THE STEVE HOWE ALBUM

Steve Howe, while being one of my favorite guitarists, makes two things very clear with his second solo album- that he is a well-rounded guitarist, and that he is better off working within the context of a collaborative effort, like Yes. Most of the music here has a Country & Western flavor that sometimes makes me cringe, and I happen to like country and bluegrass. The orchestral stuff later in the album, on the other hand, is very pleasing.

"Pennants" Howe isn't very subtle about letting his listeners know he's a guitar player. Full of guitar, guitar, and more guitar, this is a happy piece, and a very uncomplicated one when one breaks it down.

"Cactus Boogie" This almost sounds like a parody of old country music, with its lap steel guitar and chicken picking, but it serves as a reminder of Howe's eclecticism as a guitarist.

"All's a Chord" This is a fair song on which Howe shows off his lack of ability as a singer. He plays the sitar, electric guitar, and steel guitar over some simple bass and drum work, which stands in contrast to the acoustic-based introduction. His electric guitar soloing in the middle is certainly spirited, reminiscent of that on "Close to the Edge." It gives way to a classical guitar and piano section, over which Howe sings. Hearing his voice out from behind the wall of Anderson and Squire is interesting, and it can amaze one to think that it is a key ingredient to the Yes vocal sound.

"Diary of a Man Who Vanished" This is another Western tune that has a well-repeated theme, full of whip lashes and out-on-the-prairie instrumentation.

"Look Over Your Shoulder" For once, Howe's guitars take a place in the background, and guest Clare Hamill does an absolutely lovely job singing this song. This is one of the best parts of the album, and it's really too bad that most of the other pieces don't stand up to it.

"Meadow Rag" In the vein of other solo acoustic pieces like "Clap" or "Mood for a Day," this one leans more toward the former, in keeping with the Country & Western feel that pervades much of this record. It's not nearly as strong as the above-mentioned pieces, as the bends that interrupt the flow are awkward and the rapid pull-offs sound haphazard.

"The Continental" This is yet another "Howdy-Doody" kind of track. This time, violin is present, and the whole thing sounds like something one would hear at a county fair.

"Surface Tension" This is a lovely classical guitar piece that almost rivals "Mood for a Day."

"Double Rondo" Finally a proper break from the country-infused music, this is a piece that features Howe on electric guitar over an orchestra. His tone and swells are just like what he did in the instrumental section of the gorgeous "Turn of the Century." This piece makes me believe Howe could have been a successful classical composer, had his musical direction taken him there.

"Concerto in D, 2nd Movement" Antonio Vivaldi's work is given the Howe treatment, and the instrumentation is very similar to the previous track; if the hearer isn't paying attention, he will likely miss the transition from one piece to the next.