Customer Reviews

Drivers Eyes

5 star:		(8)
4 star:		(3)
3 star:		(2)
2 star:		(1)
1 star:		(2)

 

 

This is the best CD I've listened to all year ! I've been listening to it over and over while driving and at home/work. A pleasant surprise from an artist that I've admired and followed over the years (King Crimson, McDonald & Giles, Foreigner, Steve Hackett). A very accessible, listenable, relaxing musical journey through the eyes of an extremely talented, gifted artist. The 45 minutes of music is made up of 3 mid-tempo rockers ("In Your Hands," "Saturday Night In Tokyo," and "Straight Back To You," 4 power ballads ("You Are A Part Of Me," "Forever and Ever," "If I Was," "Let There Be Light"), and 4 jazzy, new age-type instrumentals ("Overture," "Sax Fifth Avenue," "Hawaii," and "Demimonde). My favorites were the power ballads. It was nice to hear again the voices of John Waite (The Babies), John Wetton (King Crimson, UK, Asia) and Gary Brooker (Procol Harum). The singers/players/songwriters on this album read like a "Who's Who" from the 60's - 80's rock scene: Messrs Waite, Wetton and Brooker; Lou Gramm (Foreigner); Peter Frampton; Steve Hackett (Genesis); Ian Lloyd (Stories); Michael Giles (King Crimson); G.E. Smith (Hall & Oates, SNL Band); Peter Sinfield (King Crimson); Hugh McCracken (session man with Gary Wright and Foreigner). My only quibble with this CD ? There wasn't enough of it ! Highly recommended ! Ian, what took you so long ?

This CD is a gem that shines bright and shines deep, creating many moods that you don't want to let go. If you like any of these groups (Alan Parsons Project, John Waite vocals, even Camel), you should surely enjoy this one. It offers so much, it is hard to know how to cover it all. The music stays with you, in your mind, in your soul if I may say. OK, I admit I am a HUGE fan of many of his guests, particularly Steve Hackett, plus John Waite, and also of the incomperable Gary Brooker, who sings the final track. And I admit I could not listen enough to McDonald & Giles in the 70's. Perhaps that is what you need to know to be sure you will like this CD! Bravo Ian, bravo!

Let me start off by saying this is a great album. There are many guest appearences on here by people like John Wetton, Mike Giles, Peter Frampton, Gary Brooker and many others. However, unlike most other albums that have all star casts, this one is pure Ian. The songs have a unique quality that make them stand in a class of their own. It has also improved my impression of a couple of performers who play on here that I had never really cared for before. John Waite's lead vocal on You Are A Part Of Me is haunting as is Lou Gramm's vocal on Straight Back To You is rocking. Along with people who I really like, ie John Wetton's vocal on Forever And Ever is wonderful. Gary Brooker shines on a song with lyrics by original King Crimson Pete Sinfield. I should add I like Ian's voice too. Bottom line, there's not a weak cut on this album. Buy it and be happy.

This album is like a diamond, precious in material and more than solid in quality, its lyrics are rich but not extensive, just the way I like them. Music on this CD is not as heavy (or as fast) as I usually prefer, however it has become one of my all-time favorites. The first few seconds of "Overture" are exactly what I expected from the whole CD, a combination of the style on "McDonald And Giles" and the sound of the latest King Crimson albums, but even when two songs give that same feeling through their full length ("Forever And Ever" and "Let There Be Light"), "Overture" turns into a bright, happy and even festive tune in only a couple of seconds and let you know what it is going to come on the rest of the album, happy and very enjoyable music. While "Straight Back To You" is similar to the progressive Foreigner of the early eighties, "In Your Hands" and "Saturday Night In Tokyo" are similar to the light rockers on the "Double Vision" and "Head Games" albums. My favorite songs are the ballads ("You Are A Part Of Me", "Forever And Ever", "If I Was" and "Let There Be Light") from where it'd be hard to choose only one as the best. Ian is not only a magnificent composer, but also a splendid performer, specially playing flute, and extraordinary example of this is "Forever And Ever". I highly recommend "Drivers Eyes", but do not expect to hear the Foreigner style on it.

Phoenix (phoenix@4eigner.net)

A great return to action by a veteran of both Prog Rock (King Crimson / McDonald & Giles) and Arena Rock (Foreigner). He brings a few of his old buds to join him (John Wetton, Michael Giles, Lou Gramm) and has some great guest guitar soloists (Steve Hackett, Peter Frampton, G. E. Smith), and generally lays down eleven very enjoyable tracks.

