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Guitar virtuoso Metheny stayed behind the mixing desk on this project, leaving all guitar duties to Noa's compatriot and collaborator, Gil Dor, whose dexterous acoustic guitar work provides a lively backing for Noa's agile voice. Throughout, the album is characterised by a typical Metheny Group 'ambient' sound, with ringing acoustic guitars, warm synthesizer orchestrations by Lyle Mays, and the string bass of Steve Rodby. The superb drum sound of Steve Ferrone gives a terrific lift to the opening track, but throughout most of the album little percussion is used.

Despite having lived in the US for much of her youth, Noa's English lyrics are of only moderate quality, but even so the songs in English come across well, being at times reminiscent of Joni Mitchell's early work. However, it is perhaps in the more exotic sound of the three Hebrew songs that Noa and Gil are at their most effective and original, with 'Uri' (a setting of a Hebrew poem) being particularly touching. Another unusual feature is the inclusion of the JS Bach composition 'Ave Maria' as the closing track, in which despite Noa's slightly clumsy English lyrics (which to classical purists would be a desecration of the Bach/Gounod original) the sentiments - a prayer for peace in her troubled homeland - are nevertheless profound.

This is a superb album of music which is refreshingly different, yet with an overall sound that is comfortingly familiar. I can't recommend it highly enough. Her other albums are a bit more idiosyncratic in style, but well worth hearing if you enjoy this one.


Classic   November 19, 1999
 9 out of 9 found this review helpful

Listen to Noa's albums... Next to her Celine Dion sounds like an old diesel engine in dire need of an oil change...


Buy 2 copies   October 17, 1999
 5 out of 5 found this review helpful

I've owned this album for years, & it's still my most-played disc of all time. I totally shared the idea I've read in other review that this album should be brought twice, 'cause if U only get one copy, somebody is definitely going to take it & never going to return. In fact, I've brought 5 & only one is remaining. Noa, her voice is so angelic & powerful at the same time, but, above all else, her voice is one of those fews that can really touch someone's heart deeply. Well, I just love it.


Hebrew Triumph   December 16, 2000
 3 out of 3 found this review helpful

The great thing about this CD is not because its Israeli singer Noa's first English crossover album. Its because despite being laden with a string of English language tracks, it breaks new ground only on the native Hebrew songs, which is testament to the fact that people most often score higher while doing what they really know about.

Noa is brilliant, no doubt, and so much better that even her fellow Middle Eastern chanteuse Ofra Haza (who passed away in 2000 - she gave us one of the best albums of the 1980's in the form of 'Shaday'). Shes one of the few who use her voice as an instrument and not as a machine to belt out vocals. On this debut American CD (which by the way, almost went gold) she shows us why the Middle Eastern vocal technique works well within any musical medium.

This is most evident on her native Hebrew tracks, which form the best part of this record. The downside is that Noa's songwriting is really quite pathetic. Alongwith Gil Dor, shes crafted songs that seem more the work of a fifth-grader than a strong Eastern woman hoping to captivate the States solely based on talent (and a measure of good looks). This is typified on 'I don't know', the sets' opener, and arguably the most insipid of all tracks on this CD set. Other turkeys include the embarrasing 'Lady Night', which reeks of poor grammar and unbelievably silly imagery.

However, if you don't count those weak tracks, 'Noa' is a wonderful achievement. Her finest moments come on the blissfully happy 'Eye Opener', which is sung in Hebrew, and the tuneful 'Mishaela', which I consider the finest song on here. Theres also something called 'Uri', which sounded interesting to begin with, but Noa falters midway through this beautiful track and never quite regains composure.

Another marvel is 'Ave Maria', Noa's own take on the classic - only she twists it out of recognition and makes it all her own. Her vocals here are incomparable, though once again the lyrics do make you wonder if she had no lyrical advisors at all. It sounds like a hymn, but has lyrics like 'Things look pretty bad down here', in the most inappropriate context. Ah well, thats a small price to pay for the other goodies that Noa offer us.

'Noa' is often remembered by audiences as what launched her brilliant career. She still draws massive crowds at Israel and other Middle Eastern Countries, but has been largely forgotten in the US and UK. Pity, because here is a true vocal talent whom we all should have gotten to know better. This album, though from 1994 is timeless, and sounds good in the 2000s. Highly recommended for lovers of world music.


Deserves to be much more widely appreciated   June 29, 2001
 3 out of 3 found this review helpful

Guitarist Gil Dor, unknown to me until the release of this CD, must be one of the bravest musicians around. He plays guitar throughout this album, despite the fact that through the glass panel of the recording studio he would have been able to see guitar virtuoso Pat Metheny at the production desk.

This album caught the Pat Metheny Group during a creative peak, and although Pat plays no guitar whatsoever and Wertico is absent, the rest of the band is here (former drummer Dan Gottlieb even returns to play cymbals!) and the sound is very much PMG of around the 'Letter From Home' period.

Don't judge the album entirely by the opening track, which is outstanding and, as single, ought to have been a million-seller, in the same timeless inspirational vein as say, Gloria Gaynor's 'I Will Survive'. The rest of the album doesn't always maintain the magnificent standard of that opening high point, but there is much to enjoy. Track #4, 'Path to Follow', is typical of the beauties that take a little more listening.

Pianist Lyle Mays does a particularly good job throughout this album, and it's surprising that he hasn't worked with Gil Dor on any of his own solo albums. Mays and Dor appeared to achieve a strong empathy here.

If you want a recommendation for another female vocalist who worked briefly with Pat Metheny, Silje's 'Tell Me Where You're Going' is in much the same vein, although slightly less Hebraic and slightly more Norwegian, as one might expect of a Nordic artist.