Paul Kelly ProfileA concept album really, Conversations With Ghosts sounds (deliberately) haunted. The basic premise of putting together pop and classical artists to bring life back to classic poets allows all involved to get out of their day jobs, while soundtrack fans will be particularly at home with the soundscapes and sonic atmospheres.
Beginning with a musical adaptation of Yeats' poem, The Lake Isle Of Innisfree, the orchestration is stark and spooky, so much so that Kelly's voice is a relief, a sign of life within the otherwise unfamiliar sounds. Anyone who did year 12 extension English will also recognise Sailing To Byzantium (again, resting gently on Kelly's precise but honestly ordinary delivery) and later Kelly also inhabits the words of women beautifully, too (Woman To Man by Judith Wright, One Need Not Be A Chamber To Be Haunted by Emily Dickinson). The latter is particularly filmic in its orchestration with strings and brass gently pulling against each other for attention; gorgeous, while the former is so delicate, singing “hold me for I am afraid”. Five Bells, which was particularly spectacular live, builds in a different way here as it's not clear if the bells are real until their finally sound at the end (clashing rigorously rather than with a dainty tinkle).
Some of Kelly's own words (and sounds) have been included too and, although the 'ghost' may not need to be here among the living souls, somehow it sounds otherworldly, especially on finale I'm Not Afraid Of The Dark Anymore; a simple and gorgeous concept that sees Kelly working without a safety net, but with ultimate skill.
