The liner notes to The Day After The Dawn struck some intrigue with its mentions of production by Rachel Elkind and mixing by Walter Carlos. Too bad that the wax itself ain't near as wild as the associations might've suggested. Even the cover of the "Clockwork Orange" theme simply dissolves Carlos' synth into a quiet acoustic affair. It's an otherwise straightahead record-- with the worthy exception of "Free Me!", a solo excursion by Dailey, overdubbed on p, elp, b, dr and synth. Here, a buoyant riff on synthesizer buzzes in and out of tape saturation-- great stuff. It's what I initially expected with this record and it's disappointing that more avenues in this direction weren't explored. That an album produced by Elkind and Carlos could be so overtly non-electronic, well, I just don't get it. [DW]