LINDSAY WADDINGTON
Nullarbor
White Rabbit – Dingo – Always On My Mind – Invisible Tears –
Spanish Eyes – Nullarbor – Rose Garden – Just Enough To Keep Me Hanging
On – Sea Of Heartbreak – Freight Train Yodel
Lindsay Waddington is a guitarist. Perhaps one
of the best in Australia. This instrumental album of some really really
good songs is a solid perfect compilation of some incredibly good
guitar pickin.’ The very first song that Lindsay picks is a song
written and recorded by a good friend of mine Peter Posa who makes his
home in New Zealand. I’ve not heard anyone ‘pick’ that particular song
as good as Peter does, but Lindsay Waddington is without a doubt right
at the top. Matter of fact this entire album is right at the top. Good
‘electric’ guitar pickin’ is hard to find in today’s world of ‘pop
oriented’ mass produced sounds. Lindsay Waddington has found the right
studio and the right producer to put this together, making it a near
perfect production of incredibly delightful instrumental representations
of some delightful to listen to melody lines. Lindsay includes two of
his own originals, both of which stand at the forefront of all the
melody lines we hear here. “Dingo” and “Nullarbor” are both winners.
You can also tell by these titles, that Lindsay Waddington is an
Australian with a very personal touch on his guitar. The backing
instrumentalists are also in that same high class of participation.
Lindsay is also the producer, and he knew exactly what he was looking
for, what he was listening for, what he wanted to sound like. He used
some amazing instrumentalists to participate too. Lawrie Minson on
steel, dobro, harp, banjo, slide guitar, and accordion. Whew! Does
that sound like an accomplished musician, yes it does. Glenn Thomas on
piano, organ, flugel horn (love it on “Spanish Eyes.” Yes, everything
has it’s proper place and it’s proper sound. Hugh Curtis is on fiddle,
mandolin, and bass. Now we come to the final mix. Yes, the very most
important part of making it all come together, and indeed it does.
What Chet Atkins used to do in Studio-B in Nashville has long since
disappeared from America’s country music scene. BUT, it’s right back
here on Kross Kut Records in Australia. Not only is it good, it’s
better than it once was in Nashville. Lindsay plays a neat electric
Fender, but he also picks acoustic too, so he knows what he likes and
how it should sound. Not very hard for me to put five stars on this
production. It’s not only good, it’s a great departure for the mundane
we hear today in all kinds of music. Off this one goes to the Rural
Roots Music Commission. I’ll be following their listening experience
with a close ear.
WWW.MUSIC-SAVERS.COM RECORD REVIEW BY Bob Everhart, President, National Traditional Country Music Association, for Country Music News International Magazine & Radio Show