![]() Morrison provides no reason beyond a passing interest in covering some of his favourite tracks. ![]() Placement is a crucial part of any cover piece. All the pieces come together with a nod toward what was before it, but no track here makes for anything more than a hollow flow John Candy’s band in Home Alone could rattle out. It is hard to believe there is any fiery passion behind these tracks. Sail Away Ladies is a key example of what goes wrong for Moving on Skiffle. Half of the tracks from Moving on Skiffle are empty, Randy Newman-styled ventures that cover classic tracks from Bessie Smith and Uncle Dave Macon to an acceptable quality. Morrison streamlines the classic songs that influenced him or that he now feels a particular connection to, and the cannonball effect leaves splinters and bastardised blues covers scattered around the place. But Streamlined Cannonball summarises this best. Sleepy, sloppy blues functionalities without the soul that gives those tracks their meaning and placement in history.Ĭonsidering the vastness of Moving on Skiffle, the chances of at least a handful of decent tracks were considerable. But Moving on Skiffle and the fractures that begin to show on the big-band emptiness, give that aftermath of quality a sour taste. His strong voice in the twilight years wasted, defended as a man who can do no harm now that his legacy is intact. Van Morrison, whatever his reason for these covers, brushes through with a twenty-three-track compendium of wavering quality. Bruce Springsteen tested himself with an album that put his voice, for the first time, at the front of his music. Bob Dylan rediscovered the great American songbook. Tribute to the influences of those early days is a commendable experience if done right.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |