No Borders Here by Jane Siberry (Album, Art Pop): Reviews, Ratings, Credits, Song list - Rate Your Music
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No Borders Here
By Jane Siberry
..........
ArtistJane Siberry
TypeAlbum
Released25 April 1984
RYM Rating 3.60 / 5.00.5 from 460 ratings
Ranked#151 for 1984
Genres
Descriptors
uplifting, surreal, ethereal, bittersweet, happy, sarcastic, summer, energetic, female vocalist, humorous, introspective
Language English

Track listing

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Previous in discography: Jane Siberry
Jane Siberry
The Speckless Sky
Next in discography: Jane Siberry

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Issues

7 Issues

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7 Issues

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Credits

Credits

  • Jane Siberry
    vocals, arranger, producer, songwriter, keyboardsA1, A4, B4, 12 string guitarA2, guitarB4
  • Kerry Crawford
    producer
  • Jonathan Goldsmith
    producer, keyboardsA2, A5, B2-B4
  • John Switzer
    producer, photography, bassA1, A2, A4, A5, B1-B3, roto tomsB4
  • Rob Yale
    programming
  • Bob Ludwig
    mastering
  • Alan Moy
    cutting
  • Dean Motter
    design
  • Expand credits [+9]

12 Reviews

Page 1 2 >>
bron31 May 25 2006 4.00 stars
Canadian art-pop chanteuse Jane Siberry came into her own with her second album, 1984's _No Borders Here_, which represented a significant step forward in her artistry.

After the low-key, acoustic-inspired debut album, 1981's Jane Siberry, Siberry signed to the Canadian independent label Windham Hill and began to colour her arrangements with an infectious New Wave energy - and the result is a striking, stark juxtaposition of classic songwriting, New Wave minimalism, and synth experimentation.

Siberry's voice here is simple, tuneful, pleasant; she doesn't really attempt the swooping highs and octave jumps of later albums, and as such _No Borders Here_ relies on the strength of its material to guide it through. Fortunately but expectedly, Siberry more than delivers with a series of songs that range from heart-wrenchingly emotional to bitingly witty and humorous.

The album begins with the effective portrait "The Waitress," which, with its stark guitar work and rhythmic changes, sounds like a New Wave staple. Siberry's humour is evident immediately as she muses that "[she'd] probably be famous now if [she] wasn't such a good waitress." The same juxtaposition of acerbic, witty humour and stark, energetic, New Wave-accented guitar work is further explored in "Extra Executives," where the narrator notes of a businessman that "his card says 'executive' but it mumbles 'just a salesman'" and how after "he took a course in sales," he was a changed man. The gloriously catchy "Symmetry (The Way Things Have to Be)" also fits into this New Wave-inspired camp, as Siberry imaginatively explores the topic of obsessive compulsives and nervous tics.

Another style explored on the album is carefree, simple, melodic pop. The celebratory "I Muse Aloud" features some observations that the only reason a boyfriend looks at other girls is because the narrator "fill him up with so much love." It's an interesting, unique new slant on the prospect of infidelity in a relationship; otherwise, it could be taken simply as a carefree love song. "Follow Me," too, explores '80s synth lines and various hooks as Siberry sings of a simple romance ("I like your laugh, it pleases me.") The tempo slows down for the similarly melodic but emotionally more bereft "You Don't Need," a stark, elegant song where Siberry sings of "ice-floes," "frozen furrows," and the "tundra." It's a gorgeous, melancholy highlight of the album.

Elsewhere, Siberry gets experimental. The lengthy "Dancing Class" features a minimal synth line as Siberry sings of meeting a German girl in a dancing class; one of Siberry's friends provides some atmospheric German voice. The album's tour de force is the seven-minute epic "Mimi on the Beach," a song of such originality that it still garnered radio and video play in the mid-'80s despite its length and complexity. It is a mysterious tale about death and identity with multiple memorable hooks. The album then ends on a wispy, multi-tracked note with "Map of the World (Part II)," where Siberry mixes a choir of her own voices with an insistent synth line and some guitar flourishes.

