Sacred Earth

Collection Contents

#		Title	Length
1		Sacred Earth	12:07	Play
2		Spirited Aire	18:07	Play
3		Ritual Fire	13:24	Play
4		Holy Water	17:01	Play

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Description

Experimenting, evolving, celebrating; these words aptly describe George Wallace's unique directions in composing and producing. Fed by fierce, spontaneous inspiration and tempered with a keen feel for rhythmic and dramatic flow, George's visionary music manifests itself through the emotionally rich songs and textured soundscapes he paints with seasoned, intuitive skill. Through evocative songs and instrumentals, George adeptly contrasts light/dark, joy/brooding, stillness/power over an immense variety of musical genres. He performs nearly all the instrumental and vocal parts, able to capture the spirit of virtually any genre but add to it something quite his own. There is always something upbeat in George's music - his idealism irrepressibly appearing, whether through compelling rhythm, lyrics of love, or the pure joy of sound.

Sacred Earth is an evocative, one-hour musical experience of the primordial elements Earth, Air, Fire, and Water. The four electro-acoustical movements offer a mix of lush, ethereal soundscapes, intense and drum-driven shamanistic chanting, and airy, sweetly hypnotic meditations.

The experience begins with a prayer deep inside the long-silent red-rock canyons and ancient pristine forests where the soul of Earth herself dwells. Flora and fauna play in delicious 7/4 counterpoint. Wind chimes charm us to a vantage point just above tree-level; we see in the distance the mystical flanks of Mt. Fuji, robed like an empress in snow and heralded with a great Japanese gong. Moments of Zen contemplation ensue. Then higher still, a welcoming canopy of air lofts a solitary carefree kite, dancing to a simple F pentatonic melody nearly forgotten since childhood but now forever remembered.

The Fire Movement actually "sounds" hot; beyond-measure-hot...Volcano Hot. We're there at the rim, staring deep down into our own violent, roiling origins, hypnotized and mute, unable to move. The spell is picked up by villagers below as they sing by torchlight to their own frenzied, ecstatic dance. An Elder jumps to the center where with wildest abandon he gyrates to the drums and scales from worlds well beyond this one. The spell suddenly breaks with a magic-sword: a crack of heat lightning. The Storm: a mystery of transformation from fire to water, two perceived opposites. And then...the rain comes, and keeps coming. The drops dance; we are intrigued by the amazing mystic liquidness of our being. The whales sing. Not just underwater ... through amniotic fluid ...the earth of our birth.

George's flair for composing and playing first appeared when he began classical piano and theory lessons at age eight in Philadelphia, PA. At 13 he encountered the absolute coolness of the electric guitar. He soon threw himself into a series of late'60s-influenced bands (with names like Dark Side, Soul Society, Mass Confusion) as bass player, vocalist, keyboardist, and writer. At Berklee College of Music in Boston, he majored in composition and arranging and played with other groups, settling in with "Fate", a busy, successful club act headquartered in Worcester, Massachusetts. During this time, he was initiated into multitrack recording. The group recorded a string of singles, all written and/or produced by George.

He left the group after six years to pursue a solo recording career in New York City. After signing a major multi-album deal with CBS/Epic Records and a publishing agreement with Screen Gems, his two albums under that label were: Heroes like You and Me in 1980 and What It Is in 1982. Virtually all parts were sung or played by George himself. Both albums enjoyed enviable critical acclaim by numerous industry publications such as the Gavin Report, High Fidelity, Record World, Trouser Press, and Billboard.

According to one reporter, George had created a "high-level synthesis of style and influences...yet with something indefinably original about it, possessed of its own quirky energy... a real thing" according to Matt Damsker of the Philiadelphia Bulletin (April 26, 1981).

In 1983 George left New York for Bucks County, PA, where he was free to explore the finer subtleties of his maturing songwriter's persona. He wrote and recorded over an increasingly wide range of dynamic and lyric styles. He occasionally produced other acts and produced several planetarium show soundtracks. For a little while longer, he continued writing "crash-boom-bang" material for Screen Gems; several songs from this period received airplay through cover versions from such artists as Ted Nugent, Pat Travers, and Joan Jett, as well as some European artists generally unknown in the American mainstream.

His subject matter expanded into compositions more introspective and spiritual. In 1985 George formed his own new studio and production company, AirBorn Music, and produced three landmark instrumental works: Sacred Earth (1985), Communion (1988), and Frontiers (1993). All three AirBorn releases were soon taken to heart by radio audiences for whom unique new music is the norm. He was a featured artist on Philadelphia-produced shows Diaspar and Star's End, and nationally recognized on widely syndicated shows like Echoes, Hearts of Space, and Musical Starstreams. He found himself in good radio company; the compositions of Kate Bush, Tangerine Dream, Steve Roach, Richard Burmer, Andreas Vollenweider, and Philip Glass were apt to be heard before or after a George Wallace cut had been played.

In 1997 he spent a year and a half in Japan, where he wrote a wealth of new material, both instrumental and vocal. The potpourri of new instrumentals took on the title If I Had A Ship... The song collection found its own title, Set Free. After his return to America, George finished and mixed both projects almost simultaneously. In the spring of 2000, George reconnected with his first love from many years before. Ultimately he moved himself, his studio, and AirBorn out to Alaska to be with her, and there he now resides.