quite strange, a few months ago, watching The Soul Of A Man, the movie that
director Wim Wenders has dedicated to the blues. It was a strange experience,
since Wenders, whose intention had obviously been to celebrate the spirit
of the blues, went within inches of burying it forever, so big being the distance
between The Founding Fathers and Those Who Were Worth Something, and the bunch
of clowns, assorted buffoons and poseurs that he assembled in order to prove
the blues was at least alive, if not well.
in the middle: Lou Reed. In its own terms, an innovator. Maybe a poseur, sometimes
a clown. Not really a good example for those who have become firmly convinced
that three chords three, elementary melodies and a voice monotonous beyond
boredom will grant them a sure recipe that'll last forever.
Ed Hamell, guitarist and singer whose discography is already a long one, but
who doesn't seem to be interested in the least in expanding his expressive
palette. Everything on this album brought me back to (a slightly updated)
Coney Island Baby - which I think it's still available on a budget line. Here
we get the three chords of Louie Louie - check Don't Kill, Halfway, When Destiny
Calls. There's also Lou in his more petulant vocal mode - see Dear Pete. There's
obviously the "sensitive ballad": Hail. It's obviously apparent
that different vocal means and a better sense of phrasing - check All That
Was Said, where Ani DiFranco, also the owner of the record company, sings
- can make a difference. But: how many times? And: for how long?
Beppe Colli 2003
| Sept. 7, 2003