Ian McDonald
Drivers Eyes

I am sure you'll be quite intrigued to know what the only solo album, definitely a rarity practically unknown to the Italian audience, of the King Crimson co-founder is like, which benefits in its production from a line-up and contributions of the highest level. Just to introduce "Driver's Eyes," it's useful to mention some of the protagonists: from Peter Sinfield to John Wetton, from Michael Giles to Steve Hackett, from Peter Frampton to Ian Lloyd, not to forget Steve Holley on drums, and already the dish looks rich, but in the end, what really matters is how the album sounds.

Moving past the debut Overture that certainly isn’t captivating, it proceeds without disgrace; indeed, I would say that overall "Driver's Eyes" flows quite nicely, almost without noticing the successive songs without particular surprises, so much the homogeneity of the compositions satisfies the listener. Produced in a phase of McDonald's career characterized by the renewed collaboration with King Crimson (and vice versa), this work decisively stands apart from that production, resulting far less "challenging" and perhaps, therefore, a bit disappointing for the supporters of Fripp's Group, yet very soft and well executed.

Without delving into the individual tracks, I highly recommend an easy re-listen to appreciate the nuances characteristic of the author in some of the most significant tracks like "Forever and Ever" or the beautiful "Saturday Night in Tokyo" where the contribution of the great Steve Hackett definitely stands out. Other tracks like Hawaii are decidedly more polished, conventional, but represent a healthy glue with the more sophisticated "Straight Back to You" or "Let There Be Light."

In short, we are not dealing with a masterpiece or a work capable of overturning your musical beliefs, but with a good job that undoubtedly deserves a 3.5, to be rounded up in virtue of Ian McDonald's commendable career, despite finally a banal and decidedly already-seen cover.