Televoid, Original Soundtrack (CD, 43:11); Miramar 09006-23097-2, 1998 Miramar Recordings 200 Second Avenue West Seattle, Washington 98119 Phone: 206-284-4700 E-mail: info@miramarupx.com Cyberhome: http://www.miramarupx.com I don't have a DVD player, so I haven't seen the computer animation video called Televoid, but this soundtrack by Scott Rockenfield and Paul Speer makes me want to see it. According to an online description at http://www.simitar.com/video/7320.htm, "The brilliant animation in this science-fiction fantasy mocks the violence and negative fixation so prevalent in modern television." One of the disc's highlights, "Mind Suck," features lyrics written and performed by rapper Sir Mix-A-Lot, who gave us the raunchy "Baby Got Back" a few years ago. His delivery is humorous as always, disturbing though his message may be: "and I can sway your opinion/ with a little white lie and corporate spendin'. . . So trust me I got the juice now/ and you're a slave to the unreal/ technology's here for the kill." There are a couple of low points: The corny vocal of "Chasing Blue Sky" and the equally corny voiceover that begins "Witch Hunt." But most of the music on this disc is great. Paul Speer's guitar playing is hottest on "Babies and Bones." His sound is heavily overdriven and metallish, yet the music never lacks subtlety. Techno drum grooves and keyboard bass dominate - and crunchy guitar often sounds lame against such a backdrop. Not here. Check out "Murder or Self Defense," "Hi Strung," and especially the opening of "TeleSpy," as well as the understated percussion on "Voodoo Tango," "Pyramid Passage," and "Star Seed." Rockenfield and Speer not only wrote some really good stuff, they also produced the heck out of it. ~ David R. Adler
Paul Speer, Collection 991 Cyberhome: http://www.paulspeer.com Contact: paul@paulspeer.com Paul Speer is an electric guitarist very much in the new age camp, although he has a noticeable hard rock influence in his playing and composition. Not surprisingly, the music is mostly instrumental and very well produced and well-played. Speer uses a wide variety of guest musicians, in addition to playing electric and acoustic guitars, bass, and synthesizer parts. The main recurring ones are Neal Speer, (related?), on drums, Steve Reid on percussion, Michael Stearns on synths, Steven Ray Allen on bass, and new age superstar David Lanz on piano. Compositionally, this album ranges from good to mediocre. The opening piece, "Allegretto in E," makes good use of a hard rock-style riff shifting back and forth from duple to triple time, but after 8 minutes and nothing new really happens, the riff starts to get a little old. Harmonica soloist Dick Powell seems woefully out of place on this tune, as well. Next is "Andantino," which is a big improvement, adding foreign-language (or perhaps nonsense) vocals from Kari Sandvick and a more world beat type sound, with its nicely subdued percussive groove, which eventually speeds up and turns into a wild guitar solo-led rock-out. Cool and intense. "Allegro Con Brio" also has a world-beat type feel, and adds a Hammond B-3 organ courtesy of Janet Foos. Unfortunately, much of her bluesy riffing seems a bit out of place amidst the rest of the song. Speer's hard-rock inspired electric leads are much more fitting, and generally do the most to propel the piece into its intense groove and climax. "Adagio Dolente" marks a significant turning point in the album with the appearance of David Lanz's characteristically subdued piano, first solo and then with the ensemble. Lanz's playing is beautiful although very much in the new age type sound that many call bland. Here, strangely, it is Speer's improvised guitar leads that sound a bit out of place. The next piece is "Moderato Indigo," which has a strong disco influence and doesn't really come off well, especially in the context of the album. The less said about it, the better. "Larghetto Con Forza" is next, and is a more appropriate follow-up to "Adagio Dolente," again showcasing Lanz's lovely piano playing. It also features the trumpet of Brad Allison, who seems to be getting a little too close to playing elevator muzak for my tastes. The tune also seems to go on a little too long. "Acoustic Reprise/Allegretto" is a reprise of the opening track with an acoustic guitar. Lanz's unfamiliarity with this type of music and Powell's harmonica make this venture close muzak-land again. Additionally, the production on this album is fabulous, and the packaging is great, too. Included in the booklet are Speer's paintings corresponding to each piece, which are quite beautiful. Bottom Line: If you're a progger with a soft spot for new age music, this album might do the trick. Yes, it's very uneven, but the good stuff is still worth having. ~ at your service, ~Jon~ Dharma
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