Full Moon Story (1979) - Kitaro

Review #26

ALBUM INFO

Artiste:  Kitaro

Year:  1979

Genre:  New Age

Duration:  48 mins

Label:  Polydor

Format:  CD

TRACK LISTING

1. ‘Krpa’ – 5:07
2. ‘Aurora’ – 3:40
3. ‘Hikari No Mai’ – 5:47
4. ‘Fuji’ – 3:47
5. ‘Full Moon’ – 4:46
6. ‘Resurrection’ – 4:52
7. ‘From Astral’ – 3:48
8. ‘Heavenly Illusion’ – 6:18
9. ‘New Lights’ – 8:21

CAPSULE REVIEW

Kitaro’s second album, after the success of Astral Voyage (1978), an auspicious debut for one of new age music’s undisputed masters, is a continuation of his experimentation with highly melodic synthesizer music that characterized his late ‘70s and early ‘80s work. 

Full Moon Story is an album of warm an rich electronic sounds, accompanied by an array of organic instruments like drums and the sitar, all performed by Kitaro.  Together with Astral Voyage, Oasis (1979), and his score to Queen Millennia (1981), Full Moon Story can be regarded as part of his ‘space music’ oeuvre, which he would ground with earthlier, historical images via his famous collaboration with NHK to produce music for the ‘Silk Road’ series. 

In one continuous stream of music from one track to the next, Kitaro has created a travelogue soundscape that is both unique and transcendent.  Some of my favourite tracks are highlighted below, but a notable track is ‘Hikari No Mai’—its arrangement with drums and melody would later form the structural basis of such brilliant pieces as ‘Eternal Spring’ in Silk Road Vol. 2 (1980) and ‘Lord of the Sand’ in Dunhuang (1981). 

Another track of note is ‘Fuji’, giving us beautiful, spectral images of Mount Fuji in a foggy night, and its beautiful transition into ‘Full Moon’ as the wind blows the fog away.

Highlights:

‘Aurora’ – One of Kitaro’s most pleasurable tracks from his early years, with basic chord changes, light acoustic guitar accompaniment, and a sweet melody on the synthesizer that is a precursor to some of his more famous tracks in his later ‘Silk Road’ albums in the ‘80s.

‘Full Moon’ – A very beautiful, meditative piece that, as its title says, gives us a musical evocation of what it is like to behold and contemplate the full moon, and its perfect, heavenly reflection on the still water.  The use of the synthesized pitch bend, a trademark of Kitaro’s music till today, is perhaps used extensively for the first time as a lower pitch accompaniment, producing the 'mirroring' effect of the full moon over water.

‘Resurrection’ – An excellent piece with space-like sounds in the beginning.  When the main rhythm kicks in, together with the synthesized melody (and yes, that low pitch-bend thing), it does feel like a resurrection of souls as they are freed from their earthly bodies, and projected into a never-ending space. 

Reviewed on Luxman Stereo Integrated Amplifier A-383, Marantz Compact Disc Player CD-63SE, and a pair of 1973 New Advent Loudspeakers.

Sound Quality:  Outstanding recording

Rating:  

Heaven and Earth OST (1993) - Kitaro

Review #20

ALBUM INFO

Artiste:  Kitaro

Year:  1993

Genre:  Soundtrack / New Age / World

Duration:  58min

Label:  Geffen Records

Format:  CD

TRACK LISTING

1. ‘Heaven and Earth (Land Theme)’ – 7:38
2. ‘Sau Dau Tree’ – 3:37
3. ‘Ahn & Lee Ly Love Theme’ – 4:55
4. ‘Saigon Reunion’ – 5:48
5. ‘Arvn’ – 3:41
6. ‘Sau Nightmare’ – 0:58
7. ‘V.C. Bonfire’ – 0:47
8. ‘Trong Com’ – 0:43
9. ‘Ahn’s House’ – 6:26
10. ‘Destiny’ – 1:13
11. ‘Last Phone Call’ – 1:40
12. ‘A Child Without a Father’ – 2:04
13. ‘Village Attack/The Arrest’ – 1:21
14. ‘Walk to the Village’ – 2:59
15. ‘Steve’s Ghosts’ – 1:31
16. ‘Return to Vietnam’ – 2:04
17. ‘Heaven and Earth (End Title)’ – 10:27

Listen on Spotify: https://open.spotify.com/album/6qYd79g9ItAzLAmWuSpXRQ

CAPSULE REVIEW

While regarded as one of the pioneers of the new age music genre, Kitaro is also no stranger to scoring for film and television.  His music for the ‘Silk Road’ series by NHK in the early 1980s yielded four astonishing albums.  A decade on, he would compose the music for Heaven and Earth (1993), the final picture of Oliver Stone’s unofficial ‘Vietnam War’ trilogy.  

