Five Stars *****

Pros: Compelling lyrics, Expertly produced, Childs' penetrating vocals, Eclectic musical blends

Cons: It's only 9 songs

The Bottom Line: Brilliantly conceived, spell-binding, musical journey

This is a special selection for my 250th Epinions review. The 1988 recording Union by Toni Childs was groundbreaking at the time, with it's darkly compelling poetic lyrics, exotic instrumentation, and Childs' deep, gravelly vocals. I was quite exasperated when I discovered that someone had carelessly placed a review of a Motley Crue CD under this category. This recording is about as far from Motley Crue as the earth is from the moon.

Childs is a native of Orange, California who migrated to London early in her career where she penned lyrics for a Nigerian band. African rhythms are prevalent throughout this recording. Childs later had a short-term stint as lead singer for the stylish pop band Berlin. She teamed up with David Tickle and co-writer David Ricketts to produce the breakthrough CD Union, which was critically acclaimed and earned two Grammy nominations. Only 9 songs, this remarkable CD is a combination of evocative poetry and tortured longing, all tied together with Childs' hypnotic voice and creative arrangements.

Musicians appearing on the CD include:

Toni Childs-vocals, guitar, and bass
David Ricketts-Bass, guitar, keyboard, drum programs
Rick Morotta-drums
Alex Acuna-guitar
Hans Christian-cello
Paul Hanson-bassoon
Gary Barlough-synthesizers, synclavier programs
George Lee-sax, percussion
Steve Hogarth-keyboards
David Rhodes-guitar
Alex Weir-guitar
Dan Huff-guitar
Gary Barnacle, Pete Thoms, John Thirkell-horns

The lead track Don't Walk Away is perfectly suited for AM radio with it's up-tempo funky, pop rhythms including piano, horns, and Motownesque background vocals. Walk And Talk Like Angels features a richly textured, synthesized, layered introduction with keyboards and drum programs. African flavored background vocals add an exotic appeal. Stop Fussin has a Caribbean style samba rhythm, with a bit of a disco beat. This percussion driven tune employs a strong vocal bridge with drums and keyboards.

Dreamer is a haunting ballad with a prickly keyboard introduction suggestive of a taut, flickering light and stringed instruments interwoven in the body. The focal point is the tortured lyric:

can't stop, stop the hurting
can't stop, stop the breathing
can't stop, stop these tears for you my dear
don't know why it's so bad
this life's been so bad
I'm glad I finally found you here
you're the voice of a dream I had
you're the voice and I'm so glad
you're the weight of a dream of a
life come true
there's no denying

I sometimes run and chase the moon
I just can
I sometimes run and chase the views
and dream of you."

This poignant piece was very effectively woven into the film Moonlight and Valentino in a scene in which the lead character is teetering on the verge of an emotional breakdown.

Let The Rain Come Down is a mid-tempo song that begins with a military like beat and African style chanting in the background. This percussion driven piece with keyboard and guitar, is a lamentation of dying love using the imagery of a rainstorm.

"the smell of love
is fresh inside my heart
and not the things we've learned
to tear us both apart
what I feel now tells me I must go, I'm not who you love anymore."

Zimbabwae is a parable of African strife with a steady drum beat, keyboards, synthesized strings and tribal background vocals. The feature is the half spoken percussion driven bridge:

"can there be some peace on earth?
can there be a love?
greater than the world we see
greater than us all?
it's the last station home
it's the last station home"

Hush is a guitar and percussion based tune describing the powerlessness of pain, anger, and regret. The feature is the catchy, taunting refrain "I believe in love, just what can be in your mind?" The next piece, Tin Drum is an intriguing musical novella of an interracial slaying, employing pastoral imagery of backwoods secrecy, interwoven with keyboards, percussion and speaker-like vocals, hinting of a Police Investigation.

Finally Where's The Ocean is an evocative poem with a keyboard introduction and muted cello. The feature is the melancholy lyric:

I stand pointed
by the view you want to stay
as the silhouette of lovers
fade into decay
playing with the thoughts
still tortured
we were once true lovers
but now I don't see
the ocean very clear....

where's the ocean?
where's the the moment I once knew?
where's the ocean for us
where's the ocean for us
when you covered me with kisses
it meant so very much
where's the ocean?..."

Recorded in London, Paris and Swaziland, this lushly produced work embodies the musical influences of the exotic. Not simply a passionate musical journey into the deep recesses of the heart and mind, Union is above all, a timeless work of art.