Paul Kelly

Nature

Gawd Aggie

Paul Kelly considers Nature a companion piece to 2017’s Platinum-certified Life Is Fine but although it bears some similarities, it’s not exactly a sequel. It’s not one coherent statement or even one focused theme but instead a collection of different elements, come originals and, as we’ve come to know from Kelly, interpretations of poems from great poets. But, given that Kelly is Australia’s greatest and most enduring songwriter, just about any Kelly offering is special. It would be nearly impossible, even for an artist of Kelly’s stature, to match Life Is Fine and although it measures a notch or two short, it’s a valiant, worthy effort.

Kelly’s “nature” refers to both the natural world and human nature.  Of the dozen selections five are from the poets– Dylan Thomas, Walt Whitman, Sylvia Plath, Gerard Manley Hopkins and Phillip Larkin.  Four are from his own poems put to the music and three more stem from his brilliant run of albums –The Merri Soul Sessions, Seven Sonnets and A Song and Life is Fine.

If you’ve been fortunate enough to see Kelly live, you’re struck by his sense of humor, his amazing gift for melody and song structure, and his top shelf band.  They include Peter Luscombe on drums, Bill McDonald on bass, Ash Naylor and Dan Kelly on guitars and Cameron Bruce on keyboards. Kelly plays mostly acoustic guitar, some electric guitar and piano. He’s featured female vocalists on his recent run of albums and does do again here with Vika and Linda Bull, his daughters Madeleine and Memphis Kelly, Alice Keath and Kate Miller-Heidke.

You’ll pick up on this when viewing the video for “With the One I Love” (the only song that sounds like it could be a track on Life Is Fine). It was shot in Melbourne’s Old Magistrates’ Court, where Ned Kelly was notoriously tried and sentenced to death in 1880.  Kelly says, “I’m on trial in the witness box, Mojo Juru plays the judge and Vika and Linda are my defence lawyers.”  This song, by the way, echoes last year’s “Firewood and Candles,” which won Kelly the coveted APRA Award in Australia for Song of the Year.

During the run of albums referenced above Kelly did a duo album, 2016’s Death’s Dateless Night, which was a collection of songs that he envisioned played at funerals. Then, it should not be surprising that he begins with a tune titled “And Death Shall Have No Dominion.” Yet, it carries a bright tone, not a somber one. Kelly sings cheerfully amidst a swell of acoustic guitars that build into ringing electric  ones.

Before examining some of the other tracks, it helps to understand Kelly’s process.  He says, “I’ve playing around with poems since 2012 and it’s now become another way for me to write songs. I think most writers get sick of themselves and their own habits so it’s a happy surprise, after 40 years of writing songs, to find a new way.” He discusses the album, “What links them all is the natural world – trees, birds, animals, plants, dust, desert, water – and human nature’s small place in that world. Most of the pieces were written over the last four years in and around the recording sessions {for the albums referenced}. I didn’t realise I had the makings of another album until I put the songs in a folder and saw the titles staring me in the face. Sometimes you don’t know what you’re doing until you look back.”

Paul takes the first person in “Bastard Like Me,” with his sardonic approach shining easily through a spare backdrop which carries forward in “Little Wolf” where a lone violin provides the eeriness fitting the tune. “With Animals,” another brief ditty finds him role playing. Interestingly, these are all short, especially considering the “Bound to Follow (Aisling Song)’ is the longest track at just over four minutes. The haunting refrain has Kate Miller-Heidke singing while his long-time collaborators and tour mates Vika and Linda Bull handle the backup in “God’s Grandeur” and “Trees.” Kelly’s smart enough to know his voice has a limited range and benefits greatly from the female harmonies.

“Seagulls of Seattle” and “Morning Storm” showcase Kelly’s eye for detail that builds vivid imagery. Again the musical accompaniment is mostly acoustic, enabling Kelly’s narrative to lead.  Like the best in craft Kelly uses quiet and space to give his lyrics that much more intrigue.

Nature is a quieter more contemplative listen than Life Is Fine. It takes a couple of listens to appreciate its finesse and nuances and is certainly strong enough to continue Kelly’s string of strong albums.

• Jim Hynes

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