The reviews in this column appeared on the Internet before they were printed in the newspaper where I work.
Featured are artists having at least apparent or speculative ties to the spiritual or other-worldly. In the first artist, the ties come from the genre. In the second, the name suggests this connection. And in the third, the spiritual beliefs that defined his music, which helped define the genre, provide the source of the connection.
The subject seems fitting, too, because in the case of the second artist, I had an unidentified reviewing objective. I didn't like the music the first time I heard it, but gave it a spin again and changed my opinion of the recording. I thought the first opinion should stay with the atlterations, so let's get on with the play.
Suzanne Ciani, Dream Suite (Seventh Wave)
When Ciani's fingers touch the piano keys, her heart opens up and spills out onto the recording, no matter which song she plays.
Ciani's piano music expresses her very sensitive nature. The songs on Dream Suite are enhanced, however, by musicians from the Young Russia Orchestra. Ciani composed and produced each song. Especially with the help of the orchestra, Ciani's sound blurs the distinction between new age and classical music.
"Meeting Mozart" is so emotionally charged, it could easily send the tears gushing if a person recently were hurt in a relationship; if not, perhaps it will stir memories of that special person and either cause listeners to hold that person closely or contact him or her.
"Lime Marmalade Reverie" is a light-hearted piece that sounds pretty good, maybe partly because it doesn't try to make a statement, much less really stand for anything. The only thing the song is about is, in Ciani's liner notes, "Oxford tea, ivy walls, lime marmalade, black gowns billowed over bicycles." The fluffyness of the track is part of its charm.
"Full Moon Sonata" is another brilliantly romantic composition. "Pulled into dreaming by the magnetic moonlight" Ciani writes of her influence for the song. It successfully reflects on how beautiful a full moon is and invites listeners to contemplate on the song as the artist was attracted to the orb in the evening sky.
"Time Stops" tries to be romantic, too, but doesn't quite capture the passion the way the sonata does."Dream of the Pink Zebra" is another light-hearted track about an animal that likes to dance. The zebra came out of its herd and visited Ciani in a dream. The song is fun.
The album is a pretty good mix of emotional, intimate pieces and less serious, light-hearted tracks, but a few songs don't really hit the mark and end up sounding like placekeepers instead of solid instrumentals.
Follow this link to the Suzanne Ciani Home Page.
UFO, Heaven's Gate (Live) (Griffin Music)
Although this is a current release, the concert was recorded in Oxford, England, in September 1986, and the music sounds really dated. That fact is compounded by another, the quality of the sound recording leaves listeners wanting polished UFO, instead of the live, raw experience.
UFO probably made for a decent live show, complete with the energy and on-stage presence of the band. But the music sounds flat and stale on this disc. Maybe the years have taken their toll on the band. UFO's Strangers in the Night release, recorded in 1979, is far superior to this live disc. That live recording features the band's best - maybe the Heaven's Gate release secretly recognizes the defacto death of the band long ago, although its members still record albums today.
The earlier recording highlights the band when it could fill stadiums. In 1986, however, it probably could only fill nightclubs. The earlier show featured the same singer, Phil Mogg, but also guitar virtuoso Michael Schenker, who left to pursue his own band which found success during the 1980s. Heaven's Gate features lead guitars instead by Atomic Tommy M, who bombs here. That might be too strong, but both Mogg's tired-sounding vocals and Atomic Tommy's overdone, non-impressive guitar work make this recording pale in comparison to the earlier live show.
Not everything on this disc sounds bad. The band sounds pretty good on its two final songs, made famous during its earlier stages: "Only You Can Rock Me" and "Doctor Doctor."
Mogg's voice may not have the same range as it used to, but he still creates the sound that brought the band its fame. Guitarist Atomic Tommy M sounds average, but his work enhances the songs. The live sound tends to mute all of the instruments, from guitars to drums to vocals. Most live discs sound better than their studio counterparts, because the mics capture the energy of the live show. This one doesn't; it flattens it.
Despite the limitations of the recording, the songs still entertain.
"This Time," "Night Run" and the title track are highlights, but each song is worth hearing.
Perhaps studio officials had the same thoughts as the band in "Only You Can Rock Me" - "We're the boys and we've got nothing to lose." They had a live show on their hands, so they might as well release it.
Maybe they thought the "Wreckless" nature of the recording was not bad enough that they needed to "Doctor Doctor" it up any, thus maintaining the integrity of the recording. Each fan will have to decide if that was the right choice. If that was the only way to get the music to a mass audience, then it probably was.
Follow this link to the UFO and Micheal Schenker home page.
Bob Marley, So Much Things To Say (RAS Records)
Most contemporary music followers know Bob Marley had a lot to say in his music, but on this disc, he talks directly to his fans through an interviewer's questions.
On the 30-minute recording, the Jamaican artist that made the genre popular two generations ago talks about being a Rasta and several aspects of his religion.
Marley had just returned from a tour of North America in 1973 when Neville Willoughby caught up with the soon-to-be legend.
The interviewer describes the experience best in his liner notes: "I sensed that Bob was standing on the edge of greatness, and somehow I knew that he sensed it, too. Indeed, some of the things that he said were almost prophetic. But then, they might have been the sayings of a man who was completely confident in himself and Jah."
When asked what point he wants to reach in music, Marley said, "The fulfillment of revelation." His spiritual beliefs influenced all aspects of his life, especially his music. Even a simple question about how Marley got his start in music became turned around in his answer to reflect his gratitude for Jah giving him his start and the beginning of creation.
He also talks about his music during the interview. For example, Marley says he gets the same feeling performing in the rest of the world as he does in Jamaica. He also describes some of the bad dealings he had with music industry types early on and how that affected him and other Jamaican artists. And he gives his opinion of non-Jamaican artists making money with reggae songs.
In all fairness to Marley's memory, he seemed to have a positive attitude about life, but the interviewer kept asking questions to draw out his negative experiences.
Interspersed between questions and answers are clips from live and studio songs. Probably only the most ardent Bob Marley fans will get enough out of the interview disc to want to purchase it. Anyone who likes the artist will find it interesting, however.
Hearing the disc gives listeners the context under which Marley's music comes from by providing a glimpse into his soul.
Follow this link to a home page that celebrates Marley's 50th birthday.
(C) 1995 Daniel E. Klatt Enterprises.