Don
Walker is slowly challenging Paul Kelly's crown as Australia's best
and culturally most significant songwriter. Don's post Cold Chisel
career consists of a heap of songs written and recorded by others
(Ian Moss, Slim Dusty), three albums with Tex Don and Charlie, and
just four albums of his own. Almost despite himself the productivity
is building up momentum, even though this latest album took Don
11 years to put together. When Chisel first broke up in 1983 Don,
unlike singer Jimmy Barnes, was in no hurry to jump back into gear.
He celebrated his "freedom" by doing what a career in a rock band
hadn't allowed him to do, see the world off the beaten track at
his own pace without a set schedule. Five years later he articulated
what he'd seen and thought with an album as Catfish, 'Unlimited
Address,' Don with backing musicians, a "project", attempting to
invent a persona around which to create. Subsequent travels in Australia
were captured on Ian Moss' No.1 album 'Matchbox' (containing 'Telephone
Booth'), written and produced by Don. The second Catfish album,
like the first Don Walker solo album were rushed affairs, which
is why 'Cutting Back' is such a landmark in his career. Songs had
accumulated and he wanted to present them in their best light. Along
the way he was interrupted by other demands on his talents, in particular
an all-consuming Cold Chisel reunion. But finally, here it is, 'Cutting
Back', an album that once and for all highlights Don Walker the
songwriter and performer. Interesting sidelights are the title track
which becomes a virtual Cold Chisel reunion, minus Jimmy, and Don's
rockabilly version of Cold Chisel's latterday overlooked classic,
'Yakuza Girls', as well as Don's own rendition of his 'Get Along',
the last song recorded by Slim Dusty. More significant are the statement
Don's songs make on his behalf, of a songwriter dedicated to, maybe
obsessed by, the human condition. He's a storyteller, and his songs
tell stories about real people's lives, lives after or away from
the carefree luster of testosterone fueled youth; when marriages
may have broken down, and loneliness, weariness and longing for
any kind human warmth have set it. Don's delivery gives the songs
their Australian setting. You can imagine these songs lived in rural
towns, or told looking down into an empty glass on a country pub
bar. Don Walker says he doesn't mean to, but he sings in what equates
to an Australian accent, dry, deadpan, strine. It's all he's got,
and he makes do with it, makes it work for the songs. Because of
that restricted vocal delivery the songs have to do their work,
and they do. Together the voice and songs become a powerful iconic
union for intelligent insightful emotion-charged reflections. Every
song is a little movie, and whether Don speaks it (as in 'No Reason')
or sings it, he's the perfect narrator. .
Don
Walker is slowly challenging Paul Kelly's crown as Australia's best
and culturally most significant songwriter. Don's post Cold Chisel
career consists of a heap of songs written and recorded by others
(Ian Moss, Slim Dusty), three albums with Tex Don and Charlie, and
just four albums of his own. Almost despite himself the productivity
is building up momentum, even though this latest album took Don
11 years to put together. When Chisel first broke up in 1983 Don,
unlike singer Jimmy Barnes, was in no hurry to jump back into gear.
He celebrated his "freedom" by doing what a career in a rock band
hadn't allowed him to do, see the world off the beaten track at
his own pace without a set schedule. Five years later he articulated
what he'd seen and thought with an album as Catfish, 'Unlimited
Address,' Don with backing musicians, a "project", attempting to
invent a persona around which to create. Subsequent travels in Australia
were captured on Ian Moss' No.1 album 'Matchbox' (containing 'Telephone
Booth'), written and produced by Don. The second Catfish album,
like the first Don Walker solo album were rushed affairs, which
is why 'Cutting Back' is such a landmark in his career. Songs had
accumulated and he wanted to present them in their best light. Along
the way he was interrupted by other demands on his talents, in particular
an all-consuming Cold Chisel reunion. But finally, here it is, 'Cutting
Back', an album that once and for all highlights Don Walker the
songwriter and performer. Interesting sidelights are the title track
which becomes a virtual Cold Chisel reunion, minus Jimmy, and Don's
rockabilly version of Cold Chisel's latterday overlooked classic,
'Yakuza Girls', as well as Don's own rendition of his 'Get Along',
the last song recorded by Slim Dusty. More significant are the statement
Don's songs make on his behalf, of a songwriter dedicated to, maybe
obsessed by, the human condition. He's a storyteller, and his songs
tell stories about real people's lives, lives after or away from
the carefree luster of testosterone fueled youth; when marriages
may have broken down, and loneliness, weariness and longing for
any kind human warmth have set it. Don's delivery gives the songs
their Australian setting. You can imagine these songs lived in rural
towns, or told looking down into an empty glass on a country pub
bar. Don Walker says he doesn't mean to, but he sings in what equates
to an Australian accent, dry, deadpan, strine. It's all he's got,
and he makes do with it, makes it work for the songs. Because of
that restricted vocal delivery the songs have to do their work,
and they do. Together the voice and songs become a powerful iconic
union for intelligent insightful emotion-charged reflections. Every
song is a little movie, and whether Don speaks it (as in 'No Reason')
or sings it, he's the perfect narrator. .