This is oh so close to being another 5-star album by Ofra Haza (it would have been her third as rated by me), but I am holding back (call it 4 ), because I just don't love it the way I do the nouveau traditional world-beat masterpiece of "Fifty Gates of Wisdom" (also released as "Yemenite Songs"), and the boundary-bending pop perfection of "Desert Wind". It is much darker in mood and less easily accessible than those generally uplifting earlier albums, and features much more of the kind of "wordless" singing that she introduced on Desert Wind's "Slave Dream", especially in "Kirya", "Daw Da Hiya", "Barefoot", and "7/8". It is nonetheless superb, with the highest production values of any of Ofra's albums, a consistent sound that is somewhat more resonant than earlier efforts (like the bells at the beginning of "Innocent") and some of the most haunting music she has ever created. Once again, she mixes Hebrew with English, so on most songs you can tell what's going on. Best are "Horashoot", the beautiful, mournful "Trains of No Return" (concerning the holocaust) and "Daw Da Hiya", featuring a man narrating the cruel fate of a young woman who seeks love unapproved by her father in a traditional society in which women are treated as property. (The thumping beat underscoring Ofra's cries at the end of "Daw Da Hiya" is the most exciting music on the album.) But there are other songs that fall into the "I'm not sure how much I like this" category. "Kirya", "Mystery Faith and Love", "Barefoot" and "7/8" are certainly good, even stunningly good, but I haven't learned to love them yet. There is also the problem of diminishing returns on high expectations. This is a lady who has hit the highest heights musically, and while in certain respects I hear her art peaking on this album, I nevertheless feel that I've heard her do it before. In any event, Ofra Haza's voice was a gift to her from God, and to us from her, so for an Ofra fan, it is unthinkable not to own this excellent CD.