"The breath whose might I have invoked in song descends on me...." P. B. Shelley

"Sweetness and light", a phrase used by Matthew Arnold (borrowed from Jonathan Swift) in his book Culture and Anarchy, describes the elements of perfection. Arnold equates sweetness with beauty, light with intelligence and the object of culture being to bring all people together harmoniously, living in an atmosphere of sweetness and light. "Sweetness and light", this phrase reminds me of John Taylor's Japan Album, beautiful and intelligent, once again uniting people through music; the universal language - Ah, the perfection of harmony -- melody -- music.

Since its release, I have not seen or heard anything but extravagant praise, surprise and gratitude. Where Feelings Are Good And Other Lies was a drumlin of panic and stress, angst -- the Japan Album symbolizes "Kamph und Reife" Struggle and Resolution, if you will. This follows Taylor's zealous pursuit of happiness (clarity, sobriety, freedom, rebirth). It seems that he has been successful in his journey. FAGAOL begins a painful novella of lovers scorned and deserted, addiction and clashing of feelings. You are immediately drawn in by the drama -- you, by listening, succumb to a melting pot of emotions (pathos, empathy, apathy) you wrench and sympathize. And the story continues with mini movie snippets between the initial plot and the outcome. As eager, hungry followers, we devoured such poetry as Resume, Meltdown, Terroristen and Auto Didact - we observe a switch in gears and stop off in Sugartown and Bedrock before the final resolution has been reached.

John Taylor + The Japan Album = Bliss.

An addition, the full circle, the tragedy turned sonnet. The story began in bitter anger and concluded in mystical ecstasy.

I was in Lancaster, PA when I first heard the album. I took a pre-Christmas vacation to be with my good friends and I spent many lost moments in the back seat of the car listening to the new music again and again. Coming off of the train and into M's car, I was greeted by "Panhandler" from that instant until we reached our accommodation, I was speechless and entranced by what I was hearing. I had been (as I am sure you all were as well) looking forward to new music from John for a long time (especially since getting Meltdown, the hidden treasure JT had stashed away). I had expected something as tremendous as FAGAOL, but Taylor exceeded my high expectations. There are very few words I can find to do this album justice and to describe my feelings of my first listen and any time afterward.

I recall seeing footage of John and Gerry Laffy in Venice, CA on a sidewalk. They were doing a little acoustic set for a Duran con or something and they amalgamated Heyday with Panhandler. I loved the latter part of that song in that footage. Panhandler (for me) has been a long time coming and while I cannot choose a favorite track (my mind changes daily) Panhandler was highly anticipated.

This CD literally encompasses everything -- love, reflection, mourning, homage, sex and humor. Coventry Carole was most amusing. I appreciated that little splice of naughty humor. It reminds me of Pirates and barmaids. She's Not There is a brilliant cover. I believe that it was the suggestion of one of the "terrorists" and it was a good suggestion indeed. The mix of sound and intention in this song is incredible. It also had me thinking of other different sixties songs John could cover -- one being Don't Bring Me Down by the Animals. Spirit of the Times boasts my favorite lyric: You could say I've been an island man. A rocky shoreline hard to land. In India, the Caribbean. My red eyes in time for sunrise.

Both Fields of Eden and Hollow Victory left me weepy -- and can often move me to tearing. Getting Intimate is a lovely love song, a love poem set to music to his beloved. I have never had more respect for Stanley Tucci nor for a Shakespearean Midsummer's Night Dream. I could write forever about these songs, this CD but I must leave room for others in this lovely zine to lament. I am afraid, as I have already said, that words cannot do justice to the music that John Taylor has just presented to us. It is certainly worthy of many words, but in my awe there are just few that I can articulate. His words are strong and meaningful and his voice is warm and confident. It is a brilliant album, a job well done.

"This slave of music for the sake of him who is the slave of thee." P. B. Shelley



Nicole D. Myers
August 2000