Tue, Jun 11, 2013 - Page 12 News List

CD reviews

... LIKE CLOCKWORK, by Queens of the Stone Age; GHOST BROTHERS OF DARKLAND COUNTY, by John Mellencamp, Stephen King and T Bone Burnett.

NY Times News Service

In the 1990s Mellencamp enlisted the author Stephen King to collaborate on a stage piece about a cabin haunted by murder. Eventually they brought in T Bone Burnett, the master of spooky, rootsy ambience who has produced Mellencamp’s albums since 2008, as well as Grammy-winning albums like O Brother, Where Art Thou? and the Robert Plant-Alison Krauss collaboration Raising Sand.

They recorded the Ghost Brothers album with a studio cast of Americana and Americana-loving rockers: Sheryl Crow, Rosanne Cash, Kris Kristofferson, Taj Mahal, Neko Case, Dave and Phil Alvin from the Blasters (quarreling brothers in real life) and, as the smirking Devil figure, Elvis Costello. Mellencamp, sounding even gruffer than Kristofferson, arrives for the finale.

Actors, including Matthew McConaughey and Meg Ryan, deliver snippets of dialogue, though it takes a reading of King’s full libretto, which is included physically or digitally in the album’s various configurations, to understand the ending.

The songs, as with Mellencamp’s own albums lately, look to a down-home past: to blues, country, rockabilly, the Rolling Stones and Bob Dylan. Burnett’s production gives them a penumbra of disquiet. He keeps ballads eerily slow, makes the percussion thud or bristle and creates shadowy dark corners of reverb.

Only a few songs directly advance the plot. Instead, Mellencamp illuminates characters and has them ponder questions of responsibility and truth, heaven and hell: “For those too weak to tell the truth/Into darkness you will be cast,” Kristofferson sings in What Kind of Man Am I.

Mellencamp came up with superb songs for women, who respond with quietly glowing performances. Case and Crow play frisky good-time girls in That’s Who I Am and Jukin’ and, even better, Crow wishes for a heaven in Away From This World and Cash becomes a troubled but devoted wife in You Don’t Know Me. Those songs rise above the story line, but probably wouldn’t have existed without characters to sing them — reason enough for a rock songwriter to venture into a musical.

— Jon Pareles, NY Times News Service

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