Customer Reviews

Solace

5 star:		(62)
4 star:		(22)
3 star:		(2)
2 star:		(4)
1 star:		(4)

 

 

My first taste of Sarah's music was from her 1997 album, Surfacing. But five months later, and after listening to all eight of her Arista/Nettwerk releases, my favourite album is Solace. The first seven tracks are what makes it truly so special. Drawn to the rhythm is magical in the sense of it describes a beautiful night near the ocean. Into the Fire, my all time fave. song of Sarah's is also her most upbeat, and also her coolest song. Solace is worth it just for Into the Fire alone! The third track, Path of Thorns (Terms) is a good song, but sounds much better on Mirrorball. I Will Not Forget You, the fourth track, is another favourite. A very sad song, that talks about a false relationship, Sarah says it is about using little fantasies inside your mind to entertain you at dull times in your life. (Us hardcore fans can definately relate)! Lost is not a favourite, sorry to say. The male vocals ruin the song, unlike the excellent "Trust" off Sarah's Touch CD. Back Door Man sounds very much like something Paula Cole would sing. Very earthy sound in the beginning, and the chorus kicks off with a great beat and fine lyrics. Definately one of her better songs here. Shelter is sad, a depressing song which I love anyway. The violin mix off "Rarities" may be a better version, although they both sound the same. Shelter is a beautiful song, sad as it is, as it talks about homeless animals and people, struggling for survival. The tracks after that are pretty boring. Black sounds...well...dark and distorted. I'd love to hear a remix, though, because the lyrics are some of her best on this song. Home is not quite as dull. I love it, because I have heard the live version from a murmurs CD, and I must say, she does it well live. This version is mystical and I love the beginning of the song. But the next track may be disapointing. Mercy, with the fine lyrics, has no beat whatsoever. Her lyrics are absolutely wonderful in ever song, but she should've worked harder on the musical parts, perhaps more acoustic guitar and piano would've made Solace a six star CD. Last but not least, Wear Your Love Like Heaven. No, not a favourite, but it's cute. Overall, a fine cd, and proudly one of her best works of Sarah's. She is truly a goddess, and her voice, lyrics and the mood of her songs describes my feelings at certain times in my life. I also reccomend Touch & Fumbling Towards Ecstasy, her 1st and 3rd albums, which make a fine trio of her very best works. Although Surfacing made me a fan, you must'nt overlook her fine firsts, which display her talent in the brightest light. Solace goes to prove that sometimes early works may be some of the greatest. You aren't a Sarah McLachlan fan if you don't own Solace! It's truly a cd you will want to take with you everywhere you go!

Like many other fans, I first discovered Sarah when "Possession" became a hit. I then stumbled upon "Solace", and it turned out to be a great stroke of luck. A local radio station played a really moving song with the lyrics "I Will Remember You". I couldn't find such a track (it wasn't in US distribution then) and I wasn't sure of the title at the time, so when I found the track "I Will Not Forget You" on "Solace", I thought this must be the song. Of course, it wasn't, but I find that this song is even more moving than "I Will Remember You". In fact, "Solace" contains some of Sarah's most heart-rending lyrics and haunting melodies. Three of the songs ("Drawn to the Rhythm", "Into the Fire", and "The Path of Thorns") have received reasonable exposure. But for listeners in anguish and pain, "I Will Not Forget You", "Back Door Man", and "Shelter" will provide true catharsis. This album shows incredible maturity from her first release "Touch". "Solace" is the Sarah CD I play the most often; it is the only CD I have bought two copies of--I was constantly playing it both at home and at work. It's no wonder that many fans still rave about it.

If you loved Sarah McLachlan's emotional and soul-rending 1994 release "Fumbling Towards Ecstasy," you should at least like "Solace." The music in this 1992 release bears stylistic similarity to the latter album, though the music is a bit less refined and the lyrics slightly less poetical than the later release. However, the skill and that wonderful voice are there to be appreciated.

The opening song establishes the poetic and beautiful attributes of Sarah's music. While "Drawn to the Rhythm" only modestly demonstrates Sarah's vocal and writing skills, it is a lovely, enjoyable song. The song is principally acoustic, but there is an instrument that appears in the chorus that may be electronic because I am unfamiliar with its sound.

The next song is out of place between the first and third songs. "Into the Fire" has a harder guitar beat and Sarah's voice sounds as though it is competing with the instruments. The words are less poetic and complex, and this song, while listenable, ends up looking sad next to all the quality music on this CD.

You can hear the pain that would be brought to high art in "Fumbling Towards Ecstasy," listen to "The Path of Thorns." This song is about the end of a relationship, poetically comparing the relationship to a path, now overgrown with thorns. The song is poetry set to music, with stylized descriptions of how she tried so hard, and he never noticed, or cared. I am unable to listen to this song without feeling her despair over a failed relationship for which she had no responsibility. This song may be the best song on this CD, and lucky for us, it is also the longest.

Another outstanding song is "I will not Forget You." The lyrics are full of longing and romance and pain. Sarah's words are full of depth and feelings that should not have been felt by someone as young as she. I initially read the lyrics to mean that she was in love with someone who was not helping build the fire of that love. However, the words about the sea lead me to believe that it is not another woman that competes for her lover's soul, but another interest. Women have long lamented that the sea takes the soul of their men from them.

There are Sarah McLachlan songs that I can fall into, because they speak so much to me, and I suspect they speak to others who take the time to listen. "Lost" is one such song. The backing vocals add depth to Sarah's angelic soprano voice, speaking of being with others, while being lost. You feel her loneliness as she seeks someone to lead her into the light of togetherness; the light of love.

Sarah speaks about other feelings besides love, loss and loneliness. "Back Door Man" speaks to those who have been discriminated against, for whatever reason. Here Sarah unleashes her voice in anger, while lamenting the treatment that some people face. This song contains the most drama and loudest vocals of any song on this CD. The instruments are powerful as well, but Sarah's voice powers in front of them, refusing to be denied.

Sarah understands abuse. "Shelter" is an introspective song that may or may not speak from personal experience. The song requests protection for those who may be subjected to things that they should not. I hope I never learn where such pain comes from.

A somewhat more surreal and dream-like, perhaps almost nightmarish, song is "Black." The words are faintly spoken, as though heard in a dream. The instruments are bizarre and confusing, in counterpoint for sure, but blending together into the muzzy feeling you get in a dream. The question is whether she is truly in a dream, or in a dark mental place, or somewhere else. This song is the most experimental and unique one on this CD. I prefer challenging music, and this song falls into that category. However, typically this type of music is not popular.

There is a point where emotion becomes too much to describe, as you reach deep inside you. Sarah continues to reach deeper into herself than most people know exit in "Home." I am unable to provide a definitive interpretation for this song because it could mean so many things. The song is about childhood and the loss of innocence, regardless of the source of that loss. Sarah sings beautiful pure notes on the word "home" that are wonderful to hear.

"Mercy" is a bit of a puzzler to me. The song has a hymn-like quality, and allows Sarah to display her vocal talents. The song is very sparse and less emotional than many of the other songs on this CD. This song is styled as a lament.

This CD ends with a cover of the Donovan song "Wear Your Love like Heaven." Sarah brings her breathless style to make this song her own. However, the words contrast highly with the complex poetry of her songs.

Sarah McLachlan has a beautiful voice that fits well with poetic and emotional music. She realized that ability even better in "Fumbling Towards Ecstasy," which is so beautiful that it almost hurts to listen to it. If there was a painting as beautiful as some of Sarah's music, it would strike you blind with its intensity. However, this music is not for a casual listener. It takes time to fully appreciate Sarah McLachlan's music. It is comforting to know that with all the awful music on the airways today that there are talents such as Sarah McLachlan to speak to that part of you that you may barely realize exists.

Hooking up with producer Pierre Marchand, who has remained her record producer ever since, Sarah McLachlan took a giant step forward with her second album, 1991's "Solace." This is an outstanding album, practically the sister album of "Fumbling Towards Ecstasy," and one of Sarah's very best works. In fact, I'd rank "Solace" at #2 right behind "Fumbling" as Sarah's masterpiece. The songs, production & arrangements are more sophisticated this time out, and Sarah's gifted soprano voice, which was already very lovely on her debut, "Touch," has matured and become even more beautiful-sounding. Every song on "Solace" is a brilliant one, from the dreamy acoustic melodies of "Drawn To The Rhythm," to the funk-pop of "Into The Fire," to the angelic atmospheres of "Path Of Thorns," to the sparkling balladry of "I Will Not Forget You." "Back Door Man" (no relation to the Doors classic) is a strong pop-rocker, "Black" has a marvelous spookiness to it that reminds me of Peter Gabriel (one of Sarah's favorite artists, and mine, too), and "Mercy" is a powerful acapella track that allows Sarah's voice to work it's magic over your senses. Sarah also does a charming cover of Donovan's "Wear Your Love Like Heaven" to finish off the album in style. I can never say enough good things about Sarah McLachlan. She's without a doubt my favorite lady in the music business right now, with a voice and musical talent that's truly unique. "Solace" is a fantastic album, one of Sarah's very best offerings, and is a definite must-buy.

I got into Sarah McLachlan way back in '92 solely thanks to this album right here, and although Surfacing is a fantastic work, Solace really hits home unlike any of her others. This album is *not* as commercial-sounding or immediately accessible as her later two studio albums, but in many ways, it is that fact which I think contributes to its power. Where Fumbling Towards Ecstasy was uneven, sporadic and rather chaotic in its blend of song styles and moods, Solace weaves a seamless thread, making it into far more of an album than a mere collection of songs. "I Will Not Forget You" and "The Path of Thorns" are likely her most beautiful songs to date, and the lyrical potency within them is only approached or equalled in some of the tracks on Surfacing. The overall mood of the album is dark, but comforting...give it a number of listens, and let the atmosphere and words fully penetrate you (it won't click automatically on first listen). "Black" and especially "Mercy" (some amazing vocal treatments and harmonies on that one) are chillingly powerful, but they are nicely framed by the more delicate tracks of "Shelter" and "Home", creating a smooth blend between the rich, if somewhat disturbing emotions. If you're just into Sarah for the melodic hooks, you might be a bit disappointed. However, if you like and want to hear her with some incredible depth (even among fairly simplistic song structures), this album is one you should *never* miss. IMHO, Solace is far better than the generally overhyped and inconsistent Fumbling Towards Ecstasy.

This was the Sarah McLachlan album that gained her a cult status and critical and commercial acclaim. Nevermind everyones praise of Fumbling Towards Ecstasy. Solace was the stepping stone of her career. A remarkable album highlighted by Drawn to the Rhythm, I Will Not Forget You and the haunting Black.

This CD is absolutely breathtaking. I have Sarah's Mirrorball, Surfacing, Fumbling Towards Ecstasy, Freedom Sessions, and now Solace. Into the Fire, the most upbeat track, is my personal fave. Terms is a great musical composition, and Drawn to the Rhythm is hopelessly addicting. I recommend Solace for any musicians. And fellow hardcore Sarah fans, get this one- you won't regret it! =)

I wish Sarah McLachlan would quit ignoring the amazing tracks on this album. She claims she's sick of performing songs from Touch and Solace, yet she (ad nauseum) performs Possession, Ice Cream, Angel, Adia, etc. For fans of Solace and Touch, it looks like Sarah won't be performing any tracks from those albums on her 2004 tour. Anyway, Solace is the forgotten gem of McLachlan's career. I truly believe this album is better that Fumbling Towards Ecstasy because the passion in Sarah's voice here hasn't been heard since. McLachlan incorporated unique instruments into the mix here, instead of relying on too much piano (which I think hinders Afterglow) or drum machines. Give this gem a try! Hopefully Sarah hasn't forgotten what an amazing album this is.

This is the album that turned my head from pop and dance music, and opened my eyes to an entirely new genre of 'real' music.

This album, the second effort by Sarah McLachlan, solidly secured her status as a masterful songwriter in addition to the uncanny sense of melody she demonstrated on her first album. The lyrics here are deep and introspective, mostly dark and filled with imagery. Lighter pop-oriented tracks such as "Into the Fire" in which she seems to celebrate life, contrast nicely with the bleak desolation of "Mercy" and "Black", while beautiful yet scornful / sorrowful tracks like "The Path of Thorns" and "I Will Not Forget You" add to the meatyness of this album. "Mercy" in particular, while incredibly depressing, really stands out as it showcases the immense POWER of her best instrument, her voice. The track consists of just a few layers of her voice and a keyboard in the background.

She sings low and deep on this CD, completely unlike the equaly powerful soprano vocal acrobatics she did on her first album. There's no 'look at what I can do with my voice' on here, when in fact she's capable of doing far more than most female singers (try Touch for that).

The music is downright excellent. She uses classical instruments, guitars, mandolin's, and organ's that combine with her deeper vocals to create a very earthy sounding album. The timing ranges from quick tempo's on "Into the Fire" and "Back Door Man" to slow plodding rhythm's on "Home" and "Drawn to the Rhythm" but the album maintains it's coherence from track to track.

Each track stands on it's own as a great song, and combined they add up to one hell of a "complete" sounding album. There are no filler tracks, and even the poppy-ness of "Into the Fire" is still grounded and substantial enough to be considered more than just radio friendly.

At the time Sarah McLachlan said of this album that it was her baby and she needed it to be perfect. I think she and producer Pierre Marchand acheived that goal and thensome; and ended up creating one of the most timeless sleeper albums of the 90's.

PS: The US version of this album has a cover of Donovan's "Wear Your Love Like Heaven" which is far too light and fluffy for this release, and ruins the coherency of the album. Sarah McLachlan was in fact quite angry that Arista tacked on this track for the US as she "intended the album to end with Mercy". Try to get the 10 track Canadian version instead, as that was the album she wanted to create.

She does arguably better on her third release "Fumbling Towards Ecstasy". The highs are higher and the lows are lower. While Solace is my favourite album of all time, I daresay FTE is her best. Look for my review of that as well.

I consider myself a spiritual and reflective soul, and Sarah is the only artist known to me who can express herself the same way that I do. I, however, express myself through art, and Sarah's music is, to me, art poetically expressed.
Once you've heard one of Sarah's songs, you'll be begging for more. I have a particular soft-spot for "Mirrorball", but "Solace" is a masterpiece in its own right. Be prepared for an emotionally turbulent journey, but take my word for it, every second is fulfilling.
I recently purchased her DVD of "Mirrorball", (admittedly, my favourite Sarah release) and have completely 'devoured' it. It is a definite must for any Sarah collection.
Now, my only wish is that she include London in her next tour. I have never seen her perform live and this would be the ultimate experience. Here's hoping!