By NOEL MURPHY
HE’S ONE of Oz country’s biggest stars and just a little mysterious.
A household name with a string of awards and platinum albums, a bloke who single-handedly turned a generation onto country music, paved the way for fellow Aussies in Nashville and then chucked it all in to go busking around Europe in a Kombi.
James Blundell’s been a headliner since he broke onto the country scene with Song for Louise more than 25 years ago.
He’s earned about 20 major awards and changed the nature of Australian country into a punchier, harder rock genre with contemporary lyrics and links to the average worker.
Blundell might be synonymous with Aussie country but he’s also been likened more often to musicians such as Amerian’s Steve Earle and Kris Kristofferson than any other Antipodean singer-songwriter.
His latest recording, Woolshed Creek, suggests the 40-something, twice divorced father of three has more in common with that kind of country-outlaw than Australian country artists who have followed his lead.
His latest single, Hills of Brisbane, reflects the observational lyricism that colour his style. Indeed, Blundell’s insight, wit and empathy characterise his work.
But he’s a different man these days, re-emerging from a self-imposed six-year hiatus after working away from the music game.
He famously fought with EMI, refusing to be boxed in its preferred mould.
These days he works the family property at Mount Malakoff, in southern Queensland, farming sheep and cattle.
Working long hours, often alone, allows Blundell time to formulate ideas in a way touring never really could.
He focuses on narrative, relations and observation – “one of the very few things in songwriting you’re allowed to do as you get older and not become disenfranchised”, he told the Independent.
“Social and political opinions are much sharper in kitchens and shearers’ quarters than the middle of town, where you spend half your time trying not to get run over.
“A day’s productive fencing, or drenching sheep, can be very creative, especially with no interruptions or phone calls. It’s a kind of rebirth of creativity.”
Blundell’s was exposed to guitar by his musician grandfather and songs via an “excruciating’ stereogram and two records, Sandy Shaw’s Puppet on a String and Herb Alpert’s Spanish Flea, alongside a few Marty Robbins and Slim Dusty songs”.
Lawrie Minson’s mighty dobro playing on Hills of Brisbane taps Blundell’s great regard for ther likes of Ry Cooder and Jerry Douglas while reflecting the contemplative theme he strives for in his music.
“I bemoan solos showing how great the technical skills are of some players. They should be somewhat abetting songs, give you a moment to think about what’s going on.”
Blundell will appear alongside a raft of leading Australian country artists at Geelong’s Motor City Music Festival on the March Labour Day long weekend.
