Customer Reviews

Eastern Wind

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

 

 

Early Chris de Burgh is very different than his late 1980s and 1990s albums, where he has generally espoused more of a heavily produced adult-contemporary sound (e.g., "The Lady in Red"). In the 1970s, however, de Burgh presented himself as a sort of modern-day bard, telling stories in the forms of songs with acoustic and orchestral arrangments. In the early 1980s, he dabbled in a rock, earning his first U.S. success (e.g., "Don't Pay the Ferryman").

1980's "Eastern Wind" is very much a transitional work, bridging his 1970s balladeering and his early 1980s rock and rolling. He is still telling stories, but the orchestral instruments are gone. This is the only early album that he recorded with his touring band instead of session men, and the stripped-down sound reflects that. The album is also much darker than much of his previous material, including attacks on the music business ("The Record Company Bash") and the despoilations caused by tourism ("Tourist Attraction").

It is perhaps because this album is a transitional one that the material is so weak, particularly compared to its immediate predecessor ("Crusader") and successor ("The Getaway"). But, a handful of the songs work, two in particular: "Sailor" and "The Traveller." Incorporating one of De Burgh's favorite motifs (sailing), the former is a wistful love song with a gorgeous chorus, and the latter is one of De Burgh's most essential early songs, a storytelling ballad with a fast rock tempo than nevertheless evokes a period mood. "The Traveller" does appear on some Chris de Burgh compilations, but "Sailor" can only be found on this album. A couple of other songs, such as "Tonight" and title track, are passable, but not worth owning unless you're collecting all things De Burgh.

Early Chris de Burgh is very different than his late 1980s and 1990s albums, where he has generally espoused more of a heavily produced adult-contemporary sound (e.g., "The Lady in Red"). In the 1970s, however, de Burgh presented himself as a sort of modern-day bard, telling stories in the forms of songs with acoustic and orchestral arrangments. In the early 1980s, he dabbled in a rock, earning his first U.S. success (e.g., "Don't Pay the Ferryman").

1980's "Eastern Wind" is very much a transitional work, bridging his 1970s balladeering and his early 1980s rock and rolling. He is still telling stories, but the orchestral instruments are gone. This is the only early album that he recorded with his touring band instead of session men, and the stripped-down sound reflects that. The album is also much darker than much of his previous material, including attacks on the music business ("The Record Company Bash") and the despoilations caused by tourism ("Tourist Attraction").

It is perhaps because this album is a transitional one that the material is so weak, particularly compared to its immediate predecessor ("Crusader") and successor ("The Getaway"). But, a handful of the songs work, two in particular: "Sailor" and "The Traveller." Incorporating one of De Burgh's favorite motifs (sailing), the former is a wistful love song with a gorgeous chorus, and the latter is one of De Burgh's most essential early songs, a storytelling ballad with a fast rock tempo than nevertheless evokes a period mood. "The Traveller" does appear on some Chris de Burgh compilations, but "Sailor" can only be found on this album. A couple of other songs, such as "Tonight" and title track, are passable, but not worth owning unless you're collecting all things De Burgh.

This album is not one of Chris DeBurgh's greatest albums. If you are not already a diehard Chris DeBurgh fan, try one of his other albums first. A couple of the songs are pretty good including "Shadows and Lights" and "Eastern Wind". Most of the rest of the songs are so-so, though I do not like "The Record Company Bash" at all.

His absolute best, without a doubt; classic cuts like the opener, "The Traveller" with its hauntingly dramatic lyrics, and the title cut, "Eastern Wind" make a very lasting, unforgettable impression from the very first listen; "Record Company Bash" provides wry, sarcastic, comic relief.

for ten years or more this album ( chrom cassette )has graced my car stero. The beuaty and the soul swelling fear that "The Traveler" instills and the resolve and spirit that is invoked by "Eastern Wind" have carried me through many a stormey night on the highway. Forget his trash pop ending and get back to the storytelling for C de B can tell a story with a passion reserved for young lovers.

This album combines an ethereal musical sound along with an "in-your-face" confrontation of the worst of the record industry. De Burgh's vocal and poetic range soars in the varied repertoire. I will forever be transported back to the juncture of South Africa's Umzimkulu River and the Indian Ocean whenever I hear this music. Hard to get in America, so I'm glad to find it here.

It's just great music, words, and voice. Unfortunatelly i believe that his decline started from "Lady In Red" before that all other albums were much better. That's my opinion anywhay.