Review of Stephen Harrison's album 'Today Tomorrow' - Review written by Justin Kreitzer. Published 3rd May 2012
Click here to read at source or read below :
Veteran Edinburgh singer songwriter Stephen Harrison released his new album, Today Tomorrow at the beginning of this year on his own indie label Close Up Records UK. It is available on CD through his website and digitally on his Bandcamp page. Harrison has been creating music now for over thirty-three years, starting back in 1979 with his post punk band Metropak, and following to his solo work that leaned toward the rock end of the spectrum, until recently, he has sharpened his focus on the intimate acoustic-based folk-leaning singer songwriter fair that makes up his sixth solo album, Today Tomorrow. Stephen possesses a rich and commanding voice that fits somewhere in between David Bowie and the booming baritone of Matt Berningner of The National. His fingerstyle guitar work on the album has a melancholic and dulcet, Nick Drake-like tone with added piano, bass and the occasional lilting string section to lend some additional emotional weight.
The title track “Today Tomorrow” opens the album, setting the tone with a dusky love song with gently picked acoustic guitars and some romantic, moonlit melodies. The touching lyrics to the song are also the only lyrics included in the CD liner notes, making them that much more meaningful. Likewise, Stephen Harrison know that so much of music is about the feeling it gives you or the memories you have of when you first heard the song and the nostalgia-laced “Imagination” will capture yours with cascading guitars and imaginative lyrics using scenes in nature to evoke a night around the campfire with old friends. The more upbeat “Graffiti On A Wall” features a synthesized horn section with a melody that is instantly hummable but unfortunately sounds just a little bit too fake and distracts, feeling out of place with the beautiful organic folk that surrounds it. However, the synthesized strings propel the song with an emotional depth that matches the intensity of the lyrics. Elsewhere, the haunting and heart aching “Don’t Cry” spotlights the veteran songwriter’s knack for subtle yet ear-worming melodies set to an understated and unadorned arrangement. Cyclical guitars churn on the atmospheric standout track “Sphinx City” which paints picture of a barren and desolate city of one, dripping slow burning emotion with every note. Another standout track, “And If” is a touching and intimate ballad of love, regret and renewal that features soaring synthesized strings and a lively piano riff that nearly mirrors the guitar in a way that blends together into one, for the album’s biggest, most powerful sound. “Looking Back” shines the spotlight on Stephen’s guitar work with several melodic guitar runs that complement the hypnotic rhythm he creates with his fingerstyle guitar sound. “Shoegaze People” features a more ornate folk-leaning arrangement with banjo, bright piano chords and sparkling guitar melodies for a bit of a change of pace as Harrison sounds like a less melancholic Leonard Cohen on the standout track. “River Of Time” rides in on a wave of slightly bouncy acoustic guitars with little else accompanying it, showcasing the simplicity and great power a great voice and guitar can hold. Saving the best for last, “Nobody There” closes out the ten track album with gorgeous, breathy guest vocals from singer Karen Edward that are the perfect complement to Harrison’s molasses-thick vocals.
Although he isn’t exactly reinventing the wheel with his album, Today Tomorrow, Stephen Harrison does reveal a softer side as he steps out of his life-long rock music comfort zone to come full circle and focus more on the folk-driven, singer-songwriter material he started his career with and the resulting album is perfect for rainy day listening and a tribute to his sharp songwriting skill, deft guitar playing, and smooth voice..
Veteran Edinburgh singer songwriter Stephen Harrison released his new album, Today Tomorrow at the beginning of this year on his own indie label Close Up Records UK. It is available on CD through his website and digitally on his Bandcamp page. Harrison has been creating music now for over thirty-three years, starting back in 1979 with his post punk band Metropak, and following to his solo work that leaned toward the rock end of the spectrum, until recently, he has sharpened his focus on the intimate acoustic-based folk-leaning singer songwriter fair that makes up his sixth solo album, Today Tomorrow. Stephen possesses a rich and commanding voice that fits somewhere in between David Bowie and the booming baritone of Matt Berningner of The National. His fingerstyle guitar work on the album has a melancholic and dulcet, Nick Drake-like tone with added piano, bass and the occasional lilting string section to lend some additional emotional weight.
