Terry Lee Nichols & Rebekah Eden | We Have Only Come to Dream...

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We Have Only Come to Dream...

by Terry Lee Nichols & Rebekah Eden

We have only come to dream is a sonic rendering of human migration to the Americas with a style that is a mixture of cinematic, new age, and minimalist classical music. 
Genre: New Age: Contemporary Instrumental
Release Date: 

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  Song Share Time Download
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1. Phantasmagorical Voyage
Terry Lee Nichols & Rebekah Eden
3:41 $0.99
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2. The Anasazi
Terry Lee Nichols & Rebekah Eden
3:58 $0.99
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3. We Have Only Come to Dream...
Terry Lee Nichols & Rebekah Eden
3:38 $0.99
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4. 1492
Terry Lee Nichols
2:51 $0.99
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5. Conquistadors
Terry Lee Nichols & Rebekah Eden
5:54 $0.99
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6. The Courier
Terry Lee Nichols & Rebekah Eden
3:40 $0.99
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7. The River of Life
Terry Lee Nichols
4:45 $0.99
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8. The 19th Century Refugee Crisis
Terry Lee Nichols & Rebekah Eden
5:08 $0.99
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9. A House Divided
Terry Lee Nichols
1:50 $0.99
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10. The Last Cowboy
Terry Lee Nichols
4:05 $0.99
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11. Canyon Sunset
Terry Lee Nichols & Rebekah Eden
2:57 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
We have only come to dream is a sonic rendering of human migration to the Americas. The time span covered is from approximately 50,000 years ago through the late 19th century. My hope is to challenge todays political discourse from exclusionary nationalism and xenophobia with a musical narrative that illustrates the diversity of the numerous ethnic groups that came to inhabit the Americas. In short, living in a country with a combative leader who continually demonstrates historical illiteracy requires us to step up our game by understanding and celebrating our diversity. Here are the CD booklet notes from the opening track:


Track 1: Phantasmagorical Voyage
Composed and performed by Terry Lee Nichols
Vocal arrangement and performance by Rebekah Eden

Overview
Phantasmagorical Voyage provides a sonic rendering of the earliest voyage to the Americas.

According to recent evidence, the first Americans were descended from Australian aborigines. The dimensions of prehistoric skulls found in Brazil match those of the aboriginal peoples of Australia and Melanesia. Stone tools and charcoal from the site in Brazil show evidence of human habitation as long as 50,000 years ago. Cave paintings found in northeast Brazil provided the first clue to the existence of a much older people. Images of giant armadillos which died out before the last ice age, show the artists who drew them lived long before Native American migration.

How could the early Australians have travelled more than 13,500 kilometers (8,450 miles) at that time? Cave paintings, from the Kimberley region at the northern tip of Western Australia are the oldest painting of a boat anywhere in the world. The style of the art means it is at least 17,000 years old, but it could be up to 50,000 years old. The crucial detail is the high prow of the boat. The design suggests it was used on the open ocean.

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Reviews


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Kathy Parsons

From MainlyPiano
One of the few positive effects of the unsettled nature of our country right now is that some of our artists are stepping forward and celebrating the countless contributions immigrants have made to the American society and culture. "We Have Only Come To Dream" is one such project. Stunning in its power and beauty, Terry Lee Nichols and Rebekah Eden have created a musical masterpiece that overflows with passion, cinematic vividness, and strength.

The CD includes a twelve-page booklet that explains the historical origins of each piece plus a poem by Philip Spevak that tells each story in a less formal setting. (The booklet is also available online.) The album chronicles the migration to and exploration of The Americas from 50,000 years ago to the founding of the US National Park System. The historical research involved is daunting, but then to take all of that material and create such a breath-taking musical journey with it is truly remarkable. Terry Lee Nichols composed and performed the music, most of which features the piano as well as orchestration. Rebekah Eden did the vocal arrangements and performances on all but one of the ten tracks; Kehembe Eichelberger performed the vocals on one. (Vocals are mostly wordless vocalizations.) Flautist Sherry Finzer also appears on one track.

"We Have Only Come To Dream" begins with “Phantasmagorical Voyage,” a sonic rendering of the earliest voyage to the Americas, now thought to have been by Australian aborigines some 50,000 years ago. It begins as a gentle and dreamy piano solo and adds orchestration and vocalization a little bit at a time, building to a powerful and triumphant end. “The Anasazi” tells of one of the earliest advanced civilizations who inhabited the Four Corners area of the American Southwest. This tribute to “the ancient ones” is haunting and rhythmic with piano, vocals and some powerful orchestration. The title track honors the Aztecs who eventually built an empire in Mexico. Piano, vocals, light percussion and strings create a beautiful, peaceful scene punctuated occasionally by a dramatic orchestral burst. “1492” is a favorite, and of course, chronicles Columbus’ voyage from Spain. A powerful piece for orchestra and piano, images of dark, stormy seas and boats being tossed by the waves come to mind each time I hear it. “Conquistadors” refers to the leaders in the Spanish conquest of America, and especially to Cortes and Pizarro. Dark and mysterious, there is poignance about this piece that seems to tell of the hardships of the long voyage as well as the loss of the conquered societies. “The Courier” ups the drama and intensity as it describes the Enlightenment philosophy and the colonies’ declaration of independence from Britain. “The River of Life” is calm and sparkling with the sound of flowing water and birds calling in the background - beautiful and another favorite. “The 19th Century Refugee Crisis” refers to the arrival of the Irish immigrants and includes a lovely arrangement of the traditional folk song “Down By the Salley Gardens” sung by Eden. “A House Divided” features a very moving vocal performance by Kehembe Eichelberger singing a traditional slave freedom song “Many Thousand Gone.” “The Last Cowboy” refers to the twenty-year “golden age” of the cowboys from 1866-1886 in a very “Americana” style that includes gunfire and a cowboy asking a bartender for “a stiff one.” “Canyon Sunset” features Sherry Finzer’s beautiful flute playing and celebrates the beginnings of our National Park system in the mid-1800’s. Elegant yet majestic, it’s a moving and uplifting close to an excellent album.

"We Have Only Come To Dream" is an amazing musical achievement and one that I very highly recommend. Bravo!!!
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Candice Michelle

An enchantingly epic sonic adventure
We Have Only Come to Dream is the collaborative project of Terry Lee Nichols and Rebekah Eden. Subtitled A Resonance of Human Migration to the Americas, the album moves through eleven enthralling compositions, as the listener is welcomed on a journey that begins with the first people who populated the New World – eventually leading up to the foundations of its modern civilization. Credited as the album’s producer, composer, orchestrator, pianist and virtual instruments performer, Nichols masterfully integrates styles of cinematic, new age and neoclassical music. Drawing much of his inspiration from a range of notably accomplished film score and contemporary classical composers, his own works are often likewise thematically grand-scale. Joining Nichols on this album is Rebekah Eden who provides exceptional vocal arrangements throughout – her soprano singing mostly wordless and semi-veiled, as it frequently ascends to ethereal heights. Additionally, the album’s liner notes include a descriptive overview of the individual pieces, along with an accompanying poem written by Philip Spevak for each.

The opening piece, “Phantasmagorical Voyage”, is inspired by the earliest known voyages from the descendants of Australian aborigines and Melanesians to the Americas thousands of years ago. Seemingly conveying a mysterious arrival from the mists of the seas, its initially tip-toeing introduction soon blossoms into a mesmerizingly cascading piano riff merged with Rebekah’s layered, wordless vocals. Affectively tender and sweepingly cinematic, the piece essentially signals the beginning of great immeasurable potential that lies ahead.

Named for one of the earliest advanced civilizations of North America, “The Ansasazi” (meaning “Ancient Ones”) is characterized by a moving blend of classical and contemporary motifs accentuated by glistening chimes, native-style flute and Rebekah’s dreamy vocals soaring above a majestic soundscape. Following next is the title piece, “We Have Only Come to Dream” , which draws its inspiration from the Aztec culture of Mexico that was once part of the greater Mesoamerican civilizations (that also included the Maya). Rainforest sounds comprised of waterfalls, birds and insects form the backdrop to gentle piano notes – eventually evolving into a symphonic motif in tandem with angelic vocals. The ensuing “1492” denotes the year of the first Spanish-based transatlantic maritime expedition led by Christopher Columbus. Pristine, dramatic and darker-toned, the composition brings-to-mind the iconic 1992 soundtrack, 1492: Conquest of Paradise by Vangelis, which accompanied director Ridley Scott’s movie of the same name. The storyline continues with “Conquistadors”, of which also sounds somewhat Vangelis-esque, as the piece seemingly evokes powerfully moving images in slow-motion. Named for the Spanish conquerors of the Americas whose genetic seeds would eventually merge with that of many Native populations, this turning point in history has always been of enduring interest to me – perhaps because it’s an integral to my own.

