Not Far Out Enough
It is a musical voyage home for Shatner as these songs about
space return him to his spiritual and stardom roots. First actual song is second
track, Bowie’s Space Oddity, and with
such colossal and memorable quality in the original, any version, especially such
a lethargically spoken and emotionless reading as Shat’s, risks being pastiche, excusing the platitude.
This isn’t the best start and you’re wondering where it will go. In addition
there’s a further performance dimension to this problematic concept album: established
musicians have provided their support, but does it work at any level? On this
track, Richie Blackmore offers some distant licks, but these are just background
rock riffs rather than spaced-out jams. However, the range of these guest
artists is amazing, for example next track In
A Little While featuring Lyle Lovett [!] who gives a concluding vocal, but
little else of distinction. Third track Space
Cowboy features Brad Paisley and Steve Miller, the pair ripping some proper
licks to create a dynamic mood. Even Shatner’s spoken vocal
develops some semblance of empathy. Yet as musically [comparatively] enriched
as this track is, with Country picking meeting it’s rock opposite in a space
time continuum – and it is solar - it’s still essentially humorous. Obviously!
Other musical luminaries attracted by the black hole pull of
this album include Johnny Winter, Steve Hillage, Bootsy Collins, Peter
Frampton, Sheryl Crow, Michael Schenker, Warren Haynes, Zakk Wylde and Steve
Howe. By the time we get to sixth Rocket
Man - so quite early on in this 20-track celestial journey - the joke has waned
for me. Shatner takes the line long long
time as literal notation on the pace and mood of this spoken offering, and
then exaggerates it. Spatially soporific. Ninth Spirit in the Sky gets a faithful production repeat of the original
with Frampton’s guitar and a female chorus, but Shatner again provides a
laboured talkwalk through the easiest of songs to have set alight.
Tenth Bohemian Rhapsody?
My goodness this is not very good at all.
So half way through and one has to step outside of the Star Trek references and invoke for
relevant reflection another SciFi film - The
Day The Earth Stood Still - because we have space stasis in what could and
should have been a much richer parody. That Sheryl Crow provides the musical
relief in her twelfth track Mrs Major Tom
is not surprising because she is the sole vocal artist on that number. It’s a twinkling star in an
otherwise darkening universe, until penultimate track Iron Man where the metal guitar and Shatner’s growling reveal what
might have been.
My point is we could have expected more from the mind-meld
of such musicians and the known witty entity of Shatner’s post-ST activities. The juxtaposition hasn’t
worked consistently enough here: it needed to be more ostensibly ‘musical’ or
more far out into comic-cosmic space.
Some things, sadly, may not be worth the effort of reviewing, or of listening to in the first place. We rely on you to tell us, Awe. Do not beat about the bush.
ReplyDeleteThe Shat is a welcome eccentric, and as a Trekkie one lives in hope.... Alas, he boldly went up his own ass here. Good to hear from you Buck.
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