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2001 Daniel Gannaway G Non-Soundtrack Music

Daniel Gannaway – Bound And Suburban

Daniel Gannaway - Bound And SuburbanThis appealing self-published entry from New Zealand singer/songwriter Daniel Gannaway may be a low-key winner, but it’s a winner nonetheless – actually, it’s one of the best things that I’ve heard so far this year. Predominantly a one-man-and-his-guitar album with some drum machine and the occasional overdubbed keyboards and backing vocals, Bound And Suburban benefits from some self-assured musicianship and an excellent lyrical sensibility. In some ways, the best thumbnail description I can offer to the uninitiated is a combination of the lo-fi cool of the Finn Brothers or Sunglass and the hard-to-describe but distinct sound of the world-weary Celtic minstrel. Gannaway isn’t afraid to wax modern on several tracks either, with “Y’Hold My Court” standing out as a fine example of this.

My favorite track on the album happens to be the first, the majestically wistful “The Lights R’Out (Over Caldor)”, perhaps the most Celtic-sounding song of the entire set. It’s easy to see why this one was the lead track – Gannaway’s firing on all pistons here, with some outstanding guitar work, some light keyboards in all the right places, and vocals with are neither too thin nor too overpowering for the song. Other favorites include the appropriately slippery “Bourbon”, “Slide”, and the quirky “Achilles”. The entire album is relaxing, but never in a sleepy way.

If there’s one thing that Daniel could improve on in future releases, and I realize this is a difficult thing for any struggling musician to do with the limited resources that entails, would be to get some real drums in there, even if he’s got to get someone else in to play them. The drum machine worked well on rockier entries like “Image & Kool”, but as magnificently sweeping as “The Lights R’Out (Over Caldor)” already is, it could be positively magical with some real percussion in there. Some songs like “Not Your Lot” sidestepped the drum machine entirely or made only minimal use of it. Still, despite that, it says something that the songs weren’t 4 out of 4brought down by the drum machine – I just think some of them could be even better with someone hitting some real skins.

Highly recommended stuff. If, this year, you let me point you in the direction of just one artist you’ve never heard of, do check this one out.

Order this CD

  1. The Lights R’Out (Over Caldor) (6:02)
  2. Slide (6:50)
  3. Somewhere In Japan (Fishtank Soul) (6:00)
  4. Image & Kool (4:25)
  5. Not Your Lot (6:45)
  6. Bourbon (5:18)
  7. Y’Hold My Court (5:18)
  8. Bound And Suburban (4:35)
  9. Achilles (2:56)
  10. Where’s The Way? (5:38)

Released by: Daniel Gannaway
Release date: 2001
Total running time: 53:$7

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2001 B Butterfly Jones Non-Soundtrack Music

Butterfly Jones – Napalm Springs

Butterfly Jones - Napalm SpringsButterfly Jones is a new band that might sound familiar to fans of early-90s alternative rock – the group’s core is guitarist/vocalist/songwriter Michael Gurley and drummer/songwriter Phil Leavitt, two-thirds of the band dada. They bring their guitar-driven alt-rock sound to Butterfly Jones, with up-tempo songs that charge forward with great enthusiasm and thoughtful ballads that don’t go overboard on the emotion.

Standout songs on the album include “Suicide Bridge”, which has some excellent work on violin, viola and cello. Like many of the songs on the album, Bridge tiptoes on the line dividing hope and despair, with the narrator daring to lean toward hope – the bridge says, “In an instance everything can turn around / In an instance everything is lost / And all is found.”

“The Systematic Dumbing Down Of Terry Constance Jones” is a little bit odd, as Gurley gives a first-person perspective of the title character changing her ambitions to fit society’s expectations – it’s a very smart song, and I like it a lot, but I don’t know if people will find it presumptuous that Gurley would assume to speak for women in this way. I hope not.

