NOVINKY

Chris Stapleton: 'From a Room: Volume 2' (Dec. 1)
Chris Stapleton performs onstage during the 2017 iHeartRadio Music Festival at T-Mobile Arena on Sept. 22, 2017 in Las Vegas, Nevada.

U2: 'Songs of Experience' (Dec. 1)
The Edge, Bono, and Larry Mullen Jr. of U2 perform "Bullet The Blue Sky" on Sept. 7, 2017 during the Tonight Show Starring Jimmy Fallon in New York.

Miguel: 'War & Leisure' (Dec. 1)
Singer Miguel performs in concert during day 2 of Primavera Sound 2017 on June 1, 2017 in Barcelona, Spain.

Danielle Bradbery: 'I Don’t Believe We’ve Met' (Dec. 1)
Danielle Bradbery performs at CountryFlo Music & Camping Festival at Triple Canopy Ranch on Nov. 5, 2016, in Lake Wales, Fla.

Cindy Wilson (of The B-52’s): 'Change' (Dec. 1)
Cindy Wilson of The B-52's performs a solo concert at Georgia Theatre during AthFest on June 23, 2017 in Athens, Ga.

Operation: Mindcrime: 'The New Reality' (Dec. 1)
Geoff Tate performs with Operation Mindcrime at Variety Playhouse on April 5, 2016 in Atlanta.

Action Bronson: 'Blue Chips 7000' (Dec. 1)
Action Bronson performs during the 2017 Outside Lands Music and Arts Festival at Golden Gate Park on Aug. 13, 2017 in San Francisco, Calif.

Andy Grammer: 'The Good Parts' (Dec. 1)
Singer Andy Grammer performs onstage during Arroyo Seco Weekend at Brookside Golf Course on June 25, 2017 in Pasadena, Calif.

Van Morrison: 'Versatile' (Dec. 1)
Recording Artist Van Morrison performs during the 18th Annual Americana Music Festival & Conference at Ascend Amphitheater on Sept. 14, 2017 in Nashville, Tenn.

Neil Young + Promise of the Real: 'The Visitor' (Dec. 1)
Neil Young and Micah Nelson of Neil Young + Promise of the Real perform during the 2016 New Orleans Jazz & Heritage Festival at Fair Grounds Race Course on May 1, 2016 in New Orleans, La.

Luke Bryan: 'What Makes You Country' (Dec. 8)
Luke Bryan performs during the 2017 CMA Music Festival on June 8, 2017 in Nashville.

Walker Hayes: 'boom.' (Dec. 8)
Walker Hayes performs during the Lakeshake Festival at Huntington Bank Pavilion at Northerly Island on June 25, 2017 in Chicago.

K. Michelle: 'KIMBERLY: The People I Used To Know' (Dec. 8)
Singer K. Michelle performs at the Los Angeles Soul Music Festival at Exposition Park on July 14, 2017 in Los Angeles.

Chris Thile: 'Thanks for Listening' (Dec. 8)
Singer/mandolin player Chris Thile of The Punch Brothers performs onstage at Golden Gate Park on Oct. 2, 2015 in San Francisco, Calif.

Robert Finley: 'Goin’ Platinum!' (Dec. 8)
Robert Finley of Music Maker Foundation Revue performs on stage during Festival Internacional Jazz de Barcelona at Luz de Gas on Nov. 12, 2016 in Barcelona, Spain.

Collective Soul: 'Collective Soul Live' (Dec. 8)
(L-R) Johnny Rabb, Ed Roland and Will Turpin of Collective Soul perform at Freedom Hill Amphitheater on Aug. 7, 2016 in Sterling Heights, Mich.

Jim James: 'Tribute To 2' (Dec. 8)
Musician Jim James performs during the 2017 Monterey International Pop Festival at Monterey County Fairgrounds on June 17, 2017 in Monterey, Calif.

Strawbs: 'The Ferryman’s Curse' (Dec. 8)
Chas Cronk of The Strawbs performs live on stage at Doncaster Rocks on July 25, 2009 in Doncaster, England.

Shovels & Rope: 'Busted Jukebox Volume 2' (Dec. 8)
Cary Ann Hearst and Michael Trent of Shovels & Rope perform on Day 1 of Outside Lands Music & Arts Festival at Golden Gate Park on Aug. 11, 2017 in San Francisco, Calif.

Barbra Streisand: 'Barbra: The Music … The Mem’ries … The Magic! (Live in Concert)' (Dec. 8)
Barbra Streisand performs onstage during the Barbra - The Music...The Mem'ries... The Magic! Tour at BB&T Center on Dec. 3, 2016 in Sunrise, Fla.

Escape the Fate: 'I’Am Human' (Dec. 15)
Guitarist Kevin Gruft and singer Craig Mabbitt and of Escape the Fate perform during 2016 Carolina Rebellion at Charlotte Motor Speedway on May 6, 2016 in Concord, N.C.

New Order: 'NOMC15' (Dec. 15)
Musician Bernard Sumner of New Order performs at the Mojave Tent during day 3 of the 2017 Coachella Valley Music & Arts Festival at the Empire Polo Club on April 23, 2017 in Indio, Calif.

G-Eazy: 'The Beautiful & Damned' (Dec. 15)
G-Eazy performs onstage during iHeartRadio LIVE with Bebe Rexha presented by Forever 21 at iHeartRadio Theater on Aug. 7, 2017 in Burbank, Calif.

Boosie BadAzz: 'BooPac' (Dec. 15)
Boosie Badazz performs during the Collegrove Tour at ORACLE Arena on Nov. 10, 2016 in Oakland, Calif.

Linkin Park: 'One More Light Live' (Dec. 15)
Musician Mike Shinoda of Linkin Park performs during the "Linkin Park And Friends Celebrate Life In Honor Of Chester Bennington" event at the Hollywood Bowl on Oct. 27, 2017 in Hollywood, Calif.

Panic! At the Disco: 'All My Friends We’re Glorious' (Dec. 15)
Dan Pawlovic and Brandon Urie of Panic! At The Disco perform at Infinite Energy Center on April 12, 2017 in Duluth, Ga.

Sir Rosevelt: 'Sir Rosevelt' (Dec. 15)
Musical guest Sir Rosevelt performs during a taping of, "Jimmy Kimmel Live" in Hollywood, Calif. on Oct. 11, 2017.

Juicy J: 'Rubba Band Business: The Album' (Dec. 29)
Juicy J performs onstage during the Daytime Village Presented by Capital One at the 2017 HeartRadio Music Festival at the Las Vegas Village on Sept. 23, 2017 in Las Vegas.