Inspired by the enlightenment philosophy held by many leading colonists of North America, as well as their ultimate declaration of independence from Britain, “The Courier” engages its listener with a dynamic arrangement of synthesizers and symphony. Further expressing the gist of this passage is an accompanying poem titled Paul Revere’s Ride. The next piece, “The River of Life”, is inspired by the subsequent influx of many more European arrivals and their westwards expansions. Tonally bright and optimistic, it seemingly feels like that of watching a time-lapse video depicting a long passage of time.

Aptly imbued with a Celtic touch, “The 19th Century Refugee Crisis” is named so in reference to the large wave of Irish migrations to the United States. Denoting how the Irish once endured hardship, discrimination and prejudice in their newfound American homeland, Rebekah conveys this motif with a lovely melody sung in English, which boasts a pleasing reminiscence to the music of Loreena McKennitt. Likewise, “A House Divided” is a poignantly heartfelt composition inspired by the bondage and eventual emancipation of Africans who were brought to the New World. Beginning with a vocal performance by Kehembe Eichelberger singing the lyrics of a traditional slave freedom song – the piece’s contemplative atmosphere of sorrow injected with glimmers of hope is perfectly enhanced by its affecting cello and piano melody.

“The Last Cowboy” is named for the vaquero traditions that developed in Mexico and the American southwest from methodology brought to that region from Spain. The vasquero eventually became the foundation for the North American cowboy – and so this piece is captivatingly enhanced by the sounds of running horses, saloon music and human chatter along its course. Finally arriving at “Canyon Sunset”, this passage is aptly dedicated to the national parks across the U.S. Showcasing an enchanting flute performance by Sherry Finzer, the piece seemingly conjures an aerial overview of breathtaking landscape, in a most fitting conclusion to a riveting journey.

As a longtime enthusiast of numerous history, geography and genealogy related subjects, it was easy to become immersed in this truly epic sonic voyage. Listening to the pieces while reading the accompanying narratives and poems sometimes felt like witnessing the often complex and fascinating stories of my own ancestral melting pot unfold. Destined to be one of this year’s most highly-praised releases, numerous fans of period drama film scores – particularly by the likes of James Horner and John Barry – are especially encouraged to take note of this musical achievement!
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Pamela Asberry

Reviewed by Enlightened Piano Radio
We Have Only Come to Dream is an epic soundtrack of the history of the Americas, beginning with the settlement of Australian aborigines in South America and ending with a stunning tribute to the National Park Service of the United States of America. An inspired collaboration between composer and pianist Terry Lee Nichols, vocalist Rebekah Eden, poet Philip Spevak, and notable guest artists, this album takes the listener on an extraordinary journey through sound and time.

Our travels begin on a Phantasmagorical Voyage from Australia to South America, when tens of thousands of years ago Australian aborigines traveled from Australia to South America on primitive boats. Beginning as a contemplative piano solo and building through the use of magnificent orchestrations and soaring vocalizations to a triumphant ending, this piece sets the tone for the rest of the album. The Anasazi pays tribute to the ancient peoples who lived in the area today known as the Four Corners (that part of the United States where New Mexico, Arizona, Colorado and Utah meet). With its pulsing rhythm, superb orchestrations and haunting vocals, this track is breathtaking and unforgettable.

The title track, We Have Only Come to Dream offers a brief respite from the intensity of the first three tracks. Thoughtful and meditative, the sounds of nature, rain sticks, flutes, and vocals are perfectly woven into the music, which celebrates the civilization of the Aztecs in Mexico with their rich, complex mythological and religious traditions along with their remarkable architectural and artistic accomplishments. 1492 is a vivid sound painting of the perilous ocean voyage of Christopher Columbus from Spain to the New World, the piano and orchestra joining forces to take us on a wild ride over the raging seas. Conquistadors tells the tale of the Spanish explorers who eventually conquered the Aztecs. The most notable of these explorers were Francisco Pizarro and Diego de Almagro; the well-known rivalry between these two men led to a conflict and bloodshed and this poignant musical description depicts not only to the personal cost paid by these two men but also the tragedy of the loss of the ancient cultures they decimated.

