Sarah Brightman - Harem

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Free Music Notes for Harem

Free Music Review: behind the curve, but ahead of expectations
Hit: 5 Stars

Harem- A rather genius concept, of beginning with a very seductive mid-tempo ballad with arabic vocal flourishes, which gives way to a dance beat. Many Sarah fans list it among their favorites, with good reason.

What a Wonderful World- I cringed when I read the title on the back of the CD. This is one of those classic songs that always got on my nerves. Anyhow, give it a try anyway. I like Sarah's "interpretation", which is more uptempo, and set against a more rock/techno background.

A Beautiful Day- Sarah's electro Cio-Cio-San moment. Some opera purists would die if they heard her take on Puccini's popular heroine; I say let Sarah have her moment. The only thing I find dull about this track is the rather generic-sounding string arrangement. If her interpretation of Un Bel Di Vedremo sounds histronic, she redeems herself by laying over it a nihilistic English-language vocal, about being prepared to die.

What You Never Know- Sounds like it was recorded for Eden, and not Harem. Reminds me vaguely of So Many Things, from Eden.

The Journey Home- The song with the most "Disney factor". Not as inspired as Arabian nights. Still, Sarah sings it with plenty of conviction.

Free- Another crowd favorite. I love this song's take on the jilted lover- not the Alanis Morissette type, but the Sarah type, one that is wistful and in need of emotional healing. The sound is lush and melancholic.

Mysterious Days- Very nice uptempo song, another favorite. Infectious Eastern pop, with the wonderful voice of the late Ofra Haza. A strong hook and killer chorus.

The War is Over- A song that verges on monotany, but shines with its poignant lyrics and genuine emotion.

Misere(re) Mei/Beautiful- Funny, how Sarah's path crosses more than once (!) with the now-defunct new wave band OMD. Both sampled "one small step for man...", Sarah for La Luna, OMD for their Sugar Tax Album. Now, Sarah samples Miserere Mei for Harem, while OMD did, also, for Sugar Tax, on the song Walk Tall. Coincidence? Anyhow, this song feels like it was intended to be a sort-of follow up to Here With Me, the soaring Dido-penned song from La Luna. Beautiful replicates the "frozen" electronic sound, but Sarah's singing is much more restrained than on Here With Me. In the end, Beautiful isn't as jubilant as Here with Me, but is almost equally as successful.

Arabian Nights- Wow... Everything gels just right here. A song that starts off serene and elegaic, then becomes very French-disco, Erasure sounding (I can hear Andy Bell crooning "Voyage, Voyage"), then launches into a soaring Eastern vocalization that gives way to a chant that Madonna would be envious of. I am usually not a fan of guitar sounds on Sarah's albums, but the guitar at the end of the album even sounds very much in step with all the rest. Good job, Sarah. You definitely got it right this time.

Stranger in Paradise- A track that has a lot of promise, with its intimite, nostalgic sound, but one that Sarah almost killed by deciding to sing it with an "operatic" vocal. A little more restraint would have done this track infinite justice.

Until the End of Time- A song that I swear I heard before- but evidently it is a Sarah original, so it cannot be. Very original lyrics, set against a postmodern background.

You Take My Breath Away- Who cares if it was recycled from Fly? It is the perfect way to end the album, conjuring up not just Middle-Eastern Music, but Deep Forest and Enya. Like it or not, Sarah hits a home run here.

P.S.- To the reviewer that complained about Sarah being middle aged with split ends, etc, please try reviewing the album, instead of indulging in your personal vendetta. And don't you dare try to accuse Sarah of racist slurs.

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