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Martin Gore is the principle songwriter and member of Depeche Mode. This solo project was created during the literal height of Depeche Mode's world fame. Recognized the world over as the author of some of the 80s most influential alternative rock songs, even during the band's fame, Gore made a unique decision in releasing this e.p. Fans of Depeche Mode were surely expecting more interesting tidbits of his popular songwriting style. Instead, they were treated to a compilation of cover songs. As the name implies, these were counterfeit tracks of the originals.
At first listen, you notice how sparse the arrangements are. Back in my days of music making, the keyword was "simplify". Whenever something didn't sound right, we'd simplify it in various ways. Drop out sounds or instruments. There are a number of ways to bring something to a manageable level. Whether or not the less bodied sound is due to the lack of Alan Wilder's input or intentional is unknown. It does possess a similar sound to demos circulating among collectors of popular Gore compositions. They sound almost like he'd cut them at home as song ideas to present for full production with the band.
Another interesting aspect of the disc is the glimpse it gives you into the mind of this artist. You hear the music that inspires him to write what he writes. His taste and style are clearly evident in these songs. With the exception of 'Motherless Child'; which is listed as a traditional piece, all tracks come from 70s/80s punk/new wave bands. Groups on the forefront of these musical movements like Joe Crow of the Nightingales, Tuxedomoon, Durutti Column, Comsat Angels and the Sparks. Over the years, I've tried to track down the original versions of these songs and I'm always surprised by the difference Martin makes on his versions. He brings an amazingly clear vision to the material and even after you've heard the originals, you're left thinking, "These really could be Gore compositions."
So you might not get what you want when you pick this up, but then again, you might get something you really enjoy. It's gonna be a toss up. But rest assured, the sweet timbre of Gore's vocals makes the release worth it.
In 'Compulsion' Gore sings, "Charm's in limited supply - And refusing to stretch." In the case of 'Counterfeit e.p.', it stretches for miles and miles. My final word: INCREDIBLE.
MARTIN L. GORE - COUNTERFEIT E.P.
01. Compulsion
02. In A Manner Of Speaking
03. Smile In The Crowd
04. Gone
05. Never Turn Your Back On Mother Earth
06. Motherless Child
Make no mistake... The disc may be credited to The New Power Generation, but it's definitely a Prince record. This incarnation of The NPG are pictured on the album cover in cartoon form and are (from left to right): Michael Bland (drums), Tommy Barbarella (real name Thomas Elm, keys), Sonny Thompson (bass), Tora Tora (actually Prince wearing a mask, all instruments), Mayte (vocals and dancing), Morris Hayes (keys). How much of this album is really a band effort is unknown. Prince often credits his musicians for contributions they don't actually make. All of the songs on this disc are credited as full band input, but the Prince sound is unmistakable. Makes me wonder just how true that claim is.
The disc starts off with Mayte as the NPG Operator talking to Prince (whose voice is distorted) as a caller wanting more information about NPG Records. The next track is a funky number called, 'Get Wild'! Originally, it appeared in the Robert Altman film, "Ready To Wear". The version appearing on the soundtrack is somewhat different than 'Exodus'. I personally think the 'Exodus' version is superior. The next two tracks are skits involving the band taking over a night club (with Prince's 1986 composition 'Dream Factory' playing in the background), and introducing a live band sound with an instrumental jazz number called 'New Power Soul'. Up to this point, the music is wonderful, but not different from what Prince was doing at the time. After a couple more segues, a trio of songs play. 'The Good Life', 'Count The Days' and 'Cherry, Cherry' are all wonderful tunes that stand out. 'Count The Days' is particular in that it starts a re-occurring theme on the album. During this point in time, gangsta and hard rap was really catching on. Lyrics were becoming more violent and sexual imagery was filtering into everything. The New Power Generation avoided the blatant imagery and more unsavory trends in rap music, but on this record it focuses on some more disturbing aspects of that social network: gun usage and other forms of violence. In 'Count The Days', Sonny says before he can bring peace to the people, he's gotta take his gun and blow some *blankety-blank* away. In 'Cherry, Cherry' a similar theme occurs when Sonny again suggests he'll take his .45 to get rid of a guy who hurts his woman. She ends up committing suicide. The intensity of the subject matter is extreme and yet the music is so compelling you simply accept what's playing and go along for the ride.
