I've been very disappointed with this man's solo career.

Not very many albums and some seriously patchy ones.

Robbie Robertson from 1987 was great and I really liked half of Storyville, but that's about it.

I hope this is a worthy album to spend time with and not just play once or twice and file away.

I've been very disappointed with this man's solo career.

Not very many albums and some seriously patchy ones.

Robbie Robertson from 1987 was great and I really liked half of Storyville, but that's about it.

I hope this is a worthy album to spend time with and not just play once or twice and file away.

The pre-order price has been reduced to $9.99:

https://www.amazon.com/dp/B07VFQMGFF/?tag=imwan-20

To achieve the proper 19thcentury effect, Kerslake unearthed a Zoopraxiscope, a late 19thcentury device that inserts still photos into a carousel and re-shoots them for the desire stop-motion effect. Kerslake — whose videos for Nirvana, Stone Temple Pilots and Filter, among many others, helped define the look of Nineties indie and alt-rock — used a similar effect in parts of STP’s “Interstate Love Song” video. For this clip’s circus performers, he recruited former Cirque De Soleil acts, some contorting themselves in front of a backdrop from Martin Scorsese’s Carny, the 1980 movie that co-starred Robertson.

That footage is interwoven with equally grainy, evocative footage of Robertson filmed at his studio in Califoria. For a poignant touch, Robertson is seen holding the same guitar he played in The Last Waltz. “He gave me the option of using it, and we did it for the nostalgia,” Kerslake says, who marveled at its heft. “It was super heavy.”

I was working on the movie while I was working on the album. When I sit down to write a song, I don’t like to know where I’m going. That feeling of something just coming out of the air is exciting. It wasn’t a clever idea: One day, when I sat down with my guitar, I couldn’t help but write about The Irishman, and I started writing “I Hear You Paint Houses.” And all these ideas started coming together.

And then my buddy, Van Morrison, came to town. He asked me what I was working on and I said, “I’m doing a thing with Marty. I just started writing this song and it’s based on the book.” He was like, “Interesting subject matter.” I didn’t know what else to do but say, “Do you want to sing on it?” That’s the first thing on the album and the last thing on the album, “Remembrance,” is used at the end of The Irishman. The way Marty used it is quite beautiful and haunting.

In addition to Van Morrison, a number of other familiar faces contributed to Sinematic. Did you set out to make another “all-star” record?

I think of it as good casting. Some of the ideas were subconscious— I’m working on The Irishman and then, the next thing I know, I’m doing a song with Van Morrison, who is an Irishman. Then, I’m doing a song with Glen Hansard, another Irishman. You think, “This is either a coincidence or divine intervention.”

In some cases, I just wanted to work with people who raise the bar—Pino Palladino and Chris Dave. I worked with Derek Trucks, who is probably the best slide guitar player in the world—he is just absolutely remarkable and a fantastic guy, too. Doyle, Derek and I were three of Paul Allen’s favorite guitar players. [Allen, who co-founded Microsoft, owned the Seattle Seahawks and was a musician in his own right, died in late 2018.] I was doing a tribute to him after he passed away and I thought, “I should do this with Derek and Doyle.” It just made sense—we were all friends with him and had all been to football games and different things with him.

My daughter, Alexandra, works with Universal and turned me on to J.S. Ondara. I heard him and went, “That’s a sound.” I needed some vocals and would see Citizen Cope in the studio and asked him to sing on a few things. Then, there’s this Canadian group Bahamas. They did a bunch of background vocals for me and, once again, I just thought to myself: “It’s good to ask things.”

I also worked with an old friend of mine, Howie B. It’s such an unusual thing that he and I hit it off years ago. He’s this Jewish, underground DJ from Glasgow, Scotland, but has this musicality that I’m just drawn to. There’s no perfect rhyme or reason, but it all seemed to make sense at the time.