Takin' the Time is the follow-up to
Carol Kleyn's self-released 1976 debut album, Love Has Made Me Stronger.
Kleyn, all but a musical unknown, played harp on street corners and at Renaissance fairs in the late '60s and early '70s. Her debut, on which she accompanied herself solely on harp and piano, is a piece of California cosmic sunshine; innocent and full of wide-eyed wonder, it endures the test of time while simultaneously representing the era. By the time
Kleyn recorded Takin' the Time near the end of the decade, she felt she had finally earned the titles of harpist, vocalist, and songwriter. For those who took to the former recording for its starkness and clarity, the first half of this disc will come as a shock. Produced by Bobby Brown (of the cosmic Enlightening Beam of Axonda classic), Takin' the Time features
Kleyn in the company of a rock trio, with Brown on backing vocals, percussion, flute, and harmonica.
Kleyn plays harp, various keyboards, kalimba, and bells. The first half is very much in early California singer/songwriter terrain, even though it was 1980. The songs are stronger here than on her debut. The studio players are restrained, allowing
Kleyn's fragile soprano to hold court, and most of the time are careful not to overwhelm it. The title track is a jaunty, blissed-out folk-rock love song that's perfectly balanced. "Jethro" begins with screaming rock guitars, but
Kleyn gets in front and holds her own. The harp takes prominence on "She Lost Her Crown," the strongest ensemble piece here. The Caribbean-tinged "Sailor Take Me" and the
Van Dyke Parks-esque "Could Be Heaven" are both marred by production excesses that draw attention from the sheer beauty of
Kleyn's singing. Things go back to near perfect on "Tides and Crazy Moons" (voice and harp) and showcase
Kleyn's strengths as a writer. "Missy Robin" is another gem with
Kleyn accompanying herself on the hummel, a Swedish mountain dulcimer. On "How Long Till Forever," it's a lone, ghostly kalimba. "Intermission" is a haunting harp instrumental. "Prayer," introduced by ocean sounds and screaming seagulls, is the finest song here, with
Kleyn's harp anchoring that soaring voice of hers between heaven and earth. Despite the two missteps, Takin' the Time is the better of Kleyn's first two offerings because of its stronger writing and its stellar second half (the third and final reissue is in the works). ~ Thom Jurek