Jane Siberry is undoubtedly one of popular music's finest and most original voices yet never really achieved much commercial success. It's not that her music is uncommercial or difficult; it's certainly unique and uncompromising but still highly melodic, intelligent, thoughtful, and attractive. _No Borders Here_ features more or less everything that was popular when it was written and recorded - New Wave energy, insistent synths, melodic guitar work, intelligent and witty lyrics - but is a successful cult favourite. It doesn't have the same level of deep experimentation as later records like The Walking but in the absence of esoteric, oblique lyrics and almost forced eccentricity, _No Borders Here_ finds Siberry offering some of her finest and most effective material.
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 vanguard Apr 25 2024 3.50 stars
Reflexively people will compare Jane Siberry to a certain English singer who had forged a huge reputation but especially in North America is now known mainly for two songs from memes and use on a hit TV series. Siberry is in my view just as much of a progeny of a fellow Canadian singer-songwriter, in terms of delivery, personalized storytelling. I hear Joni a lot in the first side's tracks. Lesbian love themes aside the personal touch and autobiographical accents are on the same highway as her Albertan predecessor. Jane delivers an altogether different sense of irony than the billion streamed KB, Laurie Anderson, or Mitchell and for that I think is a key draw to the earlier albums like No Borders Here and The Speckless Sky.

While there are some memorable song lines in the opener and "Dancing Class" to name two and some really crafty production and instrumentation throughout there is no absolute masterclass song that I want to repeat again and again. The moments of bliss are there but there's still something missing keeping No Borders Here from being a personal great album.
Published
MrMungbean Nov 05 2016 â–¼ 3.50 stars
  • 4.00 stars A1 The Waitress
  • 4.00 stars A2 I Muse Aloud
  • 4.50 stars A3 Dancing Class
  • 4.00 stars A4 Extra Executives
  • 3.50 stars A5 You Don't Need
  • 4.00 stars B1 Symmetry (The Way Things Have to Be)
  • 3.00 stars B2 Follow Me
  • 5.00 stars B3 Mimi on the Beach
  • 3.00 stars B4 Map of the World, Part 1
Mungbean: Afternoon Brent. I was wondering you'd do me the honour of being the next contributor to By request only: reviews on demand for my favourite reviewers. All I'd need from you is an album you'd like me to review and a short foreword from yours truly on why you chose said album. Oh and full disclosure if recent assignments are anything to go by, it may take a while for any review to materialise.

troutmask: Morning Oscar,

Seeing as you already reviewed my usual choice for this sort of thing (Whale Music natch) this is a bit more difficult to decide. The question is how do I want to look at this assignment? Do I look at your ratings and find something under the radar that you've missed? Send you so far out into left field that you get lost along the way? Find something so narrow in its appeal that it ends up closer to torture than an actual assignment (no joke, I did consider among other options Escalator Over the Hill, Masked Dancers: Concern in So Many Things You Forget Where You Are and Spiral Walls Containing Autumns of Light just to see what your reaction would be)? Randomly reach in to my CD closet or vinyl/cassette shelf and trust random chance to give you a compelling assignment?

Luckily for you I'm not a cruel man (most of the time) so I'll err a lot closer to the first option than the others and assign you the best album of the 1980s that can't even manage to crack the top 200 for its year: No Borders Here by Jane Siberry. Siberry is without a doubt one of my favourite songwriters of all time. She's quirky, literate and most of all human, a quality that holds her apart from her nominal peers Kate Bush and Laurie Anderson - love 'em both but they always strike me as removed from humanity by some degree if that makes sense. No Borders Here is her best album because it's the one where her insight and observations are at their sharpest while her arrangements are equally interesting. It's an album that I'm genuinely interested in hearing other opinions on as well because, like the aforementioned Rheostatics album, its sensibility strikes me as very Canadian in a way - at its heart it's an album about being fascinated by outsiders without judging them or fetishizing their outsiderdom and seeking to understand them above everything else; this may just be my patriotism talking but that seems like a very Canadian view on things - so it's always nice to see how non natives react to it.

