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I was on a break between classes back in my college days and I came home to find this interesting video playing on MTV. 'Sweet Lullaby'. It was fascinating. I thought the video was mysteriously beautiful while at the same being lush and vivid. It struck me as truly artistic. And the tune was lovely. I later learned the group used UNESCO recordings of tribal music from Zaire, Sahel, Tibesti, Burundi and other places in Africa to create this interesting world blend of Pygmy folk music and electronic dance beats. I also learned they donated a substantial portion of the album's profits to a fund to help Pygmy tribes of central Africa cope with environmental threats and are committed to preserving the cultural music of these native groups.
That sealed the deal for me. I was completely captivated. A worthy cause and interesting music... It was a done deal. I've continued to follow this interesting band and I think this album is one of the most exciting and interesting pieces of world music ever made.
From the opening track, the band sets a precedence for interesting melodies, catchy hooks and infectious beats. 'Sweet Lullaby' magically segues from the first number and the album seems to open like an expanse of jungles looming green and fragrant before you. 'Hunting' follows and is an exciting, upbeat number. 'Night Bird' is the next track and has a haunting quality making you imagine the sounds of dusk and the sweet twittering of small birds.
'The First Twilight' is an ambient bridge of sorts. It's the first purely instrumental piece and transitions into 'Savana Dance'. This track is motivated! It gets you excited and on the edge of your seat while at the same time maintaining the mystery of tribal sound. The next tracks are just as interesting and complex. 'The Second Twilight' is another instrumental ambient number that effectively set up 'Sweet Lullaby (Ambient Mix)'. Sadly, this mix is far more interesting and effective than any of the mixes appearing on the single. Also sadly, it's extremely short. But the flawless way in which these songs flow together is dynamically fluid. By far, this could easily be the most superior track on the disc. 'Forest Hymn' is almost an anthem of sorts. It has a grandiose full sound and the pygmy choir makes it seem like the perfect climax to a superior CD. An excellent build and the best possible track to close out this masterpiece.
If you don't have this album, you should pick it up. I imagine it was famously popular all over the world. And why wouldn't it be? Give it a listen and see if you aren't singing at the top of your lungs trying to mimic the sound of words you don't understand because it's just too damn infectious. This is a beautiful, purposeful recording. I love it. My final word: INSPIRED.
DEEP FOREST - DEEP FOREST
01. Deep Forest
02. Sweet Lullaby
03. Hunting
04. Night Bird
05. The First Twilight
06. Savana Dance
07. Desert Walk
08. White Whisper
09. The Second Twilight
10. Sweet Lullaby (Ambient Mix)
11. Forest Hymn
This was the first song I heard from Deep Forest and I loved it from the moment I heard it. Singles are tricky things. Sometimes you get something that enhances the song and the experience of the music and sometimes you get a money pit. I'm not exactly sure where I am on this one. The first track is essentially the album version while the second is more of an extended mix than anything. The third track is a typical club beat from the time period. It has a house beat with some tricked out synth playing over the top. It's nothing exciting or interesting though. The 'Round The World Mix' is something differently entirely. While staying true to the basic formula of the song, the beat is written in a deep house style and is fairly straightforward. I say it's straightforward, but it's also not unpleasant to listen to. Of the mixes, this is the best. The final track is just some odd trance synth sounds played over a deep drum beat with snatches of the song intermixed. It's interesting in itself, though hardly an attention stealer.
Overall, none of these mixes really do justice to the original song which is easily one of the most enjoyable pieces of music written. It's a lovely number. Check it out if you want, but the mixes are probably better downloaded than purchased on this format. My final word: NICE.
DEEP FOREST - SWEET LULLABY
01. Sweet Lullaby (Original Mix)
02. Sweet Lullaby (Remix)
03. Sweet Lullaby (Q-Bass Mix)
04. Sweet Lullaby (Round The World Mix)
05. Sweet Lullaby (Bonus A La Efx)
As probably anyone into Enya knows; she started out at 18 with her siblings in the famous band, Clannad. After touring and recording with them, she finally decided to strike out on her own. This soundtrack was her first attempt at a solo project. With the exception of the Jazz Club numbers, she composed all of these tunes.
Well... The Jazz Club pieces are somewhat mediocre at best. They're soft renditions of jazz standards done in a lounge style. 'Mack The Knife' is performed with a hurried swing that makes you wonder where the band was off too after the show. The rest are faithful, but boring versions.
I guess the best part of this record is hearing the evolution of an artist. She was smart to cut her teeth on this project rather than on a full fledged solo release. You can hear her starting to develop the sound she later becomes so famous for. But the reality of this record is that the music is fairly uninspired and simple. There's not a single track that stands out above the others. There are however, a number of tracks that leave a great deal to be desired and are frankly horrible. The inclusion of the saxophone in certain Enya numbers is quite horrific in and of itself. The numbers could stand on their own, but the inclusion of a session sounding jazz saxophonist detracts greatly from the appeal.
