Six years after recording his first Bluegrass album, Smoke, with Melbourne based Uncle Bill, Paul Kelly has returned to the genre. This time around, instead of using a ready-made band, he chose his pickers from Australia’s finest Ian Simpson (banjo) from the West, Trevor Warner (mandolin) from Adelaide and Mick Albeck (violin), James Gillard (bass) and Rod McCormack, the...(展开全部) Six years after recording his first Bluegrass album, Smoke, with Melbourne based Uncle Bill, Paul Kelly has returned to the genre. This time around, instead of using a ready-made band, he chose his pickers from Australia’s finest Ian Simpson (banjo) from the West, Trevor Warner (mandolin) from Adelaide and Mick Albeck (violin), James Gillard (bass) and Rod McCormack, the guitar-playing co-producer, all from New South Wales - then gathered at Rod’s studio in Terrigal on the Central Coast in mid-February where sixteen tracks were done and dusted in a fortnight. Bluegrass music, pioneered in the mid-1940s by Bill Monroe and his hard-driving band, The Blue Grass Boys, shocked and thrilled audiences across the southern United States on its first appearance. Like the hymns they spring from, Bluegrass songs remind us that we each face our Maker alone. They rehearse that lonely moment and, in their stark staring terror, find grace. It’s this tradition, as much as the instrumental exuberance, that Kelly is drawing upon: his songs, for all their warmth and compassion, have a taste for uncomfortable truth. In this collection, they show a deepening unease. Time’s running out but their mood is nowise contrite. It is haunted and, at times, aggrieved - a mood not entirely broken by the revelation with which the album ends. These songs fit their setting well. Initial copies of the album come with a bonus disc of outtakes from the Terrigal sessions: a brisk, bracing ‘Little Boy Don’t Lose Your Balls’; ‘Rank Stranger’, Albert Brumley’s peerless tale of alienation; the romping instrumental ‘Erina Valley Breakout’, named for the studio location; and Kelly’s own take on ‘Surely God Was A Lover’, the John Shaw Neilson poem he adapted for Jimmy Little’s Resonate.
还没人写过短评呢
还没人写过短评呢