Anyway, the takeaway her is that it's a wonderful, playful, quirky bit of art pop that ought to be mentioned in the same breath as The Dreaming and Mister Heartbreak. It may not transcend its release date like those two albums do - production is very 80s in a lot of ways but there's no gated drums thank your deity of choice - but it distinguishes itself more than enough lyrically to forgive that. Hopefully you enjoy it, whenever you get around to hearing it.

Brent

~~~~~

For Brent

Canadian patriotism indeed! You would have my first review of 2017 be a Canadian record called No Borders Here from 1984, eh? Well played, sir.

This was a hard assignment because you already wrote the definitive review of this album yourself. As you quite rightly observed, Siberry has a forensic eye for detail and uses that eye to understand rather than judge. Indeed there's something inherently scientific about her approach to songwriting (here at least) that may perhaps be rooted in her education:

"I started out in music, but switched to sciences when I realised how much more interesting it was to study than music. I would leave the classes ecstatic about tiny things."

This approach is exemplified by the opener, "The Waitress", which examines the trope of the deluded waitress who believes that fame is just around the corner. In the hands of a more cynical songwriter, a refrain like "I'd probably be famous now, if I wasn't such a good waitress" might read as scathing. In Siberry's hands, however, it doesn't. That it's semi-autobiographical (Jane served her time as a jobbing waitress) helps, but it's the specificity of her observations about the titular character that breathe humanity into the song. Our protagonist is such a good waitress that her insistence on cleanliness manifests itself as obsessive compulsive disorder (OCD), ruining her social life and causing loss of sleep. This theme is explored even further on "Symmetry (The Way Things Have To Be)", a song about order which starts mid-sentence. As the title suggests the song charters the obsessions various characters (a nightclub worker, a pilot at an airshow) have with maintaining symmetry in their day to day lives. This aspect of Siberry's songwriting strongly reminds me of the autistic streak to David Byrne's lyricism (see something like "Seen and Not Seen" for comparison's sake). Both take these seemingly objective, scientific routes to arrive at these wonderfully subjective, human observations.

The album's two longest and best songs are about fantastical encounters with enchanting women. In both cases these women represent freedom (be it from the drudgery of the workplace or the braying of beach folk) and in both cases it's apparent that said women are merely mirages of self-realization. Oh, and both have mid-sections which feature spoken word. Symmetry: it's the way of the world! "Dancing Class" is by some distance the more tragic of the two. The wispy verses in which our protagonist introduces her mute German partner are halted by a stomping beat which rises in intensity as the discipline of dance is suggestive of the slowly building psychological horror of Black Swan. This gives way to the aforementioned spoken-word section where it's revealed that the only border is time ("there's no border here... just the years"). When we emerge from the other side of the looking glass the tragedy reaches it's poetic crescendo:

The announcement came tonight after the class
She said you're two hundred years old now
There's no one left to hold you
This is the last dancing class you'll have

As a side note, both the title and the cover of the album tie in perfectly with the theme of orderliness that pervades the album. It makes sense that Siberry's characters would dream of a place without borders when order and symmetry pervade their mental landscape so completely. In this sense, the beach may be seen as the perfect escape. The relationship between sea and sand is in constant flux, such that the shore can have no permanent state.

