I have been following
Street Talk since their very first release, "Collaboration", named such likely due to the fact it utilized not one, but three vocalists. The "other two", Kristian Andren (which can be heard here on "Destination") and Daniel Jonsson were simply outclassed by the focal point of the cd, the fabulous Goran Edman. That was back in 1997 and over the years they have pumped out two other additional discs, both which are about equal where quality is concerned, "Transition" with Goran Edman-only on vocals, and "Restoration" which also included Hugo on a song or two.
The outfit is headed up by keyboardist Fredrik Bergh who knows how to compose excellent
AOR/Westcoast and does it with a gentle hand, guiding the guitars to sweet simplicity and expanding the hooks into gigantic saccharine behemoths.
Street Talk can be summed as "Journey for the new Millennium", but if Burgh's statements over the past year can be taken to heart, this latest addition to their catalogue is the last. They have reached the "Destination", and this is a musical journal of the history of their travels.
Here's the breakdown of the album: eighteen tracks, fourteen lifted from the three previous discs (ten of these with Goran Edman), two new ones with Edman on display, and two instrumentals that were likely "Japan only" since they never saw the light of day in Europe. The Japanese get all the extras. Lucky bastards.
From the first release you get the absolute cream of the crop, Kristian's two songs,
"Walk Away From Love" with its abundance of keyboard flurries and
"Brand New Start" that is right out of the book of Bad English and sports an incredibly catchy chorus.
"Standing in the Rain" gets special mention just for Edman coming off sounding like an angel. From "Transition" there's the strongest track
"Someday (I'll Get Over You)", a breezy upbeat number that showcases lacy electric guitar and powerhouse vocals.
"Ye Gods and Little Fishes" is still in the easy listening range but walks a different path than anything else featured on this Greatest Hits package. Most songs deal with love, or the loss thereof, but this one mines the controversial subject of genetic cloning for its theme and inspiration and also pops out a bit of a unique sound when compared to the sugar coated rest.
Finally there's the list from "Restoration", two Hugo helmed tracks shine here, the almost adult contemporary
"My Heart Beats For You" and
"Why Is My Heart Feeling Lonely Tonight" which is one of the better songs written by Bergh (with some help from the members of Urban Tale) and was handed to the crooner on a platter. There's no way he could have messed this one up. Edman spotlights include
"Dancer in the Rain", a soothing silken song that mirrors the laziness of a rainy day, and keeps the listener wrapped up in blankets of electric guitar and fluffy keyboard clouds to float away on, and
"Hare & Hounds" that is a brisk social commentary and has two tasteful guitar solos sizzling around in there.
Now its time for a rundown of the new stuff, don't you think?
"Astray" is up first, literally the kickoff for the album. Edman is only improving with age, his voice richer and like velvet in the chorus, which is unlike anything else these guys have offered in their career thus far. Is this a peek at the future or more than likely, an end of an era? The hooks are by far some of the best they have recorded thus far and its chock-full of electric guitar.
"Made for Paradise" is softer in tone but should be the template for picture perfect
AOR. Other bands should take note from these two songs, pristine presentation and hooks that grab you instantly. It's the kind of music that can be listened to infinitely without tiring. The two instrumentals are nice additions but are nothing compared to the vocal driven tracks. They are both still worthy of hearing and those that haven't heard them before will be eased into their individual loveliness.
My only complaint with "Destination" is (of course) the song selection. Not that there's anything wrong with it, anyone that is into this type of light n' fluffy music will appreciate each and every song, but there are a couple that were left off that should really have been here just to break up what some might call monotony.
"Energizer Bunny" is my main beef, this was such a strange and wonderful track and completely unlike anything that they had ever done, but then again, perhaps that is why they left it off - it definitely did not represent the "
Street Talk sound".
Is this the end for the band? I for one, hope not. Goran might have only been on board to collect a paycheck but his performances never gave that secret away, and Bergh's contributions to the fading
AOR/Westcoast sound were precious with each release. If this is indeed "it", then I will mourn the band's passing. For everyone else that might not mind a little love-set-to-music in their life, it's the perfect starter disc for an entry into the world of
Street Talk. Its cuddly, lovey music made just for rainy days or to mend that broken, bleeding heart. With over seventy minutes of some of the finest
AOR music recorded in the past decade, you will at the very least, get your money's worth.
Written by
Alanna Thursday, March 18, 2004
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