As evidenced by his latest album releases, Gary Clark Jr. applies a pragmatic approach to his recording career that belies his grand ambitions. For instance, the Austin native played and sang solo on much of his prior studio album, The Story of Sunny Boy Slim, but then made the astute move to reassert the strengths of its material by record much of it with his touring band on Live North America 2016
Now, with This Land, the Austin guitarist and songwriter successfully performs a similar feat. Through his fluid interactions with accompanying musicians, the guitarist/vocalist/composer illuminates another vivid set of original songs like “What About Us,” often including co-producer Jacob Sciba. But working with the latter at Arlyn Studios in Texas, Clark was also wise to regularly enlist the rhythm section of bassist Mike Elizondo on bass and drummer Brannen Temple, in addition to guests such as Sheila E. on percussion. Notable too, as a significant acknowledgment of Gary’s roots, the appropriate songwriting references populate the credits, in the Woody Guthrie and Sharon Jones & The Dap-Kings on the title tune, blues icon Elmore James on “Don’t Wait Til Tomorrow” plus r&b saxophone colossus King Curtis on “Home Cookin’.”
Gary Clark Jr.’s sense of history bespeaks an awareness that goes beyond just his musical influences. It renders This Land relevant in terms of contemporary culture. Illustrating staunch avoidance of stereotypes, stylistic and otherwise, Hendrixian sonic treatments on the opening title track give way to frank and occasionally profane namedropping, all of which Clark transcends with fiery guitar, the molten textures of which are exactly that which fuse the rock, soul and hip-hop elements in the cut. And over the course of seventeen tracks (including two bonuses) true-to-life narratives like that alternate with more direct personal expressions in the form of “Low Down Rolling Stone.”
It’s an effective blend superior to earlier attempts at versatility, as on the Bright Lights EP and, during the aforementioned “What About Us,” comparable to the absorption of musical elements present on previous full-length studio albums like Blak And Blu. And during the r&b-drenched “I’ve Got My Eyes On You,” the falsetto vocal chants so reminiscent of Prince as well as Curtis Mayfield only slightly camouflage the heavy riffing and a series of wailing guitar crescendos that drives home the impact of those emotive lead vocals.
The edgy Chuck Berry guitar at the heart of “Gotta Get Into Something” is indicative of Clark’s correct prioritizing of the range of musical components on This Land. Gritty horns on “Gotta Get Up” that turns jaunty on “Feed the Babies,” arrangements that might sound repetitive over the course of the album if it were not for the presence of the other players who bring a distinctly human feel, a/k/a swing, to the proceedings. Even so, it’s around this point and “When I’m Gone” (which goes on a little too long) that the guitar fills become repetitive. It is then, at just the right time, the man chooses to emphasize the acoustic elements at which he excels as well as the blues on which he dotes in its purest form(s): with an abbreviated cut called “The Governor,” in combination with “Dirty Dishes Blues,” Gary Clark Jr. finishes this album with a flourish.