And of course the beach is the setting of the album's unquestionable masterpiece. The theme of duality in "Mimi On The Beach" is flagged up in the title (me-me), but that's just one example of this song's extraordinary attention to detail. In fact it's probably just easier to list the things I love about this track. I love the intro (lopped off in the video edit - you must hear the album version) for it's arch theatricality and linguistic playfulness "I stand and scan on the strand of sand" (the whole song is a masterclass of alliteration, but not without purpose). I love the nod to "O Superman" in the verse synths. I love the animalistic backing vocals mimicking the braying boys and girls on the beach. I love the line "The arrangement's not quite - quite - there", which both feeds into the album's broader obsessions with order and acts as a meta-commentary on the stilted meter of the lyric. I love the rush of feeling in the pre-chorus ("But the day was faultless in beauty..."); the deliberateness of "faultless" in it's depiction is key for a woman who can find fault in the assemblage of cutlery on a table. I adore the chorus, an aqua-foam synthline which Siberry's rides with a mixture of fond nostalgia and bittersweet melancholy. I love the strident drums that play under the second appearance of the intro lyric, after Mimi is instructed to "Stand up!". And I love the dangling question mark at the end of the second spoken-word section: "The great leveller or the great escape?". Siberry talks about the great leveller the documentary I Muse Aloud as being a malevolent force which dispenses with the colour of life, and which she is constantly fighting against. Certainly, this is a song awash with colour. "Mimi On The Beach" is the triumphant mirror image of the tragic "Dancing Classes".

Once you start viewing the album through the lens of symmetry, then you start noticing parallels everywhere. Like how "I Muse Aloud" and "Extra Executives" portray two opposing forms of self-delusion. The former is the most radio-friendly track on the album after "Mimi" with a slick guitar and synth arrangement that bounces along blissfully. The character in "I Muse Aloud" is a victim of infidelity, but deludes themselves into believing this a by-product of them filling their partner up with an overabundance of love. Meanwhile the character in "Extra Executives" could easily that same cheating scumbag, only here they are battling their own delusions of "that special deal in the sky" at the expense of all else. That we are afforded a degree of sympathy for both goes to the heart of why Siberry is a better songwriter than her fame would suggest. As is no doubt apparent by now I'm mostly fascinated by the songs on No Borders Here, rather than the sonics. Where the lyrics take more of a backseat, such as on "Follow Me" and the closing track, I find the album less engaging. This is a pretty good sounding record by the standards of 1984, but as you noted yourself Brent - it doesn't really transcend it's release date.

In the final summation No Borders Here is an original and thematically rich work that undoubtedly rewards repeat listening. It was only on the third or fourth listen that I began to connect the many dots that make it such a complete picture. The way it tackles themes of self-delusion, order, obsession, and escape are every bit as relevant in 2017 as they were in that most Orwellian of years. I can't help but feel that there's something tragic about this woman who finds ecstasy in minutia. She's not a natural pop star, and even in the realm of art-pop she feels socially awkward. There's this clip at the end of the aforementioned documentary that's almost heartbreaking in portraying this. An observational lyricist such as Siberry doesn't conjure up such detailed portraits of alienation without knowing something of the subject, after all. Of course, I could be projecting. God knows I know something of the subject myself. Well, if I am to project, let it be onto the the girl with the pink surfboard, a picnic lunch and parasol. A girl worth scanning the horizon for.
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 troutmask Oct 20 2016 â–¼ 5.00 stars
  • 3.50 stars A1 The Waitress
  • 4.00 stars A2 I Muse Aloud
  • 4.50 stars A3 Dancing Class
  • 3.50 stars A4 Extra Executives
  • 4.00 stars A5 You Don't Need
  • 3.00 stars B1 Symmetry (The Way Things Have to Be)
  • 1.00 stars B2 Follow Me
  • 5.00 stars B3 Mimi on the Beach
  • 2.00 stars B4 Map of the World, Part 1
