Walter Hyatt - King Tears (1990) [CD]
Friday, 28. August 2009, 03:56:07
Walter Hyatt
King Tears (1990) Out of print
1. Tell Me Baby
2. Blind Love Blues
3. This Time, Lucille
4. Ruby
5. Outside Looking Out
6. Que Reste-T-Il de Nos Amours?
7. In November
8. Situé
9. King Tears
10. Aloha
Benny Quinn Mastering
Billy Williams Producer
Chuck Ainlay Engineer
Craig Nelson Bass (Acoustic)
David Ball Vocals (Background)
Deschamps Hood Guitar (Acoustic), Vocals (Background)
Jerry Joyner Design
Jessie Noble Project Coordinator
Judy Trenary Engineer
Lyle Lovett Producer
Marty Williams Digital Mixing Assistant, Engineer
Matt Rollings Piano
Paul Leim Drums
Peter Nash Photography
Virginia Team Art Direction
Walter Hyatt Main Performer, Vocals
Reviews:
Review (Amazon)
Right up front, here’s the straight dope: King Tears is a masterpiece. Recorded and released in 1990 for MCA Nashville’s mostly instrumental Master Series imprint and co-produced by Lyle Lovett and Billy Williams, the album got its 15 minutes of obscurity before disappearing — a fate common among Nashville-released records that fall outside what the industry there defines as “country.”
Which is to say that this is a singer-songwriter album that leans more toward jazz ‘n’ lounge than country. Hyatt’s warm and occasionally raspy baritone wraps around the generally downbeat material like fine brandy hugs a snifter; think Nat “King” Cole
woodshedding with Willie Nelson during the latter’s Tin Pan Alley period. The playing, by a small ensemble featuring ex-Uncle Walt’s Band-mate Champ Hood on guitar, Matt Rollings on piano, Craig Nelson on acoustic bass and Paul Leim on drums, is always
sweet and sensitive and never overbearing, as is Lovett and Williams’ deft production. But the sharpness and directness of the approach here betrays a sensibility that’s more honky-tonk weaned than suave.
King Tears opens with a pair of Hyatt originals (”Tell Me Baby”, “Blind Love Blues”) that evoke a peculiarly late-night contemplation of unrequited love; both tunes deserve to become standards in years to come. “This Time, Lucille”, a co-write with another Uncle Walt’s alumnus, David Ball, is next, followed by “Ruby”, a tune associated with Ray Charles. Another fine downbeat original, “Outside Looking Out”, precedes an exquisite cover of a song by French icon Charles Trenet, “Que reste-t-il de nos amours?”, on which Hyatt really demonstrates the resonance and depth of his eclectic approach.
“In November” (co-written with Tom Mitchell) and “Situé” (co-written with Hood) continue the late-night mood, followed by the bluesy Hyatt-penned title cut, which took its name from an East Austin funeral home and contains a wicked descending guitar riff. The album’s closer, the breezy “Aloha”, is also a Hyatt original, written in 1974 for Uncle Walt’s Band; Ball and Hood join him on vocals. All in all, King Tears is a first-rate effort from an American songwriter of major caliber.
Following a gig in Key West with the King Tears Band, Walter Hyatt boarded ValuJet Flight 592 to attend the graduation of his daughter, Haley. However, the plane caught fire and crashed into the Everglades, killing all 110 passengers and crew on board.
Which makes listening to it today such a poignant experience. At the time of his death, Hyatt was working on a new record for Sugar Hill, which released his last album, Music Town, in 1993. Perhaps the reissue of King Tears will garner Hyatt the major recognition in death that eluded him in life. God only knows, if he’d made it the first time around, he might’ve been flying first-class on a real airline. What a loss.
320 kpbs
Password: bassoprofundo
Enjoy!
King Tears (1990) Out of print
1. Tell Me Baby
2. Blind Love Blues
3. This Time, Lucille
4. Ruby
5. Outside Looking Out
6. Que Reste-T-Il de Nos Amours?
7. In November
8. Situé
9. King Tears
10. Aloha
Benny Quinn Mastering
Billy Williams Producer
Chuck Ainlay Engineer
Craig Nelson Bass (Acoustic)
David Ball Vocals (Background)
Deschamps Hood Guitar (Acoustic), Vocals (Background)
Jerry Joyner Design
Jessie Noble Project Coordinator
Judy Trenary Engineer
Lyle Lovett Producer
Marty Williams Digital Mixing Assistant, Engineer
Matt Rollings Piano
Paul Leim Drums
Peter Nash Photography
Virginia Team Art Direction
Walter Hyatt Main Performer, Vocals
Reviews:
Review (Amazon)
Right up front, here’s the straight dope: King Tears is a masterpiece. Recorded and released in 1990 for MCA Nashville’s mostly instrumental Master Series imprint and co-produced by Lyle Lovett and Billy Williams, the album got its 15 minutes of obscurity before disappearing — a fate common among Nashville-released records that fall outside what the industry there defines as “country.”
Which is to say that this is a singer-songwriter album that leans more toward jazz ‘n’ lounge than country. Hyatt’s warm and occasionally raspy baritone wraps around the generally downbeat material like fine brandy hugs a snifter; think Nat “King” Cole
woodshedding with Willie Nelson during the latter’s Tin Pan Alley period. The playing, by a small ensemble featuring ex-Uncle Walt’s Band-mate Champ Hood on guitar, Matt Rollings on piano, Craig Nelson on acoustic bass and Paul Leim on drums, is always
sweet and sensitive and never overbearing, as is Lovett and Williams’ deft production. But the sharpness and directness of the approach here betrays a sensibility that’s more honky-tonk weaned than suave.
King Tears opens with a pair of Hyatt originals (”Tell Me Baby”, “Blind Love Blues”) that evoke a peculiarly late-night contemplation of unrequited love; both tunes deserve to become standards in years to come. “This Time, Lucille”, a co-write with another Uncle Walt’s alumnus, David Ball, is next, followed by “Ruby”, a tune associated with Ray Charles. Another fine downbeat original, “Outside Looking Out”, precedes an exquisite cover of a song by French icon Charles Trenet, “Que reste-t-il de nos amours?”, on which Hyatt really demonstrates the resonance and depth of his eclectic approach.
“In November” (co-written with Tom Mitchell) and “Situé” (co-written with Hood) continue the late-night mood, followed by the bluesy Hyatt-penned title cut, which took its name from an East Austin funeral home and contains a wicked descending guitar riff. The album’s closer, the breezy “Aloha”, is also a Hyatt original, written in 1974 for Uncle Walt’s Band; Ball and Hood join him on vocals. All in all, King Tears is a first-rate effort from an American songwriter of major caliber.
Following a gig in Key West with the King Tears Band, Walter Hyatt boarded ValuJet Flight 592 to attend the graduation of his daughter, Haley. However, the plane caught fire and crashed into the Everglades, killing all 110 passengers and crew on board.
Which makes listening to it today such a poignant experience. At the time of his death, Hyatt was working on a new record for Sugar Hill, which released his last album, Music Town, in 1993. Perhaps the reissue of King Tears will garner Hyatt the major recognition in death that eluded him in life. God only knows, if he’d made it the first time around, he might’ve been flying first-class on a real airline. What a loss.
320 kpbs
http://rapidshare.com/files/267154319/whkt.rar
Password: bassoprofundo
Enjoy!
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