Having never seen this film, or knowing if it was even released in the United States, I can't say how the impact of specific scenes could have played in the creation of this work. Needless to say, I doubt very much there was much for her to play off of considering how weak this material is compared to just a few short years later.
This is an ideal gift for the die-hard Enya fan. But be prepared... This isn't the Enya you know and love. This is a developing artist cutting her teeth. You are warned. My final word: SCARY.
THE FROG PRINCE - ORIGINAL MOVIE SOUNDTRACK
01. The Train To Paris
02. The First Day
03. Jazz Club - Mack The Knife
04. Jazz Club - Let It Be Me
05. With Jean-Phillipe
06. Jenny
07. Reflections
08. The Frog Prince
09. Dreams
10. The Kiss
11. Jazz Club - Sweet Georgia Brown
12. Jazz Club - Georgia On My Mind
13. A Kiss By The Fountain
14. Jenny & Roz
15. Les Flon-Flons Du Bal
16. Epilogue
Sometimes you hear music that has the ability to stop you in your tracks. Music that can make you feel more than you're willing to admit. The first time I saw "Lemony Snicket's A Series Of Unfortunate Events", I found myself moved beyond all belief. I later realized is had as much to do with the grandiose music score as it did the actual writing and acting. The music to this film emotes as intensely as the scenery or the actors themselves. At moments, the music can move you to tears.
I've never paid much attention to composers of musical scores. Lately, I've found myself paying more and more attention to some of these incredible musicians and authors. Especially this guy. I'm inspired to find and hear more music from him.
In case you haven't seen the film, let me just say... There's a feeling prevalent through it of losing your breath. What happens to these children is a tragedy no one really addresses. It's a sad event that is quickly overlooked as they are shuffled from one place to the next, while adults plot to use them for their own purposes. The terrifying nature of their experience is felt only in the music of Thomas Newman who uses tiny sounds to depict the broken hearts and fragile minds of these orphaned children. Sure there's booming adventure, great big excitement and humor rolling non-stop through the scenes and scoring, but the defining moments arrive in the softer, more toned sounds of tracks like 'The Baudelaire Orphans', 'Resilience', 'VFD', 'One Last Look' and 'The Letter That Never Came'. These tracks in combination with the scenes they accompany have the ability to cause tears. Certain ones can cause it without the accompanying scene. This is where the tragedy of the film really comes to life. They convey pain, loss and the longing for home more fully than anything I've ever heard before. 'The Letter That Never Came' blurs my vision even as I type and listen to this beautiful melody. It's truly heartbreaking and hopeful at the same time. It brings resolution to what could be called the Baudelaire Orphans reoccurring theme.
There's creepy music too. 'Chez Olaf' is a fine example of this. There's the booming sounds of 'The Reptile Room' and 'The Wide Window'. The originality of the character themes are also wonderfully expressive. My favorite is probably 'Concerning Aunt Josephine'. Absolutely breathtaking music wonderfully off center, unique and inspired. This brilliant composer has won my heart with his masterpiece scoring.
I'm listening now to the final piece of this incredible soundtrack. It's probably one of the most popular pieces of music I've heard in a long time. It's popped up in other films and NPR uses it all the time between pieces. 'Drive Away (End Titles)' alone is worth the purchase of this worthy addition to any CD collection. Check it out. My final words: HEART RENDERING.
THOMAS NEWMAN - LEMONY SNICKET'S A SERIES OF UNFORTUNATE EVENTS
01. The Bad Beginning
02. Chez Olaf
03. The Baudelaire Orphans
04. In Loco Parentis
05. Resilience
06. The Reptile Room
07. An Unpleasant Incident
08. Curdled Cave
09. Puttanesca
10. Curious Feeling Of Falling
11. Regarding The Incredibly Deadly Viper
12. The Marvelous Marriage
13. Lachrymose Ferry
14. Concerning Aunt Josephine
15. VFD
16. The Wide Window
17. Cold As Ike
18. Hurricane Herman
19. Snaky Message
20. The Regrettable Episode Of The Leeches
21. Interlude With Sailboat
22. Verisimilitude
23. Loverly Spring
24. A Woeful Wedding
25. Attack Of The Hook-Handed Man
26. Taken By Surpreeze
27. One Last Look
28. The Letter That Never Came
29. Drive Away (End Title)
El DeBarge is a member of the 80's R&B family band, DeBarge. They scored a number of mediocre hits in the early 80's, especially on soundtracks. They eventually split up to work on solo projects. On this particular disc, El enlists the help of famous producers and songwriters. The overall production credit goes to Maurice White of Earth, Wind & Fire fame. He only gets one writing credit. It's the album's final track. 'Special' is a rather unremarkable piece that drags the body of work down. Ending with 'Prelude To Midnight' would have been a smarter choice.
