Alison Krauss – Windy City (Capitol)

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Alison Krauss might be one of the most underrated, but prolific, artists of the ‘Country’ genre.  Although, what that actually is these days is a pretty loose beast.  Most of us will know about her 27 Grammys (apparently she’s tied for second place in the winner stakes), many for best Bluegrass Album with Union Station. 

You might possibly remember one of her 4 solo albums or have seen her on a Grand Ol’ Opry video; or heard her collaborating with Gillian Welch (I’ll Fly Away from the Brother Where Thou Art? Soundtrack); or on the movie Cold Mountain (with Sting performing You Will Be My Ain True Love); or working with one of the many country artists that have beat a path to her door during her extensive career.  But most likely you’ll remember her for her duets with Robert Plant on Raising Sand – which plunged her into the mainstream.

Now after over 18 years playing, she’s released a new album of solo material made with veteran country producer Buddy Cannon.  It’s a collection of ten covers, all country tunes that haven’t been performed for a while or at least properly.  So the results are really good, and, on the whole, refreshing to hear.

Normally, I’d avoid any Brenda Lee heartbreak ballads with a 10-foot barge pole but the old time charm the waltzing Losing You, which opens up Windy City, just seems to work a treat.  Perhaps it’s because she holds back on the schmaltz.  Being a musician herself, she’s not too precious on the vocals and lets the band get a fuller voice – which really benefits the song.

Krauss gets more upbeat on It’s Goodbye and So Long To You. Originally, it was recorded by The Osborne Brothers and it’s one of two Osborne tracks on this album.  It shows Krauss still likes to stay close to her roots, although this instantly catchy track has plenty of horns and steel guitar and a Dolly-like vocal performance which really gives the song more ‘Nashville’ show-time punch.

The album’s title track is another heartbreaker (and also an Osbornes number) set in Chicago (although it could easily be Wellington, being about the fickleness of wind).  On the song she walks the lonely streets of the city wondering if she’ll ever win lost lover back.  As the band works the mood in perfect step with her brooding vocals you get a slightly cinematic picture of the song’s plot line.  I haven’t heard the Osbourne’s version but I can’t imagine it couldn’t top this one.

Willie Nelson’s I Never Cared For You also finds its way on here.  It’s a clever song, with a person saying they never cared for their ex, whilst all the time admitting that’s an outright lie.  Essentially, it’s an old fashioned retaliation to a breakup, thinly veiled in a forlorn ballad of rejection.  I think Krauss really nails the emotion of this song, but again goes easy with the ‘pity me’ melodrama.

I was pleasantly surprised that Roger Miller is good for more than just King of The Road.  His River In The Rain gets a great treatment from Krauss, who’s clearly done her homework.  Originally this written as a duet between Huckleberry Finn and a slave worker, but Krauss turns this into a touching love song. Anyone can cover a song, but I love it when an artist makes the cover their own and Krauss certainly does this.

Another standout is Vern Gosdin’s Dream of Me, a song that just perfect for Krauss’ sweet, uncluttered voice.  Bulging with plenty of steel guitar twang to accompany lyrics about dreams of feeling flue and sad, it’s more melancholy overload.  But in Krauss’ hands it works well.  Again, it’s the lighter touch that saves it from being yet another 70’s Nashville bloat-out.  She’s not trying to be Dolly here, thank goodness.  Apparently Krauss has chosen the song because she’d heard it a lot during her childhood.  She had no idea it was written by her producer Buddy Cannon, who adds vocals on this version, along with his own daughter Melanie.  They do a great job, too.

One to avoid though is John Hartford’s Gentle on My Mind – yes the one Glen Campbell made famous.  I’ve always loathed this song. Because it’s so saccharine sweet that no reworking in any genre can save it.  Not even Ray Charles.  Krauss does her best but because she stays true to Campbell’s version she does it no favours in my book, anyway.

There’s another Brenda Lee song, the piano-driven All Alone Am I, which Krauss carries off pretty well.  This has all the charm of the era, too.  Think Dusty Springfield during her time in Memphis.  Originally written by Eddy Arnold, the song is all about letting your potential love opportunity slip away, left forever wondering what could be.  Something of a metaphor to close the album.  Another fine example of Krauss’s perfect synergy with her band.

Apart from a couple of numbers this mix of classic country is a real joy, with plenty of variety, and for the most part, anyway, an avoidance of all the biggest numbers, like Kenny Rogers, Tammy Wynette, Hank Williams or Dolly Parton.  It’s also something of an education and a potential springboard for further research, should you be so inclined.   Commercial, slick, with great audio quality and just a hint of restraint its instantly likeable.  I don’t know if this is Grammy Material, but I wouldn’t be surprised if it ends up scoring a gong or two somewhere down the line.

Tim Gruar

 

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