Customer Reviews

Sky Like a Broken Clock

5 star:		(4)
4 star:		(3)
3 star:		(3)
2 star:		(0)
1 star:		(1)

 

 

OK, let's clear up a few things here. On this album, Kelly Joe Phelps has a band. He has worked with bands before, to marvelous effect-- witness his performances on Tony Furtado-- "Roll My Blues Away," "The Tony Furtado Band" (bluegrass/blues/celtic blends); Greg Brown-- "Slant 6 Mind," and "Further In" (both of these are folk/blues-based albums with a very similar feel to this one) and Martin Simpson's "Cool and Unusual," (celtic blues instrumentals-- astounding) to name a few. He can play flashy lead like nobody else, but he knows how to share a stage, and the key to his playing has always been the fact that his playing is never flashy enough to overshadow the music (which is itself a wonder given that he is one of the best guitarists you will ever hear). Next, there is no slide here. Again, on his last two albums, he played many of the songs without the slide, and showed that his fingerstyle guitar, and his single-note lead lines are almost as impressive. That said, this is a wonderful album with beautiful writing, beautiful singing and, of course, top-notch musicianship. While his first few albums were the very essence of blues, the music here cannot really be called blues. This is a blend of the acoustic styles with which KJP has been experimenting for the last few years, although the blues roots are difficult to miss. I hate the term, "New Acoustic Music" (not to be confused with the insipid "new age"), but it fits this album, which combines old country blues, modern folk and folk-rock, and a touch of country and bluegrass. The feel is mellow, but the music is complex enough to grab your attention and hold it for the duration of the album, with the same free-flowing, jazz-influenced structure you will find on KJP's previous albums. Further listening (or, if you like these albums, buy Sky Like a Broken Clock): All albums I mentioned at the start of this review. Also, Dave Alvin: "King of California," and "Blackjack David." Steve Earle: "Train a Comin'." Ben Harper: "Welcome to the Cruel World," and "Fight for your Mind." Richard Thompson: "Small Town Romance." Gillian Welch: "Hell Among the Yearlings." Todd Phillips, David Grier and Matt Flinner: "Phillips, Grier and Flinner."

Kelly Joe's got the vibe going on this release. Loose, funky moods abound. Great guitar playing as usual. However, his songs have grown over time to include long, intricate narratives. As much as I love his outstanding guitar playing (I'm a lap-style player myself), on this album it seems the two elements are fighting for space. I appreciate the enthusiasm and fun that comes through as Kelly Joe and his accompanyists jam out, but perhaps next time he might craft the songs to better support his wonderful stories.

Technically the music is very good. Kelly Joe Phelps I believe is incapable of anything less than virtuosity of voice and instrument. However, he does not play any of the wonderful slide guitar of his previous, cutting edge, delicious past three CD's. The liner notes state that the musicians got to together for the first time and recorded the album in three days. Well it shows. I believe that they were able to create a purpousful and deliberate "feel" but what I felt was the the music retreated to the category of background music in a loud smokey bar. The CD still has a rough edge and a raw emotional feel but gone is the soulful, tasty guitar/ slide guitar that I find so compelling. Bottom line there are a couple of great tunes on the album but overall not much to sink you teeth into. Kelly Joe please break out your slide and stomp your feet by your bad self.

Star rating should be 5/5. I can't edit it. I hated this when I first got it. I thought it was depressing. But KJP, more than just about anyone else, needs an awful lot of listening to. I'd come to it after getting into the remarkable blues style of 'Shine eyed Mister Zen' and this was very different. Here we have a full band and a less extreme guitar style. It's earthier, darker, louder. but not really loud, of course. You'll get used to it!
The right elements are there: 'hard' poetry, subtle melodies, weird imagery, and that voice. What I realise, after listening to him for a couple of years, and seeing him perform on stage, is that he has an unerringly tuneful voice. Gravelly, smoky, yes, but never a bum note. His voice is superbly musical.
It took me ages to see this album properly, separate out the elements. There are definitely some classics in here, like 'Beggar's Oil', 'Tommy' and the wonderful 'Fleashine'. The band works pretty well with Kelly Joe, producing some nice gritty blues as well as more gentle sounds. But they leave the master guitarist to accompany himself alone for the final track, a whimsical tune for a change.
If you buy this, and I think you should, you'll just have to put the work in. But Kelly Joe Phelps remains one of the most important artists around with this album.

