To say this latest release by Connick is a departure album would be
a gross understatement. It's as if Harry has totally taken leave of his
old sound for something so new and unique that his die-hard
fans may not recognize many of the cuts as his. I remember
when Harry first started, all that could be said by the
misinformed was that he was a Sinatra rip-off with a Louisiana beat.
It is true that his older music was reminiscent of various big bands,
and his voice did resemble a young Sinatra. But he wasn't trying to
copy anybody. He was influenced by certain styles of music and it
came through on his discs. On Star Turtle, Harry has reduced his
band to himself and four others. This quintet is so talented that you
don't miss the excess instruments, in fact, the skillful meshing of this
very tight band makes the listener think there are more instruments.
Star Turtle is filled with cuts which run the gamut of sounds from
borderline hard rock to alternative tones which create an extremely
hip and timely piece. This album is so different, there was no doubt
some risk involved in the fact that Harry may lose some of his
audience. However, as a fan of all his previous works, I find Star
Turtle to be an utter delight, and it makes Harry look like a genius
because this album has incredible versatility which will bring in all
types of new fan bases while still pleasing the old fans. Another fine
touch is the fact that Harry wrote the music and lyrics for all these
new cuts which goes to show that this young man is both talented in
front of the mike and with the pen. My feeling for this album is so
strong, that simple summations of the tunes cannot cover one-percent
of the feelings I have for them. These are just meant as a barometer
in hopes that they will encourage you to purchase this fine piece of
artwork.
The first single, "Hear Me In The Harmony" was an excellent choice.
It contains some sounds reminiscent of the old Harry while blending
in the new sounds. The result is a true toe-tapper musically, while
Harry's new form of laid back swing provides a vocal which is sure
to propel this one up the charts. This cut is also a prime example of
how Harry was able to blend the sounds of his new band, especially
the horns, without any sound being too overpowering.
"How Do Y'All Know" is belted out by Harry with a confident and
proud tone which only enhances the lyrics to a much higher degree.
This cut is a fine example, of Harry's new sound without being too
overpowering. Another good call by Harry as he no doubt wanted to
smooth the listener into the sound and not just take them for a roller
coaster ride. Although the lyrics are simple and free of complicating
words which seem to muddle other artist's tunes. The point here
comes across with viscous efficiency and leaves the listener with a
good feeling.
"Reason To Believe" is an original Connick tune which picks the
listener up from the first few bars. Harry shows his versatility with the
piano as he gets into a rocking/jazz groove which is a major turn-on
for this cut. The rest of the band does excellent work here as the
horns blow a solid accompaniment to the piano, while a guitar lead
which is simple but quite fine adds a rock sound which Harry no
doubt has fun with as he compliments it with the piano.
The sensitivity of the band comes through on "Just Like Me," a slow
tune with lyrics that speak about being down but seeing your way
through it. What starts off sounding very sad turns out to be a very
positive and sensitive work which shows Harry's can tackle serious
subjects and come out smelling like a rose. The band is fine in an
extremely simple way, and compliment Harry's voice well.
The album takes it's first great step away from Harry's old sound
with "Little Farley," a tune which again tackles serious themes but
doesn't dare get you down. Harry is excellent on the mini-Moog as
well as clarinet, while a "wah wah" guitar sound punctuates the strong
beat of the whole effort. Harry could have easily gone overboard on
this one, but smartly keeps it relatively simple while still providing a
sound like no other.
"Eyes Of The Seeker" is Harry's first jaunt into true rock music. A
hard beating piano and a guitar sound which could match up with any
hard rock band brings this cut into the true realm of rock 'n roll.
Again serious lyrics by Connick only go to prove that a tune with a
hard sound can still have a message. For a first effort into this mode
of music, Harry comes off very strong. What comes off to me is that
Harry was not stooping to mocking the popularity of today's hard
music but merely showing in a very convincing way that he is an
extremely talented young man.
"Nobody Like You To Me" starts off with a ripping rock guitar, then
settles into a hard beating groove which is quite appealing. Harry's
piano accompaniment isn't lost in the bright rocking tone of this cut,
and the result is just about the finest example of Harry's new sound.
A meaningful lyric tops this one off leaving a pleasant aftertaste of the
sheer talent of this musician.
"Boozehound" starts off with a blood curdling scream from Harry,
and then goes off into a tune whose lyric could easily be a blues
sendoff. Instead we are treated to another fine rock cut which is
clearly not afraid to let it all hang out. Ripping guitar riffs are all over
this one, and the rest of the band chimes right behind. This satisfying
tune doesn't go too far off with the hot sound which makes it a sheer
pleasure.
"Never Young" is a toe-tapping tune which could get anyone up
dancing. It's pop-rock groove which also contains a very meaningful
lyric provides an excellent vehicle for all the band members to show
off their wares while once again not going too far. This "containment"
by the band shows the class of the whole operation. Harry's voice is
as sweet as ever on this cut, and it is sure to put a smile on your face.
"Mind On The Matter" is a very simple tune with a raging tempo. It
was no doubt an outlet for the containment I spoke of. Band
members are allowed to perform solos here and prove themselves as
the fine musicians they are. One gets the feeling this cut was spawned
by many club jam sessions, which is a positive point. The entire
album is meant to have a "Louisiana club feel," something we can
now get outside of Bourbon Street.
Giving the album a slower and eloquent end is "City Beneath The
Sea." This mellow tune is a showcase for Harry's vocal and musical
talents. This cut is as smooth as velvet, and brings the album
full-circle in an extremely smart fashion. I would have to say this is
my favorite cut on the album as it is a song which defines Harry
Connick, Jr.
There are four cuts on the album entitled "Star Turtle." I must admit
at first I didn't quite understand them with their jazz club background
noises and voices spoken in various odd tones. It wasn't until I
discovered that the disc had a CD-ROM multi-media presentation
where the "Star Turtle" tunes are played and acted out by. I won't
give anything away, except to say you have to see it for yourself.
Star Turtle is not just an album, it's a state of mind. This album has
grown on me so much in the last two months, that I actually held
back on this article so I could transmit my enthusiasm for the project
to you. I feel that I am no way going out on a limb when I say
personally that this is the finest album produced in any music field
since Pink Floyd's The Division Bell, and ranks in the top three
album of this entire decade so far. I cannot recommend any album
higher than this one.
Star Turtle is a tour de force for Harry, which is pulled off in the
finest of fashions without getting cute or pushing the envelope too far.
This well prepared and expertly blended album tastes as good as the
etoufe' Harry sings of on the album. I would recommend it to any
Connick fan, and any fan of rock, jazz or pop. This album covers so
many bases and does it so well that there is no doubt Harry will have
a tough time topping this one.