“Are We In Love Again” ought to be the theme song for every on-again/off-again relationship, and is darned catchy besides. I particularly like the chorus, in which the title phrase alternates with quick yes-or-no questions that bounce between the yes-I-Rating: 4 out of 4love-you-no-I-can’t-stand-you extremes that have the narrator so confused. Gurley’s vocals, solid throughout the album, really shine here.

These three songs are probably my favorites on the disc, but there’s not a bad song on the album. Definitely worth a listen or five.

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  1. Napalm Springs (4:19)
  2. Suicide Bridge (4:25)
  3. Anywhere But Now (3:44)
  4. Sophie (3:05)
  5. Alright (6:01)
  6. Are We In Love Again (3:28)
  7. Wonder (3:13)
  8. Sunshine And Ecstacy (2:43)
  9. Blue Roses (4:06)
  10. The Systematic Dumbing Down Of Terry Constance Jones (3:43)
  11. When People Are Mean (2:44)
  12. It’s Cool Dude (4:15)
  13. Dreamtime (3:12)
  14. Please (3:05)

Released by: Vanguard
Release date: 2001
Total running time: 47:12

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2001 John Mayer M Non-Soundtrack Music

John Mayer – Room For Squares

John Mayer - Room For SquaresJohn Mayer’s Room For Squares ranks as one of my most fortunate musical finds; Mayer opened for former Toad The Wet Sprocket frontman Glen Phillips on a recent acoustic tour, and shortly after Philadelphia radio station WXPN started rather heavy airplay of the album’s first single, “No Such Thing”. I eventually decided to buy the CD, and now I’m hooked. The guitar line and percussion do a great job carrying the basic melodies, whether they’re slower, somewhat dreamy tunes like “Your Body Is a Wonderland” and “City Love” or more energetic songs such as “Love Song For No One” and “No Such Thing”. Meyer then builds around those melodies with organs, pianos, violins and other instrumentation to create a sound that’s very light but still rich enough to engage the listener. He can use a few notes to perfectly capture a particular emotion, and let that emotion color the rest of the song. “3×5” is a song about a traveler whose experiences reconnect him to the world, and the simple fragment that connects the verses seems to sum up the gravity of such a moment.

Meyer’s lyrics may be even more accomplished than the music. He has a sense of humor about himself and the world that doesn’t prevent him from being emotionally honest and insightful; at his best, he combines the two sides. “83”‘s nostalgia is summed up in the closing “whatever happened to my lunchbox / when came the day that it got thrown away / and don’t you think I should have had some say / in that decision?” And I don’t think anyone could come up with a better follow-your-heart exhortation than “No Such Thing”, where he says, “I want to scream at the top of my lungs/I just found out there’s no such thing as the real world/Just a lie you’ve 4 out of 4got to rise above.” (Meyer delivers the phrase “at the top of my lungs” in a high-pitched call that somehow sounds good while still inspiring the tone-deaf among us to sing along in delight.) Direct and witty at the same time, Room For Squares is an outstanding example of intelligent songwriting, and I can only hope it finds the audience it deserves.

Order this CD

  1. No Such Thing (3:51)
  2. Why Georgia (4:28)
  3. My Stupid Mouth (3:45)
  4. Your Body Is A Wonderland (4:09)
  5. Neon (4:22)
  6. City Love (4:00)
  7. 83 (4:50)
  8. 3×5 (4:50)
  9. Love Song For No One (3:21)
  10. Back To You (4:01)
  11. Great Indoors (3:36)
  12. Not Myself (3:40)
  1. St. Patrick’s Day (5:21)

Released by: Columbia
Release date: 2001
Total running time: 54:21

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2001 M Non-Soundtrack Music Paul McCartney

Paul McCartney – Driving Rain

Paul McCartney - Driving RainWow, it’s finally happened – Paul McCartney, whose last project I really dug was 1997’s Flaming Pie, has been dragged into the 90s. Not a bad trick, considering that this album was released in 2001.