The title track “Today Tomorrow” opens the album, setting the tone with a dusky love song with gently picked acoustic guitars and some romantic, moonlit melodies. The touching lyrics to the song are also the only lyrics included in the CD liner notes, making them that much more meaningful. Likewise, Stephen Harrison know that so much of music is about the feeling it gives you or the memories you have of when you first heard the song and the nostalgia-laced “Imagination” will capture yours with cascading guitars and imaginative lyrics using scenes in nature to evoke a night around the campfire with old friends. The more upbeat “Graffiti On A Wall” features a synthesized horn section with a melody that is instantly hummable but unfortunately sounds just a little bit too fake and distracts, feeling out of place with the beautiful organic folk that surrounds it. However, the synthesized strings propel the song with an emotional depth that matches the intensity of the lyrics. Elsewhere, the haunting and heart aching “Don’t Cry” spotlights the veteran songwriter’s knack for subtle yet ear-worming melodies set to an understated and unadorned arrangement. Cyclical guitars churn on the atmospheric standout track “Sphinx City” which paints picture of a barren and desolate city of one, dripping slow burning emotion with every note. Another standout track, “And If” is a touching and intimate ballad of love, regret and renewal that features soaring synthesized strings and a lively piano riff that nearly mirrors the guitar in a way that blends together into one, for the album’s biggest, most powerful sound. “Looking Back” shines the spotlight on Stephen’s guitar work with several melodic guitar runs that complement the hypnotic rhythm he creates with his fingerstyle guitar sound. “Shoegaze People” features a more ornate folk-leaning arrangement with banjo, bright piano chords and sparkling guitar melodies for a bit of a change of pace as Harrison sounds like a less melancholic Leonard Cohen on the standout track. “River Of Time” rides in on a wave of slightly bouncy acoustic guitars with little else accompanying it, showcasing the simplicity and great power a great voice and guitar can hold. Saving the best for last, “Nobody There” closes out the ten track album with gorgeous, breathy guest vocals from singer Karen Edward that are the perfect complement to Harrison’s molasses-thick vocals.
Although he isn’t exactly reinventing the wheel with his album, Today Tomorrow, Stephen Harrison does reveal a softer side as he steps out of his life-long rock music comfort zone to come full circle and focus more on the folk-driven, singer-songwriter material he started his career with and the resulting album is perfect for rainy day listening and a tribute to his sharp songwriting skill, deft guitar playing, and smooth voice..
Review of the album 'Today Tomorrow by Stephen Harrison - Review written by William T Ayton published on 9th April, 2012
Click here to read at the source (William T Ayton's Blog) or read below :
Today Tomorrow..Review at last
I'm finally putting pen to paper (as it were) with a review of my old friend & erstwhile musical bandmate (Heyday, Edinburgh 1985 or so), Stephen Harrison, with his latest CD collection of songs, Today Tomorrow.
Part of my problem with getting to this review was my listening options. Either I could use my computer's speakers (a bit tinny) or my car stereo (much better, but in this case the sound of the engine tended to drown out some of the subtler frequencies of the music).
However, once I finally spent quality time with the album, I found it to be one of Stephen's best. Hard to tell at this point if it is the best, but it might be. Gone is the drum machine of yesteryear (one of my pet peeves, as almost any drum machine is going to sound inferior to an even mildly inventive drummer). This is pretty much a full-blown folk music album, with much fingerpicked acoustic guitar, no percussion, and only occasional keyboards audible in the mix.
