Pamela West - Dweller On The Threshold   Angelfly Records

    This Midwestern songstress seems to still dwell in the early days of
art rock, when rock bands like Led Zeppelin ("III"), Jethro Tull ("Stand
Up"), and Traffic turned down the amps and explored the possibilities of
acoustic instruments, folklore and mysticism.  Her spiritual quest has
led her to embrace the teachings of many faiths and creeds, and she
often expresses an abiding love and compassion for fellow earth
dwellers. Her voice is perfectly suited for this - airy yet earthy - and
her lyrics are suffused with earnestness, tempered by wry wit.  She
plays guitar, flutes, and bassoon, which aside from a few baroque
concertos is usually relegated to playing the bass parts in quintets and
the occasional humorous motif.  But in a rock context?  Not since "I Got
You Babe."  Well, don't forget that no one before had used a flute in a
rock band to the extent that Ian Anderson did, and now it's
almost commonplace.  Someday Pam could follow in his footsteps (bigger
instrument, smaller feet), though she veers closer to Zep than Tull, and
she does like to rock out.  Songs like "Seeds" and "Little Miracles" are
perfect pop, "Chains Of The Modern Ape Man" packs a punch and segues
into the full-bore rocker, "The Golden Mean," which evokes the classic
grain-belt boogie of The James Gang and Kansas.  These tell what it's
like for her to live in today's world, trying to maintain faith - in her
muse as well as God - in a frustrating, compromising  society.  These
are issues that affect all of us, differently of course, but if she
finds meaning through spirituality and expresses herself through rock
music, God bless her.  My abiding sentiment on spirituality is fairly
libertarian - if it works for you, fine, but don't try to convert me, as
I won't try to convert you.  We all must find our own paths.  Don't let
me scare you away - she doesn't make a big thing of her faith.  If
anything her songs are too sensual and not devout enough to get played
on Christian rock stations.  I have to give her credit for having the
courage to eschew lightweight themes and tackle such serious concerns in
today’s competitive  hit-driven marketplace.  In this cynical culture
it's heartening to hear someone unafraid to
express the optimism of"Little Miracles":  "To see the beauty of a
summer day like a child again/I believe I can see the light of your
soul/We are one, you know/We are love, you know."  She is a little
miracle, herself.
                      - - - - Review by Steve Bornstein