HEIDI TALBOT - SING IT FOR A LIFETIME
An incredible album dealing with the breakdown of a marriage.
Heidi Talbot is an Irish born folk singer-songwriter now based in Edinburgh. Her latest release, Sing it for a Lifetime, came to my attention from the guest appearance of Mark Knopfler (who has featured with her before), one of my all-time musical idols, but I must stress at the outset that this album stands up so well on its own that it does not require the obvious selling point.
Talbot has a beautiful voice, one which reminds me of Melanie in her (delicious) pomp, especially on the opener, which is the title track, and clearly an exercise in catharsis. The lyrics talk about “it’s building, rising, raging in you. I know that it’s the right time”. This album has been performed in the wake of her marriage breakup (to John McCusker, who plays with Knopfler), and the personal feel to it is exceptionally strong. Knopfler is not the main collaborator. That honour goes to legendary Appalachian, Dirk Powell. This album is an interesting amalgam of folk, country, and Americana, and is never anything less than a fascinating listen.
In my review of Marillion’s An Hour Before It’s Dark, I waxed lyrical about the beauty of the tribute Hogarth wrote to Leonard Cohen (The Nightingale and the Crow). Well, on this album, we have a gorgeous cover of Famous Blue Raincoat. I can absolutely guarantee that regular visitors to this site, most of you dedicated prog rock fans, will love this track, which places a sumptuous and unique stamp on a classic.
The first collaboration with Knopfler is Empty Promise Land, a song written by Powell, who provides vocals as well. This is, I believe, yet another one of those collaborations which owing to a certain Mr Lurgy was conducted remotely. It is a nice piece of Americana, with Powell adding a darker texture to the vocals, and Knopfler adding a lush guitar. The vocals speak of that time when a breakup becomes a certainty, but both parties do not see it in front of their eyes and fill their lives with empty promises for the future.
Other covers on the album include She’s Gone, a Bob Marley song. Marley was a genius, and this version is rather special. Talbot is, of course, the woman in question, and she takes the part of the forlorn ex quite wonderfully. The complex guitar parts are delicately played and gorgeous.
When Possession Gets Too Strong was a hit for one Ms Dolly Parton 52 years ago now. It is probably the most nakedly marked attempt on the album to move into American country territory, but the fiddle, accordion, and Powell’s backing vocals make for an interesting and enjoyable exercise
Broken Mirror is a song co-written by Talbot with Powell. The piano on this track is evocative, and lyrically it talks about new life inside of Talbot, and when she is born, they will be alone. I know not of Heidi’s personal circumstances, but I take this lyric to be allegorical. The song itself is deeply restrained.
Let Your Eyes Get Used To The Dark is a song written by Boo Hewerdine, a prolific English songwriter. This is a deliciously smoky blues number. There You Are, again featuring Knopfler, was a hit for Willie Nelson a few years back. The guitar is simply beautiful, and Talbot again brings her unique vocal touch to bring a tenderness to the song, the original of which was itself a thoughtful and delicate piece of music.
Probably the other familiar musical name to regular readers of my reviews will be Guy Fletcher, the keyboardist with Dire Straits and multi-instrumentalist who has worked with Knopfler since that great band’s breakup. He plays on Wandering Roads, another Powell composition (with Rhiannon Giddens), and the organ he plays in the background perfectly accompanies the fiddle and more delicate vocals, bringing another blues-tinged delight.
Bring Me Home is the final track on the album, and is another Powell composition featuring some fine strings, and an understated Knopfler guitar backing a wistful vocal talking about the joy of going home and, I believe, facing up to the challenge of life moving forward.
I have deliberately left until the end of the song discussion on this review the highlight of the album, and in my top five tracks of the year, the achingly beautiful and raw letter to Talbot’s ex that is I Let You Go. I have embedded a video below. The fiddle at the start provides for the perfect backdrop and acoustic guitar chords accompany the most achingly fragile vocal I have heard in a long time. “I let you go, you let me down” is just about the perfect summation of the emotions which crackle across this wonderful album. When Talbot starts to say goodbye, I defy anybody with a human heart not to be deeply moved. Really quite beautiful.
As a collection of songs which deal with the heartbreak of a relationship ending, this is about as raw and emotional as it gets. Of course, such events have led to some of the finest musical performances ever, for example Fleetwood Mac’s Rumours or Peter Gabriel’s Us. This album deserves to be mentioned in the same breath. It is human emotion at its most painful, but, paradoxically, is an uplifting experience from start to finish. Most visitors reading this review, of course, are progressive rock fans, but knowing many of you intimately, I know that you have an open mind when it comes to music appreciation. Open your hearts and your mind to one of the best albums you are likely to hear all year. Very highly recommended.
Heidi’s website is at https://heiditalbot.com/home