Album review overview: Anderson .Paak, John Legend and more

Dozens of new albums arrive at Maxazine’s editorial staff every week. There are way too many to listen to them all, 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.

Joanne Shaw Taylor – The Trouble With Love

Joanne Shaw Taylor shows on “The Trouble With Love” that she continues to push the boundaries of her own sound. Producer Kevin Shirley steers ten tracks featuring biting guitar lines and a voice that does not back down an inch. The title track opens with drive, and there is little sign of hesitation, even after a guest solo by Joe Bonamassa. “This Is Who I Am” and “Bad Boy” set the tone for an album that examines love from every angle, from raw to bittersweet. “Tired Of Being Right” smoothly blends gospel, soul and country rock, with a touch of The Band. Orianthi joins in on “What Good Is My Love?”, adding extra sparks. Taylor writes more personally and plays with greater variety than before, without losing sight of her blues roots. Anyone familiar with her earlier album “Black & Gold” will hear a guitarist who refuses to be tempted into repetition. Dave Stewart discovered her when she was sixteen, and that sense of hunger is still evident. This is blues rock with bite, played by someone who refuses to be held back. (Anton Dupont) (8/10) (Journeyman Records)

Banty Holler – Folk Music For Fuck Faces

World citizen and singer Banty Holler, after holding various jobs in places such as Rimini, Dublin, Stockholm and Wrocław, has now been based in The Hague for several decades. Born in Chicago as Neile H. Coe III, he plays a unique combination that he calls Honky Tonk Americana. Over the past eight or nine years, he has released a number of albums. On his last two albums, “Lost In Song” and “Journeyman Songs”, he was joined by a second guitarist and a drummer. On the new album “Folk Music For Fuck Faces”, he returns entirely to basics, namely being completely alone in the studio with just a guitar. This new album features fifteen songs that Banty Holler recorded previously, now presented in simplified form. Alongside his own material, we also hear his own versions of songs by, among others, Steve Earl (“Tennessee Blues”), Muddy Waters (“Got My Mojo Working”) and Earl Thomas Conley (“Once In A Blue Moon”). His original songs hold their own in this stripped-down form. In fact, some even stand head and shoulders above the previously recorded versions. Particularly beautiful are the opener “Hit The Chord”, the rocking “Hard Work Don’t Pay” and “Journeyman Reel”. There is no better proof that Neile H. Coe III, a.k.a. Banty Holler, is an excellent songwriter. A fine album, released independently. (Eric Campfens) (7/10) (Self-produced)

Jazzy – Peace & Patience

With “Peace & Patience”, Jazzy moves from the singles circuit to a full-length debut album. The Dublin-born artist already has two number-one hits to her name in Ireland, and co-wrote the album with, among others, Mark Ralph, Tre Jean Marie and Theo Hutchcraft. The result combines exuberant house with polished late-night pop. “Invisible” with Chris Lorenzo, “Rocket Science” and “Depart” work immediately on the dancefloor as standalone tracks. That is also where the problem lies, because thirteen tracks require more than a single run of club-ready ideas. Jazzy talks about her background and the people who kept her going, but the glossy synths and brisk drops keep that personal layer at a distance. As a result, the title, which promises peace and patience, remains largely an intention. Nevertheless, the album’s enthusiasm is infectious, and anyone on the dancefloor will hear an artist who knows what she wants. For someone willing to take on Dublin’s 3Arena, this is a logical and confident step. More daring in the arrangements would have made the whole thing sharper, which is a shame for a debut that promises so much. (William Brown) (7/10) (Chaos Records)

John Legend – Muse

John Legend allows Pharrell Williams to pull him out of his comfort zone on “Muse”, and it works well. Pharrell produced and co-wrote all sixteen tracks, and also appears himself on six songs, including the title track. Most of the recording took place in his studio at Louis Vuitton’s Paris headquarters, and that setting can be felt in the lavish, cinematic production. Legend adopts a more conversational singing style, giving his familiar baritone a different colour. “Her” draws on doo-wop and gospel, while “Get Back”, with its horns an strings, evokes a classic soul atmosphere. As a single, “Daylight” proves that the plan works, and he brings in Clipse for “Bodies On The Floor”. The collaboration grew out of his contribution to “The Birds Don’t Sing” on Clipse’s album, and that connection can be heard in the rhythmic daring. Sixteen tracks demand patience from the listener, but Legend’s curiosity makes up for much of it. “Muse” is a warm, adventurous soul album that does not alienate his regular listeners. It is worth getting to know this new side of him. (Tobias Braun) (7/10) (Republic Records)

Anderson .Paak & Cordae – Heavy Is The Crown

Anderson .Paak and Cordae have known each other since “RNP” appeared on Cordae’s debut “The Lost Boy”, and on “Heavy Is The Crown” that friendship finally gets a full album of its own. The cover references the comedy Step Brothers, and at times the tone is just as playful. Yet the album goes beyond jokes. Cordae writes about raising his daughter, lost love and loneliness, while .Paak reflects on temptation and insincere people. The production shifts between old samples and hard-hitting beats, with contributions from, among others, J. Cole, 9th Wonder, Conductor Williams and Swizz Beatz. The opener “58th Floor” immediately sets the right expectations, and “Helpless” is among the tracks that linger in the mind. The interplay is particularly striking. With his soulful, elastic voice, .Paak brings warmth, while Cordae adds sharpness and reflection. The result is an album that is light in tone but does not shy away from serious themes. The question is whether that relaxed atmosphere can be sustained throughout the full running time, and for the most part, it succeeds. As a friends’ project, it convinces through sincerity and mutual understanding, without chasing effects. (William Brown) (8/10) (APESHIT/Mass Appeal/EMPIRE)