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Black, Clint - out of sane [2020]
Clint Black ist neben George Strait und Alan Jackson zweifelsohne einer der bedeutendsten und erfolgreichstem Traditionalisten der Neunziger und frühen Zweitausender Jahre, als die Countrymusic in den Charts noch nicht so "popverseucht" wie heute war. Etliche Nr. 1-Hits stehen für ihn zu Buche. Nun meldet er sich, 5 Jahre nach seinem letzten Werk "On purpose", endlich mal wieder mit einem neuen Album zurück. Und er ist noch immer der Alte. Traditionelle, "echte" Countrymusic, wie wir sie von Clint Balck seit jeher kennen. Mal schön flott, mal im gepflegten Midtempo, aber auch mit einigen schönen Balladen transportiert er seinen typischen Traditional Country unverfälscht in die heutige Zeit. Seine vielen Fans werden es ihm danken. Ein feines Album!

Hier ein Original U.S.-Review zu "Out of sane":

The praise that’s been heaped upon young guns such as Luke Combs, Jon Pardi and Cody Johnson in recent years for helping to revive the sounds of ‘90s country is certainly warranted. We’re not looking to take anything away from them. But we’d be fantastically remiss for not giving a great deal of love to the greats who actually shaped that pre-millennial sound and are still out there making music–and making it rather well.
For his 23rd studio album, and first in five years, Clint Black has drawn from the deep well he originally built his legend upon. Out of Sane, which the Texas native produced and co-wrote all but one track on, is a straight-forward, honest effort from beginning to end. In some cases, that means its refreshingly simple, lacking any pretense, but at other times, the earnestness can be a tad overpowering.
It would be understandable for a veteran such as Black, whose commercial chart-topping days are behind him, to try and update his product into something today’s radio programmers might be compelled to put onto their playlists. Thankfully Black is secure enough in his own talent, fanbase and legacy to avoid such an artistic identity crisis.
The album-opening “Hellbent” is an electrified, crawling rock-inflected number that, thanks to Black’s low southern drawl, carries enough country weight for things to feel decidedly twangy. Similar to Garth Brooks’ most rocking songs (think “Rodeo”), it doesn’t seem as though Black could crank the amps loud enough for things to ever be anything but honky-tonk ready.
Another tune where the tempo meanders while Black’s deeper vocals take center stage is the ominous, almost menacing “Down To It.” It’s a love song, and its plenty country, but the dark, almost stalker-like sonic vibe suggests the recipient of the narrator’s affections isn’t in the biggest hurry to reciprocate.
It’s not all swirling electric guitars though, of course. Black lightens things up impressively with the sorts of fiddle-packed tunes you rarely hear on mainstream country radio now but were plentiful three decades ago. The swinging “My Best Thinking” and the harmonica-drenched “Found It Anyway” feature stomping rhythms and an undeniable fool-good spirit.
If you can listen to the bouncy “Can’t Quit Thinkin’ and not immediately envision a packed dance floor of line-dancing starched Wranglers, then go search “Wildhorse Saloon” on YouTube. And the sunshine pokes through with the bluegrass-powered “With Love” and the soulful, laid-back “Beautiful Day.”
Black does step away from his most comfortable of ranges on this record with mixed results. In the piano ballad love letter to his country, “America (Still in Love With You),” Black seems to be shooting for Lee Greenwood-size patriotic bombast by singing from a schmaltzy Hallmark card. And in the album-closing “What I Knew Then,” he employs an odd voice modulation in the chorus that robs the rocking song of any momentum, making it sound like some wacky ‘80s action figure commercial.
Make no mistake, not all the surprises here take a wrong turn. The bluesy “Find Myself” is a moody gem, and the up-tempo “The Only One” is a searing Tom Petty-esque rocker. The biggest, most pleasant surprise of all is that the one song out of the dozen on the record Black didn’t write is the one he shines brightest on.
Black’s cover of Harry Nilsson’s 1968 hit “Everybody’s Talkin’” is a fully plugged-in roadhouse rager. With tons of wall-rattling reverb backing him, Black absolutely nails that iconic high vocal note towards the song’s end. As much as any other song here, there’s little doubt this would’ve been yet another Number One single for Black had it been released during the Clinton Administration.
The signature marks Black has come to be best known for, like stellar guitar work, boldly clear baritone vocals and straight-forward country storytelling, are quite present and accounted for. In the midst of some questionable left turns and exciting surprises, such dependable constants are comforting and completely welcome. Through it all, Out of Sane, is a fine record, and most importantly, it’s a genuinely unmistakable Clint Black record.
(Kelly Dearmore / Sounds Like Nashville)

Das komplette Tracklisting:

1. Hell Bent - 4:13
2. My Best Thinkin' - 3:59
3. America (Still in Love With You) - 4:03
4. With Love - 3:32
5. Everybody's Talkin' - 3:31
6. Found it Anyway - 3:07
7. A Beautiful Day - 3:57
8. Down To It - 4:32
9. The Only One - 4:09
10. Can't Quit Thinkin' - 3:27
11. Find Myself - 3:06
12. What I Knew Then - 4:14

Art-Nr.: 10092
Gruppe: Musik || Sparte: Country
Status: Neuheit || Typ: CD || Preis: € 13,90

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Matthews Band, Dave - come tomorrow [2018]
Endlich, nach sechs langen Jahren: Ein neues Studioalbum der Dave Matthews Band - handwerklich und musikalisch wieder auf höchstem Niveau. Sehr starke Vorstellung!

Hier ein Original U.S.-Review:

At some point in time a wise human accurately stated that what makes us happy are the little things. I’ll circle around to this sentence later on. For now, happy FriYAY, it’s a Dave Matthews Band album release Friday, so indeed, YAY! Come Tomorrow is the ninth chapter in the storied career of these jam-band Virginia legends, and the first offering since 2012’s Away From The World. Clocking in at roughly 55 minutes, this LP arrives at a time of need for balance and soothing simplistic stories that drift us away from the feather ruffling of everyday Hollywood and politics. Not that there is anything simple about Dave Matthews and his mates, but their complex sound does calm and bring smiles to those willing to delve in.
As previously stated, little things. It figures as we get older, people tend to find joy in everyday occurrences. Let’s not talk about government or our divided neighbors, let’s shy away from the music industry beefs and the unfair turbulence caused by the rich few. These topics have there importance, of course, but sometimes we just need a break. That is where Dave Matthews and the gang’s new offering chimes in. Come Tomorrow is a record about the simple things. Relatable material. In a world that’s taken a turn to Kafkaesque settings, Dave Matthews is another voice reminding us that maybe we could take a step back and enjoy – say it with me – the little things.
Album opener “Samurai Cop (Oh Joy Begin),” titled after a sub-par film released in 1991 with a cool title, is a drums-n-guitar driven power-ballad focused on the hopeful purity that overtakes us when a newborn arrives. By contrast, “Do You Remember” is an upbeat swanky mix of playful strings and horns that reflects on our time on this fickle Earth and what love is supposed to look like. Namesake “Come Tomorrow” is a mid-paced tune of both optimism and acquiesce. Croons Matthews “An old man spat and cursed as he spoke // It’s all going to hell and the whole world is broken // The little kid is busy making plans // To save the whole world // Along with that old man,” to a future generation that takes the reins and looks to fix our past missteps – at least that is the plan.
Material from yesteryear shines through on Come Tomorrow as well. The late great Mr. LeRoi Moore‘s notorious horns make a cameo on straight-out-of-the-vault anthems “Can’t Stop” and “Idea of You.” Rounding out the stronger core are the funky soul trappings of “Again and Again” and the longing tales of childhood on the maturely suave “Virginia In The Rain.” Nonetheless, the spectacular apotheosis within Come Tomorrow rests in the unlikely “That Girl Is You.” A tune detailing a casual meet cute that plays simple enough by tune, but is high and mighty through a seldom used gritty-falsetto from Matthews. This is Dave like you have never heard him before – and it is refreshing.
Overall, Come Tomorrow is a sane and vulnerable album. No outlandish statements are made and much of the material comes across as organic and synced. Per usual, Rashawn, Stefan, Carter, and the rest of the gang play it tight, play it right, and create beauty within the elation of sheer musicianship. There are no auto-tunes or computerized gimmicks of enhancement. Come Tomorrow is just a bunch of gifted artists making simple themed jams in a world looking to save itself, from itself. You know, the little things. Cheers!
(Andrés Alvarado/Loudsound Magazine)

