Adrian Belew Albums (15)
What The Critics Say
Adrian Belew's flurry of solo material continues with Side Three, the third and final installment in the series. On both Side One and Side Two, Belew seemed completely liberated from any concept of pop aspirations and was free to indulge in his more experimental side. Side Three is no different. Aside from "Incompetence Indifference," the album is pretty sparse lyrically (as with the others), but that will be a plus as far as some fans are concerned, because it means the music takes center stage. Belew again handles almost all the instrumentation, getting just a bit of help from his friends Robert Fripp and Mel Collins (whose sax solo on "Beat Box Car" is a highlight) on a handful of tunes. The rhythm section of Danny Carey and Les Claypool is also back on board for a couple tracks, and they really light it up on "Whatever." Again, Belew has really done a great job of incorporating electronics and loops into his musical palette, to the point that "Water Turns to Wine" is little else besides an acoustic guitar strum, a tiny bit of bass, and Fripp's "flute guitar" contribution. "Cinemusic" is even more avant-garde, with odd sound effects, wafting music boxes, and electronic flotsam. "The Red Bull Rides a Boomerang Across the Blue Constellation" is similarly out there, looking back to "Hot Sun" from Lone Rhino or some of the more experimental tracks on Desire Caught by the Tail. "Incompetence Indifference" is almost "Indiscipline" revisited 20-plus years later, except instead of being accosted by young toughs on the streets of New York, Belew's sensibilities are accosted by a less-than-courteous woman by the pool, an unscrupulous electrician, and an automated phone message. Throughout it all, Belew shows that he's still one of the most wonderfully whacked-out guitarists on the planet and a serious tone-meister. If Side Three's release hadn't been postponed, Adrian Belew would have pulled the amazing hat trick of releasing three great albums within the span of a year. Call it a trilogy or call it a three-sided album; either way it ranks with Belew's best. ~ Sean Westergaard, All Music Guide
What The Critics Say
Not that he wasn't busy for the entire time, but the nearly eight years that separated Adrian Belew's solo studio recordings seem to have really recharged his batteries. Following Op Zop Too Wah, we only got the Salad Days compilation of acoustic material (already previously released in Japan and by mail order) and the odds and ends Coming Attractions compilation, which showcased all the different pies Adrian had his fingers in at the time (the Bears, more acoustic stuff, a still-forthcoming rarities box, etc.); it almost seemed like a holding pattern. Then came Side One, Belew's triumphant return to the type of experimental rock that first turned heads in his direction more than 20 years ago. Maybe it was the time away from his solo career proper; maybe it was hooking up with relative youngsters like Danny Carey and Les Claypool, but Belew seemed positively reinvigorated. That feeling continues with Side Two. No big guest stars on this one; Belew handles just about everything entirely solo. Longtime fans may be a bit surprised by the prevalence of electronic sounds, loops, and synthesized percussion, but Belew has really done a great job of incorporating them into his sound. The lyrics are deliberately sparse (inspired by Haiku), which allows for much more focus on the music and atmosphere. In fact, Belew has pretty much forsaken any "pop" aspirations here and fully pursued his more experimental muse, which will absolutely delight many of his longtime fans (and perhaps alienate the more pop-oriented ones a bit, though nothing here really qualifies as harsh or difficult listening). The album is filled with great sounds and textures, and there is plenty of ferocious guitar playing, as expected. The running time is fairly brief but there are essentially no breaks between songs, so the end of the album is like the end of a wild ride; it was a lot of fun but you're about ready for a break. However, you just might want to heed the whispered advice at the end of the album (trivia buffs take note that it's the same advice that closes Side Two of the James Gang's Yer' Album). ~ Sean Westergaard, All Music Guide
What The Critics Say