Intensity builds with The Courier, which tells the story of Paul Revere’s heroic ride in order to save the democratic movement burgeoning in the thirteen colonies. In The River of Life, we join Lewis and Clark as they head out west to explore the Louisiana territory. Sweeping and majestic, the luscious combination of piano and orchestration is punctuated with the natural sounds of water running and birds singing. But there is also an element of melancholy, which serves to foreshadow the dark times lying ahead for the growing nation.
The 19th Century Refugee Crisis relates the plight of the Irish immigrants in the United States, not at all unlike the plight of modern day refugees. The centerpiece of this stirring arrangement is stunning rendition of the Irish tune Down by the Sallee Gardens sung by Eden. This song literally moved me to tears; although it is hard to choose just one favorite from the album, this might be it.
In a similar vein, A House Divided recalls the sufferings of African slaves and the horrors of the United States Civil War. Powerful and moving, this piece features the rich vocals of Kehembe Eichelberger singing the traditional freedom song Many Thousand Gone.

The Last Cowboy chronicles a day in the life of the American cowboy, beginning and ending with a ride on the open plains, raw and majestic, with a midday romp in a saloon somewhere in the Wild West. We hear our cowboy ask for a “stiff one”, tap our feet to the rhythm of the honky-tonk piano, perhaps duck under a table when the gunfire begins. The album concludes with Canyon Sunset, an awe-inspiring celebration of the National Park System, most notably the Grand Canyon National Park. Showcasing the gifted Sherry Finzer on flute, this piece is also a contender for my personal favorite.

Whether savored from start to finish with liner notes in hand or listened to purely for the unique musical experience it provides, We Have Only Come to Dream grabs the listener from the opening chords and never lets go. This is an album you don’t want to miss.
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Steve Sheppard

Review from One World Music Radio
The journey of a nation is depicted in all its historical glory within the album We Have Only Come to Dream, there are many issues tackled here by the artist and brought into the light, and we see the narration of a tale of the years told with great skill and talent by the artist.
Our voyage of the eons begins with cinematic opener Phantasmagorical Voyage; this is the perfect starting composition, a beautifully laced symphonic opus, combined with the ethereal vocals of Rebekah Eden. The story of the unimaginable journey of the Aborigine’s is illustrated perfectly here and that journey would take them across the planet and at a time when it seemed to be a mere fascination, an impossible dream of the ultimate expedition. Lee Nichols performance on piano on this piece is simply legendary, and draws the curtains wide open on this perambulation through time.
The flutes that open the track The Anasazi are haunting and scene setting, a gentle piano leads us along the trail, the percussive beat and a sublime bass line draws our passage of musical delight for us with ease. This is one of my personal favourites off the release. Eden’s vocals once more add depth to the overall composition and the panoramic piano of Lee Nichols is a musical paint brush of sorts.
I adored the start of the title track; We have Only Come to Dream. Gentle sounds of nature caress our senses; a delicate and soft piano manifests a true sense of ambience, mixed with a poignant reality of history. This is one of the most beautiful pieces off the release, again you have Eden’s angelic like vocals and moments of crescendo that are so well orchestrated.
On 1492, there is a dramatic energy of movement built within the composition, the pace of Lee Nichols on piano drives the narrative to almost fever pitch as the ship of Christopher Columbus makes its ways to the shores of the America’s. The grand symphonic nature and performance on the keys by the artist creates a pulsating sound track of a composition for us all to enjoy.
We now tread with care over the half way marker of the album and come across a tentative piece called Conquistadors. The Spanish are now here and this quite stunning piece reflects the growth of the 16th century explorers, with such flair and style that you rarely hear these days. The almost mystery filled arrangement, contains a gentle spoken word, with Eden creating one of the most atmospheric performances on the release. I felt deeply moved whilst listening to this piece and could picture the unfolding of an era here, good and bad; for me Lee Nichols has produced a memorable moment of musical genius.
Speed, energy and a new wave of excitement abounds within the piece The Courier. Almost electronic styled in its construction, the musician manifests something quite powerful and breath-taking, heralding the end of British colonialism and ushering in a new era of enlightenment and philosophy, be ready to take a musical ride towards new ideologies and doctrines, all wrapped up perfectly by Terry Lee Nichols dramatic composition.
The River of Life is so picturesque one can actually be there thanks to the creation of this sublime composition. A thoughtful narrative can be found within this charming arrangement. There is energy of constant movement and expansion here, while the flute holds the essence of nature well within its hands. The slight but pertinent percussion on this piece was delightful, and fitted in with the mellow mood of the overall composition perfectly.
The longest piece off the album at well over five minutes is the imploring and powerful The 19th Century Refugee Crisis. I am sure you will immediately recognise the main theme, Down by The Sally Gardens; this charming Celtic motif narrates perfectly the plight of the Irish immigration of desperation and the troubles that they found upon arrival in the land of the free. The strings and of course Eden’s pitch perfect vocals sell this piece with ease. We could also allow this track to remind us of how history to this day repeats itself, the names may change, but the fear remains.
We hear the emotional voice of Kehembe Eichelberger in this next offering called A House Divided, and somehow in just under two minutes of outstanding musical genius, Lee Nichols explores and expands of the dark days of slavery and the terrible injustices of that era that still reverberate to this day.
Our penultimate track is entitled The Last Cowboy and starts with a warm embrace of that time, with a sound clip of a cowboy heading for the last round up perhaps. This piece reminds me of my time in Oklahoma, gazing at the wide open lands, the flat endless landscapes and rusty and broken barb wire fences from yesteryear, while I wrote endless pages of Cowboy poetry. Terry Lee Nichols has recreated a segment of time, where through the music you can once again live in that moment, while the world has moved on. A magical slice of production and arrangement can be found here, one that is profoundly memorable.
Our very last doorway through this voyage of time and tide comes courtesy of a piece called Canyon Sunset. As a lover of this moment of the day, I can truly relate to this piece. I have seen sunsets all over the world, but not yet at a Canyon, but thanks to this simply beautiful and radiant piece, through its grandeur and symphonic structures, that desire perhaps has been fulfilled, this is simply the best way ever, to leave an album of this divine quality.
We Have Only Come to Dream, is an album of such vast and supreme quality, that whilst listening to this release, you will be taken back, left speechless and filled with a level of emotion that will be hard to control. Terry Lee Nichols along with Rebekah Eden, have created a veritable pastiche of brilliant and well thought out compositions that are easily the best I have listened to in this genre for absolutely years, an absolute must purchase indeed, oh and enjoy the ride.
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Dyan Garris

