Death's Dateless Night
| Death's Dateless Night | ||||
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| Studio album by Paul Kelly and Charlie Owen | ||||
| Released | 7 October 2016 | |||
| Recorded | 2016 | |||
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| Genre | Pop rock | |||
| Length | 40:28 | |||
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| Paul Kelly and Charlie Owen chronology | ||||
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| Professional ratings | |
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| Source | Rating |
| Cashbox Magazine |   |
| The Guardian | mixed |
| No Depression | positive |
| PopMatters |   |
| Record Collector | |
Death's Dateless Night is the 22nd studio album by Paul Kelly and is a collaboration with fellow Australian musician, Charlie Owen, which was issued via Gawd Aggie/Universal Music Australia on 7 October 2016. It was co-produced by Kelly, Owen and J. Walker, which peaked at No. 16 on the ARIA Albums Chart. It was nominated for Best Blues and Roots Album at the ARIA Music Awards of 2017.
Australian musicians Paul Kelly and Charlie Owen released Death's Dateless Night as a collaborative concept album, with "songs that they have performed at funerals." In 2015 Kelly and Owen were driving to the funeral of a friend when they discussed tracks they had used on such occasions and decided to record an album of such songs. The title is a phrase from Shakespeare's Sonnet 30.
Most of the tracks on Death's Dateless Night are cover versions, some are traditional songs and a few are originals previously recorded by Kelly. Kelly provided lead vocals and guitars (acoustic, electric), while Owen was on dobro, guitars (acoustic, nylon string, lap steel), piano (standard, electric) and vocal harmonies. As session musicians, they used Kelly's relatives Maddy and Memphis (his daughters) and Mary Jo (his sister) on vocal harmonies as well as fellow record producer, Machine Translations (a.k.a. J. Walker or Greg Walker), on harmonies. Walker also mixed and engineered the album. At the ARIA Music Awards of 2017 it was nominated for Best Blues and Roots Album.
Cashbox Magazine's David Bowling rated the album at four-out-of-five stars and explained, "The music is basic and for the most part acoustic... The song-selection is more philosophical than depressing... [they] have managed to make the concept of death both interesting and listenable." Jasper Bruce of PopMatters rated it at seven-out-of-ten and opined, "The wandering style and stripped-back texture are vintage Kelly, and the slide guitar classic Owen. The record is a strong continuation of the musical explorations of these great Australian artists who, while they can always keep us guessing, are forever able to validate why they are held in such high esteem."
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