Album review overview: Black Puma’s, Chicago and others
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.
The BluesBones – Live on Tour
The album “Live on Tour” was recorded during several concerts in the spring and summer of 2024. No overdubs were added, and nothing was corrected. Most tracks come from their latest, highly acclaimed album, “Unchained.” Some “old” fan favourites are included, such as the cover “She’s Got The Devil In Her.” The album features great guitar work by Stef Paglia and organ play by Edwin Risbourg. The rhythm section is solid. You might notice “a slightly muffled layer over the music,” but the band’s energy still comes through. This is especially evident in songs like “Find Me A Woman,” where sitting still becomes nearly impossible. The pain Nico De Cock sings about in “I Cry” is palpable, and the music is beautifully understated. The backing vocals in “Moving On” are predictable. Ballads and uptempo tracks follow, with Nico delivering convincing vocals and impressive high notes. If you’re a blues fan and own a few albums by The BluesBones, “Live on Tour” is a must-have. (Esther Kessel-Tamerus) (8/10) (Naked)
Chicago – Live at 55
To celebrate their 55th anniversary, the legendary band Chicago has delivered a surprisingly vibrant live album. “Live at 55” reflects on the band’s rich musical heritage, dating back to their beginnings as Chicago Transit Authority, and proves they still know how to captivate an audience. Renowned guest artists elevate the album, with highlights such as guitarist Steve Vai’s fiery performance on “South California Purples,” blending seamlessly with Chicago’s signature brass section. Contributions from soul singer Judith Hill and Robin Thicke add a fresh dimension to the band’s classic sound. The timing of the release, just before the holiday season, is well-chosen. The album is an excellent introduction for new listeners to Chicago’s unique mix of rock, jazz, and soul while offering seasoned fans a fresh take on familiar material. The clear production showcases both the brass section and the rhythm section, proving that original members Robert Lamm, Lee Loughnane, and James Pankow still perform with precision and passion. “Live at 55” is a worthy anniversary album that highlights why Chicago has remained a top act in the American rock scene for over five decades. (Jan Vranken) (8/10) (Fantracks Digital LLC)
Black Pumas – Live from Brooklyn Paramount
Over recent years, Black Pumas have emerged as one of the most exciting live acts, and their new live album, “Live from Brooklyn Paramount,” makes it immediately clear why. The Grammy-nominated duo Adrian Quesada and Eric Burton, backed by an outstanding live band, perfectly capture the energy of their explosive performances. The production is stunningly clear—so pristine it almost feels like a studio recording with added audience noise. However, anyone who’s seen them live, such as during their performance last year at 013, knows they achieve this level of perfection on stage too. Burton’s soulful vocals are as intense and passionate as in the studio versions, while Quesada’s psychedelic guitar work and the tight rhythm section create a hypnotic groove. The setlist is a carefully curated journey through their repertoire, featuring fan favourites. A standout surprise is their rendition of Tracy Chapman’s “Fast Car” as an encore—a track that highlights the band’s versatility and seamlessly fits into their soul-psychedelic sound. This live album is a perfect holiday gift, especially for those who’ve experienced their live magic and wish to relive it. Their ability to translate neo-soul, psychedelic rock, and urban energy to the stage is nothing short of impressive. (Elodie Renard) (8/10) (ATO Records)
Frank Carter & The Rattlesnakes – From the Bataclan, Paris
Frank Carter & The Rattlesnakes deliver an explosive live EP recorded at the Bataclan in Paris—a venue etched in history for tragic reasons. From the first note, the energy bursts through, as expected from Carter and his Rattlesnakes. Tracks like “American Spirit,” “Wild Flowers,” and “Paradise” reaffirm why the band has such an outstanding live reputation. Carter’s distinctive vocals and the raw energy of the Rattlesnakes shine in this recording. The sound quality is excellent, capturing the intensity of the performance perfectly. The only drawback is the short runtime—it leaves you wanting more. One can’t help but wonder why a full concert recording wasn’t released. Nevertheless, what’s offered here is of exceptionally high quality. (Anton Dupont) (8/10) (International Death Cult)
CAN – Live in Keele 1977
The German experimental rock band CAN continues to unearth archival material, with “Live in Keele 1977” marking their sixth live release since 2021. However, the series is beginning to lose its novelty. This recording stems from an intriguing period: bassist Rosko Gee and percussionist Rebop Kwaku Baah had recently joined, while founding member Holger Czukay was gradually stepping back. It was a time when CAN was transitioning towards a more conventional sound, far removed from the experimental heights of “Tago Mago” and “Ege Bamyasi.” The band is technically proficient here, but the magic of the early 1970s is largely absent. For hardcore fans, every piece of CAN history is valuable, but with most original members having passed away (most recently Damo Suzuki in February 2024), this release feels more like a historical document. The sound quality is good, yet undeniably dated, with the funk-oriented groove of this era lacking the timelessness of their early masterpieces. For die-hard fans and music historians, this is an interesting addition to CAN’s extensive discography. For everyone else, it’s an unnecessary entry in an ever-growing series of live albums. (Jan Vranken) (5/10) (Spoon Records)
