Daniel Lanois - Shine
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Music CD Cover
Artist: Daniel LanoisEdition: Music CD
Format: Limited Edition
CD Release Date: 2003-05-05
Music Label: Anti
Soundtracks:
- I Love You
- Falling At Your Feet
- As Tears Roll By
- Sometimes
- Shine
- Transmitter
- San Juan
- Matador
- Space Kay
- Slow Giving
- Fire
- Power Of One
- JJ Leaves L.A.
Free Music Notes for Shine
Free Music Review: Buy This CD, BUT AVOID THE LIVE SHOW!,
Hit: 5 Stars
Before his first CD, "Acadie" I had been an distant admirer of Lanois as a producer; after my first listen to that amazing work, I became an avid fan of him as a solo performer. His new CD, "SHINE ", is an equally wonderful piece. Imagine my excitement when, in support of "SHINE"'s release, a small handful of live appearances included an evening at the Henry Fonda Theater here in L.A. on 6/05/03. However, nothing, not even having been in the music business myself, nor having attended 200+ concerts in my lifetime, could prepare me for the spectacle of this talented songwriter/producer bastardizing his own material in a live setting.
Lanois took the stage with a beautiful Gibson Firebird, and switched between that guitar, a gold Les Paul and a pedal steel guitar. In my 30+ years of concert-going experience, however, I have never seen any of those fine instruments physically assaulted in such a discordant fashion. His amplification set-up was reminiscent of Neil Young in tone, but his playing resembled a 13-year old who had three lessons at a local guitar shop and deemed the limited experience sufficient to perform to an audience. It was horrendous to watch, and equally horrific to be subjected to, as Lanois literally banged on the guitars, in a deafening cacophony, for two pain-filled hours.
Consider my astonishment: Here is an artist who, in his recorded work, paints ethereal sonic landscapes and entwines them with a lovely singing voice and wonderful lyrics, beautifully weaving the English and his native French-Canadian languages into many of his compositions, but nearly always with the acoustic guitar as the central voice.
His choice to perform his work entirely electric, however, and to perform it BADLY at point-of-pain sound levels (before the show, the soundcheck could be heard inside a restaurant a block away across Hollywood Blvd at rush hour), was either terrible judgement, or a botched attempt to disguise the fact that he is sorely out-of-practice on the instrument.
I want to make it clear that this is not a case of failed expectations of an electric set over an acoustic one, like the way the audience reacted to Bob Dylan at the Newport Festival in 1965. I have no problem with any artist performing his/her material in either discipline. I simply found the volume and Lanois' guitar-playing (bashing?) offensive.
The level of amplification inside such a small venue was totally unnecessary. This could be construed as the fault of the `Fonda's soundman, but it is ultimately the responsibility of the artist and his management to monitor and correct this situation (that's why it's called a "soundcheck"!). Lanois' two-turns on the pedal steel guitar included some ear-splitting amplified notes that undoubtedly turned Marilyn Monroe in her Forest Lawn Cemetery grave 20 miles away.
I would hate to think that the overwrought sound level was actually intentional on Lanois' part because he is aware of his shortcomings on the instrument; any skilled guitarist will attest that it is infinitely more difficult to play the guitar quietly than loudly. However, the fact that nary an acoustic guitar was played all evening, by an artist whose overall recorded work is so dominated by that instrument, makes me suspicious of such a deafening, all-electric performance.
Lanois played a large portion of his solo repertoire. The fashion in which it was performed, however, would have rendered most songs musically unrecognizable without the lyrics. Then, to make matters worse, the Edge took the stage for three songs, and Lanois managed to drown him out, including all of the beautiful subtleties of the Edge's slide guitar work in the second number. Lanois was then joined by Marianne Faithfull for a duet, where he embarrassingly began playing the wrong song. After (hopefully jokingly) blaming Faithfull, they resumed, and, you guessed it, she could barely be heard, either.
Apparently, I was not the only person in attendance who held this performance in low regard. Before the show, Lanois' label reps rudely created a security melee in the balcony by a last minute demand of reserved seats for their guests AFTER the general admission audience had been admitted and seated (and were forced out of their seats!). Many of the people sitting in the label-reserved section, in addition to the general-seating audience, walked out of the show: I honestly believe that the only thing that kept the remaining audience in attendance for the duration was the "special mystery guests" anticipation that had been hyped before the show.
Also, Lanois himself delayed the show for nearly two hours past the billed start time for an extended (or late) soundcheck. Needless to say, the normally laid-back L.A. audience was not in a very good mood by the start of the show, which which became even more sour after being subjected to a horrid 45-minute droning solo performance by Lisa Germano.
Even though a week has passed, I still cannot reconcile this experience. Since the show, I have been listening to "SHINE" repeatedly, in almost cathartic fashion, as if to rid myself of a bad nightmare. I can only hope that many repeated listenings will wash away the memory of that jarring, disappointing evening
As for "SHINE": It is everything Daniel Lanois is as a talented artist, a gifted songwriter and an imaginative producer, and I cannot recommend it more highly. By all means, purchase and enjoy this wonderful CD! However, avoid any live performance until he commits himself to improving his live guitar playing to a level commensurate with his songwriting and production talents.
Otherwise, you risk having your admiration for Lanois severely challenged.
Shine Poster
The man responsible for some of the greatest albums of the last twenty years presents his third and finest solo release. Daniel Lanois? Shine is warm, organic and dazzling; the songs run the gamut from melodic roots/pop to distinctive, pedal steel fueled instrumentals. One listen to Shine, and you will hear how artists from U2 to Bob Dylan to Peter Gabriel have benefited from Daniel's unique talents.Daniel Lanois, while a prolific producer, is is a frustratingly sporadic recording artist. He?s also a surprising one, given that the albums he has produced (think of The Joshua Tree, All That You Can?t Leave Behind, So, Oh Mercy) are characterized by surging, luxuriant audioscapes, his own works are resolutely modest. Shine, indeed, is almost lo-fi. The only link between Lanois?s big-budget productions and this unassuming record is the personnel. Lanois possesses a star-studded Rolodex and he?s not shy about using it: Emmylou Harris contributes backing vocals to the opening track, while "Falling at Your Feet," is a duet with its co-author, Bono . The remainder of Shine features thoughtful, subtle songwriting. Meanwhile, the limitations of Lanois?s vocals lend an engaging frailty, leavened with bleak, lonely, instrumental interludes. --Andrew Mueller
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