It's a shame that since this music has been labeled new age that most people will only hear it as background music. It is more highly reviewed than any of their other albums at least here among the proggers. Matter of fact, the Shadowfax evolution between their debut Watercourse Way and The Dreams was a lot more palatable than that of some bands, who shape-shifted into commercial pop outfits in the 1980's. Nothing exciting here past the first minute. This is the direction you wish the rest of the album would have went.
A transitional album, captured the band at its creative peak. Like most New Age it is very light fare. The majority of the creativity went into the song titles, like Hey! At least that's how they started off. I'm definately not a fan of Indian music nor the sitar, but I do love the sound of this track. Lewis — piano, Moog synthesizers Phil Maggini — bass, percussion, piano Additional Personnel: John Bergamo — drums, tabla Ralf Hess — programming Emil Richards — chimes, marimba Toni Schneider — flute, saxophone Michael Spiro — percussion, conga.
There indeed was some pleasant music to be had. Duet For Shar 5:47 08. There are parallels with the lighter tracks from Watercourse Way, but gone are the truly jazzy themes, vocals, hard drumming and electric guitar. I feel there is a nice mix of eastern and western influences apparent in this track and some interesting sounds provided by Chinese water symbols and something called a kanjgerra. Fortunately, the middle part of this track loses the sax and becomes enjoyable until the sax comes back with some very light improv which messes up the song again. It has a nice Indian feel to it and pays homage to the music.
This is not music to listen to while driving because you have to concentrate on it to appreciate it. I have never heard the debut album, which is apparently the album that put them on this site. The worst offenders are the placid, oops, I mean flaccid songs written by bassist Phil Maggini. They recorded one great fusion album, and six years later reappeared as new age darlings on the insipid Windham Hill label. They give some nice jazz-prog treatments to their compositions. Nice name for a progressive rock band. The melody seems mostly taken on by a flute and it tries to copy the sound in the previous album's title track, but doesn't come close.
These musicians are definately underappreciated because of the label given them and I think if those who appreciate good music really sat down and gave this album the attention it deserves, that the real depth of this music would be discovered. It is nice to listen to, not really a stand-out track, but very fine nonetheless. They even brought back two pieces from their first Passport albums. At least, as far as this album is concerned, I don't understand why this band is disliked among the proggers here. Posted Thursday, April 7, 2011 Review 428596 This album is a dissapointment in comparison to Shadowdance. And after a bit of research, I came to find out that Shadowfax indeed began their career in the 70s with the much more progressive sounding Watercourse Way review of which I have also submitted , and did not release Shadowfax until 6 years later in the early 80's. This album may not have been well know among progressive music fans, but with its spectacular cover art and well crafted music, it was a treasured item in the collections of those that knew them at the time.
However, as this was a Windham Hill release, I was expecting something light, perhaps new age sounding, which is basically what I got. The best songs to my ears are the first two tracks: Angel's Flight and Vajra, which are two of the slightly proggy tracks that have a touch of off-beat rhythm and some excellent acoustic guitar. The music is, for the most part, calming and evocative of a peaceful natural world. At least that's how they started off. This ground-breaking work combined , rock, folk, and world music elements. Pretty much perfect for a Windham Hill release. Now that is definately non-traditional.
This makes for an interesting beat especially since the time signature changes back and forth. However, upon listening a little closer a few more times I noticed that it wasn't just your average new age: there was something a little more to it. This album, like the majority of Shadowfax output, declines to have any character. The band disappeared for a few years after they debut and then resurfaced on the Windham Hill label in 1982 with a self-titled album of new material. There are no exceptionally memorable tracks, but the album is good either for background listening when you are doing something and don't want to be too distracted or emotionally swept away or perhaps it could be good for meditation. Posted Sunday, July 25, 2010 Review 291881. At least in this track, the violin doesn't try to spin off a traditional pop sound.
His work on the , the first electronic wind instrument, which he helped develop with engineer , became the signature sound of Shadowfax. And really their latter albums weren't completely although they lost some of their harder edge and devoted themselves to more mellow fair. In live performances, Greenberg appeared as a featured artist at , , , , , , and the , among others. Shadowfax went much lighter, more like New Age music after this album. The title track showcases lots of percussion work underpinning a simple but effective melody.
The percussion stands out here throughout the piece where the strongest beat in each meter comes at the end of the meter and not at the beginning as most songs in every genre except reggae. Either way, this one has more of an ensemble feel to it adding in more violin to the mix. Nice name for a progressive rock band. It packs a lot of emotion in its main theme, thanks to 's soaring electric guitar. Posted Sunday, April 10, 2011 Review 430553 This album starts out in a promising way. I was particularly fond of Patrick O'Hearn of Zappa fame.