WizKid: 'Sounds From the Other Side' (Dec. 29)
Wizkid performs live on stage at Royal Albert Hall on Sept. 29, 2017 in London.

Lil Pump: 'Lil Pump' (Jan. 5)
Rapper Lil Pump performs in concert at Emo's on Nov. 24, 2017 in Austin, Texas.

Black Rebel Motorcycle Club: 'Wrong Creatures' (Jan. 12)
Robert Levon Been and Leah Shapiro of Black Rebel Motorcycle Club perform live on stage during a concert at Columbiahalle on Nov. 25, 2017 in Berlin, Germany.

Black Veil Brides: 'Vale' (Jan. 12)
Guitarist Jake Pitts (L) of Black Veil Brides performs onstage during the "Strange 80's" benefit at The Fonda Theatre on May 14, 2017 in Los Angeles.

Petula Clark: 'Living For Today' (Jan. 12)
British singer and actress Petula Clark performs live during a concert at the Schwuz on April 28, 2016 in Berlin, Germany.

Anderson East: 'Encore' (Jan. 12)
Anderson East performs on "Jimmy Kimmel Live" in Hollywood, Calif. on Sept. 5, 2017.

Curtis Salgado and Alan Hager: 'Rough Cut' (Jan. 12)
Curtis Salgado performs on stage at Waterfront Blues Festival, at Tom McCall Waterfront Park in Portland, Ore. on 4th July, 2016.

Meghan Patrick: 'Country Music Made Me Do It' (Jan. 12)
Meghan Patrick performs on Day 6 of the RBC Bluesfest on July 14, 2016 in Ottawa, Canada.

Tinsley Ellis: 'Winning Hand' (Jan. 12)
Tinsley Ellis and Susan Tedeschi of Tedeschi Trucks Band perform at The Fox Theatre on July 15, 2017 in Atlanta.

Joe Satriani: 'What Happens Next' (Jan. 12)
Joe Satriani during the G3 live concert in Rome on July, 3, 2016.

Umphrey’s McGee: 'it’s not us' (Jan. 12)
Recording artists Ryan Stasik and Jake Cinninger of Umphrey’s McGee perform onstage at What Stage during Day 4 of the 2017 Bonnaroo Arts And Music Festival on June 11, 2017 in Manchester, Tenn.

Prosím, neber to osobně. Nebylo by lepší dávat sem jen desky které sis koupil a které jsou dobré. Toto je vlákno doporučené nahrávky a Ty doporučuješ všechno co vyšlo. Toto již provádí marketing a reklama prodejců a každý kdo to chce, si to vyhledá.
Tak alespoň specifikuj, co z toho jsi slyšel a co doporučuješ.

Dík.

Oldeare ani ty to neber nijak osobně, ale tohle jsi nějak netrefil. Tohle je nové vlákno s jasným názvem, alespoň podle mě. Doporučené nahrávky a diskuse o deskách co sis koupil a slyšel je, jsou jinde.
Navíc právě většina toho co tu zaznělo teprve vyjde (oba u těch věcí udávají i data vydání), takže tvou žádost aby řekli co už slyšeli z velký části jen těžko vyslyší.

Neuvěřitelné! Ale i tací tu jsou.

BTW: pod kterým názvem vlákna na hlavní stránce tyto nově sepsané marketingové cinty jsou? Já tam vidím "Doporučené nahrávky" a lze doporučovat úplně všechno, co vyjde a na základně jaké zkušenosti, když poslechem to nebylo? Nech to však plavat.

To měl tohle vlákno zakladatel umístit do sekce "Zrovna poslouchám," "Hudební styly," nebo "Jednotlivé kapely, interpreti," nebo by si to přál pán ještě někam jinam?
Tyhle, podle tebe "cinty," jsou pod názvem vlákna "NOVINKY- právě vychází," v sekci fóra "Hudba - Doporučené nahrávky," pochybuju že to šlo zařadit líp a že tu v tom někdo kromě tebe, vidí problém. Ale máš pravdu i tací lidé bohužel jsou, bez sebereflexe, myslící si že všechno ví líp atd., ale to je v pohodě to neřeš, vždyť ty to přece stejně víš líp než já .
Začít tu "doporučovat" necpi do vlákna "NOVINKY- právě vychází" to co jsi neslyšel, protože mě se to nelíbí, mě pobavilo, takže za to dík .

Oldear píše: ...lze doporučovat úplně všechno, co vyjde a na základně jaké zkušenosti, když poslechem to nebylo?

Nevidím že by tu Dinosaurjr tvrdil že jsou to skvělé nahrávky a že je doporučuje a když už sis dokázal přečíst, že se vlákno nachází v sekci Doporučené nahrávky, přečetl sis i druhý řádek?
"Hudba, která se Vám líbí a doporučili byste ji k poslechu"
Takže co já vím, co tahle třeba upozornění na vycházející album oblíbené kapely? Ale ne, tady se smí doporučovat jen kvalitní nahrávky ověřené poslechem .

To Oledar - Osobně to neberu. Je to již vyselektované "Echo" na novinky. No přijde mi, že tam jsou zajímavé kusy, např. U2, New Order, Linkin Park, Joe Satriani koncert z r.2016, co by mohlo stát za poslech. Je to od různých společností. Kdyby to bylo od jedné, tak chápu, ale takto? Takže jako marketingové cinty mi to nepřijde (ale chápu to je věc vkusu).
Zkrátka nová muzika. Nic jiného v tom nehledej.

Dinosaurjr
OK v poho, pominu však "Tvého mluvčího" LUKa, asi jenom troll, nevadí.

K té nabídce titulů: samozřejmě, že tam jsou tituly, které jsou zajímavé a několik z nich mám také v hledáčku a nebo už vlastním, jako např. U2. Ovšem pod názvem DOPORUČENÉ NAHRÁVKY by bylo lepší tak jako v případě Tvých kolegů zde prezentovat vlastní zkušenosti z poslechu a ne selekty marketingových agentur. Vydávání novinek z oblasti hudby je dostatečně prezentováno na stránkách těchto prodejců a někteří z nich mají k dispozici i krátké ukázky - takový nástřel. Není však nad osobní zkušenost ( i jiného hifisty, či audiofila ), vychází toho spoustu a vše nelze kupovat. Pokud se tedy bavíme o kupování. Já jsem letos koupil cca 150 LP a cca 90 SACD, DVD-A a pár CD. Selekce na základě zkušenosti pomůže při výběru.
Možná je to jen bláhové a přání.

