Lyle Lovett & His Large Band

構成数 : 1枚
合計収録時間 : 00:40:55
Personnel: Lyle Lovett (vocals, acoustic guitar); Billy Williams, DesChamps Hood (acoustic guitar); Ray Herndon (electric guitar); Paul Franklin (steel guitar); Mark O'Connor (mandola, fiddle); John Hagen (cello); Steve Marsh (alto & tenor saxophones); Andy Laster (baritone saxophone); Matt Rollings (piano, Hammond B-3 organ); Leland Sklar, Richard Bennett (bass); Paul Leim (drums); Francine Reed, Harry Stinson, Rodney Crowell, Walter Hyatt, David Ball (background vocals). Personnel: Lyle Lovett (guitar, acoustic guitar); Deschamps Hood (guitar, acoustic guitar, background vocals); Billy Williams (guitar, acoustic guitar); Ray Herndon (electric guitar); Paul Franklin (steel guitar); Mark O'Connor (mandola, fiddle); John Hagen (cello); Steve Marsh (alto saxophone, tenor saxophone); Andy Laster (baritone saxophone); Matt Rollings (piano); Richard Bennett (6-string bass); Paul Leim (drums); David Ball, Francine Reed, Harry Stinson, Mac McAnally, Rodney Crowell, Walter Hyatt (background vocals). Audio Mixer: Chuck Ainlay. Recording information: SoundStage Studio. Photographer: Peter Nash . While Lyle Lovett's first two albums were quirky expansions of the traditional country mold, they still bore strong musical ties to Nashville's past. With his third album, Lovett burned his country bridges and reinvented himself as, of all things, a post-modern big-band singer. Leading his horn-bedecked Large Band, Lovett picked up on the jazzy threads of his earlier albums and ran with them, coming off like some bizarre amalgam of Tony Bennett, David Byrne, and Conway Twitty. Country fans confused by Lovett's earlier work must have been utterly bewildered by this stylistic turnaround. Nevertheless, as unlikely as a country artist surrounding by jazz/blues-blaring horns and delivering wry, existential, spoken-word epigrams in between riffs might seem, the song in question ("Here I Am") somehow became a hit, and endeared Lovett to a whole new non-country audience. The rest of the album is mostly filled with Lovett's trademark sarcastic/poetic lyrical mix backed by jazz changes, but there are a couple of country/folk-oriented tunes as well. A couple of these are heartbreakingly gorgeous, but the one that sticks out the most is a willfully odd cover of "Stand By Your Man" that furthered Lovett's growing reputation as an endearing oddball.
録音 : ステレオ (Studio)