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The real attraction lies in its simplicity and honesty. There's no gimmick behind these songs, just an affection that recreates the diverse streams of our pop soundtrack into a truly kinder, gentler image. Michael Wright
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Lroyd Uole
himself to New York, and his solo debut melds these two worlds' sensibilities in a rare but welcome way: Jaunty musrc, thoughtful lyrics
Commotions, is gone but the commotion remains. Deservedly. After a hit maker stint in his nattve Britain a year
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backup group,
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establishing shot, right before we meet the hero or, better put, the protagonist,
rich without being lush or syrupy-a feat of terrific preciseness. lt sets the stage like a movie soundtrack on an
in
"A Long Way Down," for example, opens with a relatively long but uninsis_ tent string instrumental that's somehow
sponsibilities, but too much time for thought: "You look so good when
Cole's vision of the city and the world. Most of the songs are like that, focusing on one or two people at a moment when time stands still-moments of private epiphanies. ln "Undressed," it's a cozy lover's morning without re-
wants "to tear the stars out of the sky." Cole and his musiclans are delicate yet forceful, in an acoustic-dominated mode. Synthesizers pop up but unobstrusively except for the brooding "To the Church"-a minor distraction in an album that successfully walks the hairline between melancholy and the
laying warm and happy and comfortable enough to say something honest and stupid. "No Blue Skies" takes a standard romantic pop song melody, slows it a touch to give a sinister undertow and a sad tension, and then presents us a supposedly resigned lover at the end of a love affair, outwardly calm but so torn up inside he
AUDIO/DECEN/BER 1990