I was pleasantly surprised by Driving Rain, having been bitterly disappointed by the retro-cover-fest that was Run Devil Run. And one of the things that I believe surprised many people about Driving Rain was the fresh frankness of the lyrics, dealing openly with McCartney’s second marriage following his first wife’s death due to cancer. But while the subject matter is a bit different for the former Beatle, his way with a pop song isn’t. Tunes like “Your Way”, “Magic” and “Driving Rain” demonstrate his melodic gift, complete with trademark hooks.

Songs like “Spinning On An Axis” and “She’s Given Up Talking”, however, introduce something new to the equation – a bit of modern groove and a much more modern sound production-wise. These things aren’t unwelcome, and I felt the number of songs given this treatment wasn’t overpowering. You won’t be wondering why Sir Paul suddenly changed his entire sound – because he hasn’t.

“Riding Into Jaipur” is the kind of Indian-flavored tune we might have expected from the late George Harrison, while “Heather” turns out to be another surprise, with a lengthy instrumental jam eventually leading up to a single verse song. “Rinse The Raindrops” is also mostly instrumental, and clocking in at ten or so minutes with its atmosphere of a nice loose jam, it would’ve made a nice album closer. But as most people know by now, it’s not the album closer – that honor goes to the hurriedly-written song “Freedom”, which addresses the September 11th, 2001 terrorist attacks on the U.S. in what I can most charitably describe as a token manner, 3 out of 4with jingoistic, repetetive lyrics that don’t really rise to the challenge of addressing the momentous events that inspired them. Honestly, I would’ve rather he’d ended Driving Rain with “Rinse The Raindrops”, or perhaps moved the “No More Lonely Nights”-esque “Your Loving Flame” down to end the album; “Freedom” is, in itself, hardly a song befitting the occasion, and not as good as the rest of the album.

Order this CD

  1. Lonely Road (3:15)
  2. From A Lover To A Friend (3:48)
  3. She’s Given Up Talking (4:57)
  4. Driving Rain (3:26)
  5. I Do (2:55)
  6. Tiny Bubble (4:20)
  7. Magic (3:57)
  8. Your Way (2:54)
  9. Spinning On An Axis (5:15)
  10. About You (2:53)
  11. Heather (3:24)
  12. Back In The Sunshine Again (4:21)
  13. Loving Flame (3:42)
  14. Riding Into Jaipur (4:06)
  15. Rinse The Raindrops (10:11)
  16. Freedom (3:31)

Released by: Capitol
Release date: 2001
Total running time: 66:55

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2001 J Jewel Non-Soundtrack Music

Jewel – This Way

Jewel - This WayLove her or hate her, Jewel is back. I admit to liking quite a bit – but not all – of Jewel’s past work, but I can also see where there’s a bit of pop culture backlash against her trying-almost-too-hard-to-be-earnest style. And to some degree, wisely, she sheds some – but not all – of that style in her latest album.

“Standing Still”, which also led the album as its first single, starts things off with a burst of raw energy which carries Jewel firmly out of the wanna-be folkster category and into rock ‘n’ roll territory. Some might be a bit dubious about this transition, but she actually carries it off well – her voice is capable of pulling it off respectably.

Other standout tracks include L”ove Me, Just Leave Me Alone”, “Serve The Ego”, and “Everybody Needs Someone Sometime”, all of which feature something of the same rocky feel as “Standing Still” to varying degrees. On other tracks, such as “Break Me”, Jewel retains her signature style, proving for the doubters that perhaps she hasn’t changed as much as you might think.

