Sub-kitsch.
DRASIL | 07/09/2000
(1 out of 5 stars)
"In the earlier years of the 1970s, the rapidly burgeoning New Age community had its eyes transfixed on a certain Israeli ex-model named Uri Geller. Geller was going about the world performing random feats of telepathy and psychokinesis, making a name for himself by magically stopping cable cars dead in their tracks in Germany, and famously appearing on television talk shows in the United States. Part of his display of "ability" included the telekinetic bending of spoons and keys, feats for which he is still known today. ... Something that is much less common knowledge is the fact that, at the height of his popularity, Uri Geller recorded a self-titled music LP. The record, which consisted of music and readings of Geller's, was released in September 1977 to nearly no recognition or fanfare whatsoever. The paranormal camp saw it as a method of cashing in on stardom, and rejected it on principle. The popular-music market immediately classified the record under the "International Celebrity Decides to Become Musician" category, and ignored it as well. Most people never even knew it existed.In the face of all this, it would be absolutely wonderful to say that Geller's album is chock-full of unexpectedly rich, rewarding music that proves that Uri Geller's talent is not limited to one arena. Unfortunately, no such claim can be made.The reason why the independant Blueprint label decided to re-release the Geller recording on CD in early 2000 remains a mystery. One assumes they were aiming for the largely New York-driven "upscale kitsch" audience (defined realistically, more or less, as snobby novelty), since the CD is indeed kept in stock in stores frequented by such clientele. Regardless of their intent, one listen immediately relegates this release to the cutout bin. It is indeed fit only for "golden throats"-type novelty records, evidenced primarily by such tracks as "Beyond Imagination," a reading by Geller of one of his written works. The absolute bottom of the CD, however, occurs on the laughable "Come On Love." This particular track sounds as though someone, engaged in a bad Andy Kaufmann impersonation, decided to render an awful 60s art-rock tune in the style of William Shatner's cover of "Lucy In the Sky With Diamonds."Lest that sound like an endorsement to the kitsch crowd above--it's not. _Uri Geller_ has absolutely none of the things that make kitsch like Enoch Light or bad 70s soundtracks charming. Those types of recordings thrive in the present day because their awkward, plastic attempts at being soulful or jazzy are indeed genuine, and sound endearing as a result. Geller's release is entirely unlike this. It sounds as though he spent the absolute minimum of rushed hours in a recording studio to make a quick profit with very little effort.Very, very rarely does a recording come along without any merit whatsoever, but _Uri Geller_ achieves this position with stunning ease. It is "bad" music that is genuinely awful and unlistenable, and shouldn't be purchased by even the most hardcore purveyor of "tacky" music."
A Laugh Riot
Christopher Kochmanski | 07/17/2001
(3 out of 5 stars)
"This is one of the funniest C.D.'s I've heard in quite some time. Number 7 (I cannot answer you) is my favorite."
Track Listings (11) - Disc #1