Tak hlavně poslouchej hudbu.

Dinosaurjr - dík za info, je to užitočné pre veľa ľudí. Oldeara si nevšímaj, je to troll, ktorý si tento rok kúpil už 150 LP a kopu CD.

Jo Oldeare, tím posledním příspěvkem jsi jen naprosto perfektně potvrdil co jsem napsal víš . Něco mi říká, že já tu troll nebudu, ale ty to vlastně musíš vědět líp než já .

Dál už k tomu do tohohle vlákna nic psát nebudu, třikrát a dost, nepatří to sem.

Přidávám tipy z jiného soudku: "Bestofky z Latiny" loňského roku 2017, 10 LP pohodové, nekomplikované téměř popíkové muziky...
Pro mě jsou ty desky příjemné překvapení, místy velké.

La Vida Bohème, 'La Lucha'
La Vida Bohème's self-imposed exile from their home of Venezuela would frame the hype surrounding the release of the synth-rock band's third album; and while there are certainly allusions to that chaotic move, La Lucha serves as more than a travelogue. Instead, the album chronicles the struggles of moving on with your life while separated from a home that exists only as a memory. Songs like single "Lejos," detailing the pain of a wanderer wistful for a simpler past, and closer "Domingo," a plea to a downtrodden comrade, focus on the power of hope against fear of the unknown. Indeed, among the onslaught of guitars and synthesizers, La Lucha's most powerful refrain is a one-minute interlude about the unbroken rise and fall of the sun and moon. But rather than cower, La Lucha sees optimism in the ordinariness of the world. A.C.

Juanes, 'Mis Planes Son Amarte'
It can't be easy to serve as the token Latin artist for American award/talk/tribute shows while constantly having to live up to pop radio success. So let's appreciate the Colombian don's stunner of a visual album, Mis Planes Son Amarte, and its collection of sleek, professional, eclectic love songs. Some of them groove ("Angel"), others bang ("El Ratico") and a few of them float gently into space (the bluesy title track). What binds them all together is the meticulous craftsmanship in every note. And that's the key to Juanes' venerability – he cares about creating timeless songs that make people dance and cry and fall in love. A.C.

Bomba Estéreo, 'Ayo'
"Let go of what is not in your time/What you no longer own/What you were waiting for and did not belong to you," chants Bomba Estéreo's Li Saumet in the drizzly, electronic flourishes of "Siembra." "Go back to where you have everything/Where what is yours awaits you." Echoing the wisdom of a spiritual healer, the song came to fruition during a sacred ceremony that took place in her birthplace of Santa Marta, Colombia. A stark contrast to 2015's EDM-heavy Amanecer, Bomba's earthy fifth studio album pulls from their roots and suffuses songs with bucolic radiance without losing the group's globetrotting bravado. They journey through flamboyant Middle Eastern melodies on "Quimica," soak up sunshine reggae on "Taganga" and come full circle on "Vuelve" under the kaleidoscopic lens of trippy indigenous pan flutes. I.R.

Ibeyi, 'Ash'
Franco-Cuban twins Lisa-Kaindé and NaomiDíaz have made great strides since their spellbinding self-titled debut came out in 2015 – they were featured prominently throughout Beyoncé's visuals for Lemonade, and they returned to Cuba, the home of their legendary percussionist father Angá Díaz. Where the sisters' first full-length honored ghosts of loved ones passed, this electro-soul manifesto for a budding resistance flaunts the potential held by the future. Jazz luminaries Kamasi Washington and Meshell Ndegeocello slink into the foreground in "Deathless" and "Transmission/Michaealion"; in "MeVoy," Iberian rapper Mala Rodriguez inflects the duo's first Spanish-language track with her witchy swagger. Clips of Michelle Obama's monumental New Hampshire speech anchor the track "No Man Is Big Enough for My Arms" and they resound like sacred incantations. S.E.

Whitest Taino Alive, 'Manda Nudes'
Manda Nudes by Dominican Republic's Whitest Taino Alive is brash and hilarious, filled with esoteric slang, tongue-in-cheek narcissism and saucy salutes to full-bodied women (and that's just on "Mi Musa," a wonderful ode to nalgas). And while MCs Jon Blon Jovi and Domincanye West deliver another roundhouse of uproarious vulgarity laced with sports and pop-culture references, producer DaBeat Ortiz' incorporation of merengue ("QLON"), bachata ("La Empanada") and Atlanta rap ("Ella Tiene Novia") into their signature sound shows growth from a collective that could have grown quickly stale. A.C.

Playa Gotica, 'Amigurumi'
Buoyed by glitz, grime and glamour, Chile's Playa Gótica bring their enigmatic allure to the mosh pit on Amigurumi. Produced by Dënver's Milton Mahan, their incandescent cuts get sassy on "Cosita," a jam propelled by infectious basslines that evoke Blur's poppiest moments. "Pigman" tears into shoegaze territory with fuzz-laden guitar, before entering more indie-pop terrain. Meanwhile, they cozy up for a slow-burning ballad on the simmering "Isla Negra." Singer Fanny Leona's honeyed pipes often take the spotlight as she sings of female empowerment and playful hookups. Whether they dip into dance-punk madness or kitschy pop reverie, Playa Gótica's punchy debut conjures the exhilaration of a new crush. I.R.

Natalia Lafourcade, 'Musas'
That Natalia Lafourcade took another deep dive into Latin America's golden age of songwriting wasn't unexpected. Even then, the first volume of Musas is stacked with surprises. While the bulk of the album is made up of well-chosen covers from venerable composers across Latin America, it's the original songs that shine a light on Lafourcade's growth as an artist. "Mexicana Hermosa," a paean to her home country, is simple and refined like an abuela's consommé, while "Soledad el Mar" is a sweet bolero bolstered by the presence of Los Macorinos' nimble guitar work. And lead single "Tú Sí Sabes Quererme" is equal parts powerful, complex and melodic. A.C.