Overall, there’s actually a pretty good balance of new Jewel and old Jewel, stylistically speaking, and there are even a few live tracks thrown in at the end of the album just to mix things up even more. Still, there’s something missing – the ballads don’t come close to reaching the eloquence of “Amen” or “Deep Water”, and the rockier numbers somehow aren’t on the same plateau as, say, “Down So Long” or “Who Will Save Your Soul”. It’s just possible that Jewel has run out of inspiration and is falling back on old tricks to fill things out. The 3 out of 4press material for This Way made a point of telling us that Jewel had been burned out on touring and promotions during the publicity trail for her second album, and retreated from performing for a while to recoup her energies; This Way, while certainly listenable in places, comes across as a bit hollow both musically and lyrically. Maybe Jewel wasn’t quite ready to come back.

Order this CD

  1. Standing Still (4:29)
  2. Jesus Loves You (4:20)
  3. Everybody Needs Someone Sometime (4:08)
  4. Break Me (4:03)
  5. Do You Want To Play? (2:55)
  6. Till We Run Out Of Road (4:45)
  7. Serve The Ego (4:57)
  8. This Way (4:16)
  9. Cleveland (4:09)
  10. I Won’t Walk Away (4:46)
  11. Love Me, Just Leave Me Alone (3:47)
  12. The New Wild West (5:05)
  13. Grey Matter (4:40)
  14. Sometimes It Be That Way (4:21)

Released by: Atlantic
Release date: 2001
Total running time: 59:41

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2001 F Jason Falkner Non-Soundtrack Music

Jason Falkner – Bedtime With The Beatles

Jason Falkner - Bedtime With The BeatlesWe’ve been awaiting something new from Jason Falkner since his second solo album. But while some diehard fans may have felt Bedtime With The Beatles was a misstep for their favorite practitioner of power pop, it does serve as something that, perhaps, another all-original solo project wouldn’t have done: it’s a testament not only to the enduring power of the Lennon/McCartney catalog, but also to Falkner’s incredible musicianship.

Falkner is known for playing virtually everything on his solo albums himself, and this album is no exception, with the only session musicians manning classical string instruments. The album’s packaging hypes it as a lullaby album, suitable for singing baby to sleep, and indeed it is quite relaxing; the webmaster’s cats dozed off listening to it pretty quickly. But those who stay awake can marvel at the intricate new arrangements. Beatles tunes have long been fodder for instrumentals, but this isn’t elevator music. It may be slowed down, but the sheer beauty revealed in some of the songs is staggering.

The album opens with “Blackbird”, the original version of which I’ll fess up to not particularly liking, and which I have to admit may even be the best track on the entire disc. Some of the others songs are among my personal favorites in the Beatles’ repertoire: “Across The Universe”, “Here, There And Everywhere”, “And I 4 out of 4Love Her” and “I’m Only Sleeping”, which in particular has an appropriately dreamy quality.

Lyrics are included for those who literally do want to make a lullaby out of the Beatles classics…and those of us who still have our eyes open at the end of “The Long And Winding Road” sincerely hope that Jason Falkner will find some time in his schedule to do another Bedtime With The Beatles album.

Order this CD

  1. Blackbird (3:36)
  2. Across The Universe (4:07)
  3. And I Love Her (3:07)
  4. I’m Only Sleeping (4:11)
  5. If I Fell (3:43)
  6. The Fool On The Hill (3:46)
  7. Mother Nature’s Son (2:51)
  8. Michelle (3:14)
  9. Here, There And Everywhere (3:53)
  10. In My Life (3:25)
  11. The Long And Winding Road (3:58)

Released by: Sony Wonder
Release date: 2001
Total running time: 40:09

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1971 2001 E ELO Non-Soundtrack Music

Electric Light Orchestra – First Light

Electric Light Orchestra - First LightElectric Light Orchestra - First LightIn the late 60s, one would’ve been hard-pressed to find a post-Beatles psychedelic power pop outfit more prominent in Britain than The Move. (How prominent? One of their singles was the first song played on BBC Radio 1.) So naturally, the members of the Move would’ve been crazy to knock a sure thing in the head and try something as drastically different as a live rock group with its own string section.

