{"id":3342,"date":"2011-10-30T17:01:22","date_gmt":"2011-10-30T16:01:22","guid":{"rendered":"http:\/\/novamuska.org\/?p=3342"},"modified":"2013-02-12T11:09:34","modified_gmt":"2013-02-12T10:09:34","slug":"plosca-doghouse-roses-this-broken-key-yellowroom-music-2010","status":"publish","type":"post","link":"https:\/\/novamuska.org\/?p=3342","title":{"rendered":"PLO\u0160\u010cA: Doghouse Roses &#8211; This Broken Key (Yellowroom Music, 2010)"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-3343\" title=\"thisbrokenkey\" src=\"https:\/\/novamuska.org\/wp-content\/uploads\/2011\/10\/thisbrokenkey.jpg\" alt=\"\" width=\"320\" height=\"288\" \/><\/p>\n<p>&nbsp;<\/p>\n<p>Ko sem leta 1999 za\u010del sodelovati pri oddaji <em>Janeta Webra<\/em> na Valu 202, sem se spoznal s kitaro in zvokom \u0161kotskega kitarista in avtorja <em>Berta<\/em> <em>Janscha<\/em>. Na londonski sceni se je pojavil v \u0161estdesetih in objavil precej zanimivih plo\u0161\u010d z inovativnimi akusti\u010dnimi prijemi. Ko sem dobil v roke novo plo\u0161\u010do dua <em>Doghouse Roses<\/em>, ki je iz\u0161la oktobra 2010, mi je v o\u010di najprej padla referenca na Janscha, ko pa sem poslu\u0161al plo\u0161\u010do, bi zraven dodal morda \u0161e <em>Martina<\/em> <em>Carthyja<\/em>. Seveda je na plo\u0161\u010di najti \u0161e vrsto drugih pomembnih referenc; pevko <em>Iono<\/em> <em>MacDonald<\/em> so primerjali s <em>Sandy<\/em> <em>Denny<\/em>, v njenem glasu pa je slutiti tudi <em>Gillian<\/em> <em>Welch<\/em>, <em>Sarah<\/em> <em>MacLachlan<\/em> in <em>Joni<\/em> <em>Mitchell<\/em> iz njenega predjazzovskega obdobja. Ne morem pa si pomagati, da ne bi v izvajanju dua Doghouse Roses sli\u0161al tudi ob\u010dasnih odzvenov klasi\u010dnih dose\u017ekov <em>Simona &amp; Garfunkla<\/em>, <em>Emmylou Harris<\/em> ter tria <em>Peter, Paul and Mary<\/em>. Vse to seveda povezano v zanimiv in svojstven glasbeni sve\u017eenj, ki je prvi\u010d kulminiral na prvencu <em>How&#8217;ve You Been (All This Time)<\/em>. \u00bbPrekletstvo drugega albuma\u00ab, kot mu v diskografskih vodah radi re\u010dejo, se ni izpolnilo, morda tudi zato, ker svoboda v obliki lastne zalo\u017ebe prina\u0161a prenekatere koristi, album pa je tokrat docela avtorski, kar je kar nekako pri\u010dakovana poteza. Osrednja rde\u010da nit albuma je \u00bbzgodbarstvo\u00ab, ki v sebi zdru\u017euje oba glasbena pola: \u0161kotsko-angle\u0161ke baladne tradicije in seveda americano, ki se nekako po svoje duhovito demonstrira \u017ee z ovitkom plo\u0161\u010de. Folk-bluesovska \u0161timunga plo\u0161\u010de z nezanemarljivimi \u0161\u010depci countryja in nekaj perka\u0161na \u2013 zdi pa se, da <em>Paul Tasker<\/em> izkoristi vsako ponujeno prilo\u017enost za kak bluesovski izletek (<em>The Rain<\/em>) \u2013 lepo sovpada z zgodbami, ki priklicujejo \u00bbukleta\u00ab vzdu\u0161ja starih angle\u0161kih balad, pre\u017eeta z ljubezensko izku\u0161njo in svojevrstno bivanjsko stisko. <em>Trouble Gathering<\/em>, <em>Thunder of the Dawn<\/em> in <em>The Rain<\/em> se mi v tem kontekstu (z Woodstockom) zdijo najmo\u010dnej\u0161i trio (in pol) na plo\u0161\u010di. Zaklju\u010dna <em>The Highwayman<\/em> priklicuje americano, nekak\u0161en svet <em>Willieja<\/em> <em>Nelsona<\/em>, ki pa se na koncu spet spoji z oto\u0161kim izro\u010dilom, morda baladnega izvora a la <em>Leaving of Liverpool<\/em>. Izro\u010dilo angle\u0161ke balade, povezane z americano (v zgodovini glasbe, predvsem t. i. popularne, sta precej povezani) je domala neiz\u010drpno in \u017ee stari bluesovski pevci so posre\u010deno rekli, da je treba \u00bbstopiti za mulo in orati\u00ab. Kakor koli dobesedno ali metafori\u010dno \u017ee vzamemo to izjavo (in v americani je obojega precej), to velja tudi za prihodnja poglavja Doghouse Roses. Kot ka\u017ee po dosedanjih izdajah, navdiha \u0161e ne bo zmanjkalo.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Recenzija&#8230;<\/p>\n","protected":false},"author":30,"featured_media":3344,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"class_list":["post-3342","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-plosce"],"_links":{"self":[{"href":"https:\/\/novamuska.org\/index.php?rest_route=\/wp\/v2\/posts\/3342","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/novamuska.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/novamuska.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/novamuska.org\/index.php?rest_route=\/wp\/v2\/users\/30"}],"replies":[{"embeddable":true,"href":"https:\/\/novamuska.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3342"}],"version-history":[{"count":3,"href":"https:\/\/novamuska.org\/index.php?rest_route=\/wp\/v2\/posts\/3342\/revisions"}],"predecessor-version":[{"id":6019,"href":"https:\/\/novamuska.org\/index.php?rest_route=\/wp\/v2\/posts\/3342\/revisions\/6019"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/novamuska.org\/index.php?rest_route=\/wp\/v2\/media\/3344"}],"wp:attachment":[{"href":"https:\/\/novamuska.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3342"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/novamuska.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3342"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/novamuska.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3342"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}