Lana Lane - Curious Goods Reviews

LANA LANE - CURIOUS GOODS

REVIEWS

"I think this is one of the most baffling reviews I've ever written in my life! Sometimes, no matter how ostentatious one's words and how complex an image one strives to create for the reader, they just can't convey the sheer scale and magnitude of some music. This is one of those albums. All I can do is try and describe some of the tracks as best I can, and hopefully you'll see how truly moved I am by this album's contents.

"Curious Goods Part One" is certainly an interesting intro: going from technical and atmospheric to vaguely progressive and rocky, and then it winds up like something from Billy Sherwood's first World Trade album! Then we segue into "Emerald City" which is pompy but with that hard, direct edge that only the best American bands can inject it with. Soothing vocals run through the atmospheric verses, before the barely-muzzled attack of melodic heavy rock guitars slam in with mellatrons in the background as well. Sort of Pallas meets Saga in a heavy rock mood. The production (from keyboard wizard Erik Norlander) is interesting, clear, and layered yet spatially aware with a nicely live drum sound. "Truly symphonic" would make a good two word description. It's a veritable quality rock tour de force, not so much a finger in the eye of the current alternative/disposable mainstream, more of a damn good thrashing out in the car park leaving it bruised and pulverised. As unbelievable as it may sound, a song to restore your faith in the world and the ability of great melodic rock to beat all adversities.

Hmmn, it'll be interesting to see if this standard is maintained. "Escher's Staircase" (now there's a cliched song title!) is next and there's definitely a progressive influence, but it's not that sort of look back to the '70s with khaftans thing, is much more vague - more just the feeling of sheer musical quality and depth genuine talent can impart. Progressive and fresh and individual aren't usually terms that go together, but here they do, and how. Musically you could even see elements of early Angel (on something like "The Tower") - it's that huge a sound.

After another short instrumental interlude, "Take a Breath" sounds, even more like World Trade, hugely commercial and those keyboard sounds are fabulous like "Slow Down" from the first Prophet album, in fact the first Prophet album is a good reference point - they still had a definite progressive influence then but in a much more rocky and commercially aware context.

And the quality continues to flow. On "Reverie" Lana's voice isn't unlike a more mystical version of Patty Smyth. There's also a very interesting time change in the mid section which gives it an always jazzy feel..., like a commercial and direct version of an Allan Holdsworth album! Now we're more than half through the album and we come to "Symphony of Angels (Arias and Fables)", and in true "the engine's canna take it Captain" this one rocks with an intro that would do Iron Maiden proud, but then swirling keyboards (god that's a clichÈ I should have avoided) kick in and the song totally changes. There are so many different textures that I could write dissertations on each of its different sections. Maybe it's like Thread with a massive injection of hard rock guitars and a drum clinic demonstration. While risking defining the term hyperbole, this one track has more sophistication and endeavour than I've heard some bands produce on three or more albums! Here my frustration is at its highest - whatever I write will never do it justice!

This is an album that no self respecting rock fan should miss out on. Grab a copy and prepare to have your mind expanded! Albums with this level of integrity are very sparse and if you don't get on the case as soon as possible, you'll definitely regret it later. Lana's first album "Love is an Illusion" (Think Tank Media, 1995), with appearances from Paul Sabu and Steve Plunkett, is just as awesome... and just as a symphonic musical statement with maybe a slight more emphasis on the hard rock element ..."

[Ian Macintosh, AOR Basement, Scotland February, 1996]

This is her second album one year after "LOVE IS AN ILLUSION" which received a good critique, and Tony Franklin (b/ ex THE FIRM, BLUE MURDER) has also participated on this one. Organs and Mellotron antiquates the edges of some songs, yet still focusing on vocal-oriented hard pop, this album is on the same level as the first one, although more technically difficult1, this piece is indeed wonderful. It gave me more of an adult impression since the guitar has backed off slightly and the clenching-fists type passionate vocals have been toned down, there were some parts which I thought were a little bit too dancy to be hard rock. Nevertheless, I am speechless to her proficient sorrowful and enchanting vocals.

[Taka Okuno, Burrn! magazine, Japan)]

"In my opinion "Curious Goods" constitutes the leader of the quintet until now. An abundance of layering in the production (pacing, laughing, wind, rustling) enriches the "supershow" that is created in the mind of the captivated listener. Extensive knowledge of the technology of sound is to the credit of the producer. Imaginative composition which although commercial, keeps the album on the mark and makes it easy without any doubt to suggest it to friends of atmospheric rock. The inclusion of "Do it Again" by Steely Dan is obviously there for no commercial reason, but for a personal need as a tribute to Becker and Fagen."

[Chris Kissadjekian, Metal Hammer magazine, Greece, December 1998 -- translated from Greek by Chris].

"'Curious Goods' saw a change in the band, with Tony Franklin (who played on one song on the previous album) coming in on bass and fretless bass, and Neil being the only guitarist. This is more progressive than the debut, but strangely enough contains two covers, namely "Do It Again" by Steely Dan and "Clouds" by David Gates."

[Kev Rowland, Feedback Magazine, UK, January 1999]

"Curious album as well. This suffers from an identity crisis in that I'm not sure what it wants to be as the styles range from grand keyboard-dominated instrumental interludes, through the central framework of songs that are effectively a souped-up AOR version of Heart with better vocals, more thought to the lyrics and compositional structure, plus vast solid arrangements with great dynamics and guitar work from adrenaline-fueled riffing to sensitive electric soloing. Add to this more variation in musical styles along the way, showing that while this is AOR in essence, it's also prog, almost metal and a bit singer-songwriter at the same time. Along the way you get the impression of a slightly watered-down Dio-era Rainbow type of sound and arrangements only with a female vocalist who really should let it rip but largely keeps thing fairly polite. Still, it's strong stuff and I dare say a lot of you with less of a leaning than myself to heavier things, will really get off on this album, with its twists on prog and AOR as it goes, ensuring fans from both sides of the fence".

[Andrew Garibaldi, CD Services, Scotland, 1999]