Mr. Moonlight
Mr. Moonlight
| Track Listing 1. Under the Gun 2. Rain 3. Until the End of Time 4. White Lie 5. Big Dog 6. Real World 7. All I Need to Know 8. Hole In My Soul 9. I Keep Hoping 10. Running the Risk 11. Hand On My Heart Rhythm Safari 1995 |
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Releases by Foreigner 4 (1981) Head Games (1979) Double Vision (1978) Inside Information (1987) |
Related
Releases Members: Lou Gramm - Ready or Not (1987) Lou Gramm - Long Hard Look (1989) Shadow King - Shadow King (1991) [Lou Gramm] |
| Largely forgotten and released well after Foreigner
had been written off as a 'ballad band' of the 80s, much along the same lines as Journey,
"Mr. Moonlight" was unleashed in the wastelands of 1995. Given very little
publicity even though it was the first time Gramm and company had been together since
"Inside Information" back in 1987, they were treated more as old fogeys trying
to scrape up a comeback than anyone actually still relevant in the field of music. The sad
thing is, is that the album in question that was lost in the shuffle was actually quite
good despite that between their few VH-1 appearances and brief magazine articles that
focused on the fact they were reunited and shunned the fact a new cd was floating around
out there. "Mr. Moonlight" is not exactly Foreigner of old. The only existing musicians from their changing lineups of their past life in the biz are the just the core of the band itself, Mick and Lou, with the backing band being entirely differently. Bassist Bruce Turgon and keyboard player Jeff Jacobs make up the missing spots with no permanent drummer listed. Mark Schulman is listed as skin pounder and first name under the additonal musicians section. Everyone does their job admirably, although the drums are a little too nonexistant in places, but that can be blamed more on the songwriting than his drumming ability. Unfortunately we must kiss the heavy synthesizers and lush keyboard tapestries that defined many Foreigner hits of the past goodbye. More 'earthy' instruments have been brought in instead, and in some cases make up for the noticeably lack of electronic sound. Lou Gramm's voice is not the same as it was even a few years prior, instead we find him sounding a little deeper and more 'mature' than before, which fits the songs that are included here. Not to say this 'new' Foreigner is lacking in the punch department, for several of their songs include all the fire and energy of the band of yore, just presented in an altered package. |
| 1.] "Under the
Gun" Surprisingly hard hitting and edgy, it introduces us to "Moonlight" in an upbeat and energetic fashion. Plenty of horsepower drives this not-too glossy, pure hard rock puppy home. The lyrics are just a tad risque and fit the bouncing, rollicking rock n' roll of the song to a 't'. Not quite high heel heaven, but pretty dang close. 2.] "Rain" A somber, melancholy track, with just the smallest shred of hope buried within. Vocally its inviting, Gramm's new found lower levels shine beautifully through the sheeting layers of grey shaded raindrops that flood the song with a depressing hue. It definitely carries its message successfully in both musical direction and lyrically. Its about the times when it is impossible to see any light at all through wave after wave of seemingly unpenetrable darkness 3.] "Until the End of Time" The band hoped this would be the "I Want to Know What Love Is" of the 90s, but with very little airplay, that plan backfired on them in a big way. Despite having a fairly 'hip' video, with a couple of youngsters and a golden retriever on screen to push along the story in a gentle, yet visually pleasing manner, no one would play it and the radio turned on it viciously and that was that. A tragic way for this huge ballad to end up, for it has the sweet sentiments and delicate musical accompaniment needed to win over an audience in a big way. Gramm's smoky vocals and the bits and pieces of Mick's guitar drifting to the surface makes it a winner. 4.] "White Lie" Another huge infectious stadium-esque cruncher for the band that would have made a superb ditty to be added to the live setlist. A bit raw on the edges in pure hard rock goodness fashion, with a flowing melodic chorus as the cream filled, too sweet center, this one captures the imagination big time. Who knew that something positive could come from the telling of lies? 5.] "Big Dog" Silly and utterly worthless, this is mainly Lou saying "Big Dog" in a growly canine influenced voice and some grunge laden instruments peppering about. And then there's saxophone. I don't like saxophone (usually) and I surely do not appreciate its unwelcome presence here. There is no reason why this should have been made in the first place, and whoever thought of it...well... its a poor excuse for an album filler. 