Café Tacvba, 'Jei Beibi'
For more than 25 years, Mexico's Café Tacvba have constantly revamped the Latin alternative soundscape with a highly eclectic body of work: from the genre-hopping genius of 1994's Re to the intricate prog-rock splendor of 2007's Sino, to the gleeful cynicism of 1996 covers album Avalancha de Éxitos. Yet, Jei Beibi feels like a fresh arrival. It starts with a juxtaposition: happy-go-lucky synths illuminate "1-2-3" while starkly alluding to the 43 missing students of Ayotzinapa. "Matando" evokes latter day Doors with crystalline, dissonant arpeggios, which become outlandishly funky on the off-kilter "Automatic." Vocalist Rubén Albarrán plays a female protagonist in the stripped-down "Enamorada," and "Que No" stands out as one of the most beautiful ballads written by the quartet since 1992's "María." Yet it's "Futuro" – a thumping-yet-languid banger laced in dubstep – that truly gives rise to a new sound, a testament to their prowess for rock experimentation. I.R.

Ozuna, 'Odisea'
With "Despacito"'s meteoric rise to prominence, a myriad of reggaeton tunes spread through the Americas like wildfire. While some went out as quickly as they lit up, a few continue to ignite dance floors the world over. Among them are songs on the all-killer, no-filler Odisea, the intoxicating debut of 2017 breakout star Ozuna. His voice soothes like a plush pillow over arresting dembow rhythms, tugging craftily at your hips in "Dile Que Tu Me Quieres," a work of pop-reggaeton gold. He tinkers with a tantalizing trap groove on "Pide Lo Que Tú Quieras" while lyrically straddling between seduction and unbridled raunch. Brazen and quixotic, tender and provocative. I.R.

Residente, 'Residente'
Whatever Calle 13 fans expected of their conscious rap hero Residente, it probably wasn't this self-titled debut. Residente is a statement of global solidarity, co-starring a madcap assortment of collaborators from 10 different parts of the world, to which the Puerto Rican icon traced back his DNA from a saliva test. Each song is its own new genre, sourced from regional sounds and specially tailored to reflect the diversity of his DNA. The record opens with some splashy verses from his cousin Lin-Manuel Miranda; the Latin Grammy-winning "Somos Anormales" draws hip-hop from Central Asian Tuvan throat singing; recorded between conflict zones Ossetia and Georgia, Residente is war personified in the doomsday track "Guerra," and featuring French it-girl SoKo, "Desencuentro" is a transatlantic chanson. "I wasn't trying to make a world-music album, but you know," Residente told Rolling Stone in April. "The radio right now, I'm in shock, everyone sounds the same. It's like junk food. You need to eat better, otherwise [you're] going to die a slow, cultural death." S.E.

Novinky loňského roku blues & country (pro inspiraci a rozšíření obzorů nebo jen overview na neděli)

The Steel Woods, 'Straw in the Wind'
It's easy to label the Steel Woods a Southern rock band. But the group, founded by singer Wes Bayliss and former Jamey Johnson guitar hero Jason "Rowdy" Cope, go much deeper than Dixie riffs on their debut Straw in the Wind. "Uncle Lloyd," about taking in an abandoned family friend as kin, features a crisp, redemptive guitar lick, while opening track "Axe" is a brooding backwoods stomper. It's in the latter area where the Steel Woods excel, delivering moody grunge like some Birmingham-based Alice in Chains and even making Black Sabbath's "Hole in the Sky" their own via a ferocious cover. Still, these boys know their twang – an album highlight is a faithful reading of John Anderson's "Wild & Blue." J.H.

Jaime Wyatt, 'Felony Blues
"Jesus is cool, but your loving saves me," sings Jaime Wyatt on "Your Loving Saves Me," a pedal steel-laced track that features fellow Angeleno Sam Outlaw. With a title like Felony Blues and a backstory that's seen Wyatt serve actual jail time rather than glamorize it from a Brooklyn studio, it's moments like that – witty, traditional and more like Dolly Parton smoking a bit of Willie Nelson's weed than pure Merle Haggard/Waylon Jennings – which make the record stand out from the outlaw-aping pack. And that's not who Wyatt is, anyway: though her life story involves a little prison and a lot of drugs, Felony Blues boasts tenderness in tracks like the beautifully delivered "Giving Back the Best of Me" and the woozily waltzing "Misery and Gin," while "Wasco" is tried and true honky-tonk that pokes a little fun at her own mythology. On Felony Blues, Wyatt shows how the best country music comes from running towards your truth and not just running from the law. M.M.

Robert Ellis and Courtney Hartman, 'Dear John'
For this loving tribute to roots pioneer John Hartford, singer-songwriter Robert Ellis and Della Mae multi-instrumentalist Courtney Hartman teamed up for a gentle collection of 10 acoustic performances that highlight Hartford's often overlooked songwriting. This reverent collection lays bare the Nashville legend's original compositions, which are at once humorous, deft and tender, while highlighting the gorgeous harmonies of Hartman and Ellis on songs like "Right in the Middle of Falling for You" and "Them Way Long Time Ago Times." Unlike most staid tribute records, Dear John presents a convincing contemporary case for Hartford's enduring legacy in modern roots music. J.B.

Derek Hoke, 'Bring the Flood'
Known to many in East Nashville as the master of ceremonies for one of the local music scene's most important nights – Two Dollar Tuesdays at the 5 Spot – Derek Hoke is also a songwriter and musician with a singular Americana voice that is only getting more captivating with each record. On his newest LP, Bring the Flood, Hoke is exploring more topical, tense territory; a consummate entertainer and MC, he's also quite adept at conjuring a moody, introspective palette. On Bring the Flood, Hoke reflects on the political climate through menacing tones and metaphors of impending disaster – floods, darkness, destruction – that could just as easily apply to a broken heart as it could 2017. Slick, bluesy and mature, Bring the Flood is as much Chris Isaak and Dire Straits as it is Dwight Yoakam, showing an inventive take on modern roots straight f rom a tastemaker himself. M.M.

Nora Jane Struthers, 'Champion'
Over the past several years, few roots-leaning songwriters have more deftly chronicled the euphoric highs and devastating lows of romance than Nora Jane Struthers. After documenting the dizzying bliss of falling headfirst in love on 2015's Awake, Struthers takes on the trials and triumphs of steady partnership on the equally arresting Champion. Recorded with her longtime backing band the Party Line, who provide a gentle mix of alt-country, soulful folk, alt-rock, and banjo-pop, originals like "Each Season," "Champion," "Words" and "Just a House" display Struthers' greatest strength as a songwriter: her ability to take stock of deep-seated contentment while insisting on interrogating the dark doubts that so often follow. J.B.

Gwen Sebastian, 'Once Upon a Time in the West, Act 1'
It takes one to know one, and Miranda Lambert knows 'em for sure, particularly in the case of Gwen Sebastian, a member of her current touring band, backing vocalist on Platinum and The Weight of These Wings, and occasional songwriting partner (the duo co-wrote three songs on TWOTW.). But Sebastian, who was once a contestant on The Voice, has a dynamic artistic perspective all her own, and Once Upon a Time in the West, Act 1 is an intimate and expertly sung exploration that starts in the saloon, walks through (and stomps over) the heart and ends at a solemn, dusty piano. With plenty of spitfire attitude ("Love Birds"), romantic laments ("Oh Cowboy," featuring Lambert) and dangerous, barn-burning twangers ("Blue Flame"), it's a fully realized snapshot of an artist who should no longer be in the background. M.M.

Sons of the Palomino, 'Sons of the Palomino'
Sons of the Palomino is the sound of Los Angeles country in the Eighties, in practice and in spirit. The debut LP from the band of the same name, the record was the brainchild of veteran songwriter Jeffrey Steele, who'd cut his teeth as a country musician 30 years ago at Hollywood's famed Palomino club. Looking to rekindle the barroom basics of those two-stepping toe-tappers, Steele enlisted the help of a murderer's row of studio players who'd cut the classic West Coast records of the day. The results were so good that names like Vince Gill, Emmylou Harris and Jamey Johnson insisted on getting involved, but star power isn't the selling point of songs like "Runnin' Around" or "Countryholic" – it's an inside-out understanding of what makes a clever hook and rock-solid shuffle feel so timeless. J.G.

Dori Freeman, 'Letters Never Read'
For her second album in as many years, the Virginia singer-songwriter Dori Freeman returned to work with producer Teddy Thompson for this set of gorgeous country-folk numbers. Freeman expands her musical range on loping, pop-influenced numbers like "If I Could Make You My Own" while sharpening her gothic songwriting sensibilities on stark narratives like "That's All Right." But the greatest feat of Freeman's latest LP is the way she balances her future-facing pop interests while remaining so deeply rooted in her Appalachian upbringing, most evident on "Ern and Zorry's Sneakin' Bitin' Dog," written by the singer's grandfather Willard Gayheart. J.B.

Caroline Spence, 'Spades & Roses'
With her sophomore album Spades & Roses, Caroline Spence has proven she's more than capable of hanging with the best of Nashville's sizable singer-songwriter community. The follow-up to Spence's 2015 debut Somehow, Spades & Roses doubles down on what earned that initial collection comparisons to Americana heavyweights like Emmylou Harris: refined lyricism, careful attention to melody and unvarnished, vulnerable storytelling. Standout track "Softball" is especially timely, tackling music industry sexism with clever wordplay and nimble, crystalline vocals that back up Spence's claims of being able to "hit one out of the yard." B.M.

Sara Evans, 'Words'
"I won't keep you here, keep holding on to what we were, say the words," sings Sara Evans on the title track of her 2017 album Words. It's an acoustic lament about the dissolution of a relationship, but could double as a farewell to a country radio environment that actively avoids playing women. Instead of trying to ape current radio trends, Evans smartly repurposes the rootsy country-pop of her early-2000s heyday, singing about falling out of love in "Long Way Down" or recklessly flinging oneself back into it in "Diving in Deep." She balances these songs against heavy power balladry that touches on romantic fulfillment ("Like the Way You Love Me") and toxic, codependent arrangements ("I Don’t Trust Myself"). Evans sounds marvelous, her signature vibrato hitting all the right emotional notes on a set of 15 songs that were all written or co-written by women . If you close your eyes, you can almost recall a time when it wasn't unusual to hear a voice like hers on the radio. J.F.

Nicholas Jamerson, 'NJ'
As one half of the minimalist duo Sundy Best – two guys with a guitar and a cajón – Nicholas Jamerson did a helluva lot with very little, thanks to a molasses-thick voice and a knack for writing brutally honest songs like the can't-outrun-your-roots ballad "Smoking Gun." On his first-ever solo album, the indie released NJ, he spreads his wings, diving deep into jammy folk-country territory. Recorded live in Jamerson's native Prestonsburg, Kentucky, with a rotating roster of musician buddies, the album is a postcard from his corner of the Bluegrass State: the harmonica-heavy "Riverbank" is all lazy-day nostalgia, while the self-aware "Let It Go for a While" realizes there's no place like home. The standout, though, is "Veteran's Day," the true tale of his carpenter granddaddy who taught local prisoners the trade. It's the satisfying kind of gre asy country funk that wouldn't sound out of place on Shotgun Willie. J.H.

Tyminski, 'Southern Gothic'
The vocal turn of Dan Tyminski on Avicii's 2013 EDM smash "Hey Brother" seems to have been more than a one-off. The bluegrass guitarist and vocalist's 2017 solo album Southern Gothic plays around with a similar palette of sounds, mixing traditional acoustic instrumentation with buzzing electronics and programmed drums. The title track slithers along to swampy dobro riffs and beatboxed percussion, while Tyminski ruminates on crooked preachers and politicians, infidelity and the shadowy corners of prim Southern towns. These skittering beats and top-shelf picking accompany Tyminski's brooding looks at his world, from toxic relationships ("Perfect Poison") to confronting pain ("Hollow Hallelujah"), culminating in the stunning, all-build-no release album closer "Numb." It's a wild clash of sounds that proves traditional sensibilities don't have to be covered in dust. J.F.

Moje oblíbená Beth Hart vydala dnes další společnou desku s Joe Bonamassa. Už ji mám objednanou a těším se!
Bylo by fajn, kdyby přijeli zahrát společně na živo! Aktuálně jen vím o dalším sólo koncertu Beth v listopadu 2018.

Chvilka času, tak posílám Loňské BestOffKy z R&B stojí za poslech !!


20. Matt Martians, 'The Drum Chord Theory’
Ego Death, in 2015 with his band the Internet. On this pleasingly eccentric solo record, Martin emphasizes hazy, lazy bass, jazzy percussion and jumpcut edits for his boyish musings on romantic misfires and, well, taking acid. Its lack of coherence is its charm, and the music fares surprisingly well as playful test runs of crooked grooves that may straighten out later on (or not). At one point, Martins wonders of women, "We just want to know what the fuck you want? Is that hard?" Weaving freely from track to track, The Drum Chord Theory seems to playfully ask that same question of Martins himself. M.O.

19. Jhene Aiko, 'Trip'
Jhene Aiko's most memorable moment of the past few years – that notorious "eat the booty like groceries" line on Omarion's 2014 hit "Post to Be" – suggested that her next album would be more of a sex-drenched affair. Yet Trip is just as atmospheric and woozy as her earlier solo work. Far more focused than 2014's disappointing Souled Out, she dabbles with psychotropic drugs under the guidance of an ever-present, disembodied male voice, while mourning the death of her brother, resulting in music full of sadness, sensory overload and wonderment. Gauzy sing-alongs with Rae Sremmurd's Swae Lee on the melodically charming "Sativa" and current rapper-boyfriend Big Sean on the roller-skating boogie-funk of "OLLA (Only Lovers Left Alive)" won't boost her reputation for sometimes-vaporous vocals. But by effectively connecting a descent into self-medication – one which eventually turns frightenin g – with real personal loss, she's made an album that feels timely and, perhaps, timeless. M.R.

18. Mary J. Blige, 'Strength of a Woman'
Mary J. Blige returns to familiar yet not unwelcome territory: the R&B queen standing tall amidst a broken romance that could have shattered her; instead, it has empowered and enlightened her, making her more formidable in every way. But its resemblance to past Blige watermarks like 1994's My Life isn't the only reason her 13th studio album might her best in more than a decade. The autumnal production boasts sinuous bass grooves ("U + Me [Love Lesson]") and drillin g, propulsive drums; Blige portrays a woman with hard-won experience, full of life, steeped in deep melancholy. "What a hell of a year/If I make it through hell and I come out alive I've got nothing to fear," she sings in a wavy, half-rap flow on "Thick of It." Her introspection feels unvanquished, as if she knows she is turning the page towards a brighter future. M.R.

17. Chloe x Halle, 'The Two of Us'< /span>
Released initially as a single YouTube post, this mixtape from the Beyoncé-approved teenaged sister act flips through styles of R&B like they're Instagram filters, showcasing the duo's spectral harmonies and boundless curiosity. The ornately detailed a cappella "Dum Dum Dum," the funk-tinged two-step "Worries" and the pillowy call-and-response "All I Ever Wanted" play like fascinating glimpses at the duo's scratchpad. Fu lly realized tracks like the triumphant "Tra Ta Ta" and the gently insistent come-on "Poppy Flower" show how they're already pulling soul in exciting new directions by seemingly operating on the sort of instinct that comes from having a blood relative (not to mention pop's reigning queen) at your side. M.J.

16. Brent Faiyaz, 'Sonder Son'
A year prior to his full-length debut, Baltimore newcomer Brent Faiyaz went platinum with D.C. rapper GoldLink on their collaboration "Crew" — which later got a leisurely remix endorsement from Gucci Mane. But Faiyaz takes that sparkle and buffs it to a shine with his remarkable work on Sonder Son, an enthralling piece of musical memoir. By the grace of his buttery falsetto, Faiyaz levitates ordinary scenes like being scared to give a bad report card to his mom ("I co uld see the tears fall from her eyes/Her child was always in something," he sings in "Home"). The vulnerability in his voice goes stern during the guitar-driven "First World Problemz/Nobody Carez," where he mulls over consumerism after a hard day at work ("We keep on trying/To have everything/We'll end up dying over anything.") The grit subsides in the Usher throwback "Talk 2 U," as Faiyaz lets a lover know he isn't here to finesse; he's just here to be real. A regular dude who has lurked on the margin between rap and R&B, Faiyaz is maturing as a musician and as a character with every record he releases. S.E.




15. H.E.R., 'H.E.R.'
H.E.R. operated in the shadows for much of 2017 – she's actually 20-year-old Gabi Wilson from Vallejo, California – but her position of mystery afforded her some secret strength on this debut full-length, which collects her EPs from the past two years, as well as selected B-sides. Wilson showcases her fluttery alto over downtempo R&B that veers from weak-kneed (the seductive "Lights On," which shouts out "D'Angelo and penthouse views") to steadfast (the now-or-never ultimatum "Still Down"). That versatility allows her to inhabit an Everywoman space so convincing that it inspired a fairly legitimate answer record. When Wilson was still incognito, her slow-burn cover of If You're Reading This It's Too Late's "Jungle" indicated that she might be a student of Drake's (in the Weeknd tradition). However, the tendency toward enigma at this music's center only adds to its unique potency. M.J.

14. Majid Jordan, 'The Space Between'
On "Not Ashamed," from Majid Jordan's second album, the young Toronto duo of singer Majid Al Maskati and producer Jordan Ullman (co-writers of Drake's "Hold On, We're Coming Home") find their definitive sound – and it's frankly startling. Amid a pillow-soft collage of peppy drum pads, robotic chatter and clipped synth lines, Al Maskati coos sweetly but plainly to a careless lover, "Not ashamed of the way you ignore me," and "Prove you rself to me, 'cause I'm not the type to give it up for no reason." Wait, huh? As far as pop-soul dudes go, it rarely gets this genuinely vulnerable or feathery. Strangely, the twosome's label OVO Sound seems to think they need guests to buck them up, releasing singles featuring labelmates Partynextdoor and Dvsn. But when left to their own humble, pleadingly sincere devices – as on regretful opener "Gave Your Love Away" – Majid Jordan are, without question, the Best Kids on the Block. C.A.

13. Curtis Harding, 'Face Your Fear '
On the follow-up to his impressive 2014 debut Soul Power, this Michigan-born, Los Angeles-based vocal stylist (and ex-CeeLo Green back-up singer) works a sensuous, raspy moan and sweet falsetto that brings to mind the funky masters of yore – not just his namesake Curtis Mayfield, but also Isaac Hayes and Bobby Womack. With a production and conceptual assist from producer Danger Mouse, Harding surrounds himself with the glossy strings and chunky, psych guitars that defined funk's late-Sixties/early-Seventies hot buttered era, but brings his own fierce, steely-eyed energy. The flinty title track is a stay-strong motivational anthem for anyone enduring a dark night of the soul, whether in love or in life; "Welcome to My World" is a celebration of sensual pleasure, as well as its limits; but "Till the End" brings it all together with a genuine and witty exchange between an on-the-road Harding and his droll partner back at home. M.J.

12. Ty Dolla Sign, 'Beach House 3'
Ty Dolla Sign is the jovial uncle-on-the-grill of R&B, controlling the backyard vibe in his shades and house shoes, grabbing whatever beat or guest swings by, building catchier songs with each successive libation. Importantly, though, Ty Dolla is also one of the hardest-working, craftiest artists in pop. No longer just a foul-mouthed DJ Mustard sidekick, he flows casually over acoustic or digital instrumentation, nudging his rasp forward so you know he cares. On Beach House 3 – little relation to his inferior Beach House 1 and 2 m ixtapes and Beach House E.P. – the rapper-singer moves from melodic riffs to hooks to shit-talk with effortless panache. Sure, YG steals "Ex" with his zing, but this is Ty's party, and he never stops spooling out giddy album tracks like "Droptop in the Rain" that shame most artist's actual singles. C.A.

