April 11 -- 2001

KEVIN O'REILLY

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REVIEW The View From Left Field

Track 1- The View From Left Field The bass is powerful in the opening of the first track on the album, while the melodic quality comes courtesy of other instrumental accents. There is a dance groove lacking which brings the mood into a transcendental meditation element. The most accurate description of this tune is to call it a mellow psychedelic experimental electronica presentation. ( ! ! ! ! )

Track 2- Starcluster 12 This tune falls heavily into the electronically enhanced groove through a phrase sampling device. The powerful bass riffs and other climaxing instrumental accentuations serve to create a Sci-Fi element, which makes for an exhilarating aural experience. ( ! ! ! ! )

Track 3- Spacebass (da Funk) This tune in the intro pays homage to one of Kevin O'Reilly's favorite bands, Creedence Clearwater Revival, in a "Born on the Bayou" vein. Nate Clukey does some fantastic drum work to maintain a strong foundation along with O'Reilly's bass guitar work. The lead guitar work based on an almost Surf, reverb filled sound works extremely well with the multiple elctronic accents that are in the blend. This tune, unlike previous tracks, has a definite dance quality, which certainly gives the piece a powerful commercial magnetism. ( ! ! ! ! ! )

Track 4- Nancy # 2 Kevin O'Reilly puts some vocals in this tune which adds some variety to the mix. Though not what many would consider a melodic vocalist, his vocals have a Dylan-esque charisma. When Adele St. Pierre fills in on the duet vocals, the melodic nature of the vocals increases a great deal. Another number that has great commercial potential, and screams of originality with creative genius. ( ! ! ! ! ! )

Track 5- Sunset at the Cabin Kevin O'Reilly's use of the bass guitar as a melodic focus is pure genius, as this song clearly displays. His use of lead guitar phrases with the bass, explore musical regions virtually unexamined in this way before. His Hendrix-esque ability of knowing proper structure and dynamics, creates a unique aural adventure for the listener. This song has a New Age Rock style which is a musical explorer's dream come true. ( ! ! ! ! ! )

Track 6- Funk 101 On this tune Kevin O'Reilly on bass, Nate Clukey on drums and Tom Zicarelli on sax, take the listener into a Funk filled Jazz realm. The improvisational sax riffs are expertly crafted and presented. The drum work, with multiple precise fills and simply amazing drum skills, carries the tune to another plateau. Kevin O'Reilly's bass accents add the color and depth to the rhythm section needed to complete this musical masterpiece. ( ! ! ! ! ! )

Track 7- Strasburg Railroad '78 Heavily tapped bass guitar riffs make up the content of this highly energized piece. There is a drum loop incorporated into the piece using Funk Fingers. This tune was written with memories family trips in mind, which certainly influences the wonderful feel of this musical journey into unexplored territory. ( ! ! ! ! ! )

Track 8- Red Leaf Dreamscape 1 The sax, keyboards, bass and drums form a tight quartet which goes into a Progressive Jazz presentation. The tune has an extremely profound Jazz essence, which has qualities of a New Age style with melodic depth and breadth. O'Reilly wrote the song in 1986 as a bass solo piece, but felt it was wanting or lacking something, thus the full band sound which sounds so eloquent. ( ! ! ! ! ! )

Track 9- Red Leaf Dreamscape 2 This tune has fantastic bass runs which have a similar quality to "Gabrielle", a song from "Acidron", O'Reilly's debut album. Red Leaf Dreamscape 2, would appear by the title to be an extension of, Red Leaf Dreamscape 1, but it certainly comes off as a very separate composition. With minor melodic essence, but with major use of creative phrasings, this tune will appeal to the bass guitar student and those appreciative of masterfully crafted bass guitar-rooted music. ( ! ! ! ! )

Track 10- It's For Real (This Time) Not considering himself much of a vocalist, O'Reilly would have preferred using another vocalist but felt it would be too weird. This tune was written for his girlfriend and with the romantic lyrical content he felt only he could put the proper heart and soul into the delivery. His vocals are not smooth as velvet, but the emotional essence is there, so the mission is a success. The tune comes of as more of a personal success, because as a commercial success the tune is lacking in instrumental dynamics, with too much focus on the lyrical content. ( ! ! ! )

Track 11- Maineline This tune is certainly off the beaten path from the contents from the rest of the album. A Surf instrumental was the last thing expected from this musician, Kevin O'Reilly, who is joined by Jim McLaughlin on the Hammond B-3 organ, Tom Zicarelli on baritone sax and Seth Warner on drums. The drums are the weak link in the chain, but they can certainly be overlooked with all of the other action in the piece. An excellent choice to display the wide variety in the artist's repetoire. ( ! ! ! ! ! )

Track 12- It's a Powerful Pipe! This is actually a hidden track that comes on after a few seconds of silence following "Maineline". This little gem has some Progressive Jazz within a Rock realm, finely woven with some voice-overs from old sci-fi movies. Retro-Rock in a humorous nature, a fine example of genre blending used to create something new and vibrant. ( ! ! ! ! )

Larry's overall impression- Kevin O'Reilly on his sophomore release incorporates other musicians into his formula of original compositions. He also uses multiple track recording for his bass, as well as drum loops and a phrase sampler. Electronics play an intricate part in what Kevin O'Reilly wants to get in the final product, so if one is searching for raw roots music this is not the album that one wants. Kevin O'Reilly also uses Funk Fingers on three tracks from the album (1-3-7). Funk Fingers are drumsticks that attach to the bass player's fingers via a velcro strip. The sticks are shortened to about a couple of inches in length and have a scalloped end where the fingers are placed. The striking end is coated with rubber. Tony Levin, bass guitarist while on tour for Peter Gabriel had the birth of Funk Fingers. Peter Gabriel decided to play a song that featured a break that originally had a drummer playing his drumsticks on Tony Levin's bass. That drummer wasn't on this tour, so Tony Levin was figuring out how to replicate the sound when Peter Gabriel asked him,"Why don't you just stick some drumsticks on your fingers?" Tony asked his bass tech if he could do that, the bass tech said sure, and Funk Fingers were born. Kevin O'Reilly has turned in a different direction on this album with the use of more instruments to embelish his compositions. This seems to be a positive thing because it allows him to be more elaborate and add dynamics which were at times lacking. The album is a fine example of a truly talented musician becoming more mature, expanding his horizons and broadening his repetoire with smart career maneuvers. This is an album that comes highly recommended for it's entertaining variety and professional attitude. Until next time keep your ears to the tunes, your eyes on the road and keep in touch with us.

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