as a top-flight session player. Produced by Emory Gordy, Jr., the sessions host a virtual who's who of the session crowd Gill was running with at the time: Rodney Crowell, Rosanne Cash, Emmylou Harris, Bonnie Raitt, Andrew Gold, Sweethearts of the Rodeo, Roy Huskey, Jr., Jay Dee Manness, Lee Sklar, and many others. Gill wrote five of the nine cuts in this set; others were contributed by Guy Clark, Hank DeVito, Reed Nielsen, and Paul Anka! The sound is basically in the laid-back soft rock vein that the latter Pure Prairie League tunes were in, as well as those of the mid-period Eagles. That may not sound like a big deal in the 21st century, but bringing these sounds to country radio at that time was nothing less than revolutionary. Crowell, Cash, and DeVito had helped pave the way with their early songs and recordings, but Gill was clearly trying to cross over, and he was sure to succeed, given his songwriting skill (take a listen to "The Radio" and you'll hear the ballad style that permeated the contemporary genre later on) and his ability to meld and fuse honky tonk, rockabilly, countrypolitan, and bluegrass with pop. The production on this set sounds a bit dated, but the songs endure for the most part, in particular the mournful acoustic ballad that serves as the title cut; the rollicking "Let's Do Something"; and the completely wonderful closer, "Something's Missing." ~ Thom Jurek, All Music Guide
'Breath of Heaven: A Christmas Collection'
Release Date 9/8/1998
Tracks 11
Label MCA
See Album Tracklist and Review
What The Critics Say
Once again, Vince Gill rises above the commonplace and delivers a project of supreme substance and divine emotion. This holiday offering is one of the best in recent years and comparable to the popular holiday recordings of Crosby, Como, and Elvis. As far as contemporary Christmas music is concerned, Gill, backed by Patrick Williams & His Orchestra, manages to keep tradition vibrant and immediate. Uptempo tunes such as "Winter Wonderland," "Let It Snow! Let It Snow! Let It Snow!," and "It's the Most Wonderful Time of the Year" complement more sacred offerings like "O Little Town of Bethlehem," "O Holy Night," and "O Come All Ye Faithful." Especially good is Gill's version of the rock & roll "Blue Christmas," as are his "Silver Bells" and the title cut. He also gives an essential and fundamentally emotional performance on "The Christmas Song" that seems to transcend time, space, and religious affiliation to create a moment of recorded music that is wholly and completely Christmas. Encompassing both the sacred and secular in this instant elevates Gill's performance here to classic status. Moreover, he has never sounded as rich, warm, and substantial as he does on this gift of holiday music. Experience never looked, felt, or sounded so good. ~ Jana Pendragon, All Music Guide
What The Critics Say
On The Key, Vince Gill presents a rather dazzling array of traditional styles to display his versatile talent. Going back to his Oklahoma country roots for inspiration, something he hasn't done in many years, he comes out with a recording so startling that even heavy-handed producer Tony Brown left it pretty much alone.Gill is in fine voice throughout, joining with a colorful cast of backing singers -- including Patty Loveless, Alison Krauss, Sara Evans, Lee Ann Womack, and Faith Hill -- to create the type of music that contemporary country radio has not played in over a decade. Over 13 tracks, Gill eases gracefully from one roots country style to another, from a classic hillbilly waltz to the edgy Bakersfield sound. He even skillfully tips his hat to guitar great Roy Nichols on "There's Not Much Love Here Anymore." A duet with Loveless, "My Kind of Woman/My Kind of Man," stands proudly next to the best country duets of George Jones and Tammy Wynette and Merle Haggard and Bonnie Owens. Most impressive is "Kindly Keep It Country," a stone-cold hard country song that details one man's heartbreak and the soothing effects of a jukebox and a bar stool. As heartbreaking as any song he's ever written is "Let Her In," told from the perspective of a divorced father who is trying to rebuild his life and still retain his relationship with his daughter. Just as effective is "The Hills of Caroline," a mountain bluegrass tune with a strong melody and narrative enhanced by the beautiful backing vocals of Krauss. The closing title cut is an endearing acoustic country tune, complete with mandolins and banjo, that comes directly from Gill's relationship with his late father. For emotional depth, honesty, and the kind of musical depth and artistry listeners have come to expect from Gill, The Key stands among his very finest recordings. ~ Jana Pendragon & Thom Jurek, All Music Guide