I'm ultimately left with the conclusion that this is a rather huge, timeless collection. All of the songs are in a similar (but by no means the same) idiom, with vocals to the fore and very subtle, well-played acoustic guitars (sometimes sparsely layered) in the background, with occasional keyboards and voice (on one track, courtesy Karen Edward). Time does seem to stand still during my listening to the CD, and the songs tend to blend together, but in a way that emphasizes the whole, rather than denigrating the individual parts. My daughter mentioned that she thought it would make a good soundtrack to a movie...not a Hollywood blockbuster, I would imagine, but a low-key, alternative kind of art house movie perhaps.
All in all, it's a melancholy, wistful, deep, charming, beautiful album.
Here's the track-by-track with my impressions:
1. Today Tomorrow — a beautiful love song, basically.
2. River of Time — a meditation on time's passing.
3. Graffiti on a Wall — has a fairly upbeat feel, and keyboards.
4. Don't Cry — melancholy, as the title suggests.
5. Sphinx City — reminds me a bit of early Leonard Cohen. Probably my favorite track.
6. And If — images of leaving and going home. Sense of foreboding and hope. Epic keyboards come in near the end.
7. Looking Back — song of loss ("she's gone, baby's gone").
8. Shoegaze People — downbeat & melancholy, but with a ray of hope. "Let's be joyful, let's have fun / the answer will surely come."
9. Imagination — bucolic images..."this is a wonderful place"...a little melancholy again... especially nice guitar on this one.
10. Nobody There — the closing song ends on a note of sadness...beautiful vocal interlude by Karen Edward.
The CD cover imagery is a good complement to the music...simple images of natural wonder. The front cover reminds me of images of Machu Picchu (but it's probably a sea wall near Edinburgh). A nicely designed package.
.
Today Tomorrow..Review at last
I'm finally putting pen to paper (as it were) with a review of my old friend & erstwhile musical bandmate (Heyday, Edinburgh 1985 or so), Stephen Harrison, with his latest CD collection of songs, Today Tomorrow.
Part of my problem with getting to this review was my listening options. Either I could use my computer's speakers (a bit tinny) or my car stereo (much better, but in this case the sound of the engine tended to drown out some of the subtler frequencies of the music).
However, once I finally spent quality time with the album, I found it to be one of Stephen's best. Hard to tell at this point if it is the best, but it might be. Gone is the drum machine of yesteryear (one of my pet peeves, as almost any drum machine is going to sound inferior to an even mildly inventive drummer). This is pretty much a full-blown folk music album, with much fingerpicked acoustic guitar, no percussion, and only occasional keyboards audible in the mix.
I'm ultimately left with the conclusion that this is a rather huge, timeless collection. All of the songs are in a similar (but by no means the same) idiom, with vocals to the fore and very subtle, well-played acoustic guitars (sometimes sparsely layered) in the background, with occasional keyboards and voice (on one track, courtesy Karen Edward). Time does seem to stand still during my listening to the CD, and the songs tend to blend together, but in a way that emphasizes the whole, rather than denigrating the individual parts. My daughter mentioned that she thought it would make a good soundtrack to a movie...not a Hollywood blockbuster, I would imagine, but a low-key, alternative kind of art house movie perhaps.
All in all, it's a melancholy, wistful, deep, charming, beautiful album.
Here's the track-by-track with my impressions:
1. Today Tomorrow — a beautiful love song, basically.
2. River of Time — a meditation on time's passing.
3. Graffiti on a Wall — has a fairly upbeat feel, and keyboards.
4. Don't Cry — melancholy, as the title suggests.
5. Sphinx City — reminds me a bit of early Leonard Cohen. Probably my favorite track.
6. And If — images of leaving and going home. Sense of foreboding and hope. Epic keyboards come in near the end.
7. Looking Back — song of loss ("she's gone, baby's gone").
8. Shoegaze People — downbeat & melancholy, but with a ray of hope. "Let's be joyful, let's have fun / the answer will surely come."
9. Imagination — bucolic images..."this is a wonderful place"...a little melancholy again... especially nice guitar on this one.