By 2005, it had been nearly eight years since Adrian Belew had unleashed an all-new solo studio effort. That's not to say he wasn't busy, though, as he toured/recorded with both King Crimson and the Bears during this time. And in the process, he became quite friendly with two of rock's top players -- Primus' Les Claypool and Tool's Danny Carey -- who happened to be major Belew fans. As a result, Belew invited the duo to play on several tracks on Side One. But be forewarned: they do not appear on the entire album, which is a shame, because the two best tracks -- "Ampersand" and "Writing on the Wall" (the latter of which is a fierce funk-rocker, quite reminiscent of early-'80s-era King Crimson) -- are the ones that contain this stellar lineup. But that's not to say the other tracks aren't worthwhile; other standouts include the noisy, repetitive epic "Madness" (which could have fit snugly on Crimson's 2003 effort, The Power to Believe) and a tribute to pachyderms everywhere, the appropriately titled "Elephants." At barely over 30 minutes in length, some fans who have patiently waited this long for a new Belew release may be disappointed initially, before finding out the good news -- the guitarist will be releasing two additional solo releases in 2005 (Side Two and Side Three). ~ Greg Prato, All Music Guide
'Coming Attractions'
Release Date 1/1/2000
Tracks 12
Label Thirsty Ear
See Album Tracklist and Review
What The Critics Say
Adrian Belew is easily one of rock's most prolific guitarists. He's lent his six-string talents to such notables as David Bowie, Frank Zappa, the Talking Heads, and Nine Inch Nails; played with King Crimson and the Bears; performed as a solo artist; produced bands like Jars of Clay; and wrote songs for others (such as Mariah Carey's "Daydream Interlude"). In 2000, Belew had several projects in the working stages -- a new solo album, a new Bears album, a live acoustic album titled This Is a Pencil, a new King Crimson album, and a box set titled Dust. Tasters from all of these projects (save Crimson) plus a few odds and ends were included on Coming Attractions, as well as a couple of live acoustic tracks (the latter sounding similar to his last Thirsty Ear release, Salad Days). From his upcoming solo album, the track "Inner Man" is perhaps Belew's heaviest rock track yet, while the pop perfection of "117 Valley Drive" (from the Bears release) is reminiscent of Belew's last couple of solo releases (Here, Op Zop Too Wah). Other highlights include the two live acoustic tracks "Inner Revolution" and "Time Waits," which highlight Belew's underrated vocal talents in addition to his superb guitar skills, as well as a solo demo titled "People," which previously appeared as a fully realized version on King Crimson's Thrak. ~ Greg Prato, All Music Guide
'Belew Prints: The Acoustic Adrian Belew, Vol. 2'
Release Date 1/1/1998
Tracks 15
Label Adrian Belew Presents
See Album Tracklist and Review
What The Critics Say
This second volume of "unplugged" treatments of earlier Belew work is padded with questionable pieces of musique concrète. These studio experiments can be likened to the Beatles' "Revolution #9," both in their random snippets of sound and almost unlistenable quality. Only one of the three, "Things You Hit With a Stick," blends compositional ingenuity with structural integrity. This is a shame, because the rest of the stuff here is superior, including strong readings of "Young Lions" with charging guitar work and a loving live version of Lennon's "Free as a Bird" from a King Crimson date in New York. ~ Tim Sheridan, All Music Guide
What The Critics Say
Op Zop Too Wah is a typically idiosyncratic and entertaining effort from Adrian Belew, demonstrating equal amounts of unparalleled guitar virtuosity and maddeningly pedestrian songcraft. Occasionally, Belew hits upon thrilling compromises between the two extremes, but just as often he meanders, missing his targets as frequently as he hits them. Nevertheless, the mediocre material is redeemed for his dedicated fans by his stellar guitar skills and the wide variety of sounds he can coax out of his instrument. ~ Stephen Thomas Erlewine, All Music Guide
'The Guitar as Ochestra: Experimental Guitar Series, Vol. 1'
Release Date 11/14/1995
Tracks 10
Label Adrian Belew Presents
See Album Tracklist and Review
What The Critics Say
As interesting as it may sound, The Guitar As Orchestra rides along a straight track and doesn't offer much by way of liveliness or intrigue. Not taking anything away from Adrian Belew as a prominent guitarist and experimental guru, the flow lacks any colorful meandering or subtle pleasantries, and the novelty wears off after the first couple of tracks. Belew's idea for the album involves replacing orchestral instruments with only a guitar, thus producing classical music with different variations and styles of guitar playing. Using only a Fender Stratocaster and a few guitar synthesizers and processors, Belew creates classical passages and movements that resemble, almost identically, music otherwise made by piano, violin, and the sort. A great idea in theory, but the result is rather humdrum and is absent of any flare. Titles such as "Alfred Hitchcock's 'Strangers on a Train' Starring Robert Walker" and "Portrait of a Guitarist As a Young Drum" may sound enticing but are compelling in name only. Belew's talents can be much better appreciated on his other solo albums, like Desire Caught By the Tail. ~ Mike DeGagne, All Music Guide
