In the Name of the Father

Music From the Motion Picture Soundtrack

(Polygram)

The In the Name of the Father soundtrack (2) is a rip-off and makes me want to puke. An obvious attempt to sell a soundtrack without enough songs to justify one, the album features ringer tracks from Bono, with two atmospheric songs, and Sinead O'Connor, with “You Made Me the Thief of Your Heart,” the only thing here anyone could possibly want. The rest consists of compositions with titles like “Interrogation” and “Passage of Time,” obviously not intended to function independently of the film, along with cuts from Jimi Hendrix, the Kinks, Bob Marley and Thin Lizzy--fine songs one and all, but who knew they'd ever share the same album? Caveat emptor. Mirror Blue

Richard Thompson (EMI)

The disparity between Richard Thompson's critical adoration and public indifference has now reached ridiculous proportions. With the release of last year’s career retrospective, Watching the Dark, and now yet another sterling release, Mirror Blue (4), Thompson seems

Under the Pink

Tori Amos

(Warner) poised for a public

Tori Amos’s 1991 breakthrough, if only on the effort, Little merits of his reputation.

There is a certain modesty

Earthquakes, displayed and purity to Thompson's

loads of potential, but it seemed to smother under its own cold, arty weight. Under the Pink (3) suffers from the same malady and is even more diffuse and ornate--and when she does strip things down

music that suggests he'll never reach his deserved audience, but for those willing to listen closely, Thompson consistently produces some of the smartest rock'n'roll out there.

As usual, Mirror Blue features a panoramic range, from the buoyant pop hooks of “For the Sake of i. a a Mary” and “Il Can’t Wake up to Save my Life,” to i ; the poignant melody of “King of Bohemia.”

she’s sorta dull. But aS - . i bY kIRBY fERGUSON : Separating the album from his other recent releases real prone (MCA) is its steely, mechanical drive, no doubt the mos’s voice, whic

Amos’ rapa digs ioc aicenlancama contribution of producer Mitchell Froom (Suzanne isn’t distanced enough, ON oe \ Vega, Los Lobos, American Music Club). For rock

x

resulting in some throw-k-awaysingle featuring some” * scholars, Mirror Blue is a stunning display of songwriting, guitar playing and texture; those rather indulgent and wonderful rasan pede: slag 7p ay pane. who demand a more immediata appeal from their rock'n'roll may want to look elsewhere. even unpleasant the vegetables,” “save all your footstamps (Thompson's music hasn't alwayS been so humble: Shoot Out the Lights, recorded with his ex- emoting. Her gd Dorn aren am ere Cae ae wife Linda, exudes all the grand inspiration of Abbey Road, Exile on Main Street or The Joshua compositions are still of the Loser ep (3) drubs the elemental and Tree. | highly recommend that record.)

disjointed--hence, the irresistible formula into the ground, but it is '

moments are more unreleased stuff; the upcoming full-length GLEE

impressive than the album, Mellow Gold, could still be worth — i

whole: the moody checking out. ¢

ambience of “Space

Dog,” the mournful

chorus of “Past the

Mission,” the tense

rhythm of “God.” |

admire her guts, though--the woman will say anything, she just doesn’t give a damn: “God sometimes you just don’t come through,” “| believe in peace/| believe in peace, bitch.”

woo-hoo-wee The potential is still clearly there, but Tori ooh ooh Amos has yet to add hmmm

substance and heart to

her artiness. eee Wal blaaach

_|___x.press march first 1994; page 16 |