11. Moses Sumney, 'Aromanticism'
"Am I vital, if my heart is idle? Am I doomed?" asks the California multi-instrumentalist and arranger of deep blue emotions Moses Sumney on his debut album, the fluttering, existential expanse known as Aromanticism. Here, Sumney's warm delivery and open-ended, time-lapse songs develop under looming soundscapes of soulful strings, synths and Thundercat's searching, impulsive bass. Deftly easing from minimalist electro-soul to aching indie folk cushions his passion ate refusal of romantic permanence. With tracks like "Make Out in My Car," and "Plastic," Sumney seeks momentary sensual pleasure and emotional comfort but doesn't believe that it can, or needs to, continue. For a genre dependent on its audience's devotion to the concept of romantic love, Sumney posits that one could learn to live well with loneliness. M.O.



10. Thundercat, 'Drunk'
Drunk is the latest and greatest endpoint for ever-evolving Los Angeles bassist Stephen "Thundercat" Bruner, who has spent his solo career trying to find the lighthearted sweet spot between George Duke's jazz-funk and Michael McDonald's yacht rock. The latter's appearance (along with Kenny Loggins) on "Show You the Way" must be sweet validation for Bruner, who adeptly sidesteps goofy kitsch in favor of breezy sunshine grooves that update late Seventies-and-early-Eighties fusion for a generation open to whatever's fresh (and who have been prepped by his experimental peers in Los Angeles' Low End Theory scene). Most of all, Drunk is really funny. "You stuck me in the friend zone/That's that bullshit," he sings over dazzling synth stabs and keyboard bass on "Friend Zone." "Don't call me after 2 a.m. unless you givin' some/'Cause I got enough friends." Joking about reckless nights ("Tokyo") and a dedication to cats ("A Fan's Mail [Tron Song Suite II]") suggest a carefree life of international tours and artistic fervor. But the final three tracks – a suite that describes an alcoholic episode – adds a surprisingly dark undercurrent to Thundercat's delightful vision of funky self-expression. M.R.

9. Kehlani, 'SweetSexySavage'
Part of Kehlani Parrish's talent as an innovative R&B artist lies in her soft yet sandpapery voice. She evokes an inner toughness that isn't impenetrable: She feels, but she can wound you, too. "Piece of Mind," which alludes to her widely publicized suicide attempt last year, finds her at her most fragile, yet alive and pushing forward. She shrugs about her penchant for breaking hearts on "Keep On," and "Do U Dirty" finds her growling, "I'm a do you dirty/You think you love me now/I think you should be worried." She presents herself as a fully engaged and self-aware artist, and she pours her heart into music that transforms acoustic arrangements, sinuous synthesized landscapes and throwback R&B tropes – allusions to past classics from Akon, New Edition and others abound – into a glossy portrait of a young woman on the verge of greatness. M.R.

8. Syd, 'Fin'
High off her Grammy-nominated success in the Odd Future offshoot the Internet, singer-songwriter-producer Sydney Bennett takes a sharp turn away from the funky live production of her neo-soul group and towards more low-key synthscapes on her solo debut. Assuming the swagger of a mob boss, Syd luxuriates in the braggadocio of "All About Me"; and again, with producer/consigliere Steve Lacy riding at her side, she cruises the strip club in "Dollar Bills." She (happily) meets her match in the independent-woman jam "Got Her Own" before slinking into the pleasure principle on "Body" and its more salacious sibling, "Drown In It." Fin is a slick, seductive exploration of queer sensuality and power, marking another milestone in Syd's glowing career. S.E.

7. Sampha, 'Process'
A treasured contributor to R&B's inner circle (Beyoncé, Drake, Solange, Kanye West), singer-producer Sampha Sisay emerges as their peer on this ethereal debut album. Buoyed by his breathless delivery, Process has a weightless, hypnotic quality for an album born of such profound introspection over the costs of death and the vagaries of grief. A health scare of his own drives Sampha to open the album gripped by anxiety: "Sleeping with my worries," he relates on "Plastic 100°," "I didn't really know what that lump was." But it's the death of Sampha's mother (from lung cancer) that both haunts and inspires Process' deep emotional recesses. Anguish and loss converge in a miasma of samples and harmonies on the dark, desperate fantasies "Blood on Me" and "Under"; but perhaps the album's most affecting songs ("Timmy's Prayer," "[No One Knows Me] Like the Piano") are its most spare, with Sampha's voice a steadying presence, even while he's crying out in despair. M.O.

6. Daniel Caesar, 'Freudian'
Love is best when it's lush — or so Daniel Caesar wants to remind us. And on his stunning debut album, Freudian, the young Toronto singer-songwriter makes love the epicenter of his musical universe, relating the swell and frustration of a new relationship as if he's testifying about heaven and hell. He even adapts two gospel songs – Kirk Franklin's "Hold Me Down" and Kyle David Matthews "We Fall Down" – into vulnerable, lovelorn plaints and uses the Toronto female vocal trio CaDaRo Tribe to act as a choral echo. "Every time I go inside of your protected/Place with reverence/I'm reminded of a time I was neglected/It seems you're heaven-sent," he marvels on the sultry "Take Me Away," coaxing his guitar to speak in tongues as Syd coos in a delicate falsetto. Elsewhere, other female voices (Kali Uchis, H.E.R.) join in the rapture. Despite the songs' dreamy reverie, Caesar's accompaniment on guitar and keyboards provides a clear-eyed, organic foundation, as do producers Jordan Evans and Matthew Burnett, protégés of primary Drake collaborator Boi-1da. M.O.



5. Kelela, 'Take Me Apart'
Kelela emerged from dance and beat culture's wing of soul-yearning originals, and her debut album, Take Me Apart, is a career-making manifesto – boldly envisioned, ambitiously sung and lyrically pointed, like the headier dance-floor partner to SZA's Ctrl. Opener "Frontline" states the terms – Kelela coolly depicts a maddening relationship – as Jam City sketches a darkly swirling, expectant mood (before they both freak the percussive "Why you te stin' me?" outro). Then it's off on a series of delicately wrought rhythmic vignettes – the misty fantasia of the title track (with Jam City, Arca, Boots, et al.); the swoony fatigue of "Enough" and jittery stand-off of "Onanon" (both produced by Arca). But "LMK" is the peak, a rattling, twinkling love-in-the-club prowl (via Jam City), where Kelela's heart is vulnerable, but her mind's in charge ("It ain't that deep, either way/No one's tryna settle down"). C.A.

