Robert Urban Wing CD Review by Gordon Smith of Rubberlegs

"Rock Widow" Robert Urban Review By: Gordon P. Smith "A beautifully rich album that speaks to me on so many levels!" I've been listening to this CD constantly these days, and like all of my most favorite music, I didn't get it at first. The songs, the music, all seemed straightforward enough, not out-there strange, inaccessible or unpleasant in any way, and so the first several listens didn't really sink in. I'm glad I kept at it though, because I am now rewarded once again with appreciation for an album

that is not only wide and deep, but has infiltrated my musical headspace in a really nice way. Yes, we've all been victimized by popular music that gets its hooks into you in a most annoying way, with songs that you'd pay to have surgically removed from your brain. When Robert's songs play in my head, they make me smile and want to listen to them again.

And like the deepest music, each song makes itself known to me in its own time. I've always loved the first track, "You Don't Wanna Know." It's the first one I remembered, and it gives me a wonderful wistful feeling. Lately other goodies have surfaced, especially the lovely, yearning "Ode to Central Park," and Gentle Giant-like treatments of two Charles Ives pieces. The CD holds together nicely as a concept album, with at least two themes running through it that speak particularly to me. The main theme of "Compulsion," in all its good and bad manifestations -- the unstoppable drive to great creative achievement as well as the single-minded pursuit of baser desires, and the entire spectrum in between -- is played out again in the polar opposites of "No Love in Sight" and "Ode to Central Park," and returns in different guises throughout the remaining songs. I'm especially taken with the overall Rock Widow concept, being very familiar myself with what it's like to be the "keeper of the flame." It's a bittersweet mix of feelings, of pride, awe, accomplishment, anger, loss and mourning, that drives us to want to present an almost-lost art to the world. One feels honored and grateful to be the sole remaining conduit and voice for something magnificent, yet somewhat betrayed by beloved co-creators who for one reason or another couldn't hold the vision long enough to see it through with us. These are very powerful motivators to drive the creative process, giving us gems like Rock Widow.

I was delighted to discover that the entire album was recorded in Robert's apartment, played and sung largely by him. Being a big fan of home productions myself, I nevertheless was not prepared for the incredible clarity and rich, full sound that Robert has achieved on this recording. It has an undeniable warmth that fits the songs like a glove. I loved hearing Robert explain how he meticulously arranged the drums and other parts, nudging them around slightly in time to give them a more human feel. Not to say that they were played by a machine -- in fact, I know that Robert played the drum pads and keyboards (and of course the guitars) himself -- but that in spite of the fact that most were overdubs, he was able to bring the parts together into a cohesive whole that sounds and feels like a live band. "Don't Ask, Don't Tell" is a great example. It cooks like four guys feeding off each others' energy, even down to the classic "band falling apart together" ending. Kudos to Robert, the effect is very real.

It's always fascinating to me to meet another progressive rock aficionado -- we are both big fans of Yes, ELP, Gentle Giant, Led Zeppelin, etc. -- who is clearly influenced by those great musicians of the '70s, but has chosen his own particular synthesis of styles for his musical expression. You won't hear any retread here, no attempt to play "tribute band." Robert has his own voice, from his singing style to his guitar playing, his songwriting and production, all of which cover a broad and beautifully integrated range from sweetly introspective to hard-rockin' and funky. I love how Robert can bring these diverse moods and styles together so seamlessly in one song, without calling attention to its cleverness or turning it into a 20-minute epic. Not that I'm against 20-minute epics, I'm just always impressed by stylistic adventurousness that serves the mood of the song, rather than the other way around. "Ode to Central Park" is a clear winner in this regard. I just love how Robert underlines the sweet acoustic verses with his vibrating electric and slide guitar lines, and so smoothly segues them into rockier ensemble sections and a cool sparse poetic break.

And I have to say that until recently, I thought there could only be two or three gay YES fans in the world. How delightful that Robert has proven me wrong! And how wonderful it is to have Rock Widow occupying a prominent place in my musical universe.

For more information about Robert Urban, visit www.roberturban.com

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