Most Helpful Customer Reviews
13 of 13 people found the following review helpful:
4.0 out of 5 stars
Unbrain Music, September 23, 2003
Produced in 1993, this was to be Ray Lynch's last commercial album. In a career that started out in classical and medieval music, Lynch eventually took a musical journey that took him into 'meditation' music, electronic popular forms, and, finally, back to his acoustic roots. This eclectic collection is a reprise of his forms, with a few unexpected adventures. Even a cursory listen reveals that his electronic repertoire has moved into second place. Instead, Lynch makes use of his own instrumental skills in tandem with a stellar collection of performers, mostly from the San Francisco Symphony. What you get is still unmistakably Lynch, but with a twist. The instrumentation leaves you unsure if this is intended as 'popular' or 'serious' music - but I suspect that Lynch wanted exactly that conflict so that the listener must fashion his own responses. Or not, as the case may be. The album title, of course, is a giveaway. We are being invited to listen without the intervention of our heads. A challenge under any circumstances, and Lynch has no intention of helping us by presenting music with uncomplicated content. But whether you think or just react, there is something here which makes this album special. Not everything here will please any particular listener. I found Ivory to be one of the best compositions Lynch has ever created. Yet on the same album is Mesquite which, to me, is a uncomfortable parody of Southwestern styling. In between lies everything both sincere and pompous. And yet, if you listen carefully, you will here little turns and phrases obviously intended to bind everything together as a whole. An interesting album, that makes no excuses for itself. Perhaps, going headless is a good idea.
Help other customers find the most helpful reviews
Was this review helpful to you? Yes
No
7 of 7 people found the following review helpful:
5.0 out of 5 stars
Ray Lynch GOLD, June 17, 2005
In 1993, while many notable contemporary and electronic music acts like Tangerine Dream seemed to be musically lost in a maze of high-tech digital synthesizers, pumping out commercial beat-oriented tunes. Ray Lynch released NOTHING ABOVE MY SHOULDERS and I purchased it; anxious to hear what direction his music had taken. Expecting more DEEP BREAKFAST and NO BLUE THING sonic pleasures, I was miffed over the lack of three-minute tunes, replaced instead by longer pieces, some almost classical. After several listens I began to appreciate this CD. As with most great music, (IMHO) beauty and meaning is not always immediately apparent, (a.k.a., Mike Oldfield's Hergest Ridge, one of my favorites of all time.) Rich with traditional instruments, including delicate piano, airy flutes and acoustic guitars, Nothing Above My Shoulders presents a collection of Ray's most introspective work (IMHO). OVER EASY begins the CD with a laid-back sounding tapestry of guitars, crisp and biting yet smooth and effortless. HER KNEES DEEP brings us classic Lynch song-writing with its heavenly chord progressions. The beautiful melody builds into a powerful climax, full of wonder and awe. Listen to this while watching a sunrise or sunset and you'll know exactly what I mean. PASSION SONG takes me back in time as I picture Mozart playing his harpsichord. Sonorous violins, and oboe (I think) and piano begin interacting, gently and melodically just before RL's unmistakable musical climax arrives in a rich three-dimensional soundstage. IVORY graces the ears with another delicate but heart-felt piano/flute masterpiece that is deeply contemplative. MESQUITE is a delightful surprise, playful and romantic. Again, RL let's his listener share in the evolution of the song as it builds and then subsides. ONLY AN ENJOYMENT offered me what I had hoped to find on this CD - more of the unique Ray Lynch sound I've admired and enjoyed from his previous albums. There is no sense of hurry as he explores and defines this thoughtful composition; sort of a symphony in a little over seven minutes. I like that, Ray having the confidence to convey in his music what is natural for him, and letting us intimately share in his thoughts and emotions along the way. THE VANISHED GARDENS ends this great album - Wow! In my opinion this is the ultimate RL masterpiece. The music soars, wondrously, with beautiful harps and angelic strings. He reiterates the melody, each time defining it with added emotion and each time, taking the climax to a higher emotional level. As with Ray's previous albums, NAMSBTE is a masterful recording - crisp, clear, and full of atmosphere. Every instrument is meticulously focused in the soundstage. I have no doubt this is Ray's finest accomplishment to date, and I admire him for having created yet more heart-felt music rather than becoming commercialized like other bands of the period. If the "masters," Beethoven, Mozart and Chopin, i.e., were alive today, they would be composing music like this. NAMSBTE is an album you'll savor again and again, much like the rest of Ray's music. HH
Help other customers find the most helpful reviews
Was this review helpful to you? Yes
No
6 of 6 people found the following review helpful:
5.0 out of 5 stars
Beautiful Music!!, January 30, 2007
This is my favorite Ray Lynch CD of all time! Instead of using synthesizers like he did with his previous albums, Ray Lynch uses classical instruments for his compositions, which makes for some very breath taking music. While Ray Lynch's music has always been very visual for me, the use of the classical instruments adds an element of refinement and grace that is not as evident on his other albums. I absolutely love this CD and wish Ray had put out more like this one!
Help other customers find the most helpful reviews
Was this review helpful to you? Yes
No
|
|
Most Recent Customer Reviews
|