So remember when record producing jumped off a cliff, propelled by Daniel Lanois?
I admit it didn't seem like that to me at the time, but listening back now nothing sounds so hopelessly artificial and devoid of ideas as thos ethereal soundscapes of wonder that every old folkie from Richard Thompson to the Neville Brothers indulged in during the decade around 1990.
Well, Christy Moore managed to remain aloof from its excesses. Mostly - there are some moments on Ride On and The Voyage where the gated drum and echoey bells and undead misty rasping come out, but it seemed to me that he usually stuck with the old band and the simpler way of doing things and it shows to advantage now.
Except for Traveller (1999) which I am currently consoling myself he named ironically after the RPG. Oh god it's all here: blip-hop stylings on songs about the soullessness of digital culture, and an "updating" of trad standby Raggle Taggle Gypsy that I can only assume is a joke, but one played rather cruelly on the purchaser. Here: this is how he does it when he means it. On stage he's likely to cut down to solo voice and bodhran, like he does for Well Below the Valley (and that's how it should be). And this is how it shows up on Traveller.
You'd think I'd like this but it's too obvious. OTOH I'm currently in a game that's all about this and I kinda love it. It's all about the DM, natch.
- assorted ramblings