10. Nobody There — the closing song ends on a note of sadness...beautiful vocal interlude by Karen Edward.
The CD cover imagery is a good complement to the music...simple images of natural wonder. The front cover reminds me of images of Machu Picchu (but it's probably a sea wall near Edinburgh). A nicely designed package.
.
Review of Stephen Harrison 'The Colour Of Black Is Black' - Reviewed by Stafford Davis. Published 5th January 2011
In the sense that the right amount of imperfection is perfection, Stephen Harrison has achieved this quandary of an artistic feat on his newest release, The Colour Of Black Is Black. Born in London and transplanted to Edinburgh while still a teenager in the late ‘70s, Harrison embraced the punk and new wave movement in full force as a member of the group, Metropak. Since leaving the band in 1979, Harrison has busied himself as a singer/songwriter exploring introspective themes that resonate with the common populace of his surroundings. On The Colour Of Black Is Black, Harrison’s command of his craftsmanship is evident on every song in both performance and composition. The album has a rough quality that implies it was recorded alone at home, with minimal instrumentation and production. The sparseness of the music combined with Harrison’s David Bowie and Nick Cave influenced vocals give the album a closed in feeling that, along with the photographs of an icy lake and adjoining cold landscapes found in the CD artwork, comfort the listener in the same fashion that the warmth of a rural cabin would comfort a cold traveler. Here, the warm reprieve from that harsh environment is the deeply personified and honest music of Stephen Harrison.
On the title track and first song, acoustic guitars and an odd sounding drum machine prepare the way for Harrison’s dark, yet comforting vocals. The first verse, “When all around is cold / And all around is closed / And everything turns to grey / And smoke fills the city / And all that I know runs away / And the colour of black is black” reaffirms the somber front cover with a mood that points toward loneliness. In fact, the song feels like a drifter passing through a small town on an overcast day where everything is shut down for a holiday to everyone but him. Such are the inferences when the delivery is so succinct and dead on.
The music on “Little Bird” has subtle jazz inflections underneath its surface in the same way that Van Morrison songs like, “Into the Mystic” and “Philosopher’s Stone” do. The playing is loose and at times, in regard to the piano, trepidacious. This, and Harrison’s wavering voice, is the cracks on the surface of high quality. Acknowledging the music’s weakness with human frailty gives the song an imperfect and human value that only appears sporadically and usually by accident in the arts. “Somewhere High” and “Summer Song” both offer a brief break in the clouds allowing some sunny skies to be seen on The Colour Of Black Is Black. On “Somewhere High,” Harrison sings in his best early ‘80s Bowie voice of dancing and flying; “Fly away with me / Into the sun / Fly away with me / Somewhere high.” “Summer Song” evokes the season in its name as well as, preserving friendships and cherishing good times.
Rounding out Harrison’s eleven-song journey, is “When Darkness Comes.” Though not as bleak as the title suggests, the song does touch on themes of loneliness and yearning as well as, uncertainty and risk. Sung in his clearly articulated baritone, Harrison perfectly communicates the human condition in a way that everyone over time can empathize with.
Not many independent, or professional artists for that matter achieve the kind of artistry found on The Colour Of Black Is Black. In a career that’s spanned over thirty years, Stephen Harrison has carefully honed his talent to the much-coveted position of dignified imperfection. His somber testament is in many ways reminiscent of Bob Dylan’s classic, Blood On The Tracks. In every way that Dylan’s record is genuine, honest, and individualistic, Harrison’s album is too. With his stylistic new wave leanings and folk deliveries, Harrison is a man that has arrived at his own niche of originality, and this is expertly communicated to his audience on The Colour Of Black Is Black.
