Darrell Scott...A Crooked Road(2cd)(2010)[FLAC]

2010 A Crooked Road CD Full Light


1.1 A Crooked Road
1.2 The Day Before Thanksgiving
1.3 Long Wide Open Road
1.4 Alton Air
1.5 A Father's Song
1.6 Take Me Back To Yesterday
1.7 Pester Lester
1.8 Candles in the Rain (Childless Mothers)
1.9 For Suzanne
1.10 The Open Door
2.1 Love's Not Through With Me Yet
2.2 Colorado
2.3 Where the Spirit Meets the Bone
2.4 Conversations 329
2.5 Snow Queen and Drama Lama
2.6 Tonight I'm Missing You
2.7 Oh Sweet Longing
2.8 Willow Creek
2.9 This Time 'round
2.10 This Beggars' Heart



THIS

Darrell Scott's reputation has been built on his tremendous songwriting. Both the Dixie Chicks's "Long Time Gone" and Patty Loveless's "You'll Never Leave Harlan Alive," arguably the two finest country songs of the aughts, came from his pen. It's no great shock, then, that the greatest strength of his eighth solo album, the double-disc A Crooked Road, is in the insight and emotional resonance of Scott's writing. Opening disc one, the set's title track conveys a hard-earned sense of maturity, recognizing each of the unexpected bumps and turns along the course of a fulfilling relationship. Concluding with the observation, "And only when I'm looking back/Do I see the straight and narrow/I see the straight and narrow/When I walk a crooked road," the song immediately sets the tone for both sides of the album.


It's to Scott's credit that he's written a full 20 songs, each of which tackles heady emotions of compromise, regret, and tempered optimism to varying degrees, without ever running out of novel perspectives or having a lapse in quality. Standout cuts like "The Day Before Thanksgiving" and the devastating "Candles in the Rain (Childless Mothers)" showcase Scott's masterful approach to theme. Images of travel and family recur throughout both halves of the record, giving A Crooked Road an impressive structural heft that justifies the album's length.

0R THIS

It isn't just Scott's songwriting that impresses though: His ragged baritone is a soulful, powerful instrument. It takes a singer on the level of Loveless or Natalie Maines to turn in covers that equal or surpass the quality of Scott's originals. Here, he brings a genuinely touching pathos to "A Father's Song," while he pays sincere homage to many of his idols on "For Suzanne." He even belts out a mean blues number with "Snow Queen and Drama Llama."


The album would be even better than it is if Scott had included a few more uptempo, harder-edged cuts like "Queen." His musicianship is first-rate (Scott has long been an in-demand session player), and he makes clever, seamless use of overdubs in the production to fake performances on instruments like the harp and cello. But most of the songs, which include a handful of instrumental pieces, are midtempo numbers built on Scott's excellent acoustic guitar work and light-handed drumming.


Ultimately, it's a matter of the songs' content being more varied than their sound. Scott's instincts as an editor are strong: There honestly isn't a song on either disc that should be cut. Had he brought in some outside musicians to flesh out the album's sound, though, Scott may have been able to create a more compelling sonic palette. Still, his desire to perform all of the instruments and produce the album entirely on his own is admirable, and it's just another facet of A Crooked Road that puts most of Scott's contemporaries to shame.

Good grief, was that a snatch of twin lead guitar? There are those who would tell you Darrell Scott is pure country; after all, he played on Steve EarleΓΓé¼Γäós Grammy-winner Townes, and his songs have been sung by Guy Clark, Brad Paisley and Alan Jackson. But hereΓΓé¼Γäós a man who knows his 80s rock, too. Unfortunately.

Not that rock is the only problem. The record bristles with traditional instruments like lap steel, mandolin, banjo and even a harp (all played by Scott himself). But thereΓΓé¼Γäós not a rootsy line goes by without a sugaring of hackneyed pop rigmarole, whether itΓΓé¼Γäós Elton John-style piano or ScottΓΓé¼Γäós resolutely emotive baritone. Then thereΓΓé¼Γäós the 80s ballads, all ride cymbals and distorted guitars, clattering drum fills and girly choruses (again, incidentally, all performed by guess who).

It would be rude, admittedly, to deny that this is one of the sincerest records ever made; Scott loves his kids, misses his lover and walks a crooked road, and heaven protect him from cold-hearted critics. But it still falls to the latter to point out that an excess of the personal rarely brings out the best in songwriters, or their listeners.

Of course, artists like Scott are as important to the music industry as the Robert Plants. The promotional divide that separates a sideman or songwriter from a star is tricky at the best of times, and ScottΓΓé¼Γäós recruitment into PlantΓΓé¼Γäós reconstituted Band of Joy in 2010 may have seemed like a good excuse to push this overcooked banquet into the limelight.

But really, who needs to make a double album? The format is a byword for ego and pretension. And IΓΓé¼Γäóm afraid even if its gatefold sleeve does allow room to cram in 42 of Darrell ScottΓΓé¼Γäós self-portraits, this self-produced, self-played piece of work wonΓΓé¼Γäót change that.

cd ripped by dBpoweramp

please seed


http://dickthespic.org/2010/11/28/darrell-scott/