What The Critics Say
Vince Gill takes off on a tour of American music on High Lonesome Sound. The title cut steps back to a time he hasn't visited in a while, drawing on his days as a bluegrass singer and guitarist to create a soaring, harmony-driven sound that applies Appalachian drive to modern country rhythms. Most of the rest of the album's journey treks in new directions. The aggressive guitar riff that opens "One Dance with You" is straight Chicago blues, while the jaunty feel that enlivens "Down to New Orleans" draws on the Windy City's funky rhythms with a deft touch worthy of Little Feat -- with Lowell George, that is. "Tell Me Lover," also bearing the trace print of Little Feat, dances through a swampy groove. The arrangements by Gill and producer Tony Brown give traditional sounds a modern sheen while maintaining a distinct regional flavor. Gill gets much more room to show off his impressive guitar prowess than on his past records. A pair of small complaints are that his lyrics don't match the music (they are steeped in the modern country topical schemes) and he can overly sweeten the blues. Elsewhere, he uses the clichéd aspects of Cajun music in paying homage to Louisiana's musical heritage (R&B and New Orleans second-line rhythms aren't here and should be, because he's musically sophisticated enough to pull them off). Therefore, this album works best when he's not straining for authenticity: "Worlds Apart," "Given More Time," and "Pretty Little Adriana" leaven his tried-and-true formula into arrangements that are more progressively atmospheric than his past hits. Gill owns too many strengths to need to transform himself into Lowell George or Bonnie Raitt at this point in his career; he can leave his own mark on any music he chooses to play and -- for the most part -- does so here. ~ Michael McCall & Thom Jurek, All Music Guide
What The Critics Say
Clocking in at only eight tracks, Vince Gill & Friends sports a title that suggests it's a duets album. It's not. It's a collection of eight tracks that happen to have backing vocals by the likes of Emmylou Harris, Rodney Crowell, Bonnie Raitt, Carl Jackson, Janis Oliver, and Sweethearts of the Rodeo. Of course, there are some very good songs here -- "Turn Me Loose," "What If I Say Goodbye," "Oklahoma Borderline," "Oh Carolina," "Everybody's Sweetheart" -- which might make it of interest to casual fans on a tight budget. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
This is one of the mini-LPs RCA, and several other labels, experimented with in the '80s. While Gill had been on the musical scene for several years, including a stint with Pure Prarie League, this is a nice sampler to display Gill's skills as both a performer and a writer. ~ Jim Worbois, All Music Guide
What The Critics Say
By 1994, Vince Gill was a bona fide country superstar. His recordings had sold into the millions and his tours were sellouts around the globe. He was ubiquitous on the radio as well. Producer Tony Brown took an even heavier hand on Gill's recordings, even though Gill's own songs dominated his records. The tightrope walk between a handsome tender country-pop balladeer and the rootsy rocking honky tonk guitar picker was beginning to fall on the side of the ballads. It was working on the charts, but some of Gill's older fans -- those familiar with his multifaceted talent -- began to grow weary of him playing it so safe. There are only three uptempo cuts on When Love Finds You: the tough rockabilly swagger that is at the heart of "South Side of Dixie," the honky tonk shuffle "What the Cowgirls Do," and the midtempo country-rocker "You Better Think Twice." The rest are ballads -- every last one of them -- but there are a few real gems, including the opener, "Whenever You Come Around," and the stunning title track. ~ Thom Jurek, All Music Guide