Review by Stafford Davis
Rating: 5 stars (out of 5)
On the title track and first song, acoustic guitars and an odd sounding drum machine prepare the way for Harrison’s dark, yet comforting vocals. The first verse, “When all around is cold / And all around is closed / And everything turns to grey / And smoke fills the city / And all that I know runs away / And the colour of black is black” reaffirms the somber front cover with a mood that points toward loneliness. In fact, the song feels like a drifter passing through a small town on an overcast day where everything is shut down for a holiday to everyone but him. Such are the inferences when the delivery is so succinct and dead on.
The music on “Little Bird” has subtle jazz inflections underneath its surface in the same way that Van Morrison songs like, “Into the Mystic” and “Philosopher’s Stone” do. The playing is loose and at times, in regard to the piano, trepidacious. This, and Harrison’s wavering voice, is the cracks on the surface of high quality. Acknowledging the music’s weakness with human frailty gives the song an imperfect and human value that only appears sporadically and usually by accident in the arts. “Somewhere High” and “Summer Song” both offer a brief break in the clouds allowing some sunny skies to be seen on The Colour Of Black Is Black. On “Somewhere High,” Harrison sings in his best early ‘80s Bowie voice of dancing and flying; “Fly away with me / Into the sun / Fly away with me / Somewhere high.” “Summer Song” evokes the season in its name as well as, preserving friendships and cherishing good times.
Rounding out Harrison’s eleven-song journey, is “When Darkness Comes.” Though not as bleak as the title suggests, the song does touch on themes of loneliness and yearning as well as, uncertainty and risk. Sung in his clearly articulated baritone, Harrison perfectly communicates the human condition in a way that everyone over time can empathize with.
Not many independent, or professional artists for that matter achieve the kind of artistry found on The Colour Of Black Is Black. In a career that’s spanned over thirty years, Stephen Harrison has carefully honed his talent to the much-coveted position of dignified imperfection. His somber testament is in many ways reminiscent of Bob Dylan’s classic, Blood On The Tracks. In every way that Dylan’s record is genuine, honest, and individualistic, Harrison’s album is too. With his stylistic new wave leanings and folk deliveries, Harrison is a man that has arrived at his own niche of originality, and this is expertly communicated to his audience on The Colour Of Black Is Black.
Review by Stafford Davis
Rating: 5 stars (out of 5)
Review of Metropak 'The Singles Collection' Published in 'The Skinny'
Metropak – The Singles Collection - Posted by David Bowes, Fri 10 Dec 2010
Click here to read at source or read below
The late 70s spawned a vastly varied pool of talent within the UK, one hotbed of which was undoubtedly Edinburgh. From here came Metropak, four lads and two ladies with a desire to join the newly spawned new-wave/post punk scene, and in their all-too-short career they released three singles, collected here to avoid the obligatory eBay price-raising frenzy; three singles which have stood the test of time remarkably well.
Their sound is a fragmented and yet melodically coherent one, staccato drumming and psychedelia-infused organ grounded by pleasantly atonal vocals to create seven songs that evoke the creativity of the time with an abundance of flair to match. Their evolution throughout their three-year career is plainly evident, from also-rans to a band that seemed brimming with potential, thus cementing the disappointment that they did not last to craft a wider berth of material. [David Bowes]
'
'
Click here to read at source or read below
The late 70s spawned a vastly varied pool of talent within the UK, one hotbed of which was undoubtedly Edinburgh. From here came Metropak, four lads and two ladies with a desire to join the newly spawned new-wave/post punk scene, and in their all-too-short career they released three singles, collected here to avoid the obligatory eBay price-raising frenzy; three singles which have stood the test of time remarkably well.
Their sound is a fragmented and yet melodically coherent one, staccato drumming and psychedelia-infused organ grounded by pleasantly atonal vocals to create seven songs that evoke the creativity of the time with an abundance of flair to match. Their evolution throughout their three-year career is plainly evident, from also-rans to a band that seemed brimming with potential, thus cementing the disappointment that they did not last to craft a wider berth of material. [David Bowes]
'
'
Review of Metropak : The Singles Collection
By Paul Kerr : AmericanaUK
Metropak “The Singles Collection.” Close Up Records UK, 2010 Reviewers Rating7/10
Click here to read article at source, or read in full below.