4. Miguel, 'War & Leisure'
On his fourth studio album, Miguel unites his funk-explorer side and his pop-craftsman side (not to mention a handful of other sides too), balancing stretched-out grooves with sparkling hooks, and dystopian unease with unbridled carnality – a fitting soundtrack for 2017's constantly whiplashing news cycle. But what makes War & Leisure even more of a pleasure lies in the utter joy that Miguel derives from singing – his vocals leap out of the mix when he's really feeling a track, like on the opening of soaring, pop-soul tour de force "Pineapple Skies" (which basically serves as an ode to Prince); or on the choru s of rumbling Latin banger "Caramelo Duro"; or with his scats, raps, ad libs and upper-register whoops on the masterfully paced groove of "Banana Clip." M.J.

3. Sharon Jones & the Dap-Kings, 'Soul of a Woman'
This is the final album Sharon Jones made before her death last fall, recorded with her longtime backing band, the Dap-Kings, in stolen moments between chemotherapy treatments. She was an irreplaceable talent, and her loss can't help but change the way one hears the gospel show-stopper "Call on God," the brass-driven workout "Sail On" and the tender farewell "Pass Me By." At its heart, though, Soul of a Woman is a joyful album. It makes you feel lucky that we got to share a planet with her voice for as long as we did. S.V.L.

2. SZA, 'Ctrl'
After a trio of promising EPs and a prominent feature on Rihanna's Anti, the budding alt-R&B star showed what she could do on a full-length LP. SZA unravels through largely improvised meditations on love and sex and all the promise and abandonment that can result from both. From a side-chick manifesto ("The Weekend") to the appreciation of a rom-com icon that mulls the singer's own self-worth ("Drew Barrymore"), SZA flourishes in her own hazy spotlight. B.S.

1. Khalid, 'American Teen'
The year's most distinctive new voice was a teen star, not a trap star. His conversational vocals staked out a new kind of R&B: laid-back but charged with wide-open emotional struggle, as well as hooks that stuck. He sang about kids who didn't have money or cars; who still lived with their parents (and worried about coming home smelling of weed); who longed for human contact to go along with a love stirred by subtweets and texts. Hits like "Location" and "Young, Dumb & Broke" were alive with fresh possibilities – including the possibility of combating outmoded stereotypes. "I'm an African-American man with an Afro, who isn't your typical athlete – who wasn't as masculine as other guys," Khalid told Rolling Stone. "And now people are looking at me like, this is 'The American Teen.'" J.L.

Myles Kennedy - Year of the Tiger 2018 Album (sebranka ze šuplíku)
nejvíce známý jako zpěvák americké kapely Alter Bridge a jako zpěvák a frontman Slash ft. Myles Kennedy and The Conspirators. V minulosti prošel kapelami The Mayfield Four (zpěv, sólová kytara), Citizen Swing (zpěv, sólová kytara) a Cosmic Dust (kytara).
Mimo Slashe (ex Guns N' Roses), na jehož sólovém albu se podílel nazpíváním a otextováním dvou písní, spolupracoval s mnoha umělci – mj. Sevendust, Fozzy a také s bývalými členy Led Zeppelin. Přestože trpí poruchou sluchu (tinnitus), tvrdí, že...

Having fronted and played guitar for Alter Bridge as well as being Slash’s go-to choice for two solo records and a pair of stellar tracks on his 2010 self-titled solo record, Myles Kennedy has solidified himself not only as one of modern rocks most powerful vocalist, but also among the genres most visionary songwriters. It comes as no surprise then that Kennedy has released his first solo record, the greatly anticipated Year Of The Tiger and much like some of his greatest contemporaries – Chris Cornell, Eddie Vedder – he has chosen to take a primarily acoustic route for this record; an artistic direction he rarely gets to pursue in his main projects.

Opening with the title track, it is beyond clear that Kennedy is a master of creating an emotional atmosphere with little more than his rich vocals and the six steel strings of his acoustic guitar. The song contains a dark sense of urgency, tension, and yet a strong sense of light. Considering much – if not all – of the record is based around the loss of his father – who passed away after refusing medical assistance due to his faith in the Christian Science church when Kennedy was four years old. Kennedy channels his love for his family and melancholic memories throughout the album in a manner that is intimate; making for a vulnerable collection of music. He grapples with the loss on songs like “Blind Faith” and “Haunted By Design” while empathises with his mother who raised him and his brother without her husband on “Mother” and “Turning Stones”.

Musically, Year Of The Tiger proves to be just as complex and yet conflictingly sparse. Juxtaposing or not, Kennedy proves once again to be among rocks most esteemed and brilliant songwriters. While every track feels fresh, exciting and resembles a sonic adventure following Kennedy’s narrative, certain songs stand out among this impressive collection. From the upbeat blues of “Devil On The Wall”, the emotional capacity of “Love Can Only Heal”, and the folk nature of “Ghost Of Shangri La”, Year Of The Tiger is brimming with exceptional tracks, each different from the last. “The Great Unknown” however is not only the most daring, but the most explosive and unlike anything else on the record. Plugged in, this would be the easiest to imagine blaring at an Alter Bridge concert, yet it fits seamlessly on Year Of The Tiger while also elevating it with a level of raw intensity that I haven’t heard in recent memory. While already the whole record has the potential to sweep an array of album of the year awards, ”The Great Unknown” is more than likely to stand as one of the best songs released this year.

The story goes that Kennedy wrote and recorded his first solo record, and then threw it away before making Year Of The Tiger. This leaves me content and curious. Make no mistake, I am beyond happy that this is the record that Kennedy chose to release; Year Of The Tiger a flawless record. It is so good, that it leaves me wanting more; even an album of outtakes like the now defunct first record is bound to be an exciting album. Over the course of its twelve tracks, there is not a song on Year Of The Tiger that fails to draw the listener in to what feels like an intimate invitation into Kennedy’s living room studio. From the song writing to his stellar and versatile guitar playing and vocal performance, Kennedy has carefully crafted an immediate and instant modern masterpiece with Year Of The Tiger; an unparalleled solo debut from one of rock & roll’s finest.
* * * * * (5 stars)