Genesis 18 Illusion

[Cameron Fluet]

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With this introduction, the Spirit calls for a brief discourse on work. This, as humanity enters another year of work, and boldly moves with hope, in embracing and nurturing its collective needs (in spirit, soul and body), during this ongoing pilgrimage of great change and transformation in our world.

One such area, for me, is on the meaning and origins of work. This journey, leading to an unfolding of its history; and learning of the price paid by humanity, for a lack of reverence of the right order of our life on Earth, as given by God at Creation.

This path affording an understanding of the importance and significance of work (with its intrinsic value of service to others), the gift and need to work from a place of rest, and the origins and consequences of laborious work. The latter, I have come to understand as a consequence of this lack of reverence, producing great change for the human (as portrayed in the Bible in Genesis 3), from our position of God-given rest, and having a rippling effect on generations to come, including our current world. In other words, one might even say, the instantaneous creation of a new era of work and world order, lasting to this day.

In its primal origins, I understand work was to be a process of ease, relational; where the human was to govern the Earth under God; living symbiotically with nature and each other, each sustaining the other effortlessly, in created perfect order. Simplicity and wisdom at its finest.

When where we are is in fact, an awakening to a realization that humanity is (and has been), at odds with its created true and essential self (includes our world, dust of the earth and Earth), for generations, and must gently, with a deep abiding Love available to all, humbly merge all illusion and delusion with reality. True sustainability, restoration and rest await humanity in this endeavor.

It is a call for humanity to return to its roots; its very beginnings. Right order, I say. A new beginning. A new creation, remembering, that the light of the Creator, still remains upon us, shining brightly in the seeming darkness.

I hope you agree, and if not, as usual, there is always room for dialogue to help bring understanding. A loving invitation extended to all, and as we prepare for the year of work ahead in heartfelt service to one another and our Earth.

"And they that shall be of thee shall build the old waste places: then shalt raise up the foundations of many generations; and thou shalt be called, The repairer of the breach, The restorer of paths to dwell in." Isaiah 58:12 KJV

Who knows Amanda Lehmann? Well, the attentive Genesis fan will have noticed her as a temporary member of the Steve Hackett Live Band. She toured with him between 2009 and 2013, after which she made numerous guest appearances. She played rhythm guitar and did some of the vocals (*1). She also makes guest appearances on Steve's latest albums. (*2)

After touring with the Steve Hackett Band, Amanda began composing new songs and working on older pieces. She took her time to let her songs mature, finally immortalizing them on an album in the last year and a half. As a first result, the song Memory Lane was released as a video in September 2020. (*4)

Amanda took advantage of her acquaintance with the musicians around Steve Hackett, so that they and the master himself have guest appearances on the album. With one exception Amanda is responsible for the composition. The production she took over with the help of Nick Magnus and for two tracks with Roger King.

The cover artwork was created by Des Walsh Illustrations (*5). A landscape bathed in golden sunrise/sunset colors is interspersed with boulders floating in the air. Amanda stands on the foreground rock, leaning on her red guitar, looking into the distance. Fantasy artwork in the style of Roger Dean. The subject matter reminds the reviewer of the Mirror Traveler saga by Christelle Dabos (*6) and especially the artwork of the Yes albums Fragile and Close to the Edge.

The back cover features a forest landscape in the dark blue light of a full moon night, interspersed with fairy glittering stars. The sleevenotes and a photo of Amanda, sitting on stage, complete the design. Unfortunately, the reviewer had the album only in digital form. Thus, no exact statements about the cover's design are possible. Unfortunately the songlyrics are not available at the time of reviweing either.

Somberly brooding keyboards open the journey, an acoustic guitar kicks in, choral vocals and finally Amanda's voice intone. The track picks up speed, a gorgeous lead guitar reminiscent of Marillion, or the late Strawbs intones, to be redeemed and finally accompanied by a keyboard solo a la Mark Kelly, played by Nick Magnus. A subtle piano and chorus end an attention-grabbing prog piece. Amanda's vocals resemble Sally Oldfield, with a slight Kate Bush touch, or even Tracy Hitchings

It jingles and rings, xylophone-like cacophonies resound, arpeggios of an acoustic guitar take over, an electric guitar follows. The ride becomes more and more colorful, the guitar howls, the keyboards remind of a carousel. A waltz beat resounds. But how wonderfully Amanda sings here! From soprano to alto, very variable, her voice ranges. The listener is transported to a children's room at night, where little Tinkerbell jumps out of the Disney book, makes all kinds of mischief and takes us into the world of Peter Pan. A magic that we could only see in our childhood ... or beyond?

