Why a cover album? Because he can.

For his new album, Nino special title picked out, who accompanied him in his life especially, she adopted and gives them now by his own interpretation an entirely new note. A concept album cover quasi. A concept that has already used some other artists themselves. Bryan Adams has just it only led the way with "Tracks of My Years" and achieved good sales figures. Legendary artists like Steven Wilson (Porcupine Tree) were celebrated for their cover-albums, and Johnny Cash "American Recordings" crowned his late work and got rave reviews.
When Nino de Angelo but making a cover album, some voices are raised him probably a case nothing new. As you suspected but strong, here it never comes to that someone covert, but who. It's Nino de Angelo, to the masses knows only as crooner and now daring to approach the German heroes of rock and pop. He can not do that. The no.

And as he can. Apart from the fact that his hit had a special class and have, he has been experimenting early 90s in various directions. Since then, he has also - sometimes better, sometimes worse - heavily involved as an author on his musical lifework. Lack of creativity is thus certainly not the reason for a cover album. All right Zeitgeist, because there are many others doing. The real question is: Is the album because even become good?

That is without question. Was Ninos voice imprinted on his last album yet from his previous illness and had a little concern, if he could reach his old vocal qualities ever again, he sings and roars off again now, as if his voice had never been away. For this he packed the songs in an arrangement that has been heard in this millennium has often of him, guitar-heavy, pop, like sometimes with strings and a penchant for melodrama. Already with the opener "Golden Horseman", the Nino has turned into a ballad, Nino sets standards: This turns the somewhat oblique sounding NDW hit a menacing, thoughtful song that particularly emphasizes the fact very critical text from the song.

And the album has quite more beads. "Symphony" of Silvermoon as is verdelt by Ninos voice only, Maxims "My Soldier" is particularly forcefully by his smoky deep Start, and Udo Jürgens' classic "Merci Cherie" is skillfully by Nino and dignified transported into the present.
But the best tracks on the album is unquestionably Achim Reichel's "The Gambler". Also arranged as melodramatic ballad, Nino the song lives properly with and sings downright huskily in ecstasy, an absolute goose bumps moment.

But as so often, there is also on this album songs that did not like me well and cost the album also a star. "You carry no love in you" real sounds so close to the original that it is almost superfluous the only song on the album. Karats "The Swan King" simply could not be lifted from his epic soundscape in a modern Popgewand without thereby sacrificing much of its melancholic atmosphere. But above all, "Tears do not lie", to cut the beautiful speech and verse for zugekleistert end up with bombast, is killed downright by Nino.

The positive overall impression these few exceptions, but do not take: Nino has really brought a wonderful album on the market. In this respect I am already looking forward to his next album with his own songs, which will give it back safely. Those who now verreißen the latest album of principle, then actually have once again deal with Ninos exceptional voice and the class of his music, before they can get into it. Too bad that many overlook the fact that all of this is also available in Ninos current album in excess.