Rufus Wainwright's Release the Stars, A Review and Analysis

During my first listen to Release the Stars (Geffen), the word epoch flashed in my mind. With that being said, I can only summate that this recording is the beginning of a distinctive period in the history of the 21st century Opera.

In an interview with Spin --"The Inquisition: Rufus Wainwright," 6-20-07-- Wainwright was asked, "But an Opera? Are you overreaching?" He says, "Are you going to tell Mahler that he was overreaching? People should be thankful I'm overreaching, only because of the amount of mid-reaching that's occurring. Somebody's got to take chances."

And I say thank you Wainwright for overreaching and taking a chance. I don't know of any Opera that has been written in my lifetime to which I could make a reference. However, when his Opera debuts I can share that knowledge with an added confidence in our culture.

Release the Stars, Wainwright's latest installment of "musicals" is a great precursor to Premadonna, his French Opera.

A 'musical' breakdown:

"Do I Disappoint You" makes a grand entrance with a rocking flute, none the less. Matty.Is.Hooked.., a "Rufophant" (a loyal fan, as Rufus calls them) had this to say about the song on the artist's main forum. "A typical grandiose swirling opening masterpiece we have come to expect on a Rufus album...sounds very apocalyptic."

I couldn't agree more.

The constant piano beat in "Going To A Town" leads the song in an ode to America's Bush. Through it all, Wainwright sings "I got a life to lead/I got a soul to feed/ I got a dream to heed" and that's all he needs, despite going to a disgraced, burned down town and seeing let down folks. Incredible attitude.

"Tiergarten" (German for Animal Garden) emulates A Midsummer Night's Dream vibration with an enchanting harp. In an interview, Wainwright shared that Tiergarten is a park in Berlin where he and his boyfriend "go where the wildflowers grow and the stone gardens bloom."

"Nobody's Off The Hook" for me, is about a lesson learned from past experiences and now explaining/warning to a friend. Everybody's guilty, no one is to blame. I love his gift of rhythmic limerick. "But you never will love/your heart with those little boy blues." And because he has "looked/And nobody's off the hook. Cause life/Will that little heart/And Bring you to your knees/Threatening to break it/ For the final time and you'll believe it." He reassures his friend, "but look/ Nobody's off the hook."

"Between My Legs" is a rockin' erotica tale with French horns and a bongo. He asks an interesting question, "Will I walk away from love knowing nothing/Wearing my heart between my legs?" The drama in the song is heightened with stage siren, Sian Phillips' spoken word: "Cause there's a river/Running underground. Underneath the town towards the sea/ That only I know all about. Come and see."

In "Not Ready to Love" Wainwright plays acoustic guitar and gives Kate McGarrigle, his mother the reins to the piano. He credits Neil Tennant and Larry Mullins with the "vibes." Although, the message is a bit depressing he still delivers a beautiful song with lovely proportion.

I love Jack Petruzzell's electric guitar in "Slideshow." Graceful backing vocals include Martha, his fantastically talented little sister. The trumpet adds a kick of grandiosity, which is great.

"Tulsa" is about his encounter with Brandon Flowers, Killer's frontman who had a "taste of potato chips in the morning." It is a funny tune that is actually a "reminder/ of the antique shop that" Wainwright wants "to go back to and visit when it's open."

The harp and flute resurfaces again in "Leaving for Paris No. 2" and adds A Midsummer Night's Dream flavor. The cello is subtly essential in the song, as it keeps the conscious and unconscious balanced.

Perhaps an end to an affair?

"Who will be at Sanssouci tonight? Those boys that made me lose the blues and then my eyesight." In an interview with the The New York Times, Wainwright discusses a time in his drug addiction where he was temporarily blinded. "Sanssouci" alludes to a flirtation with falling off the wagon. Wainwright romanticizes the scene where "cupid's wings have cobweb rings and the candles seem to have all been blown out."

I can hear the insanity when he sings "Tonight" and holds the tune on the second syllable, carrying it up and down. Perhaps a close call in a daily reprieve?

"Release the Stars" ends the show, declaring "old Hollywood is over." Rufus sings, "Yes of course I am speaking in metaphors for something more in your heart."

The backing vocals are majestic and belt out, right along with Wainwright; and together exalt the song (and album) to its very own "Paramount."

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Bonus: Rufus admits how and when his addiction to Lederhosen began and talks about gay sons and straight fathers.