Fortunately for us, Roy Wood and newcomer Jeff Lynne were crazy enough to do just that. Frequently quoted as “picking up where ‘I Am The Walrus’ left off,” Wood and Lynne dared to throw layer after layer of cello on top of Lynne’s latest composition, “10538 Overture”, which was originally slated to be a Move B-side. The result thrilled them enough to continue forging ahead with their neoclassical aspirations in mind, and the songs grew more adventurous from there; “The Battle Of Marston Moor” has no rock elements at all, adding Wood’s historical spoken narrative to a largely baroque backing. “Whisper In The Night” adds layers of cellos and an angelic choir to a fairly simple ballad. Lynne’s “Mr. Radio” strives for an old-time radio sound, featuring no bass whatsoever (but plenty of cellos).

First Light is a 2-CD celebration of the band’s first album, dating back to 1971 (whose original no-frills single-CD release has been reviewed here previously). Remastered from the original session tapes, the original album tracks have never sounded better, and yet the cleaning-up of the material doesn’t strip it of its heady early 70s charm. A new version of the album, brought up to modern specs, would be worth the price of admission alone, but bonus tracks fill out both the CD containing the original album and and entire second CD. Some of the stuff – the incredibly rare live tracks from one of the group’s earliest performances, alternate takes of several songs from the album – is priceless. The live version of a song known only by the title “Jeff’s Boogie No. 2” (later heard on the group’s second album under the title “In Old England Town”) is particularly fascinating, with wildly different lyrics than what eventually accompanied that music. And the live “Whisper In The Night”, minus the cellos and choir but with a helping hand from the other band members’ more traditional instruments, is also worth a listen. And just for the record, I want to know who on Earth recorded the BBC Radio intros to the second disc’s two different versions of “10538 Overture” – who thought to keep that stuff!?

Both discs included copious liner notes booklets, with comments from Lynne and Wood and tons of photos. The first disc is also filled out with an extensive multimedia CD-ROM section featuring the session logs, the band’s discography, and even the rare promotional video from “10538 Overture”.

rating: 4 out of 4Overall, it’s a grand package for those already acquainted with the first album, or those interested in ELO’s beginnings. Sadly, only a few thousand copies of the two-disc Limited Edition have been made, and the title reverts to the first disc only after that. If ELO is up your alley, spring for the deluxe edition while it’s there.

Order this CD

    Disc one:
  1. 10538 Overture (5:37)
  2. Look At Me Now (3:20)
  3. Nellie Takes Her Bow (6:02)
  4. The Battle Of Marston Moor (July 2nd, 1644) (6:05)
  5. First Movement (Jumping Biz) (3:03)
  6. Mr. Radio (5:06)
  7. Manhattan Rumble (49th Street Massacre) (4:25)
  8. Queen Of The Hours (3:25)
  9. Whisper In The Night (4:49)
  10. The Battle Of Marston Moor – alternate take (1:00)
  11. 10538 Overture – alternate take (5:48)
    Disc two:
  1. Brian Matthews Introduces ELO (0:37)
  2. 10538 Overture – acetate version (5:24)
  3. Look At Me Now – quadrophonic mix (3:19)
  4. Nellie Takes Her Bow – quadrophonic mix (5:59)
  5. The Battle Of Marston Moor – quadrophonic mix (5:55)
  6. Jeff’s Boogie No. 2 – live (6:58)
  7. Whisper In The Night – live (5:45)
  8. Great Balls Of Fire – live (5:40)
  9. Queen Of The Hours – quadrophonic mix (3:18)
  10. Mr. Radio – Take 9 (5:18)
  11. 10538 Overture – BBC Sessions version (10:39)
    (includes Whisper In The Night – BBC Sessions version as “hidden track”)

Released by: EMI/Harvest
Release date: 2001
Disc one total running time: 48:40
Disc two total running time: 58:52

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2001 Non-Soundtrack Music R R.E.M.

R.E.M. – Reveal

RevealR.E.M. pulled a bit of a bait-and-switch with the first single from their new album, Reveal. “Imitation of Life” sounds a lot like the band’s work on albums like Lifes Rich Pageant and Green, enhanced by the acoustic and orchestral effects the band mastered on Automatic For The People and “The Great Beyond” (from the Man On The Moon soundtrack). Some longtime fans of the band, perhaps a bit disappointed with 1998’s Up, listened to Peter Buck’s uptempo electric guitar and said, “Ah ha, old school R.E.M. is back.”

Well, as it turns out, not so much.

As good a song as it is, “Imitation of Life” is something of an anomaly on Reveal, which consists mainly of slower, sparser songs with a heavy amount of electronica, sampling and looping. Many of the songs sound more like they were assembled than performed. But while fans of the band may have once again had their hopes of seeing the band be what it used to be dashed, Reveal is another example of R.E.M.’s skill at the art of songcraft. Some of these tunes are forgettable or best left as background music, but some are among the most beautiful songs I’ve ever heard.

The opening track, “The Lifting,” is just outstanding. Michael Stipe’s lyrics conjure the possibilities of a break from worn-out routines and conventions and our reluctance to leave the safety that they provide. (The refrain: “You said the air was singing/It’s calling you you don’t believe/These things you’ve never seen never dreamed”) The electronic elements are crucial here; they give the song that otherworldliness that balances lines like “The weather’s fine/The sky is blue/It’s perfect for our seminar.”

The weight of missed opportunities and failed relationships haunts “I’ll Take the Rain,” an excellent ballad with some fine acoustic guitar work from Buck and what I believe to be Mike Mills’ usual excellence on the keyboards. The song alternates soft, understated verses with more expansive, lush choruses for an effect that is beautiful in a way that almost hurts to hear.

rating: 3 out of 4 Those three highlights make the album more than worth your time, but the rest of the album will grow on you if you give it time, and if you listen to it as a whole. I’m not sure “All the Way to Reno (You’re Gonna Be a Star)” will stand up well as the next single, for example, but on the album it fits. If you absolutely hated the very idea of Up, you probably won’t like this album, but if you liked Up, or thought it was a good concept but poorly executed, I’m pretty sure you’ll find something on this album worth adding to your favorite song list.

Order this CD

  1. The Lifting (4:39)
  2. I’ve Been High (3:26)
  3. All the Way to Reno (You’re Gonna Be a Star) (4:45)
  4. She Just Wants to Be (5:22)
  5. Disappear (4:15)
  6. Saturn Return (4:55)
  7. Beat a Drum (4:21)
  8. Imitation of Life (3:57)
  9. Summer Turns to High (3:32)
  10. Chorus and the Ring (4:31)
  11. I’ll Take the Rain (5:51)
  12. Beachball (4:14)

Released by: Warner Bros.
Release date: 2001
Total running time: 53:46

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2001 M Me First and the Gimme Gimmes Non-Soundtrack Music

Me First and the Gimme Gimmes – Blow In The Wind

Me First and the Gimme Gimmes - Blow In The WindMe First and the Gimme Gimmes are almost miracle workers in my book. How could they actually make me like that miserably depressing Terry Jack tune “Seasons In The Sun”? By covering it in their own bizarre punk style – they’re all able musicians, the Gimmes, but at times they play the song just badly enough that it’s a redeeming trait. But their latest album – once again clocking in at a measley (and expensive) half-hour only – proves that they can, indeed, play the hell out of something if they so choose. And they’ve once again chosen the oldies, sticking to the 60s and early 70s so familiar to me from my own oldies radio experience. I love the music of this era – and the Gimmes attack it with aplomb, actually delivering well-played and at times almost reverent (note I said “almost”) covers of these tunes.