6.] "Real World" Who wants to frolick in the real world when there's an entire universe of fantasy out there just within reach? Because the 'real world' is what we live in, and while you can escape from time to time, you end up always having to face it once again. This song mirrors the cold, yawning void of emptiness from things that were held dear to heart and have been lost through the cracks, and the realization of the cruel reality of it all. But just when hope is beginning to fade away, it shines brightly in force before the wistful conclusion. Some unusual but tasty percussion has been implimented and the bit of dramatics used when crossing the threshold between somber sobriety into a heavier, cloudy feel is well executed and fulfilling. 7.] "All I Need to Know" A similiar theme will pop back up with "Running the Risk", but the first introduction to the topic of 'needing to be more than friends' desire is a nice warmup. The lyrics are nicely poetic and etch out the inner theme beautifully. There's guitar here, although a little too hidden at times, you can just barely pick up the electric buzz at times that mostly held back for rhythmic purposes. Percussion takes the limelight, in what sounds like a tambourine or some other similiar instrument with a jangly 'tinging' sound. Gramm's voice is rich and expressive, moving between the deeper seductive sound and the higher pitched tones of yore. 8.] "Hole In My Soul" Stripped down and letting it all hang out, this is a simplistic romp that serves as a nod to the Beatles. Clangy and acoustic, its not all bad, but not all good either. Some spice could have been used to brighten things up a bit for this uphill fight to deny love. 9.] "I Keep Hoping" Hope, sometimes a futile emotion to hold onto. While other songs have focused on the burning spark of a new relationship to be, the fiery passion or security of a deeper, satisfying love, this one sweeps that all away and zeroes in on the ashes of love, the decaying corpse of a relationship that is simply dead and gone. Instead of mourning the loss and crying like a baby over it, this one has been constructed with rebuilding one's confidence and patching up the hurt and instead of holding on persistantly to whatever shreds remain, it turns its musical attention on...letting go, moving on for better things on the horizon. A nice large choir has been dropped in this, dare I say it...inspirational tune. It adds a touch of contrast and enforces the feeling that, no, you aren't alone in your pain. 10.] "Running the Risk" The slinky, veiled opening lays down the perfect building blocks... Gramm outlines a tale for us, one very personal, of two people who are close, but not close enough for their tastes, and contemplating making that drastic leap from 'just friends' into the next dimension and weighing all the possibilities inbetween. It crescendos into a dramatic conclusion, a pleading heart's final call. The melody on this is so delightful, its almost too much to stand in the way it blends in with the rest of the song yet remains so distinct without being overbearing. Does he ever make the move? Listen and see... 11.] "Hand On My Heart" Another ballad, this time love isn't dead, but it certainly has its gravestone and plot picked out and is just itching to be buried six feet under. And we are holding on, we're hoping and doing the clinging thing set to carressing waves of tender acoustic, sweet vocals and a little sad lift underneath. It drifts along like a little fluffy unhappy stormcloud, dripping with soft, wet raindrops of sound. Despite this being quite an enjoyable track, it leaves me a bit cold after the rain has subsided and the cloud disappeared into the distance. Why? Because deep inside, I grieve the loss of the mass attacks of synthesizer, and a little lush padding, 80s style would have soared this into a giant thunderbumper instead of the spring shower of sadness. |
"Mr. Moonlight" is a nicely rounded album, and much better than what the 'all-knowing' music critics summed it up to be (in other words, they slammed it hard but don't know jack shit in general). It has its melodically divine moments that we have come to expect from the band, a couple of songs that boldly rival anything they have done in the past, and a few fresh twists to boot. Sadly there are a few pitfalls along the way, including the abysmal "Big Dog" and underachiever "Hole In My Soul", not to mention the songs that lose some of their steam on repeated plays like "I Keep Hoping". Others just age gracefully and improve with time, especially the killer "Running the Risk" which is worth the price of the disc alone. This is an album for fans of the band especially, but should reach a much wider audience with its strong maturing songs and replayability. Its the perfect disc to save for a rainy day for it offers just enough darkness and light to secure a place in the heart. Gramm and Mick were back, and this is the last recorded disc we got from them. Savor it, for it may be the last. Ratings and Wrap Up: |
