My random selection method came out with this CD exactly 5 years ago, but I left the review unfinished until now. The shocking news of Lanegan's death at 57 had me listening to his records a lot lately, and thinking about presenting one for this blog. Normally my first choice would be one of his solo albums, which represent him better, or something by the Screaming Trees, who used to be one of my favorite (neo-psychedelic? proto-grunge?) bands of the late 80's/early 90's. But this is just as good a choice as any, because it brings back good memories: seeing Mark and Isobel at the Take Roots festival, in Groningen 2010. What a couple... some called them "the beauty and the beast", which seemed obvious given the contrasts: Isobel's a fresh-faced frail-looking blonde with a sweet and innocent voice, Mark's got a heavier physique, with a gruff and tortured exterior and a deep smoky baritone voice to match. But that totally belies the couple's creative relationship: in a reversal of the stereotype, the lady is the behind-the-scenes genius, while the "brute" is the muse and protagonist of the show.
As a member of Scottish indie heroes Belle and Sebastian, Isobel Campbell was identified with a certain kind of smart but twee chamber pop. But this time she went for something completely different, delving deep into Americana tradition, and especially the great country duets by Johnny and June Carter Cash or Lee Hazlewood & Nancy Sinatra. She is the principal songwriter, arranger, co-vocalist, and multi-instrumentalist here, yet none of it would have worked without Lanegan: his whiskey-and-smoke-stained voice lends the songs earthy warmth and gravitas. Vocally, Campbell is a supporting character, the sultry ingénue to Lanegan's tortured hero. When she takes the lead on "Shotgun Blues", the result's rather strange, like listening to Marilyn Monroe fronting The Cowboy Junkies. The album opens with "Seafaring Song", a naked ballad with acoustic guitar and, from the middle on, some low-key strings. That's followed by "The Raven", a dark piece with a raspy ML solo vocal and an orchestral backing reminiscent of spaghetti western. The juxtaposition of the two diametrically opposed voices is used to great effect on the two orchestral pop duets "Who Built the Road" and "Come on Over (Turn Me On)", and the jazzy "The Flame That Burns". With the exception of swampy voodoo blues "Back Burner", the rest of the album is simple acoustic balladry. "Keep Me in Mind, Sweetheart" has some old-fashioned country charm, and so does "Something to Believe" with its whistling solo, but on the whole the remaining material is agreeable but unspectacular. Maybe Campbell sensed that, and that's why she deliberately restricted herself to backing vocals and instrumental accompaniment for most of the album: it takes a special kind of voice to elevate these songs above mediocrity; someone like Lanegan, or Johnny Cash. These were men that could sing the phonebook and make it sound heart-wrenching and full of meaning. I fear we will never see the likes of them again.
**** The Raven, Salvation, Who Built the Road, Come on Over (Turn Me On), The Flame That Burns
*** for Seafaring Song, Back Burner, Shotgun Blues, Keep Me in Mind, Sweetheart, Something to Believe, Trouble
** for Sally Don't You Cry
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