Thoroughly delightful, 25 Aug 2003

By	Jennifer L. Metcalf (USA) - See all my reviews

"Shekhinah" is quite innocently one of the most beautiful melodies ever composed. The acoustic guitar reaches out with its phantasmagoric notes to hurl sweet little kisses in the fortunate listeners' ears. Its harmonic energy is completely irresistible and contagious. This song could melt a snowman's heart in the arctic.

"Sandman" is such a delightfully devious little secret of a tune. It starts out teasing that it's a lullaby and gradually gives hints of its true identity until the monster is suddenly unleashed. Never has it been so thrilling to be terrorized!
"Sunrise, Sunset," was one of the first songs played by the artist that I ever heard, and I remember being completely floored by his complete manipulation of the guitar. Every note is executed as a complete symphony within itself. The guitar isn't played; it is sung. To say beautifully is an understatement.

The melody of "The Mensch in the Moon" is taken from the score that Gary Lucas and Walter Horn composed for the live accompaniment to the 1921 German Expressionist film, "The Golem." Here, the exquisite tune is paired with very capable lyrics that make me wish this song were around when I was small. The tune is like that of the Pied Piper: unabandoned contagion. Totally groovy, funky, psychedelic - probably best not to listen to this while operating a motor vehicle unless you want to risk getting arrested for DUI - driving under the influence of Gary Lucas.

"Lydia the Tattooed Lady" is performed here as I've never heard it and probably never will. The arrangement and fruition are completely mesmerizing and stormed my heart and still haven't let go. The acoustic guitar is completely unreal. Some acoustics are technically brilliant and some are luminous in expression. This song represents a superlative marriage of both. "Lydia" is my favorite song on the album (which is saying a lot since there are so many fabulous ones from which to choose) and every time I hear it I am still amazed at its magical prowess to encapsulate my complete attention.

"Crawlspace" is exactly what a children's song should be - pure fun. The melody rains energetic notes of rock, folk, blues and funk in a wonderful downpour that just makes you want to get up and dance. There is a delightfully funky electric guitar solo in the middle of the song that's a real treat (and if I'm not mistaken was given birth in the song "Hugh's Graveyard Stomp" off the album, "Skeleton at the Feast" -- another top-notch album). Gary sounds like he's having a blast with this song, and it shows. There's an earlier version on the Du-Tels album with Peter Stampfel which is also fun, but I prefer this variant. This song reminds me that even big kids need their own crawlspaces sometimes.

The traditional "Dayenu" morphs into the Dreidel song and is a wonderfully fresh approach to tradition with its (never overbearing) bluegrass flavor. The song grows in anticipation (with hints) until you're practically begging to hear the Dreidel melody. Fortunately, the appetite is well-sated before the song is finished.

"Abie the Fishman" is my ten-year-old son's favorite song off the CD. A simple melody is repeated with different flavors and voices and occasional outbreaks of delirium. This isn't a song by which to relax, but it rounds off a truly versatile album.

Only after I listened to "Hinay Ma Tov" on this album did I hear traditional variations of the song. I really gathered no strong feelings one way or the other over the original tune, but the version that Gary has created is strangely enticing. The melody itself is "spooky" (as the artist describes inside the CD jacket), yet there is such an intrigue begat with acoustic and electric guitar here. I have no idea how the mystical effect was created, but instead of pushing me away, the darkness draws me in with beckons of punctuated notes. It's quite difficult to explain, but this is