'Return Of The Bump Squad' is an amazing funk workout. Unrelenting in rhythm and complexity, this is one of three outstanding funk numbers. The other two are 'Big Fun' and 'The Exodus Has Begun'. Both are diverting and enjoyable to listen to. I could sit here for hours and break them apart, analyzing and dissecting them; but the simple fact is they are thrilling pieces of music that encompass a range of influences and sounds. It's funk at it's finest!
There are a few segue tracks that feature skits with Prince playing various characters along with other members of The NPG. They're so funny, I laugh every time I listen to them. The one track that's somewhat lacking is 'Hallucination Rain'. The storyline behind the song (which is loosely built in previous segues), is ridiculous and boring. The song has an amazing instrumental build and crescendos in a screeching guitar performance completely unparalleled. The biggest drawback on 'Exodus' is Prince's flawed belief that the people he surrounds himself with are as interesting as he is. Sonny Thompson doesn't possess the presence of Prince and his performance leaves a lot to be desired. Perhaps the themes, sounds and feel of 'Exodus' are too Prince-ish for Sonny to successfully pawn off as his own. And who do they think they're fooling? Most of those who actually bothered to track down the disc already know it's a Prince record. 'Hallucination Rain' for one, would've benefited from Prince rather than Sonny on vocals. He also frequently alludes to his situation with Warner Brothers Records. If you know Prince's history, you understand this little drama. These days, the lyrics are outdated and seem untimely. But that's the danger of writing such personal lyrics. Time's change.
Still, this is easily one of my most favorite and satisfying Prince projects in a long time. I dance, sing, stomp and freak out to it with every listen. For those of you interested in hearing this overlooked gem, be forewarned... It was never picked up by an American Distributor. 'Exodus' was only available in Europe except for a small number sold directly to the public through Prince's 1-800 number.
If I had a rating system, this would get all the stars, or the highest number available. I absolutely love this album. My final word: FUNK-TACULAR!
THE NEW POWER GENERATION - EXODUS
01. N.P.G. Operator Intro
02. Get Wild
03. Segue
04. DJ Gets Jumped
05. New Power Soul
06. DJ Seduces Sonny
07. Segue
08. Count The Days
09. The Good Life
10. Cherry, Cherry
11. Segue
12. Return Of The Bump Squad
13. Mashed Potato Girl Intro
14. Segue
15. Big Fun
16. New Power Day
17. Segue
18. Hallucination Rain
19. NPG Bum Rush The Ship
20. The Exodus Has Begun
21. Outro
I believe this was the first single from 'Exodus'. The first track is the album version of 'The Good Life'. The second mix, 'The Good Life (Bullet's Go Bang Remix)', is an interesting mix. The instrumentation is subdued and more urban in tone. 'The Good Life (Big City Remix)' is virtually another song entirely. In fact, when I count original compositions, I give this song it's own credit rather than a mix credit. The lyrics are completely different and the music is completely different. The only this it has in common with the original track is the repeated chorus. Otherwise, it's a sung/spoken lyric performed by Prince rather than Sonny Thompson. It's entertaining and interesting all at the same time. I especially like the line, "Just like Aretha with a sack of Fritos".
'Free The Music' is more of a sampler song. It features an original beat with Mayte chanting "Exodus - Free the music" while clips of other songs from 'Exodus' are played in the background. Although hardly an amazing track, it's still interesting in the way things are mixed together.
'Get Wild (In The House Remix)' has a lot of house beat intensity and certainly builds to a big finish, but it feels like the build is in a subtle tempo increase rather than actual sound. It was typical of mixes at the time and although drastically different from the original, it doesn't live up to the original track. The 'Get Wild (Club Mix)' is also quite different from the original mix. It features a heavy bass line thumping underneath the rhythm section and features a more evenly mixed vocal track. You can hear Prince more prominently alongside Sonny Thompson. It's a great release and important to anyone interested in the 'Exodus' album. Great material. My final words: MMMMM GOOD!
THE NEW POWER GENERATION - THE GOOD LIFE
01. The Good Life (Album Version)
02. The Good Life (Bullets Go Bang Remix)
03. The Good Life (Big City Remix)
04. Free The Music (Non-Album Track)
05. Get Wild (In The House Remix)
06. Get Wild (Club Mix)
I'm not sure which single this is from the album. Whether second or third. Either way, I picked it up because I thought there were songs I didn't have. At the time, I didn't have 'Exodus'. So 'Hallucination Rain' was one I certainly didn't have and 'Beautiful Girl' was an unknown possibility. I was disappointed when I got home and discovered 'Beautiful Girl' was another mix of 'The Most Beautiful Girl In The World'; this one with Eric Leeds performing a saxophone version. There's really nothing overly important about this disc. The music is fantastic, but nothing really unique or different.
