Media Reviews for Gone
Calgary Sun Review
by Dave Veitch
Five stars
Freed from the confines of Blue Rodeo, Greg Keelor has delivered an unequivocal masterpiece; a powerful and introspective record steeped in Indian mysticism that ponders mortality, spirituality and the life-long search for self. The music is sparse and hushed, but also remarkably varied, ranging from the Celtic-flavored a cappella number Home to the percussive, Indian-influenced White Marble Ganesh (complete with a Hare Krishna chant). Yet whether the music is jazzy or folkie, spry or dirge-like, the songs all find Keelor grappling for inner peace -- and his personal journey makes for captivating listening.
Ottawa Sun Reviewby Paul Cantin
Three and a half starsThe best and worst thing about Blue Rodeo is the tension between the artistic sensibilities of frontmen Jim Cuddy and Greg Keelor. Cuddy is conventional and cuddly, whereas Keelor's music has grown increasingly adventurous and freeform. Now's our chance to hear what Keelor can do when there's no one tugging at the other end of his rope.
On Gone, he's free to indulge in an atmospheric, moody brand of balladry that suggests what Sarah McLachlan might sound like if she unplugged the synths. No surprise, since McLachlan plays piano throughout the record, and her producer, Pierre Marchand, and drummer Ashwin Sood are also part of the small cast of supporting musicians.
The songs are usually delivered at whisper volume, with Keelor's voice pushed to the front of the mix, over minimal supporting instrumentation, giving the whole record a confessional, intimate feel.
"There is no place to go/Come and rest your weary soul," Keelor sings on "Blue Star," and that pretty much sums up the appeal of
Gone. In a restless world like this is, it's a welcome relief. Hear how Keelor sounds live at Barrymore's Feb. 13.
Toronto Sun Review
by Jane Stevenson
Three stars
As one-half of Blue Rodeo's songwriting team for more than a decade, Keelor appears to have been holding back a quieter, moodier side of his creative self.
At least judging from this gorgeously spare collection of songs -- with the exception of the Blue Rodeo-sounding "Star Of The Show" and a cover of David Byrne's "Heaven" -- on Keelor's first, largely acoustic, solo outing.
Produced by Sarah McLachlan's own Pierre Marchand at Morin Heights Studio in Quebec, McLachlan, who is expected to have her own album out by the summer, is also along for the ride, turning up to play piano, lead guitar and provide backup vocals on occasion, while loaning out drummer Ashwin Sood.
Standout songs include "When I See You," in which Keelor sings about "your windswept eyes leave me no place to hide," "Redemption," "All Our Heroes" and the title track.
But the real sonic treats are found in such songs as "No Landing (Lucknow)" and "White Marble Ganesh," where a mournful cello mingles with a pounding tabla.
Also check out the trippy, spoken-word bonus track at the end in which Keelor sounds as if he's on the telephone, oddly enough while making such pronouncements as: "And I know that I am in everything and everything is in me. But I'm not me. I am that."
The good news is that Keelor has decided to present these songs live at a solo show at Trinity Centre on March 1.
