TIME OUT, London's weekly guide....the August 30-Sept 6, 1995 issue with
David Bowie on the cover and there is an intense photo of Jane along with the
review looking directly into the camera and maintaining the MOST SERIOUS
EXPRESSION ever....it was almost frightening...and now the review....


Before 1993's astounding "When I Was A Boy", Jane Siberry seemed content
forever to pass up the chance to create an album of even expression and
consistent beauty.  Previous works had been wilfully rambling and
self-consciously corny, rather spoiling the short but brilliant bursts of
sublime melody and eloquent genius.  "When I Was A Boy", however, saw her
capture that remarkable aspect of her talent throughout an entire, utterly
joyous and affectingly intimate work.  Emerging the other side of that more
channelled experience, Siberry throws everything out of focus again on
"Maria".  This time, though, the older, wiser artist isn't letting her sense
of adventure destroy her album's cohesion.
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Instead, the jazzier tones on the first half of "Maria" breeze, brood and
bustle along Siberry's rich, wearied voice.  On the restless arrangements of
"See The Child" and the sultry sway of "Honey Bee", Tim Ray's masterful piano
playing and David Travers-Smith's aching trumpet cries match Siberry's own
tones to marvellous effect, raking over the Canadian singer's musings and
uncovering new depths in her songwriting.  But this album is not an easy ride
or anywhere near as accessible as "When I Was A Boy".
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As it unfolds, the rhythms get more erratic, the tracks get longer, nursery
rhymes tootle in and out of the themes and, on "Would You Go?", the structure
hitches a ride out o' town in the opening bars.  All in all, "Maria" is Jane
Siberry returning to the laboratory for further tests.  While things tend to
go smoother when she's not experimenting, I suppose someone's got to be
music's mother of invention.

by Laura Lee Davies