El brings in all kinds of brand names to create this outing. Chante Moore contributes vocals on numerous tracks. Soul/Funk veterans Patti LaBelle and Larry Graham also show up on songs. Rapper Kool Moe Dee contributes a satisfying funk workout at the start of the album in the track, 'Fast Lane'. Larry Graham thumps out a pounding bass and you can catch him vocalizing as well. Patti LaBelle donates her voice and arranges vocals on 'After The Dance'. Keith Crouch appears to be the major musician on the disc. He works well with DeBarge and the interlude/prelude pieces are interesting musical ideas. They're intriguing though sadly too short to fully appreciate. There's at least another album's worth of instrumental material waiting to be flushed out.
The lag time occurs in the ballads. Switching up from nasty funk to social consciousness has never sat well with me. It's a bit dodgy and the fact El apologizes for the naughtiness of this album in the liner notes only destroys the credibility of the funky sound. It also demonstrates he realizes he'll never be successful just singing soppy ballads. And it should be pointed out the generic, boring moments on the album are the result of poor balladry. Still, nothing compares to the instrumentation and sheer funk of 'Leggs'. George Clinton would be proud.
Of course, all of this was unexpected but welcome. My purpose in buying this disc was the addition of a Prince track co-written by Kirk Johnson. 'Tip O' My Tongue' doesn't feature a performance by Prince. Instead, El and Crouch collaborate to interpret the song in the style of the album's other material. Musically interesting and catchy; 'Tip O' My Tongue' stands out from the other songs. It's more complex and challenging with a wonderful vocal arrangement driving the rhythm section forward. El isn't a stranger to the Prince camp. He sang background on the song Prince wrote for Kenny Rogers in 1987. It's not unexpected to have this contribution floating around.
What is unexpected is the funky diversity and fleshed out soul of the entire disc. It's quite enjoyable on its own. Like most R&B albums, it contains its share of boring, generic filler material, but comparatively speaking... It has more bright moments than dull. Song highlights include though not should be limited to: 'Fast Lane', 'My Heart Belongs To You', 'Tip O' My Tongue', 'Elmo Funk' (Prelude and Interlude), 'Thick', 'Leggs' and 'Another Chance'. So if you buy nothing else from El DeBarge, you wouldn't go wrong making this your one selection. Worth it!!!!! My final word: STORMY.
EL DEBARGE - IN THE STORM
01. Elmo Funk (Prelude)
02. Fast Lane
03. After The Dance
04. My Heart Belongs To You
05. Cry (Interlude)
06. Love Me Tonight
07. Sincerely Yours (Interlude)
08. You Know What I Like
09. Tip O' My Tongue
10. Soul Searchin' (Prelude)
11. In The Storm
12. And Then I Wrote (Interlude)
13. Thick
14. Another Chance
15. Leggs
16. Elmo Funk (Interlude)
17. You To Turn Me On
18. Prelude To Midnight
19. Special
Ultravox was probably more popular in Europe than in the United States. I was really into the New Romantic scene or New Wave, and I was following everything coming out under that category. Of course, not everything was good and some stuff was better than others. In the case of Ultravox, my first exposure to them was through a guy at a record store recommending them to me. He told me the best thing about Ultravox was years from now after music styles had changed, their material would still be classic. I didn't think much about that comment. It came back to me as I listened to this disc and I realized how right he was.
Ultravox had a turbulent history. The band I actually like isn't the original group. Rather, my fascination with them begins after Midge Ure joined the band. He knew one of the members through collaboration on the Visage project and was a fan of the original Ultravox. This chance meeting paved the way for the Ultravox I grew to love.
One of the things that really strikes you when you listen to this record is the strength of the material you're hearing. Each and every one of these tracks could have been released as a single. Musically, they have aggressive, powerful builds and each one is uniquely different from the next. From the outset, 'White China' grabs you and pulls you in. I've always thought this song was about Hong Kong eventually returning to communist rule. But when it was written, that transition was still years away. I don't know how else to interpret it. Metaphorically, it's about losing individualism and free choice. 'One Small Day' on the other hand is about developing an appreciation for life and seeing yourself the way others do. A very inspirational tune. 'Dancing With Tears In My Eyes' has an almost apocalyptic feel to it. It seems suicidal to a certain degree. Of the songs thus far, this is the least interesting musically, but I do enjoy the authentic piano playing to the fore. It's always been an interesting staple for a new wave group to include acoustic instruments amongst the electronic.
