The instrumental line-up - fiddler Stuart Duncan who also doubles on banjo, stand-up bassist Dennis Crouch, mandolin player Mike Compton, Jeff Taylor on accordion and dobro virtuoso Jerry Douglas - adds plenty of light and shade to the recording.
Burnett’s trick of working live in the studio, recording softly to analogue tape but playing back loud results in a recording with plenty of warmth, and you get the distinct impression that they’re there in the room with you playing live. Jim Lauderdale adds shadowing harmonies throughout, adding an extra, almost subliminal warmth.
Like most of Costello’s recent efforts, the listener’s reaction to the album is probably going to reflect whatever baggage you’re bringing with you rather than what’s on the album. Personally, having been listening to a fair bit of bluegrass Americana recently I’m inclined to rate it highly, though there’ll be others who’ll probably dismiss it on the basis of their own prejudices.
In any case I’m inclined to the viewpoint that Costello’s always been as much about the writing as the recording and performing. Less than a fortnight out from my first exposure to the man in concert I may be revising that opinion, of course, but if you look at the album as a collection of songs written over a fairly lengthy interval that have been recorded in a particular setting I think it works rather well.
The songs fit the treatment, the setting works and the performances are recorded in a way that captures the live in the studio feel. Works for me.