What The Critics Say
Adrian Belew is one of the world's most underrated guitarists, and his unique talents truly deserve more attention. He's played guitar with Frank Zappa and David Bowie, and also handled lead vocal duties with King Crimson. On his 1994 solo release Here, Belew not only wrote all of the material himself (co-writing one with Ross Rice), he also played every single instrument and served as the album's producer. His vocal style is quite similar to David Byrne, while his guitar style cannot be compared to anyone -- it's completely unpredictable and off the wall. The album's biggest surprise is the calm, psychedelic track "Fly," with a stark arrangement (voice, acoustic guitar, and an effect here and there) only intensifying the song's spacious, haunting feel. The album's upbeat opener, "May 1, 1990," finds Belew telling about a date on which "something changed inside me," while "Never Enough" is a warped rocker in classic Belew style (on which he makes his guitar sound like a violin). Here is a good representation of present-day Belew, but as his longtime fans know, it's not by any means a permanent direction. ~ Greg Prato, All Music Guide
'Acoustic Adrian Belew'
Release Date 1/1/1993
Tracks 11
Label Discipline
See Album Tracklist and Review
What The Critics Say
Packaged in a sleeve that (not accidentally) reminds one of the Beatles' White Album, this first released collection of Belew's acoustic renderings is all around a pleasant listen. The classic Adrian Belew songs are great. It is refreshing to hear songs like "The Man in the Moon" and "The Rail Song" with new life breathed into them. Belew's delivery is a little subdued, which at times can have a postured to be included on an acoustic release feel to it at times, but, for the most part, the music sounds fresh and revitalized. He does include a couple treats on this outing. The first of these is a cover of the Beatles "If I Fell," which sounds like a dead-on impersonation of the John and Paul vocal harmonies from the original. Very cool. Also included is a Roy Orbison's "Crying," which is a nice as well. King Crimson's "Matte Kudesai" has some issues here -- the verses are accompanied by a low somewhat seasick two-note guitar riff that at best is not very appropriate for the song. The final number on this collection is a tune called "Martha Adored," which is recording of "Dream Life" played backwards in its entirety. Unexpectedly and astonishingly beautiful. This track alone makes the whole set worthwhile. ~ Mark W. B. Allender, All Music Guide
What The Critics Say
Here's to adversity. This album was recorded after a difficult divorce and shows Belew in a moment of self-actualization -- taking positive steps to overcome pain and hardship. And this is one of the strongest critiques of this record..."God Adrian, do you have to be so upbeat about everything?!" This is a misconception, however; the transcendental pinings are so strong in places that the darker ins and outs of this recording are often overshadowed. Nearly all instruments are played by Belew. Probably the strongest track here is "This Is What I Believe In" (once described by Linford Detweiler as "having more time changes than a cheap wristwatch"). Music is intense and yearning -- and Belew sings as though his life depends on getting the words out. His guitar solo on this track sounds like a saxophone, and other diverse experimentation with the guitar litters this record at every turn. The signature lick on the first single, "Standing in the Shadows," is created by scratching the strings vertically with a guitar pick. Other transcendental songs, such as "Birds," "I'd Rather Be Right Here," or "Member of the Tribe," are uplifting exhortations -- this is the first time Adrian has sung about this kind of thing. He sings about the dissolution of his previous marriage in the unfortunately titled "War In the Gulf Between Us" -- with a mood akin to exhaustion and resignation. From beginning to end, this is a fun romp and a fine example of Belew's prowess -- creating inventive music that is simulateously experimental and accessable. One of his finest offerings. ~ Mark W. B. Allender, All Music Guide