Kitaro won the Golden Globe for Best Original Score, which came rather unexpectedly, especially in a year that saw John Williams produced what was arguably his finest score for Schindler’s List (1993).  His work for Heaven and Earth remains to be one of the most accomplished endeavours of his illustrious career.  

Building from the symphonic sound of his massively-popular 1990 album Kojiki, his music here shows both dynamism and sensitivity as the melodies and arrangements echo the style of a traditional film score, yet are uniquely elevated by his penchant for using Asian instruments—our ears bear witness to the exquisite if sad sounds of the huqin (a kind of Chinese violin) in several tracks, and the powerful Taiko drums in ‘Arvn’ and ‘Village Attack/The Arrest’.  

The synthesized sounds of what seem like the Japanese koto and flute are also brilliantly integrated with the orchestra, particularly in the stunning first track, ‘Heaven and Earth (Land Theme)’. 

Highlights:

‘Saigon Reunion’ - A very powerful orchestral piece that depicts the destruction and tragedy of war.  This is one of Kitaro’s most haunting pieces.

‘Arvn’ – Starts off as if an army of tanks is barraging towards you, and very much captures the uncompromising nature of war, this largely percussive piece features Taiko drumming by Kitaro and a sharp, piercing flute melody.

‘Ahn’s House’ – A sad if beautiful theme performed by the huqin gives way to voice work by Hiep Thi Le, before escalating into a bout of ominous drumming.  It returns to the theme again, this time played at a lower octave.  Superb arrangement.

‘Heaven and Earth (End Title)’ – The final track of the album is an epic one, bringing all the themes together in one last hurrah.  Masterfully arranged and performed, this is one of Kitaro’s finest moments.

Reviewed on Luxman Stereo Integrated Amplifier A-383, Marantz Compact Disc Player CD-63SE, and a pair of 1973 New Advent Loudspeakers.

Sound Quality: Excellent recording with dynamic sound

Rating: 

Peace on Earth (1996) - Kitaro

Review #17

ALBUM INFO

Artiste:  Kitaro

Year:  1996

Genre:  Christmas/New Age

Duration:  55min

Label:  Domo Records

Format:  CD

TRACK LISTING

1. ‘Jesu Joy of Man’s Desiring’ – 4:46
2. ‘Silent Night’ – 4:23
3. ‘Angels We Have Heard On High’ – 5:39
4. ‘Joy to the World / The First Noel’ – 4:36
5. ‘Little Drummer Boy’ – 5:57
6. ‘Jingle Bells’ – 3:39
7. ‘Rosa Mystica’ – 2:57
8. ‘It Came Upon a Midnight Clear’ – 4:00
9. ‘God Rest Ye Merry Gentlemen’ – 3:50
10. ‘A La Nanita Nana’ – 5:14
11. ‘O Holy Night’ – 4:56
12. ‘The Great Spirit’ – 5:20

CAPSULE REVIEW

Peace on Earth sees Kitaro take a breather from his usual new age music, especially coming after the success of his studio album Mandala (1994), one of his very, very best recordings, and his An Enchanted Evening (1995) world tour, which promoted the music in Mandala, as well as some of his earlier classics.  Regardless of genre, many major artistes around the world have done Christmas albums, though it must be said that Kitaro producing a Christmas album does sound a tad unexpected. 

In Peace on Earth, Kitaro employs his trademark synthesizers, and musicians on violins, cello, harp, flute and guitar to perform a range of iconic songs from around the world.  The album is largely instrumental, so don’t expect any vocals to accompany the songs.  However, the International Peace Choir (comprising of children and youths) is used to great effect in tracks such as ‘Angels We Have Heard on High’ and 'Joy to the World / The First Noel'.  

The album ends with the final track ‘The Great Spirit’, which is composed by Kitaro, and accompanied by a rather haunting recitation of a self-written poem (interestingly, the words could be found in the accompanying booklet for Mandala) meditating on nature and time. 

Overall, Peace on Earth doesn’t really break new ground for Christmas music or for Kitaro himself.  The pacing can be quite leisurely, with tracks like ‘Silent Night’ and ‘Little Drummer Boy’ performed with a slower tempo than usual.  It is music to relax you with a glass of wine by your side, rather than played to a large crowd to feed on its energy. 

Highlights:

‘Jesu Joy of Man’s Desiring’ – A beautiful and blissful rendition on violin and cello, with Kitaro’s accompanying keyboards.  Well-paced, unlike some of the slower tracks.  Towards the end, it bursts into jubilation and joy.  The best track of the album.  

‘Joy to the World / The First Noel’ – Two songs in one in this excellent track that builds up slowly with Tibetan horns.  The main melody of ‘Joy to the World’ is played by violins and later on with Kitaro’s synths.  The transition to the choir-sung ‘The First Noel’ is breathtaking, not to mention the transitions are reprised with the two themes alternating with each other.  A superb track showcasing Kitaro’s musical arrangements at his finest.  

‘A La Nanita Nana’ – My favourite track.  Starts off with a virtuoso classical guitar solo, before the main melody comes into play with Kitaro’s pan-flute synth.  The moment when the melody is repeated with the violins is possibly the most beautiful part of the music.  The track completes with a guitar solo, bringing the music to a beautiful close. 

Reviewed on Luxman Stereo Integrated Amplifier A-383, Marantz Compact Disc Player CD-63SE, and a pair of 1973 New Advent Loudspeakers.

Sound Quality:

Good recording

Rating:  

Dream (1992) - Kitaro

Review #12

ALBUM INFO

Artiste:  Kitaro

Year:  1992

Genre:  New Age / Pop

Duration:  56min

Label:  Geffen Records

Format:  CD

TRACK LISTING

1. ‘Symphony of the Forest’ – 4:43
2. ‘Mysterious Island’ – 3:40
3. ‘Lady of Dreams’ – 8:17
4. ‘A Drop of Silence’ – 2:56
5. ‘A Passage of Life’ – 8:00
6. ‘Agreement’ – 6:31
7. ‘Dream of Chant’ – 3:53
8. ‘Magical Wave’ – 3:06
9. ‘Symphony of Dreams’ – 5:44
10. ‘Island of Life’ – 9:41

CAPSULE REVIEW

Kitaro’s follow-up to his mega-hit album Kojiki (1990) was a collaboration with Jon Anderson (from Yes, Anderson), who famously also worked closely with Vangelis in a series of albums in the early eighties such as Friends of Mr. Cairo (1981) and Private Collection (1983). 

In what is still to be Kitaro’s only album with English vocals (Peace on Earth (1996) and Let Mother Earth Speak (2012) don’t count), Dream is the odd work in his discography that feels more like an outlier than something that you would normally associate with the musician.

However, it is an excellent album with hi-fidelity sound.  The three outstanding songs ‘Lady of Dreams’, ‘Agreement’ and ‘Island of Life’ combine the otherworldly vocals of Anderson with the synthesized and orchestral sound of 1990s Kitaro. 

Since Kojiki, Kitaro’s music has evolved into a more symphonic sound with elements of rock.  He is, of course, still capable of subtle and gentle moments such as the piano piece ‘A Drop of Silence’.  ‘Mysterious Island’ is a strange composition that is ominous at the start but becomes almost heroic later on. 

‘Dream of Chant’ and ‘Magical Wave’ are more experimental pieces with the latter echoing the traditional Japanese bonfire chant used at the end of the track ‘Hikari No Mai’ in the 1979 album Full Moon Story. 

Highlights:

‘Symphony of the Forest’ – Begins with soft thunder and a lone wolf howl, with lush strings coming into play.  The main melody is possibly the most beautiful of the album, and the orchestral arrangement with Kitaro’s synthesized sound is perfect, never overpowering the other.  One of three lushly orchestrated instrumental tracks, along with ‘A Passage of Life’ and ‘Symphony of Dreams’.

‘Lady of Dreams’ – A powerhouse rock-infused track with superb use of the electric guitar.  The final minute of the song is almost a mournful string arrangement that suggests both the mortality of romance, and the eternality of romanticism.

‘Agreement’ – A punchy song with some use of the Indian sitar as an accompanying instrument.  It is rich in rhythm and unusually energetic, feeling almost as if it is a piece that needs to be sung and performed to be liberated.

Reviewed on Luxman Stereo Integrated Amplifier A-383, Marantz Compact Disc Player CD-63SE, and a pair of 1973 New Advent Loudspeakers.

Sound Quality:

Great recording

Rating:

Kojiki (1990) - Kitaro

Review #9

ALBUM INFO

Artiste:  Kitaro

Year:  1990

Genre:  New Age

Duration:  46min

Label:  Geffen

Format:  CD

TRACK LISTING

1.       ‘Hajimari’ – 3:33

2.       ‘Sozo’ – 5:35

3.       ‘Koi’ – 6:30

4.       ‘Orochi’ – 7:07

5.       ‘Nageki’ – 5:45

6.       ‘Matsuri’ – 9:00

7.       ‘Reimei’ – 8:37

CAPSULE REVIEW

Kojiki is one of Kitaro’s greatest albums, easily in the top five of his impressive discography.  Staples such as ‘Matsuri’ and ‘Koi’ have always been performed in his live tours.  But more importantly, this album marks a major shift in Kitaro’s musical sensibilities.  He goes for a more orchestral sound, and has never looked back since. 