Cinematic Masterpiece
Terry Lee Nichols and Rebekah Eden – “We have only come to dream. . . A Resonance of Human Migration to the Americas”
Album review by Dyan Garris for New Age CD.com

Terry Lee Nichols is a Florida based, classically trained composer and multi-instrumentalist. He specializes in New Age, cinematic, and adult contemporary music. Since he was a child, music has been an important part of his life. While at Florida State University, he majored in music composition with piano as his primary instrument. He holds an MFA in Music Composition and Theory. Attending California Institute of the Arts, he had opportunity to score documentary films, television shows, and movies. It is evident that this is where one of his great talents lies.

“We have only come to dream. . .” a collaboration between Terry Lee Nichols and Rebekah Eden, is ultra-rich, deep, wide, vast, and an utterly gorgeous album through and through. It is easily imagined as an epic film score. The arrangements, including the vocal arrangements by Eden, are spectacular. Her ethereal and shimmering soprano vocals are interwoven into many of the songs, giving them a magical, other-worldly feel.

Now, this isn’t just a big, beautiful and poignant musical soundscape for the purpose of being majestic and grand. It’s a journey. It’s the story of the journey of human migration, not just “across the pond” so to speak, but rather, the worldwide migratory flow of various peoples of this planet. The CD comes with a booklet displaying these historic routes.

However, migratory movement is not just what this album is about either. This is a multi-dimensional reflection and reverberation of our humanness and human experiences, as individuals and as a collective, that have shaped where we are today as a global society. All of these songs are masterful, multi-textured compositions that can easily take us back in time and yet effortlessly encapsulate the present moment as well. Listening to this album, it’s as if we are inside of a film watching a movie of ourselves developing. Truly fascinating.

