MUSIC SPOKEN HERE

A concept album by John McLaughlin? Well, sort of. The cover art by Hipgnosis, known for their abstract creations for rock albums, is definitely the most stimulating McLaughlin album sleeve ever. It seems to suggest that any absurdity can be rationalized in terms of the language of music. While that may be reading to much into it, it certainly sends out an invitation for one to draw their own conclusions after listening to this album which was recorded with the touring band McLaughlin refered to as " The Translators" back in 1982.

In the aftermath of another acclaimed guitar coalition with Paco De Lucia and Al DiMeola Mclaughlin was still in semi-flamenco acoutic mode with plenty of escape velocity guitar passages for those who hadn`t had enough. However, the compositions here are more definite in structure and are re-inforced by conspicuous electric keyboard presences of Katia Labeque and Francios Couturier. This, along with Jean Paul Celea`s rich acoustic bass tones give the album consistency which at times can get a little jumpy idea wise with the black sheep track being the grooving funky raga- like Honky Tonk Haven, although it still manages to fit in.

Established classical pianist Katia Labeque, who had appeared on the previous Belo Horizonte album, plays a more prominent role on "Music Spoken Here" both on Synclavier and Steinway grand piano. While she sounds syrupy at times on the Synclavier this is compensated for with her Kieth Jarret- like runs on the Steinway that match McLaughlins brittle high speed guitar phrasings. Although not a " jazzwoman " per say, she applies her classical acumen exquisitely on pieces like "David" and " Brise De Coeur " which also reflect the romance between her and McLaughlin at the time.

Many would say that McLaughlin was sailing through stormy seas at times during the `80s as he assimulated back towards music with more emphasis on electric guitar and guitar synthesizers. However, this is a refreshing album which shows McLaughlin at one of his many creative peaks and has a much lighter and laid back atmosphere than on the previous " Belo Horizonte " shredding off some of the flamenco influences and getting back to to more heterogeneous ideas. This overlooked McLaughlin gem which was overshadowed by mediocre mid eighties Mahavishnu resurrections is definitely one of his better offerings from that period.