(Most versatile album confirming the musician's artistic renaissance)
Let's Start Again has been reviewed in Roots Highway (Italy)
Click here to view in the original Italian. (The following is a (Google!) translation)
The sixth album by Bap Kennedy in fifteen years of solo career, frugal and thoughtful , was released two years after the successful The Sailor 's Revenge, who reported the singer-songwriter originally from Belfast to general attention . If the previous album , recorded in London , profited from the production of Mark Knopfler and the very presence of the guitarist and other musicians of his band , this time Bap returned to recording in Northern Ireland , relying on his old friend Mudd Wallace, with whom he had collaborated in the eighties and using the accompanying band live , composed by his wife Brenda on bass , drummer Rabb Bennett and virtuoso guitarist Gordy McAllister , with the addition of John Mc Cullough keyboards , mandolin Noel Lenaghan and pedal steel by Richard Nelson.
I thought that these choices would have resulted in a disc of ballads steeped in Irish atmosphere in line with the previous year; instead Bap has returned to focus on the matrix of American roots rock sound , while maintaining a low profile and preferring soft colors and tones and moderate , albeit with some soaring rhythmic than The Sailor 's Revenge, which reconciles the previous Domestic Blues ( produced by Steve Earle ) and Lonely Street. Kennedy confirms the quality of writing shy and refined to fit his voice melodic and melancholic and preference for an electro-acoustic sound characterized by the presence of pedal steel , which emerges already in the opener Let's Start Again . The pace grows in bright peasant roots of Revelation Blues, path from the violin by John Fitzpatrick, tempered by a relaxed If Things Do not Change , in which the lap steel carves out a special place . King Of Mexico smells like tex-mex between violin and accordion, while Song Of Her Desire is a sad ballad of crystalline beauty . Radio Waves brings us back to the sixties with a recognizable melody , backing vocals and a guitar in the fifties Duane Eddy , followed dall'honky tonk Texas Heart Trouble, with the bass of Brenda and a violin -style western swing and calypso by swaying Under My Wing , played with proper voice sore by the Irish .
The final part of the disc includes the mid-tempo country rock Strange Kid, the Caribbean Fool's Paradise that invites you to a few dance steps ( always without overdoing it ) and country old style of Let It Go with the backing vocals of his wife and l ' mixture of violin and lap steel that reminds us of the deep attachment of Bap against Hank Williams (remember his tribute album , Hillbilly Shakespeare , a few years ago , nda ) . A most versatile album of the previous year, which confirms the artistic renaissance of the musician, despite being perhaps less inspired writing, published as deluxe single and with a second CD that re- traces of the first solo albums , with the addition of unreleased versions , acoustic Jimmy Sanchez and Please Returt To Jesus , taken from the previous the Sailor's Revenge.