'Lament' is a singular tune. When it first starts, you're reminded of that Phil Collins song, 'In The Air Tonight' except this was written first. Once again, that luscious piano moves to the front to play the chorus melody. I feel a sense of longing and dissatisfaction when I hear this song. It makes me think of how disappointing a failed love can be. 'Man Of Two Worlds' actually sounds like a forerunner to something Rammstein would do. I can actually hear Rammstein covering this tune. There's definitely a sense of division here. The chorus plays in abrupt juxtaposition to the verses. 'Heart Of The Country' starts with an interesting drum pattern and progresses in a march of sorts. Appropriate for a song about being manipulated and deceived by political propaganda. 'When The Time Comes' is one of my favorite tracks. It's anticipating a broken heart. You remain in a situation even though you know it's bad for you. Because you know, "when the time comes (you'll) cry." What a brilliant take on love and loss. 'A Friend I Call Desire' has the bass section of a punk song. Vocally, there's a distance in Ure's delivery that creates a sense of separation. He distances himself from his feelings. Even though he innately understands they're a part of him.
Obviously, I really like this disc. I like Midge Ure and I like Ultravox. But if you don't believe me, give this disc a fair shake and tell me what you think. Can you hear what I hear in these wonderful tunes? My final word: ENDURING.
ULTRAVOX - LAMENT
01. White China
02. One Small Day
03. Dancing With Tears In My Eyes
04. Lament
05. Man Of Two Worlds
06. Heart Of The Country
07. When The Time Comes
08. A Friend I Call Desire
Joni Mitchell is an artist I'd heard a lot about before I actually heard her music. Prince admired her and talked about her often. I'd also heard her name dropped all over the place by various musicians and random people. To say she was influential on artists of the 80's wouldn't be inaccurate. She certainly influenced people I listened to.
Since the 80's, I've heard her material and I find her offbeat, kinda wacky and sometimes beautifully poetic. She's written some amazing stuff in her day. This album is one I purchased because Wendy & Lisa worked on it and I wanted to hear how their track would sound. I had no idea they only sang background for her. That was the extent of their involvement. Still, they give a rather lackluster song an ethereal quality it wouldn't normally have.
It seems like a whole slew of major names were drafted to help push this record. When I see lots of guest musicians, I automatically think the album is too weak to stand on its own merits. Sometimes I'm wrong, but in most cases, I'm right. The guest stars are appearing to help pump up record sales using their own celebrity to pimp sales to their fans. Here are some of the power names appearing on this record... Peter Gabriel, Don Henley, Billy Idol, Tom Petty, Willie Nelson, Steve Stevens and Thomas Dolby. Oh, and let's not forget Wendy & Lisa...
Mitchell writes music like free form poetry. She doesn't often follow traditional forms of prosody with her lyrics. Looking for meter in a Joni song can be as useless and destructive as a search and destroy mission. A part of me finds this appealing. I like the idea of her doing something outside the accepted formula. On the other hand, when I listen to it, I often feel unsatisfied with what she's doing. I ultimately ask myself, is she a brilliant artist? Or just a really bad lyricist?
The production value on this disc is pretty much standard fare. It came out in 88 and it sounds like it. There's all the typical flare of popular 80's production; which is another sign of marketing to a larger audience, but sadly, it leaves the listener with a generic feeling. Very little really stands out.
The subject matter is interesting to some degree. There's music about Native American culture, the desert, anti-war declarations and even a poke at product marketing. I find that last particularly interesting considering the obvious marketing aspects of the record to generate income. I like "My Secret Place" though I find the narrative of the song somewhat tedious. It still holds up as an enjoyable piece, largely due to Peter Gabriel's vocals with Mitchell's.
You know, I don't think anyone reading this would be surprised I didn't like the album. And I'm sure Mitchell's not fond of it now either. Something that seemed like a great idea at the time hasn't stood the test of time like her earlier material. The meaningful anthems, the delicate vocals... These things are missing from 'Chalk Mark In A Rain Storm'. If you're a die-hard Mitchell fan, this is a must have. For everyone else, save yourself the money and buy individual tracks online. Not exactly the best place to start discovering Joni Mitchell. My final words: DULL AS DISHWATER.
JONI MITCHELL - CHALK MARK IN A RAIN STORM
01. My Secret Place
02. Number One
03. Lakota
04. The Tea Leaf Prophecy (Lay Down Your Arms)
05. Dancing Clown
06. Cool Water
07. The Beat Of Black Wings
08. Snakes And Ladders
09. The Reoccurring Dream
10. A Bird That Whistles