It's not totally Foreigner meets early King Crimson, but you can certainly hear how McDonald influenced those two groups, and how they influenced him.

Very enjoyable, excellent of it's type. Any fan of King Crimson or Foreigner will enjoy parts, if not all, of this CD. The songs, production, and playing have a soothing, MORish quality which, not coincidentally, makes this perfect for long drives. It's fun to hear the different singers do their thing too. A bit of a guilty pleasure, seeing that the styles are somewhat anachronistic, but Ian has always had a very pleasing, unique, variation on commercial prog rock. I hope he released more music in the near future.

This one was one of the best surprises of the year. Probably has seen more play than any other new release except for maybe Rajaz by Camel. Imagine King Crimson meeting Foriegner, with some Steve Hackett thrown in. Music with some great hooks.

This is one of the best CDs released in the last 20 years.
Exceptional musicianship, song writing and presentation.
If this album had been released worldwide on a major lable and received airplay, it would have gone triple platinum. Do not hesitate to purchase this CD, it is fabulous.

This recording is both enjoyable and a little confusing. The confusion is the result of using several guest lead-vocalists I suppose.

All of The performances are superb save one, I really cannot get into the John Wetton vocal on Forever and Ever, but this is the ONLY low point (for my ears) on the session.

There are a lot of subtle nuances like the soft trinkle of the piano like raindrops at the end of a storm on In Your Hands.

The instrumental Hawaii includes wonderful string harp that instantly reminded me of Debussy's Danses 1 & 2.

Straight Back to you features Lou Gramm. This is very much a King Crimson meets Foriegner kind of track, the break just before the bridge is strongly reminiscent of main riff from King Crimson's Red, and Ian's sax solo reminds me of his work on One More Red Nightmare from the same KC session.

Let there be light shows the artistic power of the McDonald/Sinfield writing team has not lost its shine after a 30 year hiatus. Listen for McDonald's basoon playing on this one. Savor Sinfield's poetic mystery.

Contrary to what one of the other reviewers wrote. McDonald certainly was a founding member of Crimso. What a strange comment to have made.