The highlights include “Elenor” (a Turtles cover), a little Lennon & McCartney tune called “All My Lovin'”, the Beach Boys’ “Sloop John B”, and an astonishingly good version of Cat Stevens’ “Wild World”. But not content to sing only those songs originally essayed by men, the Gimmes also have a field day with Petula Clark’s “I Only Want To Be With You”, Tammy Wynette’s “Stand By Your Man” (which, halfway through the song, becomes “Stand By Your Band”, a tribute to groupies everywhere), and “My Boyfriend’s Back” (in which not one single word is changed, not even to reflect gender). The results are hilarious, but the vocals, performances and production are sharpening quite noticeably. They’re not butchering the songs this time, as 4 out of 4was the case with a few of their offerings on the last album, Me First and the Gimme Gimmes Are A Drag.

Highly recommended – and they’re touring now! – though I do wish they’d turn out something more along the lines of the length of an actual album.

Order this CD

  1. Blowin’ In The Wind (1:44)
  2. Sloop John B. (2:09)
  3. Wild World (2:30)
  4. Who Put The Bomp (2:02)
  5. Elenor (2:33)
  6. My Boyfriend’s Back (2:26)
  7. All My Lovin’ (1:54)
  8. Stand By Your Man (2:01)
  9. San Francisco (1:47)
  10. I Only Want To Be With You (2:12)
  11. Runaway (1:59)
  12. Will You Still Love Me Tomorrow? (2:07)
  13. Different Drum (2:31)
  14. You’ve Got A Friend (2:32)

Released by: Fat Wreck Chords
Release date: 2001
Total running time: 30:27

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2001 A Non-Soundtrack Music

Afro-Celt Sound System – Volume 3: Further In Time

Afro-Celt Sound System - Volume 3: Further In TimeThe third effort from one of world music’s most high-profile acts – thanks to their home on Peter Gabriel’s renowned RealWorld label and the attendant promotion they get – truly explains Afro-Celt Sound System’s longevity and their appeal. If anything, this might just be the album that breaks them into the mainstream.

Further In Time features some high-profile guest gigs, with Mr. Gabriel himself taking the vocal duties on “When You’re Falling”, a cheerful, upbeat number, while Robert Plant of Led Zeppelin fame takes center stage on the mystical “Life Begin Again”, which just has the feel of a Led Zep number. I almost wish he could get Page in there and remake “Kashmir” with the Afro-Celts. Now that would be interesting.

Other highlights of the CD include the hyper-kinetic “Shadowman” (whose appeal is dimmed for me only in that one moment in which one of the vocalists shouts “Whassssuuuuuuup?” – and half the time I just let it slide because I like the rest of the song so much). I could see Shadowman making a dent in the clubs. The gentle vocals of “Go On Through” give that song a great appeal, and I hardly ever notice that the track tops out at just over eight minutes. It’s very relaxing. And “Lagan” just blows my mind, with its orchestral backing – it reminds me of some of the better tracks from Art Of Noise’s Seduction Of Claude Debussy, only more primal and mystic. “Onwards” could soothe just about anybody, no matter the circumstances. And “The Persistence Of Memory” has both the sound – and the shorter length – of a radio-friendly hit. I hope it4 out of 4 happens for them this time. They deserve it for this album.

I can’t recommend this one highly enough. I’ve enjoyed the Afro-Celts’ previous efforts, but their third time is the proverbial charm, raising the bar for their future efforts – and giving the uninitiated an excellent reason to check them out. Do pick this one up.

    Order this CD in the Store
  1. North (6:49)
  2. North 2 (3:01)
  3. When You’re Falling featuring Peter Gabriel (5:14)
  4. Colossus (6:44)
  5. Lagan (4:04)
  6. Shadowman (6:36)
  7. Life Begin Again (vocals: Robert Plant) (6:22)
  8. Further In Time (6:32)
  9. Go On Through (8:03)
  10. Persistence Of Memory (4:29)
  11. The Silken Whip (7:18)
  12. Onwards (5:29)

Released by: RealWorld
Release date: 2001
Total running time: 70:41

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