His follow-up albums such as the interesting experiment Dream (1992), which features vocal songs for the first time in a creative collaboration with Jon Anderson, and his brilliant Golden Globe-winning score for the Oliver Stone film Heaven and Earth (1993), are examples and beneficiaries of his newfound musical direction – a symphonic and synthesized sound with more layered arrangements. 

In a way, Kojiki is more epic than any of his 1980s work, and there are some spectacular tracks such as ‘Orochi’, ‘Matsuri’ and ‘Reimei’ that will give your hi-fi set a good test.  Based on the ancient account of the creation of Japan, the album starts off with the ominous ‘Hajimari’, before one of Kitaro’s most emotionally resonating melodies come into play in ‘Sozo’.  This melody recurs in the final track ‘Reimei’, and in perhaps the entire album’s most breathtaking moment, it builds up into a stunning bell-chiming arrangement. 

Some have denounced the use of the electric guitar in ‘Orochi’ and ‘Reimei’, sullying what would have been a Japanese-flavoured synth-symphonic masterpiece.  I beg to differ – that is the mark of progressive music and an artiste willing to experiment with new ways of making music.  If his preceding album The Light of the Spirit (1987) was a testbed, Kojiki is the completion, and an enduring masterwork that rewards endless listening joy. 

Highlights:

‘Orochi’ – It translates into “eight-headed dragon”, and the music reflects the intensity and ferocity of the courageous if brutal battle against a feared monster.  One of Kitaro’s most action-oriented tracks, its pulsating energy never lets off, with a fine balance of synthesized shakuhachi, strings, drums and electric guitar all combining to great effect.  Ends with a fine hit of the Chinese gong. 

‘Matsuri’ – Possibly Kitaro’s most famous piece, perhaps even more popular than his ‘Silk Road’ theme, this track celebrates the festival spirit of joyousness, even if according to legend, it was all just a trick to get someone out of a cave.  The melody is immediately recognizable, but while the track had been performed live in numerous spectacular forms and arrangements over two decades, this original studio composition is still the best with the drums accompaniment more effective in giving a more subdued, trance-like rhythm.

Reviewed on Luxman Stereo Integrated Amplifier A-383, Marantz Compact Disc Player CD-63SE, and a pair of 1973 New Advent Loudspeakers.

Sound Quality:

Superb recording 

Rating:

The Light of the Spirit (1987) - Kitaro

Review #5

ALBUM INFO

Artiste:  Kitaro

Year:  1987 (reissue 1997)

Genre:  New Age

Duration:  49min

Label:  Domo Records

Format:  CD

TRACK LISTING

1.     "Mysterious Encounter” – 6:04

2.     “Sundance” – 6:18

3.     “The Field” – 4:55

4.     “The Light of the Spirit” – 7:29

5.     “In the Beginning” – 5:54

6.     “Moondance” – 4:44

7.     “Howling Thunder” – 6:09

8.     “Journey to a Fantasy” – 7:12

CAPSULE REVIEW

This 1987 album by Kitaro is in my opinion a transition album, a bridge of sorts between his more ethereal early period from 1978 to 1986, best represented by his ‘Silk Road’ albums, and his more expansive, orchestral style that characterized his albums post-1987 to the late 1990s.  In particular, the use of the electric guitar in tracks like ‘Sundance’ and ‘Journey to a Fantasy’ marked a turning point for Kitaro – he would continue to use the instrument until today, giving his music a heavy tinge of new age rock. 

Produced in collaboration with Grateful Dead drummer Mickey Hart, The Light of the Spirit is also an experiment with newer, expansive sounds, but retaining the musical styles and arrangement of some of Kitaro's better known tracks of the early 1980s.  While this is a decent album, it is best seen as a prelude to one of his true masterpieces – Kojiki (1990).

Highlights:

‘The Light of the Spirit’ – Possibly the first time that Kitaro used a human voice as accompanying vocals.  He has used synthesized voices or choral effects before, but this is a breakthrough for him as an artiste that would pave way for his collaboration with singer Jon Anderson in the 1992 album Dreams.  The title track is my favourite of the album with layered arrangements and a wonderfully long melody performed via synthesizers and the harmonica. 

‘Moondance’ – An enchanting piece with the use of synths and acoustic guitars, gelling perfectly and expressing a love and yearning for the moon.  Meant to be a less bombastic sister piece to ‘Sundance’, which has heavy rock elements.

Reviewed on Luxman Stereo Integrated Amplifier A-383, Marantz Compact Disc Player CD-63SE, and a pair of 1973 New Advent Loudspeakers.

Sound Quality:

The 20-bit digital remastering causes the entire album to sound sharper than normal, with some negative effect on the bass produced (feels weaker).  The sharpness, especially for track arrangements with higher-pitched instruments or keys, may cause unnatural discomfort if volume is turned up reasonably loud.  

Rating: