Album review overview: Robert Plant, Buddy Guy and more

Dozens of new albums arrive at Maxazine’s editorial staff every week. There are too many to listen to, let alone review them. It ensures that too many albums are left behind. And that’s a shame. That is why today we post an overview of albums that arrive at the editors in short reviews.

Fabia Mantwill Orchestra – In.Sight

An orchestra. You think big. So do we. And that’s exactly what we’re served on “In.Sight”: a big band consisting of 32 musicians accompanying six soloists, all directed by Fabia Mantwill, who collaborated with the seasoned Greek bandleader Magda Giannikou for this project. The ensemble presents six compositions, each with its own distinct and unique atmosphere. Yet this isn’t typical big band music with mainly lots of brass power. No, this is next level. Big band meets fusion. This becomes immediately clear in the opening track “Satoyama”, which begins with a rich string arrangement, before we hear Mantwill on tenor sax and Daniel Buch, the first soloist, on baritone saxophone. The strings are consistently present in the accompaniment, lending the whole piece a cinematic feel. Each piece is thus given its character, with the soloist getting all the space they need. In “Whirl the Wheel”, that’s Roosevelt Collier’s pedal steel, who made his name with the Allman Brothers, among others. And the pedal steel isn’t the only unusual instrument we hear on “In.Sight”: “Sleeping Giant” is a swirling piece thanks to Goran Stevenovitch’s accordion. The final chord belongs to guitarist Kurt Rosenwinkel, who solos virtuosically in “Fairy Glen”. With “In.Sight” Mantwill sets a new standard… though we do sometimes miss those prominent horns. (Jeroen Mulder)(8/10)(GroundUp)

MusicTragik – Crescendo

“Crescendo” is already the 13th album from this American melodic hard-rock band. The main man of Tragik is Phil Vincent. Not only does he play drums, bass, keyboards and guitar on “Crescendo”, he also sings and is responsible for the excellent sound together with Jacob Hansen, who mastered the album. The guitars lie thick in the mix so you can optimally enjoy the many and long guitar solos and the riffwork. Vincent is assisted on this album by bassist Damien D’Ercole, drummer Dirk Philips and guitarist and confidant Vince O’Regan. “Crescendo” is dedicated to Kevin “Scoop” Ratte. Coincidentally, the song “Scoop” is also immediately the best song on the album. “Scoop” also differs from the other 11 songs in terms of duration. “Scoop” clocks in at just over 6 minutes. “Crescendo” offers something for every melodic rock enthusiast. Solid rockers like opener “Phoenix Rising”, emotionally charged songs that are somewhat darker like “Scoop” and naturally, the quiet songs aren’t missing either, like the ballad “Human”. Furthermore, there’s also a cover on “Crescendo”, namely “Givin’ It All Away” by Bachman-Turner Overdrive. It goes too far for me to state that this album absolutely must not be missing from your collection, but you certainly won’t make a bad purchase here. Warmly recommended and play it with the volume knob turned to the right. (Ad Keepers) (7/10) (Rock Company Records)

Buddy Guy – Ain’t Done with the Blues

On his 89th birthday, Buddy Guy proves that age is just a number. After his ‘Damn Right Farewell Tour’, the blues legend returns with an ambitious double album of 18 tracks, produced by his trusted partner Tom Hambridge. “How Blues Is That?” with Joe Walsh functions as the perfect calling card, an energetic summary of Guy’s philosophy where he declares: ‘I’m from the back woods way down South, grew up living hand to mouth.’ The song has the directness of his classic “Stone Crazy”, but with the wisdom of a veteran. “Blues Chase the Blues Away” shows Guy’s conviction that blues doesn’t necessarily have to be sombre, while “Jesus Loves the Sinner” displays a Mark Knopfler-like groove. The guest stars: Joe Bonamassa, Peter Frampton, Christone ‘Kingfish’ Ingram, add little to Guy’s powerful playing. Much more effective are the contributions from Chuck Leavell (Allman Brothers) on Hammond B3 and bassist Tal Wilkenfeld, who enrich the sound without distracting from Guy’s story. With 18 tracks, the album is perhaps too generously dimensioned, but Guy’s vocal power and guitar work remain surprisingly vital. A worthy addition to his impressive late oeuvre. (Jan Vranken) (8/10) (RCA Records)

Robert Plant – Beacon Theatre (Live 2006)

This live recording documents Robert Plant’s contribution to the benefit concert for Arthur Lee of Love on June 23, 2006. The Beacon Theatre in New York provided the setting for an emotional evening where Plant, supported by The Rant Band, paid tribute to one of his great musical heroes. Plant’s setlist cleverly combines Led Zeppelin classics with Love covers. His version of “The Old Man” from Love’s masterwork “Forever Changes” is moving and unique, possibly the only time he performed this song live. The Led Zeppelin songs like “Ramble On” and “What Is And What Should Never Be” get a folky, intimate treatment that fits perfectly with the theatrical setting and the good cause. The ‘Rant Band’, consisting of experienced session musicians like Andy York and Tony Shanahan, sometimes lacks the chemistry of Plant’s regular Strange Sensation band. The smallest bass drum ever used for Zeppelin material creates an odd sound, although this does benefit the intimacy of the evening. “Hey Joe” gets a ghostly interpretation that references both Love’s and Hendrix’s versions. Plant’s vocal range remains impressive, from banshee outbursts in “Ramble On” to tender crooning in “Can’t Help Falling in Love”. His duet with Ian Hunter on “When Will I Be Loved” shows his playful side. A unique document of Plant’s versatility and his respect for musical history. Although it began as a bootleg, this recording deserves official recognition because of its historical value and Plant’s passionate performances. (William Brown) (7/10) (Wickerman)

YoungBoy Never Broke Again – MASA

After his presidential pardon, the Baton Rouge rapper returns with MASA (Make America Slime Again), a project that further proves that quantity doesn’t guarantee quality. With 30 tracks and 93 minutes of playing time, this eighth studio album feels like an emotional data dump rather than a thoughtful album. It opens theatrically with “XXX”, where ‘The Star-Spangled Banner’ is mixed with YB’s usual bravado. The production oscillates between solid Louisiana trap and predictable 808 patterns that haven’t offered surprises for years. Highlights like “Where I Been” show vulnerability when YoungBoy speaks candidly about his addictions, while “Kickboxer” shows his characteristic energy. The problem lies in the merciless length. After track 15, listening becomes a chore, with too much filler material like “Combat Boots” and “Lo'” that feel more like studio sessions than finished songs. Even the Playboi Carti collaboration on “Fire Your Manager” can’t save the overall mediocrity. Unlike timeless tracks like “Outside Today”, MASA lacks focus and editing. YoungBoy’s voice remains powerful, but drowns in his productivity. A disappointingly long comeback that proves more material doesn’t necessarily mean better material. (Elodie Renard) (6/10) (Never Broke Again/Motown)