What a startling break! If the reviewer had expected a prog album, now this: An almost bluesy number, opened by Steve Hackett's harmonica, takes us back to the twenties, brings up memories of the times of swing, of smoky clubs. Amanda's smoky, erotic timbre adds to it. Rob Townsend enhances the song with a beautiful alto sax solo. Roger King contributes synthesized strings and brass and co-produced. Let's swing! (*7)

Somber keyboards fill the room, xylophone-like sounds break through them, finally an audible bass. Before Peter Gabriel can be thought of, it starts to rock with a blues chord. Hey, is Amanda a Deep Purple fan? A guitar solo makes you think of Marillion's Brave or Clutching At Straws. You expect to hear Fish, but it's Amanda who puts the stamp on this track, lying between prog, metal and West Coast, with her variable vocals. Vocally she is accompanied rather unobtrusively by Paul Johnson. Next to Tinkerbell this is, for the reviewer, the highlight of the album.

Amanda dedicates the piece, which was already released as a video last year, to her mother, who suffers from dementia. Longing vocals, acoustic guitar and synthetic strings, as well as a soulful sax solo characterize the worn folk pop piece. The late Clannad, or Enya send their regards. Roger King contributed the keyboards and the co-production.

A guitar solo rocks, accompanied by an organ, only to have the tempo become more carrying. An up-and-down of moods fills the prog-pop-metal number. The piece seems to evoke carefree youthful days filled with motorcycle rides, dancing and laughter. Steve Hackett lets out a crashing, metal guitar solo before things get quieter, more melancholy. Amanda's vocals swing from light to dark. Where have the days gone that feel eternal and everlasting?

A beautiful ballad somewhat reminiscent of Pink Floyd's High Hopes. It tells with heartbreaking vocals, accompanied by gentle piano chords, about the cycle of life, youth and old age, the connection of all being. In the piece lies the intention of the album: the representation of the journey of life of us humans, the twists and turns, the hopes and dreams, in short: our experiences between innocence and illusions. An earlier version is available on the Harmony For Elephants album. (*8)

My goodness, once again the time machine takes us to the Golden Twenties: bluesy, swing-heavy, sentimentally merging into a Slowfox, Amanda sings in the style of the divas of that time. A congenial alto sax solo by Rob Townsend ennobles this gem. The chorus takes up the title of the album:

In a kind of reprise, Amanda and Steve Hackett, who co-composed the piece, perform with vocals and acoustic guitar. Delightful, Amanda's vocals duet with Steve's nylon. The beautiful lullaby closes softly purring an exciting journey into the turmoil of life.

Innocence and Illusion is an impressive collection of musical gems that lie somewhere between prog, blues, jazz, metal, folk, swing and pop. Like little Tinkerbell, Amanda Lehmann pulls songs out of her hat that captivate the listener. The songs describe experiences that we humans make in life. They span the time from childhood to old age. Amanda slips with her varied singing playfully into every role. She impresses with her voice reminiscent of Sally Oldfield, Joni Mitchell, Kate Bush, Tracy Hitchings, Moya Brennan and Maggie Reilly (to name a few). Her solid guitar playing is primarily influenced by Steve Hackett and Steve Rothery. Their compositions don't recreate the music, but they add a feminine touch to the styles they cite, win them a new way of playing and are fun to listen to with an incredible joy of playing. Only the lack of a "real" rhythm section is a little unfortunate. It could have provided even more pressure.

The reviewer would like to see a tour to bring the songs to the world with live dynamics. They deserve many listeners and listeners. Yes, Amanda Lehmann can, as she says herself, be proud of her album.

There's an actor's approach to character exploration from child to woman and back again, where Amanda is the ringmaster of her own fantasies with much to say about the human condition, adding a hint of chanson to the power of rock and a touch of magic realism. We're discovering a true musical chameleon. (*9)

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