The album begins with the outstanding and magical “Phantasmagorical Voyage.” There is a tender, lullaby quality in the beginning of this song that envelops us with its melodic dreaminess. The piano is fantastic here, as are the interleaved, celestial vocals. And we do feel lulled, as if we are in a lovely dream, and on the threshold of the most important voyage of our lives. We are born. We are at the beginning. We are instantly transported to another time and place that is brimming with hope and our own ideas of all that is to come. The “voyage” leads to an awesome, exciting build toward the end of the track, and finishes with a grandissimo flourish.

The Anasazi were an ancient Indian civilization, known primarily as the “cliff dwellers,” with an interesting culture and history. Track 2, “The Anasazi,” perfectly captures this intrigue. Fast-paced and multi-layered, it’s as if we can hear the ancient and eternal voices bubbling up from deep within our earthly core.

The title track, “We have only come to dream. . .” as track 3, is filled with lusciousness and the echoes of eternal consciousness. Mellow flute, melodic piano, angelic vocals, and great percussion, are all layered into the mix along with gentle nature sounds, altogether serving to remind us that all is perhaps but a dream.

Track 7, “The River of Life,” is a personal favorite. Rich, mellow, melodic, and of course, wonderfully flowing, it’s easy to completely relax and recapture the heartbeat of life through this song.

In between we have “1492,” with its deep, dark, exciting largeness, which effectively portrays exactly what it must have been like to embark upon that particular exploration back then. “1492” is followed by the quite haunting piece, “Conquistadors.” Historically, in brevity, this is the meeting of ancient civilizations who previously had no knowledge of each other’s existence. Meeting one another and subsequently interacting in the terrible ways that they did, had profound effect upon humanity’s conceptualization of. . .humanity. This was a pivotal time in our existence and for a lot of reasons. “Conquistadors” speaks to it all perfectly.

Not to be left out is “The Courier,” which is evocative of the tension and danger inherent in what it could have been like, for example, to be Paul Revere from Colonial times/The American Revolution. By the way, Revere did not just go on that infamous “midnight ride,” but was perhaps the most notable courier in history. I am not certain that Nichols’ “The Courier” composition is intended to be specifically about Revere, but the song effectively portrays the emotions that this particular period in our existence must have brought to the surface.

Track 8, “The 19th Century Refugee Crisis,” is Celtic in feel, and although it has an intrinsic “heaviness” due to the basic subject matter, it’s perfectly lovely and lighter with the magnificent lyric vocals of Rebekah Eden. It’s got that amazing “Celine Dion” star quality to it and could most definitely be the theme song to a blockbuster movie like “Titanic.”

“A House Divided,” track 9, speaks, I believe, to the era of the Civil War. It’s brief at 1:50, but the very poignant and emotionally moving mezzo-soprano lyric vocal of Hekembe Eichelberger, the distinguished Associate Professor of Classical Voice at Howard University, make the song particularly unforgettable.

Track 10, “The Last Cowboy,” is quite interesting as it’s completely transportive. Tuneful it is, with warm strings and a wistful, charming piano melody. Interspersed in here as well is a bit of honky-tonk piano that we might well hear in a “wild west” saloon. Along with that we are then transported right into the heart of the bustling saloon with some interesting sounds and verbiage, presumably the “last cowboy” ordering up a drink. Then it’s back to the open freedom of the prairie.

Last track, “Canyon Sunset,” brings us full circle in a way. The soulful sweet flute touches our heart and opens us to new horizons yet to be discovered. So even though it may seem as if we’ve reached the end of our journey, it’s not really an ending. It’s an opportunity for new beginnings. Here, we are reminded through the richness of the music that what we do now and where we decide to go from here is past, present, and future, all in one.

Other credits on the album include the poetry of Philip Spevak and the flute artistry of Sherry Finzer. As well, Dr. James W. Norris, is credited with historical background research. Audio engineering is by Gordon Davies, and Dan Edminster is vocal track recording engineer.

“We have only come to dream. . .” is bold and brilliant, and perhaps as courageous in some ways as the very first ancestral phantasmagorical voyage must have been.

It would be challenging to try to choose just one or two songs from this album to download as singles, as the whole thing is truly extraordinary as a work of art. Love it, and on every level.

Even if you didn’t know or care about what “We only came to dream. . .” is about in terms of its deeply thematic premises, if you enjoy cinematic music, this one is at the very top of its game. Here we are nudged on every level to remember who we are and to care about it. Memorable, impressive, and highly recommended.
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