Joe Macre’s songwriting and bass playing supply much of the necessary fuel for his solo release The Dream is Free. His experiences in the band Crack the Sky, would-be progressive rock legends of the mid 1970’s undone by unkind fate, are the sort of things that a person takes to their grave, but it’s also an affirmation. His relentless and restless yearning to move forward, both with Crack the Sky and as a solo performer, says a tremendous amount about the commitment Joe Macre made long ago when he strapped on his bass guitar and stood for the first time in front of an expectant audience. The Dream is Free is a promise kept.
Kicking off with the title song serves notice of that fact. Macre’s bass playing will leap out at listeners, especially those with an inclination toward such fare, and the rhythm section works as the heart of this and other songs. He builds the guitar parts around this elastic and responsive foundation; fans of pop-oriented prog, ala Asia at their very best or middle-period Rush. This doesn’t mean that Macre is an imitator; it’s merely a shared reference point.
The personal/autobiographical edge finding its way into a significant part of Macre’s songwriting helps further distinguish it. Another aspect of his songwriting distinguishing him from his peers emerges during the track “Ride or Die”. Macre has multiple musical hearts, really, and one of them is a true blue rock and roller who appreciate what a strong guitar riff or part can bring to a song. “Ride or Die” bristles with the same passion heard in other songs, just in a different way.
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He has multiple faces as a songwriter and musician. A sensitive predilection for ballads comes out with the track “Drop Me off at the Rainbow” is one of the most mature songs Macre has yet to produce and comes at an excellent place in the album’s track listing. The acoustic guitar sounds far less out of place than what you might otherwise suspect because Macre uses it in a textbook way that strengthens the song overall.
Macre’s progressive tendencies continue burning bright during “Not Looking Back Tonight”. His capacity for crafting memorable bass lines seems endless and a significant percentage of bass players hearing the sound he gets on this, and other tracks will gravitate to this cut in particular. Macre dazzles you a little more when you realize these songs are a legit one man show, Macre playing each instrument and handling the vocals; this as much as a personal statement as a music album ever gets.
It does not mean you can’t relate to it, however. Joe Macre has obviously crafted The Dream Is Free’s songs with an obvious eye towards commercial appeal. It is never overt, however; there’s no sense of Macre pandering for listener’s favor. You can’t even imagine it. Instead, these songs come across as a personal testament, yes, and emphatically wide-open music that every music lover can – and will – enjoy.
Heather Savage
