![]() ![]() Cindy Wilson of the B-52’s guests on one track. Dreams So Real are still caught between two conflicting impulses - big-league rock power and carefully detailed grassroots richness - but this album puts them on the way to finding a singable solution. Gloryline wisely backtracks a little, simplifying the drums to a snappy backbeat and tempering the electric intensity with a folkier sensibility, acoustic guitar strums and more effective use of guest keyboards. ![]() The melodies are okay, but the dynamic delivery exaggerates the weakness in Marler’s lyrics. The album reached number twenty-five in Billboards Jazz albums charts. It features Burton with guitarists Mick Goodrick and Pat Metheny, bassist Steve Swallow and drummer Bob Moses. Moving to a major label, the trio toughened its sound and commercialized its approach for Rough Night in Jericho, putting stronger rhythms behind the ringing guitar strums and arena-ready drama into the vocals. Dreams So Real is an album by vibraphonist Gary Burton featuring compositions by Carla Bley recorded in 1975 and released on the ECM label. (Cover your ears when “Capitol Mall” comes on.) In any case, Father’s House is too mild to truly matter: while the summery ambience is pleasant enough, the songs are insubstantial and many of the performances rush along in an overeager blur. Although guitarist/singer Barry Marler does favor Buck, Dreams So Real’s light, airy pop doesn’t really reflect an R.E.M. This tuneful Athens threesome, produced on its first album by Peter Buck, uses a bit of piano and close vocal harmonies - the Kingston Trio and Buffalo Springfield come to mind - to differentiate itself from That Other Local Band.
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