Alison Krauss. Windy City.


It kind of takes your breath away when the first thing you read in the PR blurb for an album is that the artist is the recipient of 27 Grammy Awards. Apparently that’s the case with Alison Krauss and it ties her with Quincy Jones as second most winner (Conductor George Solti is at the top with 31). Krauss of course has won most of these in the Bluegrass category, her work with her band Union Station considered to have been a major force in the recent resurgence of Bluegrass especially via her contributions to the soundtracks of Oh Brother, Where Art Thou? and Cold Mountain. Originally it was her fiddle playing that made people stand to attention but increasingly she has concentrated on singing with her album recorded with Robert Plant, Raising Sand, a major success.

Windy City is her first solo album in 17 years and it marks another signpost in her career. In tandem with her producer, the Nashville veteran Buddy Cannon, Krauss has selected ten songs that sing to her for various reasons, the majority of them recorded before she was born. The result places Krauss in pole position if we ever need a replacement for Dolly Parton, a singer with significant country chops but who is able to offer up radio friendly fodder without descending into mindless pop. A couple of the songs here are delivered in a mainstream ballad style (both of them  associated with Brenda Lee, Losing You and All Alone Am I) that are just a wee bit too stage musical for comfort and  Roger Miller’s River In The Rain  taxes her voice at times but elsewhere Krauss and Cannon deliver the goods.

The delightful honky tonk drive of It’s Goodbye And So Long To You with its curling pedal steel and rinky dink piano offer Krauss an opportunity to dive in with an unalloyed joy before she delves into the classic tear stained Windy City. Dream Of Me is a fine slice of Nashville pop with the band expertly delivering some twang guitar, sweet pedal steel and nifty piano as Krauss croons the lyrics. Apparently this was a song she chose not knowing that it was written by producer Cannon and once decided on Cannon and his daughter Melanie sing the background vocals. Whatever, it’s a perfect vehicle for Krauss as is Poison Love, another pedal steel fuelled swoon of a song with some added exotica in the Mexican stylings of the guitar solos. While the majority of these covers might be considered somewhat obscure Krauss breaks out two that will be familiar to most. John Hartford’s Gentle On My Mind is given a fine run through with the arrangement more in tune with Hartford’s original as opposed to Glen Campbell’s version and Krauss manages it with flying colours. Willie Nelson’s I Never Cared For You is given an appropriately dramatic arrangement, the vocals soaring over this darkly romantic song. Closing the album Krauss revisits the ballad treatment we dismissed earlier on but on You Don’t Know Me (recorded by Eddy Arnold and Ray Charles), she dips into Patsy Cline territory as she swoons and croons and the band lay down a tearful country backdrop.





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