October update: It's not as though i've given up on doing music reviews; i haven't. I've been working on some other things which includes but isn't limited to finding a job. I've got a few CD's that i want to review, which includes, but isn't limited to getting started on my thoughts on the Global Underground series and more of the work from the Good Looking Organization.

As i've gotten older, i've arrived at a point where lyrics are obsolete to me. Ocassionally there are exceptions to this, but for the most part, i've long since outgrown whatever usefulness words in music had to offer. A songwriter transposes their thoughts into words and when i listen to those words, i transpose their words to my understanding of those words. I end up taking my memories and my experiences and projecting them onto whatever words i hear and the end result is that whatever the original thoughts the songwriter had are long since lost as i interpret them with my vocabulary.

Jazz arrived to me at the age of 17 in the form of Pat Metheny and Lyle Mays. The song was called "Across the Heartland" from American Garage. Yes, i'm keenly aware that many purists regard Pat Metheny in less than honorable esteem, but that's not really my problem nor my point. The point is that a barrier started to fall. I grew to understand the vocabulary of sound that's used in and of itself, speaks far more than the typical generic rehash that's on every single pop/ rock station in the world. Ocassionally there are exceptions, but these are more anomolies than anything else.

I've long since moved on from lyric based music and have a hard time listening to it now. Strip away the voices [which more times than not usually just sound like someone whining] and you have dull, bland, safe and generic music that's neither challenging nor original.

But in all fairness, i do have a soft spot for certain people/ groups that have used lyrics. There's no mistaking the languid and sometimes painful sounds of Billie, there's no way the deep and soulful sounds of Ella or Etta or the brilliant and penetrating singing of Dawn Upshaw. Johnny Cash can sing with an undeniable depth, with more soul than virtually anyone else and one stanza from his mouth can contain more force than most other works of art. On a more contemporary note, ocassionally i come across something a little more modern that uses vocals and i'm moved. It could be someone like Nusrat Fateh Ali Khan, it could be some candy track from a house mix from A:xus [Missing You], Deep Dish or something from one of the Global Underground CD's.

Oh... i can't forget the incomparable Tracy Thorn from EBtG. Both Missing and Stay Gold [aka :: You Look So Bright] still have the power to make me cry in sorrow or in hopefullness, depending on where i am in my life at the time.

But these days i'm fascinated with all sorts of music... from classical to bop to west coast swing to house to jungle to drum and bass. Over the last year or so, i've developed a deeper fondness for Arabic and Indian music. I probably have Peter Gabriel's Passion to thank for that. I think the most fascinating and beautiful music out there right now is the fusion of traditional Arabic, Indian and/or African sounds with House or Jungle. Unfortunately my collection of Indian/ Arabic and African music is minimal at best. Oh well...

Anyway, my goal with this section of synaesthetic.com is simply to offer some of those sounds that have influenced and reflect my outlook on life. I will write short synopsis of the CD's with the goal of summarizing the overall compositon and energy that the CD has to offer instead of doing a "blow by blow" recount of each cut [though i do reserve the right to do so, when necessary]. I hope you find my humble offerings somewhat interesting, but moreso, i hope you'll find yourself inspired to venture into musics that you never thought you'd hear... and that you'll elevate yourself in the process.

Thank you,
-shelly