There had been twenty nine years since Ian McDonald's last solo release in 1970, a collaboration with drummer Michael Giles, and this solo album `Drivers Eyes' (1999). Why the long wait between albums is the obvious question, and why has it taken Mott the Dog so long to review it? Well the answer is that we have both been rather busy, although one obviously feels that Ian McDonald has probably spent the intervening years rather more fruitfully.
After five years in the army (Mott has never even been sent to obedience classes!), in 1968 Ian McDonald emerged with a natural musical rhythm and a fine sense of discipline. With great musical beliefs he sought out like-minded musicians and formed `King Crimson' with Robert Fripp on lead guitar, Greg Lake on bass and vocals and Michael Giles on drums. Ian McDonald himself played saxophone, flute, back up vocals, and keyboards including the very new and incredibly unpredictable mellotrone.
The band was an instant commercial and critical success. Their first rehearsal was in January of that year, their first paid gig at the London Speakeasy in April, they supported the Rolling Stones at their huge free concert at Hyde Park in July and by Christmas had completed a sell out sixty date tour of the United Kingdom, and an eighteen date tour of the United States of America. Their debut album `In The Court of the Crimson King' had reached the top five in the U.K. whilst going top thirty on the other side of the Atlantic. Even the mighty Beatles had not achieved success so quickly.
But on their return from the States just in time for Christmas, under a year since their first rehearsal, Mike Giles and Ian McDonald left the band fearing for their sanity, and handed over the reigns of King Crimson to Robert Fripp, who still keeps the King Crimson flag flying today even though they are on about line up twenty five.
Ian McDonald and Mike Giles retired to the recording studio to record a more relaxed album, `McDonald, Giles', which quite honestly was not a commercial or critical success. Although listened to today, it stands up rather well.
For the next six years Ian McDonald made his living doing the odd bit of session work here and there (including playing on T. Rex's `Get It On'). When David Cross left yet another version of King Crimson, after playing as a session man on their album `Red' (1974) he nearly re-joined King Crimson, but the band fell apart anyway so nothing came of that.
He also whiled away part of his time ripping up cinema tickets as an usher down the local Odeon to put bread on the table.
Deciding that life possibly held more for him than ripping up pieces of cardboard Ian McDonald packed his bags and set sail for America. There, it was not long before he teamed up with another ex-pat Brit in the shape of Mick Jones, ex-Spooky Tooth and The Leslie West Band. Deciding to form a band they sought out the best and like-minded Americans they could find and settled down in the rehearsal studios for a full year before venturing out so that when they did they could hit the ground running. Included in the line up were drummer Dennis Elliott, and a young vocalist with an amazing range Lou Gramm. They suitably named the band `Foreigner'.
In 1977 they released their self titled debut album (produced by Ian McDonald) and toured America to packed out stadiums wherever they went. The album went top five and the first two singles burst into the top ten. The next album `Double Vision' (1978) did even better, so they had to play in even bigger concert halls, and when Head Games (1979) hit the charts they could rightfully claim to be the biggest rock band in America. They meant absolutely nothing to the rest of the world and its neighboring planets, but hey! 30 million Americans can't be wrong.
But after four years, three top five albums, countless hit singles, being voted best new band by Billboard, Rolling Stone and every other magazine, doing all the production work on all the albums, writing half the songs, being able to play a much improved mellotron from the awkward thing he was required to play on his first tour of America, in other words with the world at his fingertips Ian McDonald stunned the rock world by quitting the band. Although he did play as a session musician on their next album, the multi platinum `4'.
So for nearly two decades Ian McDonald roamed the musical world turning up on scores of albums as a session musician, or finding new bands who he felt needed a hand and whilst giving them the benefit of his knowledge would also produce their albums. Far to many to mention. But he would also make live appearances with the likes of John Wetton, just to keep his hand in.
Then in 1999 the creative juices could be held back no more and Ian McDonald stepped back into the studio. Bringing with him the nucleus of a band, Steve Holley on drums, and Kenny Aaronson on bass, only the best rhythm section would do for a musician of this caliber, Dan Coleman did all the string arrangements, and of course Ian McDonald either wrote or co-wrote all the songs himself whilst playing an array of instruments from guitar, synthesizer, flute, saxophone, electric piano, percussion, clarinet, and basically anything else he could get his hands on to improve the sound.
The album is a collection of songs that make up a perfect modern rock album, driving music, played with thought and inspiration. There are eleven songs in all, including four instrumentals and seven rock songs that would grace any album. `Overture' opens the album perfectly giving you the vision of what is to come. The other three instrumental titles speak for themselves: `Sax Fifth Avenue', `Hawaii' and `Demimonde'.
The guest list of musicians that come into play on some tracks is a who's who of the best of rock. On `You Are Part Of Me ` John Waite (ex Babys) steps up to do the lead vocal duties, whilst Michael Giles helps out on drums, G.E. Smith handles the guitar solo and Steve Hackett (ex Genesis) is relegated to harmonica. John Wetton takes lead vocals on `Forever and Ever', `Straight Back To You' finally lets Steve Hackett have a go at a lead guitar solo whilst Lou Gramm puts his throat on the lead vocals. Peter Frampton lays down a sizzling guitar solo on `If I Was You' whilst Ian Lloyd doubles up on lead vocals. The final track on the album is probably the jewel in the case. It is a collaboration between Ian Macdonald writing the music and for the first time since 1969 on `In The Court Of The Crimson King' Peter Sinfield supplies the lyrics. Believe me, the old magic is still there. It is a remarkable track to finish the album, and who better to sing it than Gary Brooker of `Procul Harum'.
Strangely the album was not a great success although it is still available through [...]and is what they call a steady seller, still selling well after all these years. The artwork on the cover is also quite stunning.
These days a very fit looking Ian McDonald leads `The 21st Century Schizoid Band', a collection of ex King Crimson members including the very talented Ian Wallace, drummer for King Crimson for two years, from the `Islands' album, Mel Collins who was on `Lizards' (1970) complimenting Ian McDonald on saxophones and flutes, on bass guitar is Pete Giles who was with Robert Fripp and Michael Giles before King Crimson was invented, and then appeared on the `In The Wake Of Poseidon' (1970) album. Plus many others ex members of the band except of course Robert Fripp, who has, though, given his blessing to the band. Live, the band plays songs relevant to when each player was in the band plus music from their solo albums, including a fair smattering from this album. Ian McDonald is a very talented musician.
Mott the Dog.