Das komplette Tracklisting:

1. Samurai Cop (Oh Joy Begin) - 4:22
2. Can't Stop - 4:43
3. Here On Out - 3:18
4. That Girl Is You - 3:16
5. She - 3:51
6. Idea Of You - 4:44
7. Virginia In The Rain - 6:09
8. Again And Again - 4:25
9. bkdkdkdd - 0:27
10. Black And Blue Bird - 3:33
11. Come On Come On - 4:39
12. Do You Remember - 4:17
13. Come Tomorrow - 4:46
14. When I'm Weary - 1:56

Art-Nr.: 9640
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 15,90

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McClinton, Delbert - tall, dark & lonesome [2019]
Erneut ein ganz prächtiges, neues Album einer absoluten Größe des Grenzbereichs zwischen Americana und Blues. Delbert McClinton & Self Made Men + Dana präsentieren eine mitreißende, packende und zündende Mixtur aus Rootsrock, Country, Blues, Soul, Swing, Jazz, Folk und Americana, ausgestattet mit viel Spielfreude und einem stets rootsig rauen und vielseitig bluesigen Fundament, dargeboten von fantastischen Musikern. McClinton, ein begnadeter Songwriter, Sänger, Harp-Spieler, Pianist und Gitarrist, gilt auf seinem Terrain als einer der "größten" Texaner "ever", was er mit "Tall, dark & lonesome" einmal mehr eindrucksvoll unter Beweis stellt.

Aus der Original-Produktbeschreibzng:

"Roots music visionary" (Rolling Stone) Delbert McClinton returns with a swaggering and swingin’ new album, Tall, Dark & Handsome. Featuring 14 new, original new songs - all written or co-written by Delbert, the album dives deep into the blues, Americana and beyond, bursting with horns, fiddle, accordion, blazing guitar work, back-up singers and McClinton’s charismatic rasp, proving Lyle Lovett’s claim that “if we could all sing like we want to, we’d all sound like Delbert McClinton.”
Tall, Dark & Handsome features Delbert’s band the Self-Made Men + Dana: Dana Robbins (saxophone), Jack Bruno (drums), Mike Joyce (bass), Bob Britt (guitar), James Pennebaker (guitar), Kevin McKendree (keyboards), Quentin Ware (trumpet), Dennis Wage (keyboards).
It’s evident from the first downbeat that McClinton and company had a blast making the record, shining a raucous light on the swinging, jazzy virtues of Texas blues. Opener “Mr. Smith” is a joyous shuffle. “If I Hock My Guitar” is sly and self-deprecating, the story of a down n’ out axe-man who weighs his craft with a visit to the pawn shop. The album hurtles forward with a red hot energy, with only a couple cool breaths along the way, like on “Any Other Way,” a ballad that starts with “Just another lovely day / a low-flying angel got in my way.”
McClinton has three GRAMMY Awards, and his previous three albums have all reached # 1 or #2 on Billboard’s Blues chart. With over 60 years of recording and touring to his credit, McClinton is a true musical zelig: he toured with the Beatles, backed Bo Diddley and Howlin’ Wolf, helped to inspire The Blues Brothers, and performed everywhere from SNL to Austin City Limits (both multiple times) along the way. His songs have been covered by Buddy Guy, Bonnie Raitt, Garth Brooks, Vince Gill, Waylon Jennings, and Wynonna Judd - to name a few.
This “Godfather of Americana” (Rolling Stone) will keep on rolling in 2019, with a full slate of tour dates through year’s end and beyond.

Das komplette Tracklisting:

1. Mr. Smith - 4:02
2. If I Hock My Guitar - 2:06
3. No Chicken on the Bone - 3:06
4. Let's Get Down Like We Used To - 3:01
5. Gone to Mexico - 2:14
6. Lulu - 3:03
7. Loud Mouth - 3:05
8. Down in the Mouth - 2:06
9. Ruby & Jules - 2:58
10. Any Other Way - 3:20
11. A Fool Like Me - 3:05
12. Can't Get Up - 2:34
13. Temporarily Insane - 3:52
14. A Poem - 1:00

Art-Nr.: 9849
Gruppe: Musik || Sparte: Rock
Status: Programm || Typ: CD || Preis: € 15,90

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