Gary Clark, Jr. / Blak and Blu
A flabby debut from the guitar nearly-hero
Album Reviews | Released on Warner Bros. Records
| By Sam Briggs
Gary Clark, Jr.
Blak and Blu
(Warner Bros. Records)
***
Gary Clark Jr. feels like a man out of time. From his hometown of Texas, Clark Jr. has established himself over the past half-decade as the modern incarnation of the lengthy tradition of Texas Blues. He’s shared the stage with some true greats (B.B.King and Clapton amongst them) and been lauded by mags with potential. Considering the bulk of these respective artists’ back catalogue was released from before Clark Jr. was born, his role as protégé is privileged. Even Barack Obama loves him, with a recent White House performance prompting him to declare: “He’s the future”, with none of the idiotic spin of Cameron’s Smiths-gate. If it’s good enough for the most powerful man in the world, maybe it should be good enough for us?
The question this album raises, however, is the future of what? Clark Jr. seems torn between whether he is happier busting out classically influenced blues rock anthems, with a thick slab of sizzling humbucker heat, or in the more chilled vibe of his loungey, soulful, R&B. Despite this conundrum, the overall aesthetic is one of rejuvenation, and Clark Jr. successfully puts a fresh spin on crusty guitar genres for a modern generation. He’s clearly taken a leaf from the stomp of the Black Keys, and with production credits from Mike Elizondo (Dr. Dre) and Rob Cavallo (Green Day, My Chemical Romance), this is most definitely a stab at modern cool, rather than trendy retro. It’s even called ‘Blak and Blu’, because major labels know just how kids talk these days.
All these avenues reap rewards, however. ‘Please Come Home’ is a woozy, romantic, soul-ballad that sounds like at any point about to break into a cover of Girls’ ‘Love Like a River’. Supplemented by horn stabs, the smooth vibe parts for a bluesy guitar solo that acts as a constant reminds of who is in charge. Tracks like ‘The Life’, however, despite their addictive melodies, are acres from Texas and closer to Craig David. It’s excellent, but does feel a bit incongruous when considered in the same breath sprawling, electrifying Hendrix cover that sustains its bluesy momentum for nearly ten minutes, or the heavy swagger of ‘When My Train Pulls In’.
At nearly 67 minutes, it’s too long to sustain itself, and too expansive to contain Clark Jr.’s innovative spirit. When quizzed on his influences for this album, he said that “Music is movement. It all moves together, like lifetimes – a continuum. It’s all part of the fabric in the end”. Unfortunately, the fabric of ‘Black and Blu’ feels more like a patchwork than a refined stich. Moments reach infectious highs that alone are striking, but in the context of the whole album feel too divergent to be effective as a unified whole. It should be applauded for its wide horizons and intent, and its attempt to provide a bridge into older genres for a new generation, but feels too unsure of itself to be considered a classic.
Sam Briggs
