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Non-Prog CD Reviews

Candice Night

Reflections (American Edition)

Review by Gary Hill

I’ve already reviewed this album when the European version came out, but this version is specifically for American audiences. Although one song title is listed differently, the music is exactly the same as that other release. There is a different cover, though. If you already own this, it probably doesn’t make sense to get this version, unless you are a hardcore collector. If you don’t have it, though, I’d say, look over the two versions and compare covers and prices to decide. It’s always good to have a choice. Since I did review this before, what follows will be that original review for the sake of consistency.

This is a solo album from Candice Night. She’s probably best known as the voice behind the band that she and husband Ritchie Blackmore formed, Blackmore’s Night. The music here is more modern and electronic than the music that group puts out. It’s also quite cool. Sometimes it works towards pop music, but a lot of the material feels like mellow prog rock. That is enough, along with Night’s performance in the group which we qualify as prog, to land this in the progressive rock category. There’s no denying the quality of Night’s voice. She is one of the best singers out there. The music here is always strong, even if it’s not all exactly my cup of tea. The only real complaint is that the liner notes don’t list the musicians, except for the violin player.

This review is available in book format (hardcover and paperback) in Music Street Journal: 2012  Volume 6 at

Track by Track Review
Wind Is Calling (Hush The Wind)

Here we have a cut that’s mellow with a lot of keyboard textures. While it has a rather electronic texture, it’s somehow still organic. It’s a pretty tune that definitely has some pop music built into it. It’s got a lot of progressive rock in the more energized section later in the piece.

Gone Gone Gone

There’s not much progressive rock here. Instead, this has a definite modern country flair. The musical motif is more rocking than the opener had been.

Black Roses

Pretty and intricate balladic motifs start this in a very progressive rock oriented way. This is a powerful piece of music that has a definite harpsichord kind of texture. I’m a sucker for harpsichord, so that is a big plus for me. There is a great violin solo, too, and this is just plain beautiful.

Now And Then (2011)
Another mellow ballad, this is tasty and pretty. It’s a great tune that combines some of the musical elements from the opening cut with the kind of majesty and emotional power presented in “Black Roses.” The arrangement gets very powerful as this continues.
Dangerous Smile

One might say that this song has a bit of a club or house feeling to it. There is definitely some electronica in the mix, but it also rocks out a lot harder than anything to this point. This definitely has some modern progressive rock built into it. It seems like a song that would make a hit single, even in the modern market. It’s catchy and quite cool.

For You

A beautiful ballad mode brings this one into being. There are hints of the medieval music that Night’s group is known for producing. Still, this fits more into a progressive rock motif. It’s another pretty cut.

Call It Love

Acoustic guitar in a folk rock mode starts this. The vocals come in with just that acoustic guitar at first. Then other instruments are added in a musical motif that’s more or less a modern pop rock tune with leanings in country and folk rock. It’s a good number that brings some more variety to the table and it works to more hard rocking sounds as it progresses and builds.

Robin Red Breast
Another mellower piece, this one comes close to occupying the same kind of space Blackmore’s Night fills.
Alone With Fate

Violin creates some drama and there are definite world music links here. It powers up from there in a motif that combines 1960s music with old world sounds.

In Time

This is a beautiful balladic instrumental that serves nicely to end the disc in style.

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