Observation is a fairly underrated tool across all forms of media mostly because when done well it's nearly invisible. A painting of a 'normal' scene invites you focus on the artistry used to capture it rather than the scene itself. A film that aims to show life as it is likewise invites dissection of the means of capturing this life rather than the life itself. Observational comedy is often reduced to a simplistic punchline (insert Seinfeld meme here) rather than a vehicle that leads to questioning why we just accept the mundane aspects of life without analyzing them. And observational songwriting probably gets the worst of it thanks to a certain cutaway gag on a show that I won't dignify by naming it. There's a stigma to this mode of exploration that may be somewhat earned - lesser attempts at a style invariably degrade its value as a whole - but to completely write it off, as with any mode of expression, is incredibly foolhardy. When done properly, observational painting/cinema/comedy/songwriting can be just as enriching as its more obfuscated counterparts.

No Borders Here is a prime example of observational songwriting done well. Fuck that, done exceptionally well. Each song paints a vivid picture of a character that you've probably seen in your travels. You've probably been served by "The Waitress" or been on a shitty blind date with the "Extra Executive(s)." You've seen a woman smile as her her boyfriend flirts with other women. You've seen someone purposely cut him or herself off from a crowd no matter how unnatural that separation looks. Jane Siberry certainly writes about these people and situations with enough insight (and occasional sly wit) to suggest that she has; maybe she even sees herself in these characters and projects her feelings onto them. The end result is a series of impeccably drawn sketches of people that read as being real despite their constructed nature.

The reason that these songs serve their characters so well is that Siberry dares to ask the question lurking below the surface of all observations: Why?. It's a simple question, probably the very first question most of us learn to ask (and are subsequently encouraged not to,) but it's the question that lesser observational songwriters fail to follow up on. Simply writing a song about a waitress is not the same as writing about the reasons why this woman, a dynamic, charismatic individual, chooses to remain in such an unglamourous profession or how that profession bleeds into her personality and subconscious. That's what makes "The Waitress" as compelling as it is; it creates a full picture of an individual and seeks to understand her. There's a deep curiosity at work here, a desire to understand why, say, a woman would care so little about her boyfriend's flirtatious nature ("I Muse Aloud.") Or why a low level salesman is so eager to make your acquaintance ("Extra Executives.") Or why a girl would go to the beach only to take her lunch out on a surfboard to eat ("Mimi on the Beach.") Seeking to understand these situations and coming to conclusions that feel both plausible and interesting - "I Muse Aloud" posits that by putting so much into her relationship this woman has filled her boyfriend with with so much love that he has to project it onto other women, but this conclusion is delivered with such an upbeat tone that you might not realize how depressing it is - is what gives Siberry an advantage over other observational songwriters.

The desire to understand isn't the only thing that unites No Borders Here though. There are threads running throughout the album about obsessive behaviour patterns, female agency, sexual ambiguity and outsiderdom. The result is a sort of loose concept album, a set of songs united by themes rather than characters or motifs, that feels greater than the sum of its parts. The thing is that even without that sense of cohesion this would probably be the best album of 1984 - a year not lacking for excellent albums - on the strength of its songs alone. That's not just limited to the writing either; for all the praise I've given to Siberry's keen eye as a songwriter there are plenty of songs that are elevated solely by her delivery. There's an absolutely stunning moment in the middle of "Dancing Class," a song about a woman developing a mild crush