It's always great to hear a superlative musician play by himself. You know what's even better? Hearing the same musician play with other equally gifted brothers-arms. That's exactly what we get on "Sky Like a Broken Clock". Phelps is easily one of the most talented and creative guitarists alive and one of the most vital artists working in American Roots music today. Long-time fans will instantly lament the abscence of Phelps spellbinding slide work. He makes up for it with startlingly complex fingerpicking that probably makes Johny Fahey's ears perk up somewhere in The Great Beyond. The really interesting thing about this album, though, is hearing Phelps as part of a band. Larry Taylor is a string bassist who has worked extensively with Tom Waits. He's a bassist who has a really recognizable, muscular-yet-melodic style. Listening to him and Phelps playing off of each other is one of the big music thrills of this year. Billy Conway adds subtley complex percussion. I think what has some people speaking out against Phelps' "new direction" is the fact that he really is part of an ensemble. That is true, each instrument get's equal treatment in the mix and arrangement, but it sounds fine to me. These guys sound like they were born to play together. There also no Trad. Arr. Phelps tunes... or covers of any kind. Everything is original. Comes as no surprise to this reviewer. I was amazed at how well his plain-spoken originals blended with the traditional material on "Shine Eyed Mister Zen". I'm glad to see he's gained enough confidence and chops as a songwriter to pen a whole album. This year has spoiled us with some great releases: Gillian Welch, Bonnie Prince Billie, The "O, Brother" albums... "Sky Like a Broken Clock" is foremost among these. Brilliant music.

Let me say right off that I'm a huge Kelly Joe fan. That's the problem. With this cd Kelly Joe, except for a few songs, is just a piece of an ensemble - kind of like the lead singer for a decent band. Here there's too much band. I probably will go to hear him in concert and without the band will like the music better. Until this album Kelly Joe has just produced better and better music. This cd is a misguided attempt to grow by adding other musicians. The result is just dilution of what Kelly Joe has shown us in the past. Maybe he doesn't realize that his unique guitar style is at least half the equation. It ifeatures fingerstyle only without slide on any selections. Also, his songs are getting more morose and depressing. It reminds me of Janis Ian who lost her following because her fans that loved Society's Child and At Seventeen just tired of listening to songs about divorce, alcoholism, and other dead-end situations. So here Kelly Joe tells us about folks drinking their life away, peeing in their pants ... and after my third time listening to this cd I thought about how much of this I really wanted to hear. So I went back to Shine Eyed Mister Zen and the contrast just jumped out at me. That cd had a vibrance that this is totally lacking. Hopefully Kelly Joe will treat this as a dead end road and get back closer to his old one. He has to realize that his appeal is not about words and messages and images, but rather it is about style -- his own unique style, and it just aint on this cd. Kelly Joe, where are you????

As expected, Kelly Joe Phelps story telling and guitar work are outstanding although very low keyed and somber. The only tune on the CD to break the mold and pick up the tempo somewhat is "Sally Ruby" ... While I don't think it measures up to the last release, "Shine Eyed", it is a solid acoustic outing with a little string bass, cello, organ and harmonica sprinkled about for good measure. Best suited for quite moments.

Kelly Joe Phelps, moves me greatly as a solo performer, live and on disc. Reading of the band format in advance press caused me some concern, misplaced as it turned out to be. This album (I know, they're "CD's" now) is one of my great all-time musical joys. After seeing and hearing KJP solo several times, it is absolutely thrilling to hear how he makes this format work. No slide, but the KJP vibe through and through. I don't know how we get more people to listen, but this is an exceptionally gifted musician. Run, don't walk (or hurry up and press "One Click")and get this CD.

"Shine eyed Mister Zen" would be a tough act to follow. But KJP has done so with the stunning "Sky Like A broken Clock". By adding veteran musicians Billy Conway (Drums) and Larry Taylor (Bass) Phelps has added a Texture and "Feel" to his songs. Gone is the Frantic Slide Guitar that runs through out his earlier work, it's is replaced by a perfectly paced finger picking style that is defenitly all Kelly Joe. The liner notes tell you that the Disc was made in just a few days. Some of my all time favorite Disc were made in the same way. Van Morrisons "Astial Weeks", and John Hiatts "Bring the family" comes to mind, and I have to put "Sky" right up there with those works. I know that's high praise, but for such a Great album to be made in such a short period of time, something special has to happen. It's obvious that's what happened here. Another 1st on the disc, is that all 10 songs were written by KJP. No covers of tradional Blues tunes as in his past works. On his Last CD "ZEN" he took a giant leap forward in his songwritting, and continued down the same path on this CD. Songs like "Sally Ruby" and "Gold tooth" with there Funky groves and abstract lyrics are just plain fun to listen to. "Tommy" a song about a troubled soul, who torches his apratment complex, Is great story telling. On the final trac "Worn out" Phelps Inks heartfelt and painful lyrics:"Is my own version of a terrifying leap across, an unforgiving landcape when all I want is sleep", deals with the everyday fears and weekness that we all have to confront, and try to overcome. That song, more then any shows Phelps growth as a songwritter, which leaves all waiting, with baited breath for what's to come.

A friend had played me "Shine Eyed" in preparation for a recent show I attended... It was my first taste of Kelly Joe's stuff and I liked it, some nice slide work and warm bluesy voice, but I wasn't floored. "Sky Like a Broken Clock" seems to display a real maturity in his music, expanding beyond his indivdual strengths and allowing other musicians to evolve his already powerful sound. it's been spinning in my CD player everyday for the last 2 weeks... really enchanting.

Oh, and don't miss him live... quite a MoFo on guitar...