The Boston Globe from Boston, Massachusetts • 96

old ones. Still, when she cuts loose on "I Gave You Everything" or parts of "The Wind Beneath My Wings" all is forgiven and she is queen. Elijah Wald Camerata with feelingHoliday's lost album That Windham flowUhuru's schizophrenia and by the voice of Susannah Keith Keith sings gustily over a big sound from the instruments, and she could probably do twice as much with more room. Stu dio keyboards complement Coster's brief but fluent guitar riffs. Despite the title this is not particularly late-night music There's a hopeful quality to the tunes which ought to appeal to anyone.

He can write soft rock with commercial poten tial, but he's still a card-carrying child of Genesis INVISIBLE TOUCH Atlantic ongtime Genesis fans are bound to be depressed by this album. Never before have they moved so far away from their progressive roots, or gotten so close to the middle of the road. The group's personality is all but lost: They now sound like Phil Collins with a backup band. Collins' trademark, white-soul sound dominates the album, but "In Too Deep" and the title song are even fluffier than Collins' standard. Once a superb drummer, Collins hardly plays drums anymore, but builds the songs around simple drum-machine patterns.

But the main casualty is Tony Banks, whose keyboards used to give the band its grandeur. He now confines himself to electronic blips. missing the old beauty and power. The instrumental "The Brazilian" is rambling filler; and "Land of Confusion" is a weak attempt at a protest song, saved only by Mike Rutherford's lead guitar. The old Genesis magic turns up only once, on the two-part, 12-minute "Domino." The story of a jilted lover who goes insane, it's a dramatic piece with soaring melodies and a gripping buildup.

But mostly, this sounds like something Genesis did to kill time between solo projects. Brett Milano Philip Bailey INSIDE OUT Columbia Bailey's most coherent and relaxed solo album chronicles his walk through city streets, his eyes turned toward the heavens. While it features comments on urban style in the conversational strut "Welcome to the Club" and the bitter, contagious "State of the Heart" it also aspires toward divinity, most clearly on the lambent "Because of You" and the gorgeously ambivalent "The Day Will Come." What keeps this disc from greatness is the incongruously macho "Back It Up," a near-carbon copy of "Easy Lover," i with stock Phil Collins drums and a superfluous solo by Jeff Beck. Otherwise, the album is assured, sweet soul, encompassing the gender-free, faintly Carib "Echo My Heart," the yearning and promise of Rodger's superb "Don't Leave Me Baby," and the beautiful, Chi-Lites-styled "Long Distance Love." The album also sports sharp Rodgers guitar and his best production work since he gave David Bowie yet another lease on pop life with "Let's Dance." This is Bailey's third solo album and is his most personal, and the one with the greatest staying power. Carlo Wolf John Coster STORIES IN THE DARK October John Coster's first album in half a dozen years is filled with romantic CLASSICAL Boston Camerata L'HOMME ARME: Music of War and Peace Erato oston Camerata's "War and I Peace" concert of two seasons ago may have been its best and most important program.

Mu- ih. sir composed in times of war forces composers to confront ultimate questions; this is not a music of escapism even when it tries to put the best face on things. The program Joel Cohen assembled and recreated for the recording music by Monteverdi, Gabrieli, Byrd, Rossi, with Schuetz at its center -has all the virtues of balance and variety one expects from him, together with a central core of seriousness that is sometimes lacking. The instrumental playing is spirited and eloquent, and the Boston Shawn and Sackbut Ensemble and the Harvard Radcliffe Collegium Musicum make impressive contributions. The solo performers particularly soprano Nancy Armstrong, tenor Frank Kelley, and baritone Sanford Sylvan seem part of a Camerata golden age now that they no longer appear regularly with the group.

Sylvan's impassioned performance of Schuetz's setting of Saul's lament, "Fill mi, Absalom" is one of many highlights of this important record. Only a battle symphony of overlapping war songs from several countries and two centuries sounds a bit gimmicky, although in the live performance it made a powerfully Ivesian effect. Richard Dyer the 60s. John Stifler Irma Thomas THE NEW RULES Rounder I For 25 years Irma Thomas has been the acknowledged queen of the New Orleans soul singers. Her new album shows why, with her strong, dark voice and the deep personal feeling she puts behind the words.

Unfortunately, the songs often aren't good enough to fully display her talents. The title track is tough and driving, with the sort of take-charge lyric that made her famous, but too many of yearning: "I'll Find My Way Back to the other songs are lukewarm ballads. On some, such as "The Love of My Man," her performance transcends the materi you. My Heart belongs to You and five other songs addressed to a lover. The best book is in "Ghost Town" a pat tern of downward-slidine notes laid on a al.

However, it's a hard job and her band lacks the raw power Thomas needs. She has also smoothed out her act, becoming more sophisticated and professional. rhythm with an allowable trace of reg gae. In the other top song, "Nights on the This may win her some new fans, but North bhore, laminar words are saved from cliche-dom by an inspired melody can't help but somewhat disappoint the PICK YOUR OWN STRAWBERRIES OPEN DAILY 9-6 12 ACRES IH COMORO i SUDBURY HELEN'S LEATHER 110 Charles Boston 02114 742-2077 Phone Mail Orders MCVISAAEDINERS Find out about it! at our June 26 open house. You can earn a degree or certificate in these fields.

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