on a German girl in her class, where Siberry's delivery of two words - 'follow her' - shifts from fairly detached and clinical to unambiguously swooning at that prospect before returning to her normal delivery to talk herself out of it ('Berlin is far away...'). Written down that passage is vague and suggestive; as delivered it's absolutely stunning in its restrained romanticism. She uses a similar trick during the comparatively lightweight "Extra Executives" where the 'general desire' of her subject is underlined by a flat, monotone delivery of 'I want I want' in the background that shifts to performatively operatic later in the chorus (it's also the funniest song on the album, if only for the line 'his card says "executive" but it mutters "just a salesman."') Elsewhere her skill as as an arranger shines, such as on "Map of the World Pt. 1" where a simple set of overlapping vocal lines weave their way through a bed of keyboard swells and quasi-tribal percussion to create a compelling soundscape out of very little, or the way that "Dancing Class"shifts from crystalline guitar harmonic arpeggios to an off-kilter, sinister bass-driven middle section without inducing sonic whiplash. The true highlight though is "Mimi on the Beach." Over the course of seven and a half minutes Siberry weaves a tale that's ostensibly about a girl on a surfboard but encompasses everything from the performative revelry of gangs of youth to a girl with perfect teeth' who goes to bars to co men out of drinks to a vision of waves swallowing the one girl who set herself apart from the rambunctious scene on the shore and of her accepting that fate. All this while the song moves from ambient synth beds to spiky new wave guitar leads to a chorus of cresting and receding vocal lines that flow into and out of each other to an extended spoken word bridge without ever letting its momentum flag. In the middle of the song's bridge Siberry warns the girl on the surfboard that this oncoming wave is 'not going to stop to take your pulse/and he's not going to ask you why you're the way you are/and I think that's the worst part'. That sums up No Borders Here's appeal better than anything I could say; if the worst part is something that passes over you without ever trying to understand you, it stands to reason that the best part is someone who does the exact opposite.
Published
drmanehattan Dec 12 2012 â–¼ 4.00 stars
  • 3.50 stars A1 The Waitress
  • 3.00 stars A2 I Muse Aloud
  • 5.00 stars A3 Dancing Class
  • 4.00 stars A4 Extra Executives
  • 5.00 stars A5 You Don't Need
  • 4.00 stars B1 Symmetry (The Way Things Have to Be)
  • 3.00 stars B2 Follow Me
  • 5.00 stars B3 Mimi on the Beach
  • 2.50 stars B4 Map of the World, Part 1
Siberry again shows her expertise in establishing strange characters (the obsessive waitress, the paranoid executive, the girl from Germany, Mimi on a surfboard) and settings, great lyrics either spoken or sung, flanked by insistent and moving backing vocals, tramping o'er the hills and down the rivers of her unexpected arrangements and song structures. Look over here! No, look over here! There's the swinging guitar of Dancing Class, smiling small revelation of Symmetry (The Way Things Have to Be), the excellent half-whispered monologue about grouper fish in Extra Executives. Her first was pretty spot-on, but I'd go so far as to say that this one hasn't a single weak spot.

Favorite tracks: Mimi On The Beach, Dancing Class, Extra Executives, The Waitress, You Don't Need
Published
messageboards Aug 09 2009 3.50 stars
Moves between ATROCIOUS (Symmetry's closing refrain) and Amazing! (You Don't Need's melting-ice guitar). Although about half of the content is groan-worthy (Dancing Class) it all happens with a clever if not terribly innovative pop backdrop. Keep The Waitress and Mimi on the Beach for sure. For fans of Laurie Anderson and Kate Bush who are looking for something a bit dorkier.
Published
ILY Jun 04 2009 3.50 stars
No Borders Here had class. It opened with the light-funk pop "The Waitress", but it was the romantic ballad "I Muse Aloud" that offered a real elaborate proposition, with funky bass, ethereal synthesizers, hyperactive rhythms, and elegant choral backing vocals. The intimate lullaby "Dancing Class" featured a progressive theatrical intermezzo, while "Extra Executives" was another diverse and playful ballad. These songs were basically theatrical sketches, storytelling devices for Siberry to wallow in semi-monologues and recitations.

