In 1978, I was a hardworking student in my second semester of college. I also had a radio show with a friend of mine, Rick Rehder, on radio station KGCC. Rick and I were a little ahead of our time, playing the type of music that one rarely heard on the standard radio of the day, you know, that eclectic songwriter type of music. One day as I was preparing the log and going over wire stories, Rick warmed up the air ways as only he could do. But what I heard coming over the monitor that day literally took me by storm. From the first notes of what I was hearing, I knew in a heartbeat that this time Rick had definitely found a "keeper."

"That's some damn fine music," I stated as I walked into the broadcast booth, "Who in the hell is that?" (Okayit was the 70's and I may have used some different expletives, but we won't worry about that at this point.)

Rick flashed me that sly grin that he displays when he feels he knows something that everyone else should, but doesn't. He handed me an album cover that looked like roughly tanned leather, and the words that I read would change my music listening habits forever. The album was "Genuine Cowhide" by Delbert McClinton, and the song that Rick played that day was "Lipstick, Powder and Paint."

At that point in my young life I had never experienced anything as musically fresh and invigorating as what I was hearing. It was for me a musical epiphany. I borrowed that album from Rick and took it home and played it over and over, and to this day I have never tired of that LP. That led me on a mission to find all that I could of Delbert on vinyl, but of all of the albums that I did find then and since, none of it ever struck me quite the way that "Genuine Cowhide" did.

That is, until now.

"Nothing Personal" is McClinton's first release of original recordings in over three years, and also marks his debut on New West Records. McClinton claims that after the demise of his last label, Rising Tide, he literally shopped around for a label that he personally felt comfortable with. And while many companies were willing to offer him the moon, the deal with New West seemed to suit him best. "Nothing Personal" also sees Gary Nicholson ("One of the Fortunate Few") once again teamed with Delbert to co-produce and co-write many of the songs featured on this album. Bankrolled entirely by the artist himself and recorded over an eleven-month period, this newest offering represents a very refreshing and diverse glimpse into all that is Delbert McClinton.

The first two tracks on "Nothing Personal" are pretty standard Delbert fare, that house rocking honky tonkin' style of music that one comes to expect. "Livin' it Down" is an upbeat tribute to that type of relationship that we all hope to never experience again.
"My ship came in and she sunk it, I was the toast of the town and she drunk it"

The witty play on words in this track are a hallmark of this veteran songwriter. There is also some great slide guitar work by Nicholson that provides a fantastic counterpoint to McClinton's voice.

Track 2 features McClinton playing the harmonica on a swamp rock number called "Gotta Get it Worked On." I have always thoroughly enjoyed listening to McClinton's mastery of the mouth harp, and this example, interwoven with the exceptional manipulation of the B-3 by Mark Jordan is classic.

"When Rita Leaves" is the one track that literally took me by surprise. Upon first listening to it, I really didn't know what to make of it. I guess the image of Delbert McClinton, the bluesman, doing a Tex Mex number stupefied me. Recovering enough to listen intently to the tune, I realized that hidden behind the nylon string guitar was yet another facet of this amazing talent that was simply coming to the fore. With subsequent listenings it became apparent that this was lyrically one of the more striking numbers on this CD. Consider this image:

"She left a lipstick letter on the mirror shattered on the bathroom floor,
All I could put back together was "Never see me no more.'"

What imagery! "Rita" is one of the most hauntingly beautiful songs that this reviewer has heard in quite a while.

"Squeeze Me In" is a return to a southern rock style that features an allegory that is the product of today's two-career lifestyle. We all, from time to time, feel the pressure and frustration of trying to work out our schedules so that we can spend some time with our significant other.

Do you remember the old "Night Gallery" episode where the family is stranded in an old truck stop and the jukebox keeps playing the same old country tune over and over? "Birmingham Tonight" has much of the same feel as the song in that program. Old style country, the kind that one rarely hears anymore. Featuring Iris Dement on background vocals, McClinton's voice spirals together divinely with the angelic stylings of Dement to produce one of the true gems on this album.

"Baggage Claim," a bluesy number that one has come to expect from McClinton gives way to "All Night Long," a honky tonk tune featuring Bekka Bramlett cast in the role of background singer. Bramlett also did some of the vocals on "One of the Fortunate Few," and I, for one, could listen to an entire album featuring these two. Their voices combine in a relaxed and effortless manner that is pure magic.

The next track is a soulful ballad entitled "Don't Leave Home Without It." This is followed by the funky, upbeat "Desperation," a lyrically graphic tune.

"Nothin' Lasts Forever," features McClinton back on the mouth harp. This is a true, down-home blues number, and the harp solos on this track rank among the best that McClinton has ever laid down.

In another return to southern soul, "Read Me My Rights" is a surprisingly relaxed, vocally adept ode to a dying love. If any of you were wondering if McClinton still has the range that he had, say thirty years ago, let this song serve as proof.

"All There is of Me" is reminiscent of the style of "black-tie" blues that one would have heard in one of the many piano bars and dinner clubs of the 1940's and 50's. The piano and guitar solos, provided by Kevin McKendree and Rick Vito respectively, are breathtaking in their elegance.

The album closes out with "Watchin' the Rain." As I listen to this, I wonder how much of it was inspired by McClinton's battles with the various record industry big wigs and radio program directors that have never really seemed to have an understanding of what this artist is all about. Consider the opening verse:

"I spent a lot of time in the past kissin' other people's ass,
But now I'm where I wanna be, sittin' here watching the rain."

Whatever trials and tribulations McClinton has been through in his career, one thing is certain with the release of this CD, he is extremely relaxed and comfortable with the artist he has become. While this album may be the most eclectic collection that McClinton has ever put together, it is certainly his most poignant and passionate as well. It is an assortment of songs that covey a depth that an artist can only achieve with maturity, but at the same time it displays an ease that can only come when the artist has come to terms with his art.

Delbert McClinton's "Nothing Personal" will hit the streets on March 6. I strongly recommend that by March 7 you have your copy, as not to waste time getting to hear what may well be the best CD of 2001.

You can learn more about Delbert McClinton at his website at www.delbert.com

You can contact Scott Snidow at: scott-at-rockzilla.net

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