"Traces of Laughter" is a tad more muscular but alternates between pure AOR and West Coast. What's very apparent is B.I. can write and arrange songs with powerful, captivating hooks. They use effective keyboard flourishes to augment some already very convincing music. "I Can't Find Enough Reasons" is perfect for those rainy nights both musically and lyrically. Andreas Baro plays the sax with smooth jazz bravado. Emanuel Nyman mans the drum kit and is an anchor to the rhythm and overall feel of this album. He and Baro do double time as players and producers.
"Inside Your Eyes" is reminiscent of a Chicago (the band) power ballad, with a bigger drum beat and romantic lyrics about true love. Tim Carlstedt lays down a note perfect guitar solo. The band shifts gears for "Driving Along The Coast". The guitar tone is rocked up, and the band strays mercilessly into old fashioned AOR. "Change The Way" has a gigantic guitar hook intro, followed by a more jazzy vocal arrangement. The horns are used effectively throughout this collection. You just know the band was influenced by the aforementioned Chicago and maybe Earth Wind and Fire.
"I Want To Be Love" begins with more memorable power chords and then ascends to a loftier melody and harmony vocals. The chorus is strong and is filled with 80's top 40 enzymes. The synth based "Courage At Heart" hints at new wave pop bands from 35 years ago. Think Naked Eyes, A-ha and Cutting Crew. B.I. has still managed to keep things original though. There is no blatant plagiarism, just nods to style.
"Love of My Youth" is a slow, smoke filled room number that takes a light stab at Michael Franks or even Tony Bennett. This diversity is what makes this debut album a real joy to listen to. "Stay With Me Tonight" sounds like a lost Al Jarreau track with a tropical vibe. The concluding "Spirit of Freedom" is an instrumental track that echoes the best of smooth jazz from the likes of Fattburger or Spyro Gyra. What's a little different is the overall structure of the song which is much in the pop vein of things.
Beyond Imagination's debut record is clearly a tribute to the world's once great melodic past. All done with an incredible attention to detail. The Swedes continue to be pioneers in this format that was once only reserved for the experts in southern California. This is one big fat treat for your ears. Slap on the some headphones and use your imagination!
Dig the smoothness and West Coast production style, but a little-thrown somewhat by the accented vocals. Was kinda hoping for more of an Airplay-influenced sound considering Graydon's deep involvement, but perhaps ultimately more reminiscent of J.G.'s stellar early to mid-eighties work with the sorely missed Al Jarrreau, say tunes like "Mornin'" and "After All". Totally loving the Jerry Hey-inspired horn
ReplyDeletearrangements nevertheless!
I think the Swedes put their own spin on things and often times that means you get closer to modern AOR at times mixed with this west coast style. And each track seems to have it's own personality.
ReplyDeleteYou're probably absolutely right with that above assessment, but I
ReplyDeletesuppose I'm more partial to a group like Work Of Art, even if their
vocals often fall into a similar but totally understandable vein.
I can't help but think back to classic White Lion, and how sometimes
Mike Tramp's vocals seemed somewhat at odds (not necessarily in a bad
way) with Vito Bratta's breathtaking musical compositions. Then again,
perhaps people in countries where English isn't necessarily the main
language sometimes feel the same way when hearing English-accented
lyrics?!? An interesting if perhaps somewhat loaded discussion topic for sure...
Yes I do think language changes the vocal delivery. And for us English speakers that can be an issue. But certainly for a Swede trying to sound like their first language is English, these songs are likely an achievement for them.
DeleteAnd "Sausalito Summernight" (1981) by the Dutch act Diesel was a perfect
ReplyDeleteexample of this, in that they successfully found a way to emulate Steve
Miller's classic mid-to-late seventies sound/style! Then again, we never
heard of 'em again on this side of the world!!
That entire album is a work of art. Diesel was a guilty pleasure of mine for sure.
DeleteGood to know that I'm not the only fella who proudly remembers and
ReplyDeletestill appreciates those talented Dutch dudes!!