Gino Vannelli - Black Cars
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Canadian Music Store CD DetailsArtist: Gino VannelliEdition: Music CD Format: Original recording remastered CD Release Date: 2001-05-22 Music Label: One Way Records Inc Soundtracks:
Music reviews of Black CarsMusic Review: New Venue For Vannelli
After looking to try to update his work by singing more rock oriented material on 1981's Nightwalker Gino entered into a contract dispute not unlike those faced over the years by other talented artists such as Prince and George Michael whose creativity was stifled by the realities of their chosen business.When Gino Vannelli re emmerged it was 1985 and he was sporting a new haircut and a totally different style. While much has been made of the synth/new wave style of the music on this album (particularly the title track) but that is not one of the points of this review.Another part of Gino's new direction here results in my one major beef with this music. For starters,from the beginning of Gino's career his latin/jazz/funk-pop style was so difficult to classify he was pigeonholed as "soft rock".For an Air Supply,Bread and Kenny Loggins Gino was NOT,but because of that classification and the success of the uncharacteristic "I Just Wanna Stop" most people were not to know that. By this point Gino's music was modified,despite the new wave pop inflections,to really appeal to adult contemporary audiences. But Gino made one critical error to me;he traded in his powerful,awe inspiring,mellismatic singing voice of his mid 70's albums in for a a thinner,transparent sound. The problem is on all this music is that Gino's tremendous singing gifts totally defy his attempts to soften his vocal attack,so he sounds like he's straining to sing softer. That is exactly what happens on "Hurts To Be In Love";it's a nice song but it kind of affirms his stereotypical "soft rock" style that baught him success with "I Just Wanna Stop" and even the somewhat more dynamic "Living Inside Myself". Some Barry White/Isaac Hayes style monologues on "It's Over" try to soften the mood but,only in that one case the chilly synth pop production doesn't create much passion. If Gino had taken an approch to this music closer to what Thomas Dolby did during this period,mixing jazz and funk into a new wave style on his The Flat Earth album then this could've been a grand new commercial AND artistic beginning.Sadly enough the only time that comes close to happening is on the final cut "How Much",which falls into that "should've been a huge hit" catagory. So in the end I was not expecting the same musical ambition and grandure that was featured on Gino's Storm at Sunupfrom a decade before this. But as indicated there was a way to bring a similar sound into the new decade. Considering Gino's excellent work of late I don't consider this as much a comeback for Gino as it was a musical detour but it does have a few good moments despite being a bit uneven and lacking in some of Gino's trademark vocal power and soul. If you can find this inexpensively as I did and your a huge Gino Vannelli fan whose already heard his 70's classics this is worth hearing. But don't pay too much for it. And this is not the place to start getting into Gino's music.
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