Reviews in this issue:
John Miner - Heaven's
CafÈ
Tracklist: Last Smile Sunshine (2:15), Astralography (3:26), Heavens
CafÈ (3:44), Never Alone (4:04), Classical Man (3:57), Labyrinth (5:41), Tower
Of Information (6:50), Again/ Flowing Home (3:20), The Dark (3:54), Robins'
Lullaby (2:05)
John Miner - Heaven's CafÈ Live
Tracklist: Last Smile Sunshine (3:07), Astralography (3:41), Heavens
CafÈ (4:08), Never Alone (4:23), Classical Man (4:13), Labyrinth (7:12), Tower
Of Information (7:58), Again (1:44), Flowing Home (1:40), The Dark (6:12),
Robins' Lullaby (1:41)
It's been some time since I have come across a Rock Opera based on a progressive
style of music, and this is the first that I have come across for reviewing
purposes. The progressive rock genre has long been associated with Rock Operas,
though almost all of these date back to the seventies. Thus the prospect of
hearing (and reviewing) a Progressive Rock opera was very enticing.
The two albums have been released on Tributary Records, a progressive rock label
based in Las Vegas. The studio version of the album has only been released in
limited numbers while the Live version that is more commercially
available. Recordings of the live album took place at Flamingo Theater, Las
Vegas. Though presenting the same tracklist, the two albums have their
differences and after hearing both, I must admit that the live version comes
across as being warmer and somewhat more accessible. Though the tracks are the
same, the line-up on both albums is very different. The studio version has John
Miner performing all instruments while the live version has Art Rock Circus
backing him and they are Jon Cornell (bass) and Jon Weisberg (drums) together
with Melanie Grimmet on violin. Strangely enough, though labeled as Art Rock
Circus, the group is different from that which appears under the same name in A
Passage To Clear!
The two albums also have different vocalists performing the various parts in the
Rock Opera with the studio version having Julie Meadows (Robin), Ken Erickson
(Classical Man), John Miner (Lark), Kelton Manning (Kral), MichÈ (Guardian
Angel) and Mike Lewis (Devil). The live version has Alison Gifford (Robin), Sean
Critchfield (Classical Man), Todd Ashmore (Lark), Timothy Burris (Lark),
MichÈ (Guardian Angel) and Josh (Devil/The Dark One).
The storyline is based on the life of the tale's hero as he moves from his
hellion days as The Classical Man, all the way till his afterlife destination
(Heaven's Cafe). The album starts off with Last Smile Sunshine where he
is The Classical Man and musically the track is set in a folk vein with the
introduction presenting a pleasant rumbling bass line. A happy track making a
great opening for this concept.
Astralography has The Classical Man
transformed into Lark and greeted by the androgynous Kral who keeps things in order
within Heaven's Cafe. The introductory segment to this piece has its origin in the
final part of Last Smile Sunshine and is very early Marillionesque in
nature. Astralography on the other hand is a more rocky affair. The
studio version seems to benefit from additional guitar work, but for some reason
there is a tighter feel to the live version of this track.
Thus start a number of scenes wherein Lark faces a number of characters that
have to do with his past life. In Heaven's Cafe, he is introduced to the
Guardian Angel, the lovely Robin in Never Alone and finally in Classical Man, he
comes face to face with his old self. Heaven's Cafe has a neo-progressive
feel with MichÈ's vocals while Never Alone, also featuring a female
vocalist is one of the most delicate tracks on the album. Though not definable
as a progressive track, it has a country-rock flavor with hints of Shawn
Colvin in it. Classical Man is a more aggressive sounding track.
Though slightly repetitive at times, it is one of the more musically complex
tracks on the album with the occasional variance in time signature.
The
encounter with his old self leaves Lark confused and he realises that he has to
continue his journey (Labyrinth) to find his answers at the Tower Of
Information. Labyrinth is a variation on the theme of the opening
track Last Smile Sunshine, though the tempo is slowed down considerably
with singing replaced by narration. The track also has a lengthy instrumental
section with the bass guitar taking over the brunt of the melody lines as the
guitar is relegated to the creation of sound effects. Tower Of Information
is the reflective track of the album with Lark accompanied by both female
vocalists who create a series of beautiful vocal harmonies. The live version of
this track is augmented by some delicate violin playing.
The short Thus
Again sees Lark returning to earth to try everything all over again, once
again being a version of the theme of Last Smile Sunshine. The feel is of
a British sixties band, something that The Small Faces would have come up
with!
The Dark One who has been watching from behind the scenes tries to interfere
with Lark's return to earth on Flowing Home, but the images of Robin and
his love for her save him as he finds the necessary energy to reunite with her
and thus complete the cycle (The Dark). Flowing Home is
unfortunately very short as it is one of the most promising (progressively
speaking) tracks on the album that could have been developed further while The
Dark has an almost King Crimson feel to it with a series of moods
created both via utilisation of vocal effects as well as the Fripp-like
guitaring. For some reason the live version of this track is split into two
sections.
The album and rock Opera come to a close with Robin's Lullaby which has
Lark returning to earth as baby Robin. Here all we have is an acoustic guitar
and violin (on the live version) playing the bass line that the album started
off with accompanied by Robin's narration.
On the whole the albums make interesting listens though the progressive element
is slightly sacrificed to be able to reach a wider audience. There are times
when one feels that certain sections could have done with more expansion, while
at others the sound of the instrumental sections is a bit thin and could have
done with some augmentation. However, if you are looking for a musical/Rock
opera set in an art-rock/progressive vein, then this outing from John Miner should
do just fine.
