Most Helpful Customer Reviews
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52 of 53 people found the following review helpful:
4.0 out of 5 stars
An amazing piece of work, October 27, 1999
By A Customer
The only way to review a work like this is to go track by track. "Time To Say Goodbye (Con Te Partiro) [with Andrea Bocelli]" is hopelessly out of place here, but is a beautiful classical duet nonetheless. "The Fly" is a strange dance-pop song that starts off with the buzzing noise of a fly. Sarah hits notes with this one that are incredibly high. This song, and a few others on the CD, however, seem to have lost Sarah's voice in the mix. Very much audible, but would have been nice to bring it to the forefront. "Why" is a rock-dance song that includes a catchy chorus but is a tad too long. "Murder In Mairyland Park" takes awhile to get into, but there is a very operatic, gothic middle section which is very well done. "How Can Heaven Love Me [feat. Chris Thompson]" is a great pop-rock-dance track co-produced by Alex Christensen (from German techno group U96) and includes a fantastic pop chorus that will be in your head for days. "Ghost In The Machinery" is another pop-rock track which also has a killer hook and has a sort of mystical feel. "A Question Of Honour" is one of the best tracks on the CD. It starts with "La Wally", from her "Timeless" CD, and then it segues into a fantastic techno track. This was also co-produced by Christensen. "You Take My Breath Away" is a very Egyptian-influenced song but runs way too long. "Something In The Air [feat. Tom Jones]" is a great dance-pop song which features a mix of sweet vocals by Brightman and a bombastic vocal by Jones. "Heaven Is Here" is a nice sweet track with oboe featured. "I Loved You" sounds so unlike Sarah, but creates an amazingly catchy pop tune. Could have been a major radio hit. "Fly" starts with Neil Armstrong's famous speech and then morphs into a reprise of "The Fly". All in all, a great CD and well worth your money. The one star taken off only because the bad mixing job on three or so of the tracks. Buy it now!
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37 of 38 people found the following review helpful:
4.0 out of 5 stars
A different taste of Sarah, September 24, 2000
Sarah uses her 2nd side in this album. At first, I thought this was a B-side album, but it is an album from her German label EastWest. The material differs from the '93 album "Dive". Sarah's style is much more pop rock. The album was produced sometime in '96, by Frank Peterson. The record label never released this disc in america, therefore making it an import. "Fly" starts exactly like Sarah's album "La Luna". To me, the album is like the preview of "La Luna". The entire album reminds me of Sarah's creative/fantasy world. Here is my review of the album, track by track."Time to say goodbye" appears as track 1. I have no idea why. Either Peterson decided to change the pace, or this was to be the preview of the song. Track 2, "The fly", is space-age. It starts with a fly buzzing too. The musical arrangements are fantastic. "Why" is very rock/pop. The songs are mostly upbeat, as with this one. The guitar solo is great. "Murder in mairyland park" is almost totally boring, except for her latin chant "agnus", repeated 4 times. Track 5, "How can heaven love me", is one of the best. She duets this track with Chris Thompson. The last minute of the song is my fav part. NOTE: Before I continue, out of 12 tracks, eleven are done à la Kate Bush. Track 6, "A question of honor", is absolutely amazing. If anybody had to complain about Sarah being drowned out by the orchestra, singing "La Wally" in "Time to say goodbye", then eat your words. This track is haunting, breath-taking and Sarah has reserved her full opera voice for it. The orchestra and sound effects are simply outstanding. I can picture her in a huge gown, standing on a mountain top, doing this video. The high notes are to die for. "Ghost in the machinery" is good too. There's a lot of rock/pop here. The lyrics are thrillingly haunting. "You take my breath away" is great to listen to at full volume. You can see her in another world, lost in her paradise. Her voice is soft & sweet. This track should be used for a travel tv ad. "Something in the air is vibrant, with Tom Jones' crooning powerful lungs. Simply breath-taking. "Heaven is here" is one of Sarah's toned down tracks. She's relaxed and little girl-ish. The soft tones of this song make for good wedding reception music. "I loved you" is oh so different. This is what you call Sarah-rap. The beat & style are funky, giving a bouncy, airy feeling. "Fly", the last track, is a sequel to "The fly". It's spacey, andI can picture her looking at a huge chunk of amethyst, turning in a showcase, as she's singing. She builds my imagination every time I hear the track. I love the way they loop The over all feeling of this album give me a free feeling. There are no holds barred, when Sarah creates music. She is my #1 idol. This cd is great for collectors, for one, it is an import. 2nd, it is Sarah.
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13 of 13 people found the following review helpful:
5.0 out of 5 stars
The album that made me a fan, December 29, 2000
By A Customer
"Fly" is the reason I'm now a Brightman fan. Like everyone else in the hemisphere, I bought "Phantom," but I admit that two thirds of the way through I tended to weary of Brightman's crystalline singing, lovely as it is. But after blundering onto the "Fly" listing and listening to samples, I bought it--and it is now one of the CD's I listen to most often. I've even branched out now to "La Luna" (which, although more consistently ethereal, I'm also very fond of).The quality in "Fly" that keeps it constantly in play is its variety. As other reviewers have noted, the songs span a remarkable range of styles and influences: an Enya-esque introduction will give way to gospel, techno, opera, or even shades of U2 and Enigma. There's a great mix of soulful ballads and mysterious synth-pop, such as the fabulous title song, which keeps building in power until it ends all too quickly. "Why" is a great upbeat singalong song for fast driving, and "How Can Heaven Love Me" will make you strain your vocal chords (and your stereo speakers' capacity) yet further. Even better, Brightman herself offers a great deal of vocal variety, ranging far afield from the tiny-voiced delivery she has found so successful. When she puts power behind her voice--whether for the lush operatic sequences in "A Question of Honour" or the gutsy pop-rock head-bobber "Ghost in the Machinery"--she can knock you off your feet. This is one CD investment I will never regret. If you've previously found Brightman too saccharine for your taste, this may well be the album that will completely change your mind.
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