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
      |