Customer Reviews

Breakfast In New Orleans, Dinner In Timbuktu

5 star:		(26)
4 star:		(10)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

1. When You Give It Away - A funky rock and roll song reminiscent in pace and sound to much of the material from the "Dart To The Heart" album, "When You Give It Away" is also lyrically powerful. The song begins with a sense of alienation as the result of both the harshness of reality and the almost existential absurdness of much of collective human communication . "When You Give It Away" includes possibly the first lyrical reference to both O.J. Simpson and Prince Charles.

2. Mango - Reminiscent of the often explicitly sexual poetry found in "Song of Songs/Solomon" from the Bible, Cockburn has suggested this inspiration in a comment that "lyrically, ['Mango' is a] kind of a hymn to female sexuality." Vocally, the song reminded me somewhat of J.J. Cale. Slide bass by George Koller gives the song an earthy, jazzy, sensual feel. Kora by Janke evokes the pouring of waterfalls and the lush, exotic hint of paradise. Margo Timmins' ethereal lyrics provide the required mist and sexuality for this romp in Eden.

3. Last Night Of The World - If you've ever heard Cockburn play a solo version of "Night Train" -- a song that would have been aptly titled even if it had been an instrumental -- you won't be disappointed by this song's strong rhythmical finger-picked guitar. Cockburn's acoustic and Colin Linden's electric guitars canter along side-by-side like two horses, Linden kicking in after a few solo bars by Cockburn, delivering a clean, free, and buoyant sound.

4. Isn't That What Friends Are For? - This spoken song is a space-evoking, lyric-scape that opens on a misty forest, with percussionist Rick Lazar populating the tree tops and ferns with an understated but veritable zoo of bird, animal and insect life. I've got to say I'm no fan of country music, but Lucinda Williams contributes an unforgettable and world-weary vocal for the song's bittersweet but powerful refrain, "Isn't that what friends are for?" that made me want to dig around for my cowboy boots and hat, and take the next train to Nashville.

5. Down To The Delta - Described by Guitar Player magazine as a "rocking McCoy Tyner-inspired jam", "Down To The Delta" is very reminiscent of both the sound and melody of "Tibetan Side of Town" and the excellent instrumentals that Cockburn contributed to "The Charity Of Night".

6. The Embers Of Eden - The darkest song on the album, "The Embers Of Eden" is nonetheless lyrically and musically consistent in itself, describing a sexual nightmare that draws on imagery from the Fall of Man. Some people might find this a little tough to listen to at first.

7. Blueberry Hill - Margo Timmins' duet with Cockburn, and Cockburn's heavily distorted guitar throughout the song, makes this a very fresh and suitably subversive rendition of an instantly recognisable tune.

8. Let The Bad Air Out - A song that will be familliar to anyone who attended Cockburn's concerts five years or so ago. The music has been given a totally new reworking, with two distinct sections that keep cycling. The lyrics are delivered in a Dylanesque "Suburban Homesick Blues" kind of way, and are a humourous poke at the general corruption and shenanigans of government.

9. Look How Far - The spoken verse beginning to this song tells us that Cockburn is in autobiographical documentary mode. In an August 1999 radio appearance, Cockburn talked about the origins of this song: "One of the characteristics of the sort social side of what I do is this constant kind of, in a way, frustration of meeting people and bouncing off them and going away feeling like you've seen somebody that you've really wanted to see, but haven't had a chance to find out really anymore than the surface of how they are doing. And I had come away from one of those encounters with Ani in Toronto. She was playing in Toronto when I was leaving town the same day to go do something else and so I got to catch a little of her before the soundcheck and then I took off. And that's what sort of set this song in motion, it could apply to her, it could apply to any number of people who would find themselves, or that I would find in the same way."

10. Deep Lake - For Cockburn fans who enjoyed the "In The Falling Dark"-era instrumentals, "Deep Lake" is very much a hearkening back. The restful but majestic progress of the song brings to life the feelings of... well... a deep lake with some gigantic and awe-inspiring although, thankfully, calm creatures swimming around in its depths.

11. Use Me While You Can - The music evokes the desert in the way that only a resonator guitar and a well-spent youth spent watching Westerns can. Opening with a cascading kora melody, joined soon after by Cockburn's resonator guitar in an extended introduction, "Use Me While You Can" is a beautiful anthem to the meeting in our lives of the personal and the political, against the backdrop of a ancient world stage swept by the "dust of fallen empires" that foretells our own passing. As this theme suggests, there is no big crescendo finish to this album. It just fades away abruptly - leaving you thinking....

Although, like all of Cockburn's material, the album has a lot of immediate appeal, it will also grow on you as the complexity of the lyrics and music unwind over time. In other words, you aren't going to like everything instantly, but on the flip side, you certainly aren't going to let dust gather on this album any time soon either. However much you like the album on first listen, it'll still sneak up on you some. And don't worry, if you liked "The Charity Of Night", you'll also like "Breakfast in New Orleans, Dinner in Timbuktu".

Bruce Cockburn is a folk/rock artist that has been recording since the late 60s. He has legions of fans in his native Canada, as well as in Europe, but is not as well known in the USA. His fan-base in the US is modest, but very loyal to this prolific performer. "Breakfast in New Orleans, Dinner in Timbuktu" displays his outstanding musicianship and poetry, his ever-expanding worldview and innate humanity. His lyrics are reflective of a challenged, thoughtful, committed man, exploring the human condition to the fullest, always from an adult point-of-view, with no trace of trite, overly sentimental word or verse. His spirituality and commitment to humanitarian and environmental causes are the fuel for his explorations. He satisfies intellectually as well as musically with his astounding guitar work and world-beat consciousness. This CD, and his 1996 release, "The Charity of Night" enlists guests performances from Bonnie Raitt, Bob Weir, Lucinda Williams, Margo Timmins (Cowboy Junkies), jazz vibraphonist Gary Burton, Patty Larkin, Ani DeFranco, Jonatha Brooke and Colin Linden. If you are searching for a fulfilling and mature musical experience from a man that continues his life's journey with wisdom and wit, I strongly recommend these CDs.

