There was something very familiar about I See No Rain the first time through, but somehow it eluded me. Halfway through the second time, I almost laughed. Scenes of my childhood passed before me sitting before the TV and listening to the music of the times. It was the late fifties and I was ready to enter my teens and television had just taken over my young life. I watched everything, but really zeroed in on the variety and music shows, soaking up everything from Dinah Shore and Julius LaRosa to The Kingston Trio and Jimmie Rodgers and the early rock bands. During that time, post hillbilly and pre-folk, the powers that be latched onto the coming rock and folk crazes and made them palatable (or so they thought) to the masses. It was nothing to see LaRosa doing calypso or Shore singing rock (with orchestra backing, of course). And it was the entertainment of the times. My parents loved it.
LiANA has, perhaps unwittingly, captured that sound of those moments and the result is a time capsule, of sorts. Like a scene from an early made for TV Disney movie, the music reflects a period of innocence since crumbled to dust by the realities of, well, business—the one thing music does not seem to be able to overcome. The result is a kind of folk before it became a commodity—before it became a genre beyond that of Woody Guthrie or The Weavers. Percussion and flute promote that illusion, the odd Third World rhythm supporting flute from a beatnik coffeehouse.
I almost laughed because it was obvious, this throwback in sound. I should have known, music like this having been such a big part of my youth, but it totally surprised me. I would like to think I know a little something about music. Maybe LiANA fell into this without knowing or maybe came from a completely different place, but we all bring things to the table when it comes to music. LiANA brought the music. I brought my past. Sometimes, things just work out.
Edited by: David N. Pyles
Website design by David N. Pyles