Metropak “The Singles Collection.” Close Up Records UK, 2010 Reviewers Rating7/10
Click here to read article at source, or read in full below.
- Edinburgh post punk nugget
- Post punk Edinburgh band Metropak are one of the many also rans of the time who have since achieved critical acclaim. With original copies of their three singles rarer than hen’s teeth Close Up Records have collected them in this handy disc.
- Coming from the Pop Group, Wire, The Fall, Fast Records side of things as opposed to the three chord speed bash Metropak are the typical student/Peel favourite band of the time. Their angular, spiky songs have an attractive naiveté with a muscular elastic bass pulsing through all of the songs. Recorded between 1979 and 1980 the seven songs do stand up to the test of time. The D.I.Y. aesthetic of the time is firmly adhered to with the sound stark and unadorned. Pumped up loud they are invigorating with the best moments belonging to the A side of the first single, “You’re A Rebel,” the sinister Talking Heads on speed “Looking” and their final B side “Sex Cult Thing.” Ultimately however they never manage to achieve that killer song that might have got them into old Peelie’s festive fifty. This is a record that will excite anyone who used to hunt the singles racks in Bruce’s Records looking for the latest local sensation and as such Close Up Records are to be congratulated for releasing it.
Review of Stephen Harrison 'The Colour Of Black Is Black' Review written by William T Ayton. March 2011
Click here to read at source or read in full below.
Stephen Harrison, my old Edinburgh friend & bandmate from long ago (Heyday, mid-80s) recently sent me his new CD, "The Colour of Black is Black". It got put in a to-do pile for a while, but I've dug it out & am listening to it.
Despite the title and the somewhat stark gray tones on the front cover, this is not the melancholy work I was suspecting when I unwrapped it. The songs for the most part balance melancholy, sadness and introspection with a light and airy feel, reflecting a certain amount of happiness and positive feelings. Lyrically, there is also a sense of happiness that has not always been present in Stephen's words. This is probably due to the presence in his life of singer Karen Edward who co-wrote "Summer Song" with him, & seems to be having an uplifting effect upon his spirit. Musically, the album is quite varied, covering a spectrum from acoustic folk-tinged songs to somewhat harsher soundscapes ("The Way" in particular).
I like the way the instruments are layered: electric (jangly) guitar, acoustic, guitar, keyboards. All the songs are sung & played by Stephen. There is a drum machine, but its main function is to supply a basic beat and mostly not much else, which renders it a pulse, a heartbeat, to the music. Stephen's voice is in fine form, with what seems like more emotional range than usual, or at least more of the emotions are positive this time. All nine songs on the CD are strong, no filler that I can see/hear. All in all, a very thoughtful, eloquent album by a mature artist, & worth repeated listens.
Track-by-track impressions:
1. The Colour of Black is Black (3:34)
A folk-tinged song with prominent acoustic guitar & occasional keyboards. It gives the impression that it's going to be low-key, but then soars into joy from time to time.
2. My Song (2:29)
Slightly downbeat, but with a swing. A yearning love song. Some nice multitracked guitar work.
3. Little Bird (3:35)
Upbeat piano intro over a lively beat. Deliberately uses lyrical cliches to good effect. A happy love song. Could be a minor classic.
4. Somewhere High (2:11)
Another yearning love song. Nice low-key guitar work. Soaring keyboards in the background lift the song in its second half. A little on the short side.
5. The Way (3:49)
The album's center point & a possible masterpiece of relative simplicity. Repetitive to very good effect. A whirlpool of sound that pulls you in. Ominous. Darker and more electronic than much of Stephen's work. The vibrato guitar near the end is a good touch.