The gem was the dreamy soliloquy "You Don't Need", resigned and sweet, a gentle hymn moving fluidly between the symphonic and the ambient.

"Symmetry" was a progressive art-pop opera in itself, and so was the epic "Mimi On The Beach", while the intimate synth-pop confession "Follow Me" was another highlight, with two main synthetic patterns overlapping with each other, one synthesizer imitating the strings in a ballet, the other synthesizer wallowing in ethereal symphonic-scapes. Then "Map Of The World" still straddled the line between the intimate confession, the emotional music-hall, the sweet ambient remembrance, and the warm symphonic fairy-tale, akin to a Christmas carol.
Published
PADDYDOTS Jun 09 2008 4.00 stars
Ah the early/mid 80s with that strangely named 'musician' the Fairlight Programmer - only found on bigwigs like Copeland/Jarre/Gabriel/Bush's albums - wonder if they were all retrained on Government schemes once hip hop/techno/rave and cheap samplers made them obsolete?

...and the thing is of course years earlier NY DJs like Grandmaster Flash etc did it far better/more creatively using '2 turntables and a microphone' for nowt!!!! Yay!!!!


Anyways up - Mimi On The Beach is genius - nuff said.
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Catalog

Ratings: 460
Cataloged: 391
Track rating sets:Track ratings: 45
Rating distribution
Rating trend
Page 1 2 3 .. 6 .. 9 .. 12 .. 15 .. 18 .. 21 .. 24 .. 27 .. 31 >>
1 May 2024
thehattifnatt  3.50 stars 7.5-8.0
25 Apr 2024
vanguard  3.50 stars
22 Apr 2024
jakub_chyl  â–¼4.50 stars Marvelous
  • 5.00 stars A1 The Waitress
  • 4.50 stars A2 I Muse Aloud
  • 4.00 stars A3 Dancing Class
  • 5.00 stars A4 Extra Executives
  • 4.50 stars A5 You Don't Need
  • 5.00 stars B1 Symmetry (The Way Things Have to Be)
  • 4.00 stars B2 Follow Me
  • 5.00 stars B3 Mimi on the Beach
  • 5.00 stars B4 Map of the World, Part 1
20 Apr 2024
Felix_s1mp  3.00 stars
19 Apr 2024
OYOGUMANE  2.50 stars
17 Apr 2024
whonay  â–¼5.00 stars please listen to this
  • 5.00 stars A1 The Waitress
  • 4.50 stars A2 I Muse Aloud
  • 5.00 stars A3 Dancing Class
  • 5.00 stars A4 Extra Executives
  • 5.00 stars A5 You Don't Need
  • 5.00 stars B1 Symmetry (The Way Things Have to Be)
  • 4.50 stars B2 Follow Me
  • 5.00 stars B3 Mimi on the Beach
  • 4.00 stars B4 Map of the World, Part 1
12 Apr 2024
MyMusicMe  â–¼4.00 stars (A) Exceptional (A)
  •   A1 The Waitress
  •   A2 I Muse Aloud
  •   A3 Dancing Class
  •   A4 Extra Executives
  • 5.00 stars A5 You Don't Need
  •   B1 Symmetry (The Way Things Have to Be)
  •   B2 Follow Me
  •   B3 Mimi on the Beach
  •   B4 Map of the World, Part 1
6 Apr 2024
alucinante  3.50 stars
1 Apr 2024
AncientMarina  â–¼5.00 stars
  • 5.00 stars A1 The Waitress
  • 5.00 stars A2 I Muse Aloud
  • 5.00 stars A3 Dancing Class
  • 5.00 stars A4 Extra Executives
  • 5.00 stars A5 You Don't Need
  • 5.00 stars B1 Symmetry (The Way Things Have to Be)
  • 5.00 stars B2 Follow Me
  • 5.00 stars B3 Mimi on the Beach
  • 5.00 stars B4 Map of the World, Part 1
30 Mar 2024
edircm  4.00 stars 7.5-8: sucks
24 Mar 2024
kendricco  3.00 stars bad
23 Mar 2024
Lordcrab  4.00 stars Solid! Solid as a rock!
21 Mar 2024
BTShark  3.00 stars ok, but passable (6.9-6.0)
18 Mar 2024
HMC  3.00 stars
16 Mar 2024
PanchoPewPew  3.00 stars Good
Cover art for No Borders Here by Jane Siberry
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Track listing

Credits

  • Jane Siberry
    vocals, arranger, producer, songwriter, keyboardsA1, A4, B4, 12 string guitarA2, guitarB4
  • Kerry Crawford
    producer
  • Jonathan Goldsmith
    producer, keyboardsA2, A5, B2-B4
  • John Switzer
    producer, photography, bassA1, A2, A4, A5, B1-B3, roto tomsB4
  • Rob Yale
    programming
  • Bob Ludwig
    mastering
  • Alan Moy
    cutting
  • Dean Motter
    design
  • Expand credits [+9]

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Contributions

Contributors to this release: Alfvaen, groonrikk, Gika, yoda2000, bron31, [deleted], runn123
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