I'd recommend picking this up only if you're a completest and have to have every possible mix. My final word: EH.
THE NEW POWER GENERATION - THE WILD EXPERIENCE
01. Get Wild (Single Mix)
02. Beautiful Girl
03. Hallucination Rain
This disc was a comeback of sorts for the Fleetwood Mac singer. After a string of low impact albums, 'Shangri-La' came on like a punch in the gut. Although I don't know the history of the record or where all the tracks originate, I can tell some of them are older. 'Bombay Sapphires' for example sounds like something belonging to 'Street Angel'. There are also songs like 'Sorcerer' I suspect are from early times. Back in the 70s even.
First off, before I get all crazy let me make one thing perfectly clear... I love Stevie Nicks. Absolutely adore her. I think she's beautiful, spiritual and talented beyond belief. Ok, now that's out of the way... Nicks has a rather monotone singing voice and not much range. She uses certain tricks to augment her sound like using background singers to hit the notes she can't. It's an effective method. But her more recent material has been so monotone, it became a boring mass of repetition. Of course, and this is something I remember from "Behind The Music" on VH-1, I think I remember she was suffering from writer's block. That being the case, I suspect someone encouraged her to get back to writing. Hence the tune 'That Made Me Stronger'. "Can you write this for me - He says no, you write your songs yourself".
Irregardless, this disc was a return to form. With catchy melodies and her standard poetic lyrics, it's easily the best Stevie Nicks to date. There's not a single bad track on the entire disc. Certain songs are more exciting than others, but all of them are gorgeous and lovely to listen to. My favorite tracks are 'Sorcerer', 'Planets Of The Universe', 'Every Day', 'That Made Me Stronger', 'Too Far From Texas', 'Love Changes' and 'I Miss You'. But all of the songs are great.
'It's Only Love' reminds me of my ex. I've had different relationships, but I only had one I feel was really love. I say that because I felt loved by him. Losing that was devastating. I look at my life now and I think if I spend the rest of my life alone, it's ok because I had it once. I want more, but I can be satisfied with what I had. "Ah, if only love comes around again - It will have been - Worth the ride". But if it doesn't, I'll still be happy.
Many of these songs make me think about my own life and different situations I've been in. To me, that's the strength of a great poet or songwriter. If they can relate in such a way, the listener can put the song into their own lives and find meaning in what they're hearing. These are the artists people feel so emotional about. Stevie has the ability to do this. And she works with people who also create this or accentuate her natural ability. I can only imagine how collaborative she is as an artist. She'd be a joy to work with.
Sheryl Crow puts in an appearance on the album, writing and also producing many tracks. I'm guessing she's a long time Stevie fan and wanted to work with her. Crow is an amazing talent in her own right and her sound blends flawlessly with Nicks'. The two are absolutely stunning together.
If you're too young to think of Stevie as the woman of your dreams, it's not hard to imagine she's the mother you always wanted. Or some important woman in anyone's life. She projects a sense of kindness, intuition, strength, love and concern. She's a woman any of us would love to have in our lives. I think of her as an angel. My final word: ENCHANTING.
STEVIE NICKS - TROUBLE IN SHANGRI-LA
01. Trouble In Shangri-La
02. Candlebright
03. Sorcerer
04. Planets Of The Universe
05. Every Day
06. Too Far From Texas
07. That Made Me Stronger
08. It's Only Love
09. Love Changes
10. I Miss You
11. Bombay Sapphires
12. Fall From Grace
13. Love Is
Certain artists have sounds they're famous for. In the case of Cameo, it's an interesting situation. In the 80s and 90s, Larry Blackmon became famous for a particular sound. Whereas Prince made his trademark sound based on heavy synth melodies and the Linn Drum Machine, Blackmon did it through a combination of different things. He had unique vocal arrangements using an affected voice, interesting drum programing and trendy drum sounds. Even though nothing was really revolutionary about Cameo's music, it was distinct. To say it was exciting is an understatement. But it was also inconsistent.
