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Daniel Amos
Kalhoun
Harvest Rock Syndicate July/August 1991
4 1/2 points out of 5
by Bruce A. Brown
So tell me something-does this guy Terry Taylor
ever sleep? Sure, it's been four years since the last
Da album (Darn Floor-Big Bite), but the guy hasn't
exactly been taking an extended vacation. Since '87,
Taylor hs spearheaded two Swirling Eddies projects,
released another Rap'sures album, produced two
albums for Jacob’s Trouble and two for 'scattered few,'
supervised the reissue of vintage Daniel Amos live
material (plug!), packaged an ersatz 'best of' disc
(under the name of dr. Edward Daniel Taylor) and
probably a dozen other things I forgot to mention.
But when Brainstom (formerly Broken) came
calling, Taylor had his choice-he could do a solo
record, another Eddies disc, anything he liked. It seemed
the time was right for a new Da album. How fortunate
we are Taylor made that derision.
Kalhoun revisits several lyrical strands that Taylor
has woven through his music over the years, even
as far back as the first Daniel Amos album.
Previously, in "Big Time, Big Deal' and "I Didn't Build It
For Me,' Taylor cast a withering gaze at the
hypocritical actions of some of the prominent representatives
of modem American evangelical Christianity. Here,
Terry directs that examination inward on "Big, Warm,
Sweet, Interior Glowing." Songs such as “Real Girls”
and “Rodeo Drive,” examined the facade most of us
erect in order to show less of our true selves;
"Virgin Falls" and "Tracking The Amorous Man" explore
the duality of our nature in much the same way.
Through "Prayer Wheel” and "Gate of the World,”
Taylor reminds us that, due to the expanding "global
village," electronically if not organically, we're more
closely linked to each other than ever before. The
title track, 'Father Explains" and "Gloryhound"
explore various facets of our current administration's
fascination with a "new world order;" indeed, "Father
Explains" may be the most political song Terry Taylor
has ever penned.
On a more intimate level, “It you Want To” is
certainly one of Taylor's most endearing love songs, while
“Note To Anaa” is a sad reminder that our human
efforts to save someone are doomed to fail; only Christ
can accomplish that. “I Will Return” takes the tale
of “Mall All Over The World” to its apocalyptic
conclusions. But Taylor is not merely "recycling" old
storylines as a songwriting device; his lyrical growth and
maturity are in evidence throughout the album.
Musically, Kalhoun displays a fascinating
juxtaposition of sounds; it's Da "unplugged," yet
simultaneously offering.some of the crunchiest guitar sounds
since Alarma! or "I Love You# 19.” As the allram fades
in on Ed McTaggart's brushes sweeping across his
snare drum, you know you're in for a different Da.
“Big, Warm, Sweet, Interior Glowing" is bruilt, as are
many of the tunes, around Taylor's acoustic rhythm
guitar.
"Kalhoun" blisters with Greg Flesch's electric
guitar work, while “I Will Return” is driven by
accordion and ethereal vocals. The rhythmic cello part on
"Tracking The Amorous Man" recalls E.L.O., and
"Gloryhound" is buoyed by steel guitar licks. But these
musical quirks never seem like tricks, simply minor
embellishments. Kalhoun was cut live in the studio
for the most part and the organic feel of four musi-
cians playing as one is quite sublime.
When you call anything an artist's "best" that
automatically raises the public's expectations. But
Kalhoun certainly contains several of the best songs
Terry Taylor has ever written, and musically, it is one
of the bands most satisfying performances.
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