I've been a Bruce Cockburn fan since 1984's Stealing Fire and have since purchased every album this gifted singer/songwriter has issued. Breakfast in New Orleans is one of his strongest albums yet.

Things start off with the R&B-influenced "When You Give It Away." The lovely "Mango" features Cockburn's exquisite acoustic guitar technique. Then there's the Haunting "Last Night of the World." Cockburn is too often uderappreciated as a guitar player. His playing on the moving "Isn't That What Friends Are For" is flawless, as well as on the rare Cockburn instrumentals "Down to the Delta" and Deep Lake." The only song that seems out of place is the the odd treatment of the Fats Domino classic "Blueberry Hill."

Overall this is vintage Cockburn and this album holds up well against such classic Cockburn releases as The Trouble With Normal, Stealing Fire and Nothing But a Burning Light and makes a welcome addition to your collection. HIGHLY RECOMMENDED

I've listened to Cockburn's work since he released Dancing in the Dragon's Jaw. Here's a guy who's creative juices are getting stronger with age, and this latest effort confirms that he still has a lot to say. Songs like 'Mango' just plain stick to your ribs.

AS ALWAYS, I EXPECT NOTHING BUT QUALITY FROM BRUCE COCKBURN. BUT, THIS NEW ALBUM "BREAKFAST IN NEW ORLEANS" EXEMPTIFY HIS TRUE ROOTS AND STRETCHES HIS INCREDIBLE SINGER-SONGWRITING MAGIC EVEN FARTHER. I LIKE IT JUST AS MUCH AS "IN THE LION'S DEN" AND MORE. A TRULY INCREDIBLE RECORDING FROM A MOST PROLIFIC ARTIST - SIGNATURE BRUCE COCKBURN. THIS ALBUM IS A MUST FOR ANY TRUE MUSIC LOVER!

Nearly three decades of excellence and you still can't pin him down. Following up something as satisfying as "Charity of Night" should have been a problem. Not for this Canadian troubadour.On this wonderful recording, he returns to his softer side. Lucinda Williams and Margo Timmins lend their sweet voices as harmony blending very nicely with Bruce. The passion in his beautiful lyrics fused with precision to that amazing finger style guitar playing, will take your breath away. "Breakfast in New Orleans" is absolutely entrancing with too many highlights to name. DON'T pass on this one! Thanks as always- BRUCE. And by the way, do you think you could give us another 30 years? PLEASE YOU

I only bought "Charity of Night" a couple of months ago, which probably colours the review. But where "Charity" was immediate and dug its claws into me, "Breakfast in New Orleans..." is taking much longer to grab me. I guess it's a much more personal, less political album than he's done in ages. ("Mango" - for me about the best track of the 11 - is a case in point). Songs like "Last night of the world" and "Look how far" haven't made as much of an impact. Surprisingly, the thing that I was most concerned by (three instrumentals?) has caused me less of a problem. I still feel that while Cockburn's a very good guitarist, it's generally the meeting of music and that unique lyric vision that makes him the great artist he is - but "Deep Lake" at least is beautifully atmospheric. I also find that the spoken-word blues is not a problem - if anything, this is an album he should be able to get away with that on! - and "Isn't that what friends are for" will rip you to pieces.

Great alignment of musical vocals from Margo Timmins to Lucinda and others. Well crafted, planned, yet unexpected. Another Bruce top five CD.

WOW! I've been a long-time Cockburn fan since the mid 70's, but I was unprepared for the greatness of this one. You find him renewed musically and stripped-down with just bass, drums, and another guitarist. I find the whole CD a stunner; not a bad cut on it, although no one cut really stands out (still, "Blueberry Hill" is becoming my favorite). Along with Wilco and Flaming Lips, this is ONE OF THE BEST OF THE YEAR! One way to listen to this CD is to spin the globe to imagine yourself in the different locales (New Orleans in the AM, a cold urban night, in a dark room with a lover, etc), but my preferred way is to listen to it as what Bruce's music of the 70s listens like on the eve of the millenium. Musically, this sounds so much like his great albums of the late 70s and early 80s. In Blueberry Hill, I hear him re-doing "Mamma's Gonna Barrelhouse All Night Long," in the two instrumentals, "Radio Shoes" or "Finger Dancing," Let the Bad Air Out is a repise of riffs from "Badlands Flashback", and of course, the obvious referent to "Last Night of the Year" is the 1980 "Coldest Night of the Year". If it sounds warmed over, it ain't. He is returning to those roots which resulted in his three best albums, all known for their intricate beats and crazy lyrics. No, the lyrics don't measure up to those times, but musically, this CD is, if anything, better than anything he's done in at least 15 years. While Charity was good, this is far superior. I can't get enough of it!

I've been listening to "Charity" quite a bit over the last few months, and wondered if "Breakfast" could be as good. It is, though it has a different feel than its predecessor. There are some spoken-word pieces with dream-like lyrics, some upbeat numbers and a couple instrumental tracks. Overall, it's growing on me more and more.

On a different note, I've read several customer reviews (here and on other Cockburn discs) that suggest starting with "Dancing in the Dragon's Jaws" if you're new to Bruce. I'm not sure I agree. I bought "Dancing" a few weeks ago, and it comes off a bit dated, with Bruce's voice sounding young and immature, despite some excellent songwriting. I'd say "Charity," and perhaps even "Breakfast," are fine places to start.