Mark Spiro
Now Is Then, Then is Now

Ladies and gentlemen, here is the lord of AOR, Mark Spiro. An exceptional songwriter, he is responsible for pieces that, written for other artists, have sold tens of millions of copies over time; his solo production, though much less known, is by no means inferior. The album we are about to review, the third in Spiro's solo career, rightfully enters the top five of the genre: we are therefore facing a sumptuous masterpiece of the genre.

Released by the Swedish "Westcoast Records" exactly twenty years ago, when AOR had become an underground phenomenon after the glories of the '80s, the album in question consists of 12 tracks; some pieces can be regarded as exceptional classics of adult rock, but there is not a single drop in tone. Notable arrangements, often stratospheric melodies, intelligent lyrics, phenomenal guitar work (D. Huff, M. Thompson, and T. Pierce: these names alone, also authors of pieces on the platter, give an idea) combine with a warm, hoarse, and romantic voice. The only flaw lies in the production (and the electronic rhythm section), which nevertheless does not diminish the value of the work at all. Maybe we ask too much, but listening to this album fully rendered with "real" instrumentation would be a thousand and one nights experience for any self-respecting chic rocker (by the way, the operation wouldn't seem impossible, given Spiro's connections in the industry).

Let's now move on to the analysis of the individual pieces, wonderfully sung and arranged by Spiro (two by J. Jaz), who is also responsible for the backing vocals, programming, and keyboards.

It starts with the midtempo "All the Love We Kill". Characterized by a mysteriously compelling guitar plot, the piece has a gorgeous verse, and the chorus is a textbook example of adult rock.

"English Channel" is a wonderful ballad, written by three hands with J. Waite and T. Pierce. Stunning refrain.

"Stay Young," in its simplicity, is one of the best tracks on the album. The great initial keyboard-guitar dialogue, catchy but absolutely non-trivial chorus, anthology-worthy bridge, and a fine guitar solo (by Pierce).

The intro of "In the Dark" is remarkable, bursting into a very catchy refrain.

"Around You" is another demonstration of great class. In particular, the verse and refrain are textbook; here Mark’s voice reaches notable heights, while the guitar work is almost fusion-like.

"Wind on the Water" closes the first part of the album. The initial verse is compelling, the refrain worthy; here too, Spiro's vocals are nothing short of exceptional.

"Son with the Walking Shoes" is characterized by a splendid chorus, one of the best on the album; the brief guitar bridge by Thompson is also noteworthy.

"London Is Burning" begins with a stentorian guitar intro by Pierce. It then branches into yet another memorable refrain; splendid solo by the same Pierce and a very fine vocal bridge by Mark.

"Dancing with Einstein" begins with a nice keyboard-guitar dialogue, developing into a particularly heartfelt riff; yet another memorable bridge, just to change things up.

The intro of "Through My Eyes" consists of a lovely phrasing by Huff, while the refrain highlights Mark's warm and hoarse voice, which becomes almost epic in the bridge; a great solo by Huff, very Giant-esque.

Mysterious, almost oriental, the guitar intro of "Light in the Darkness," characterized by a chorus as compelling as it is straightforward. Brief, flamboyant guitar solo.

The closing belongs to what, along with "All the Love We Kill" and "Stay Young," is the best song on the album, "Midwestern Skies". With an incredibly romantic atmosphere, this track—voice and guitar—was later reissued (in a longer version) in the indispensable work by M. Thompson, The World According to MT (1996). Although the production might be better there, here Mark’s vocal performance seems superior. The piece is a fantastic, seductive farewell to an exceptional album: Spiro's vocals are so heartfelt as to be moving, and the guitar counterpoint is entirely worthy of such magnificence.

In conclusion, not only are all the refrains and arrangements of this legendary album, but also its verses and bridges, practically perfect (not to mention the technique of the guitarists involved): you won't find a single note out of place here. To use an understatement, the purchase is mandatory for every AOR connoisseur. Buy or die!