6. Summer Song (with words by Karen Edward) (3:52)
Happy acoustic guitar. Simple words. Folky. A feel-good song, relatively. Lots of space in this one. There is a hint of sadness in the background somehow.
7. Undiscovered and Alien (4:54)
Starts off dark and alienated. However, it starts to climb from its well of sadness and takes on a more nurturing tone. There are some beautiful melodic guitar fragments in here. Love transcends all.
8. Wilderness Years (3:34)
Guitar in the beginning sounds a little like birds. Yearning, but with love and happiness. Soulmates in the sun. Love and romance. Dancing with electric shoes.
9. When Darkness Comes (3:12)
Acoustic intro. Sparse. Plain and simple. A quiet beauty. Nice ending for the album.Posted by William T. Ayton.
William T Ayton - Website : http://www.ayton.net Blog : http://billayton.blogspot.com
Stephen Harrison, my old Edinburgh friend & bandmate from long ago (Heyday, mid-80s) recently sent me his new CD, "The Colour of Black is Black". It got put in a to-do pile for a while, but I've dug it out & am listening to it.
Despite the title and the somewhat stark gray tones on the front cover, this is not the melancholy work I was suspecting when I unwrapped it. The songs for the most part balance melancholy, sadness and introspection with a light and airy feel, reflecting a certain amount of happiness and positive feelings. Lyrically, there is also a sense of happiness that has not always been present in Stephen's words. This is probably due to the presence in his life of singer Karen Edward who co-wrote "Summer Song" with him, & seems to be having an uplifting effect upon his spirit. Musically, the album is quite varied, covering a spectrum from acoustic folk-tinged songs to somewhat harsher soundscapes ("The Way" in particular).
I like the way the instruments are layered: electric (jangly) guitar, acoustic, guitar, keyboards. All the songs are sung & played by Stephen. There is a drum machine, but its main function is to supply a basic beat and mostly not much else, which renders it a pulse, a heartbeat, to the music. Stephen's voice is in fine form, with what seems like more emotional range than usual, or at least more of the emotions are positive this time. All nine songs on the CD are strong, no filler that I can see/hear. All in all, a very thoughtful, eloquent album by a mature artist, & worth repeated listens.
Track-by-track impressions:
1. The Colour of Black is Black (3:34)
A folk-tinged song with prominent acoustic guitar & occasional keyboards. It gives the impression that it's going to be low-key, but then soars into joy from time to time.
2. My Song (2:29)
Slightly downbeat, but with a swing. A yearning love song. Some nice multitracked guitar work.
3. Little Bird (3:35)
Upbeat piano intro over a lively beat. Deliberately uses lyrical cliches to good effect. A happy love song. Could be a minor classic.
4. Somewhere High (2:11)
Another yearning love song. Nice low-key guitar work. Soaring keyboards in the background lift the song in its second half. A little on the short side.
5. The Way (3:49)
The album's center point & a possible masterpiece of relative simplicity. Repetitive to very good effect. A whirlpool of sound that pulls you in. Ominous. Darker and more electronic than much of Stephen's work. The vibrato guitar near the end is a good touch.
6. Summer Song (with words by Karen Edward) (3:52)
Happy acoustic guitar. Simple words. Folky. A feel-good song, relatively. Lots of space in this one. There is a hint of sadness in the background somehow.
7. Undiscovered and Alien (4:54)
Starts off dark and alienated. However, it starts to climb from its well of sadness and takes on a more nurturing tone. There are some beautiful melodic guitar fragments in here. Love transcends all.
8. Wilderness Years (3:34)
Guitar in the beginning sounds a little like birds. Yearning, but with love and happiness. Soulmates in the sun. Love and romance. Dancing with electric shoes.
9. When Darkness Comes (3:12)
Acoustic intro. Sparse. Plain and simple. A quiet beauty. Nice ending for the album.Posted by William T. Ayton.
William T Ayton - Website : http://www.ayton.net Blog : http://billayton.blogspot.com
