61 Jahre hat der Gute
mittlerweile auf dem Buckel, hat seit seiner ersten Veröffentlichung
im Jahr 1965 mit einem Dutzend Alben Folkgeschichte geschrieben, und wer
wissen will, wo das Herz des amerikanischen Blues schlägt, der höre
sich bei Michael Hurley um.
Das Album entstand in enger Zusammenarbeit mit anderen Musikern wie Jill Gross und Dana Kletter, denen Hurley selbst die Entscheidung überließ, für welche Songs sie etwas beisteuern wollten. So war gesichert, dass sich jeder der Beteiligten möglichst zuhause fühlen konnte.
"Barbara Allen" und das schön klassische "The Question".
Und wenn der Himmel im anstehenden Sommer nach Feierabend seine Schleusen
öffnet und den Biergartenabend platzen lässt, dann lasst euch
ruhig mit Michael Hurley nieder im heimischen Wohnzimmer - auf eine Tasse
Starbucks-Coffee und einen Jackie.
This guy's travelled around the block a few times, been a car repair man,
painter, played Carnegie Hall and made a shedload of albums. It's the
first one I've heard though and at first I wasn't sure about it. It sounded
a bit too home-made and a bit shambolic with guitars, fiddle and banjo
lazily accompanying his somewhat worn voice through a range of material.
Since the death of Townes Van Zandt a few years ago, one last great unsung hero of American folk music remains: Michael Hurley
Since his debut recording
on Folkways in 1965 the twisted troubadour has released about a dozen
albums of unwavering quality - a distinctive pastiche of blues, country
and folk styles - and the next one 'Sweetkorn'is...
Making Sweetkorn Sweetkorn was recorded by the Bellemeade Phonics remote unit, beginning in May '01 and ending in August. Most of the recording was done in Brighton, MA, which is one of the burgs of Boston, reachable by that city's rapid transit train system. Snog stayed in that area for 2 months, with the album the project. He dwelled in the burgs of Arlington, Brighton, Cambridge, and Somerville respectively. Respectively. The banjo instrumental, "Edinburgh Lag" was recorded at Snog's flat in Ohio before he came east to work with Scott Shetler and Jill Gross. They are husband and wife and dwell in Brighton, which is a pretty lively place and also features some pretty nice breakfast spas. Snog tried a lot of the breakfast joints while he was in Brighton, but recurred most at The Mirror, where they had the politest people who ran it. There were also more than a couuple of Irish pubs where Irish is spoken. You can get good Chinese and Thai food there as well.
A recording studio
was installed in Scott and Jill's living room and pals and associates
were invited in to help. The rock group, "The Celestials" was assembled
with a chorus of Jill Gross and Dana Kletter singing, the horn work of
Scott, the violin work of Olga Kouznetsova, and a couple of different
bass players, Mitch Nelin and One String Robbie Phillips. So Jill sometimes
cooked some food for different groups who were there, or they made a run
to some "to go" place, or Snog would just go out and roam the restaurants
of Brighton's "strip", or he would immerse himself in a pub. Sometimes
Scott and Snog and Robbie would all be together at this one pub, The Castle
Bar. They would work out their differences but mostly what these guys
had was an easy harmonic and they shined everywhere. Finding Olga Kouznetsova,
the violinist, was a stroke of luck. Kevin Maul plays Dobro on "The End
of the Road" and the Tom T. Hall song, "Negatory Romance." Kevin is also
heard on Snog's album "Weatherhole" and has performed live with Snog at
Tonic in New York City as well as other venues. Snog picked songs that
suited the people he was recording with and sometimes had the musicians
hoose the songs they liked to play on, rather than assigning them to the
|last updated: 13.11.2004 | top|