Andrew Combs – All These Dreams (ALBUM REVIEW)

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andrewcombs2Andrew Combs is a dynamite artist who just keeps getting better and better. On his second full-length record All These Dreams, a follow up to 2012’s Worried Man, he’s still evolving, this time taking on a more pop-country identity. Have no fear, though, if that isn’t your thing. Combs still sounds like he could have time-traveled from a past decade of classic country music. He’s perfected that throwback country vibe, but with Dreams, he’s delving into, no coincidence, dreamier hooks and more polished instrumentals.

In a recent Rolling Stone article, Combs cites influences like Harry Nilsson and Kris Kristofferson, both completely different artists, but both of which manifest in his sound. He’s both the gritty outlaw and the soulful crooner. We knew Combs was the whole package when we heard Worried Man, but with Dreams, it becomes even clearer that there’s much more to him.

Smooth and rich choruses make “Foolin’” and title track “All These Dreams” impossible to get out of your head. And trust me, you won’t want to anyway. These are two of the strongest songs on Dreams, along with “Strange Bird” and “Nothing to Lose”. All four take on an easy, carefree 1970s sound, sparkling and flowing like a Texas creek. The cohesion between these songs is crystal clear, and the harmonies are heavenly. It’s as though Combs has walked out of the smoky, honkytonk bar and into a vibrant field of flowers.

Alas, there are still some dark moments on Dreams, like “Pearl”, a vivid look at all walks of life from the prisoner picking up litter on the side of the road, to the drunk bum full of wasted potential. The steel guitar on “Pearl” adds a shimmering beauty to this haunting track about nothing being quite as it seems. Combs’ songwriting is so elevated on Dreams, and “Pearl” is perhaps his best work ever.

“Bad Habits” is a delightfully cheeky, but inky take on a relationship gone bad. “Your name made a pretty tattoo/your body made a welcome bed/but the truth done made a lie of every word you ever said,” he sings, and the pain is so convincing.

And Combs is still stellar at crafting timeless country ballads like “Suwanee” and “In the Name of You”, both romantic observations of the world around him. Both are heartbreaking and authentic, showing off Combs’ nuanced use of his impressive vocal range. Sometimes it’s a subtle rasp, and other times it’s a delicate raised note, and no matter what he nails it.

With Dreams, Combs has created a world we can drift off to and stay for awhile. It’s one of those rare records, like a great film, that allows you to escape. Dreams is a tight, carefully threaded record that’s a pleasure to listen to all the way through. There won’t be a single song you’ll feel like skipping, as each thoughtfully leads into the next. Combs has put great care into his work, and you’ll want to apply the same care when listening. And here’s fair warning: you may not be able to listen to anything else for awhile.

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