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.
Smashing Pumpkins, Mellon Collie and the Infinite Sadness (Virgin Records America)
Mellon Collie comprises 28 songs on two discs, titled "Dawn to Dusk" and "Twilight to Starlight."
Listeners anxiously awaiting this release and impatient to put in on the CD player are first greeted with the depressingly beautiful piano-based acoustic title track. It perfectly sets the stage for the music and surpasses the expectations of Pumpkins' fans.
After the mellancholie music, the Pumpkin-penned lyrics maintain that style on "Tonight, Tonight," which would make a great single for modern rock radio, and probably would cross over to Top 40. The song has a powerful melody and vocals that reflect the band's intellect and individuality. That's how a casual listener might interpret the song. Close inspection of the lyric sheet completes the impression - the song is about someone hesitant to act because of fear of failure or ridicule. The singer tries to tell this person the impossible is possible. The message nearly all can relate to, and the song is excellent if one misses the meaning.
On the one hand, Smashing Pumpkins are meant to be experienced instead of listened to. That means for most people absorbing the intense guitars and over-the-edge vocals of Billy Corgan - the words blend together as part of the whole mix without really sinking in. But the songs are also interesting to contemplate through studying the lyrics sheet. To some extent, reading the lyrics and listening to the songs is similar to reading a modern comic book - the experience seems convoluted and surreal. The band sure smashes all conventions with its work.
The first single is a good example. "Bullet with Butterfly Wings" is easy to experience but challenging to comprehend. It seems to discuss the rat race, where people must succeed at all costs, giving up their freedom in exchange for power and wealth. The average listener probably just hears a powerful song, but the serious fan can explore the deeper meanings.
Before listener's brains explode, a ballad creates an intellectual time out. "To Forgive" slows the pace and volume down long enough for people to hear the lyrics clearly and enjoy the wide range of talent the band brings to its discs.
This double disc set is full of music that would make good singles. Look out for "Love" at first listen. The song is far from a love song, but that might be part of what makes it sound great. "Here Is No Why" is another song to accept as a hit without asking for explanation. "Galapogos" has a mellow sound that also fits the limited criteria for success on Top 40 radio (which in this case also coincides with a good sound).
The whole production can be described best in three letters, "WOW." This is one of the best albums of the year, yet it likely will stand out much longer for its infinite sadness.
Various Artists, Santa Fe Sampler (Musical Transformations Inc.)
The artists on this sampler fall into a variety of genres, ranging from folk to new age music, yet they are held together by the influence of the southwest.
Eliza Gilkyson has the type of vocals and music that really blows listeners away. Based on the strength of both of her featured tracks on this disc, "Calling All Angels" and "Closer", her album Pilgrim belongs on everyone's shelves - especially if everything else sounds half as good as these tracks. The contemporary folk sound features catchy lyrics, great vocals and good accoustic guitar and other music. Her vocals sound similar to Judy Collins meets Suzanne Vega. Remember the name of this artist.
An easier name to remember is the artist Mariam. He offers two ambient sounds on Santa Fe, "Nights of Passage" and "Blinded by the Light." Both tracks are better than average instrumentals. They successfully create for listeners the musical landscape Mariam saw when he recorded the music.
Chris Sherland performs two accoustic guitar tracks. They both sound mellow and pleasant. Neither stands out as memorable in the whole sampler.
The blues of Jono Manson are more noticeable on the disc. However, the music lacks the defining element of blues: attitude. His voice matches the instruments in that neither really jumps out at you. Both sound like pretend blues that taps you politely on the shoulders. It comes across more as mediocre country.
The music of Susan Berman is fun and interesting, especially "What the Mother Pot Sings." It sounds a song children would enjoy learning and singing around a campfire at camp.
Listeners may think the pot sings the sound of bacon sizzling at the end of the song until they realize what they are hearing is a Native American percussion instrument on Robert Mirabal's "Rainsong." His flute music combines well with that of guitarist Sherland to balance the vocal tracks and beats on other songs. Mirabal's music sounds interesting.
More interesting, however, is Darby DeVon's "Together We Fly," which features her voice adding color as an instrument over new age music. She successfully captures the sound that Enya made famous. She sings her second track, and it sounds great, titled appropriately "The Knight at Dublin Castle."
Jenny Bird sounds similar to the tempo and range of Amy Grant, without religious references. They both are about as interesting, except Bird's songs are less catchy.
The disc ends with flamenco guitarists Daniel Jaramillo and Ruben Romero, who both bring a great sound to the recording. Their playing sounds refreshing, fast-paced and catchy.
Music on the sampler is varied enough to hold listeners' interest. It would provide good accompaniment to a fancy meal, as long as fried icecream is available for the last two tracks. Ole'!
Eliza Gilkyson, Pilgrims (Musical Transformations Inc.)
Because I gave a glowing review of Gilkyson based on her two songs in the Santa Fe Sampler, I thought I should review the whole disc to make sure the rest of the disc sounds as good. Otherwise, I might steer listeners wrong. Plus, if two songs sound great, the disc probably deserves a detailed review.
The liner notes on Pilgrims best describe Gilkyson's influences. She writes nothing is more relevant than the story of each person's journey toward love and understanding. There lies an inner world of clarity, awareness and completion.
"This is the pilgrimage for our time. Our oceans are the uncharted territory of our own hearts and minds and we are ilgrims in search of a new world within," she writes. The music captures the spirit of the journey. Yes, she deserves all the praise for the whole album as the two songs on the sampler warrant.
"Material Man" and "Foolish Heart" go hand in hand. The first describes a man out of touch with his feminine side; specifically, it describes man's obsession with violence and war. The second describes a woman out of touch with her inner male. That means she acts on emotions without examining her life logically and rationally. The general descriptions about the inner woman and man come from the liner notes. The songs are likely to serve as reminders to look at both sides of human behavior, rather than stereotyping men and women in general.
"Shadows and Footprints" is almost as great a song as "Calling All Angels." It tells how important it is for people to respect other living creatures and take their role as caretakers of the planet seriously. "Calling All Angels" is an invocation to a higher order in this time of imbalance, according to Gilkyson's liner notes.
Gilkyson uses images from the Ryder-Watie tarot deck to visualize the journey her music represents. Her voice, music and lyrics sound great. For listeners on the journey toward self enlightenment, this disc may reaffirm or re-energize. For others who have yet to undertake that pilgrimage, it might provide the impetus.
(C) 1995 Daniel E. Klatt Enterprises.