On 'Word Up!' for example there are only two tracks that seem to fit this hit making formula of Blackmon. 'Candy' and 'Word Up' itself. Though the rest of the disc has some value as nice little jingles, they end up sounding more like traditional R&B. Massive amounts of this stuff has been released over the years and even though the subject matter struggles to find a unique perspective, it winds up sounding run of the mill.
Given the space age appearance of the band itself, you'd expect something more progressive and cutting edge. It's somewhat misleading. Both 'Word Up' and 'Candy' promise a new age revolution of sorts. But the rest of the disc fails to produce it. It never moves past the opening tracks. Blackmon used his hit making talents previously and since on various tracks. But it's the lack of more interesting material that left Cameo in a one-hit-wonder limbo. It would be nice to see Blackmon and friends come back and do something interesting nowdays. I'm kinda curious what they're up to.
With downloading what it is, if you have an interest in some Cameo tracks, do yourself a solid and skip the filler songs. Focus on the really good stuff. These days, bands need to write good songs all the way through the record if they want to sell more than a single. Back then, you sometimes took your chances. With 'Word Up!', I gambled and lost. My final words: GENERIC WITH A PINCH OF GENIUS.
CAMEO - WORD UP!
01. Word Up
02. Candy
03. Back And Forth
04. Don't Be Lonely
05. She's Mine
06. Fast, Fierce & Funny
07. You Can Have The World
It's virtually impossible to say the name Alan Wilder and not mention Depeche Mode. Yet Recoil is as different from Depeche Mode as Depeche Mode is from Barbara Streisand. Alan may have been a member during the band's more formidable years, but he's now something distantly removed from that former glory.
Alan approaches the writing process somewhat differently than other bands. He composes songs with singers/lyricists giving the entire disc a rather eclectic feeling. Douglas McCarthy of Nitzer Ebb fame contributes to two of the discs more memorable songs, 'Incubus' and 'Stalker'. Both tracks are rather unorthodox viewpoints. 'Stalker' being the more controversial of the two. He assumes the character of a murderous stalker using his terrorizing methods to give his targets the identity and special social status of being a victim. It's rather disturbing. "You are nothing, you are nothing without me".
American poet Maggie Estep takes the reigns for a couple songs, 'Luscious Apparatus' and 'Control Freak'. 'Luscious Apparatus' is the story of two co-workers who through an odd flirtation end up having sex. The connection takes a dark turn when the guy decides to cut the girl. It's a strange tale and for some reason makes me think of Aeon Flux. It seems like an episode of that bizarre show. Character Trevor Goodchild actually says, "What doesn't kill us, makes us stranger" and that line aptly describes Maggie's lyrics to on both of these tracks. 'Control Freak' is another strange tale of stalking and desire. There's a reoccurring theme of emotional and physical violence throughout this disc. And the musical arrangements are created in such a fashion as to heighten the anxiety of the listener. There's an urgency filled with an underlying intensity through minor chord progressions.
The two other vocalists on the disc are Hildia Cambell; who toured with Depeche Mode on their Devotional Tour, and Siobhan Lynch; who I know literally nothing about beyond her work on this disc. None of the featured vocalists are remotely similar to the others. Each offers a unique ingredient to the formula of 'Unsound Methods'.
My overall view of the album is favorable though somewhat mixed. I personally love the disc, but I find it intellectually challenging and musically complex. It's not for the casual listener or even fans of Depeche Mode. It's unorthodox subject matter and bizarre arrangements are specifically geared towards creating an emotional response in the listener. Unless you're open to such experiences, 'Unsound Methods' will leave you confused, bored and disappointed. If you are willing to go the distance, this album will have you re-evaluating yourself and the way you view dark subject matter for a long time to come.
The disc ends with the haunting and exhilarating 'Shunt'. There's a trance quality in the fast paced rhythm. Hypnotic in its layers. But it's the spoken vocal towards the end of the tune that really grabs your attention. Recalling Recoil's Sophmore effort "Bloodline" a female voice declares, "There's blood on the line"... Beware faint of heart... There really is. My final words: DISTURBINGLY EXCELLENT!
RECOIL - UNSOUND METHODS
01. Incubus
02. Drifting
03. Luscious Apparatus
04. Stalker
05. Red River Cargo
06. Control Freak
07. Missing Piece
08. Last Breath
09. Shunt
It's a retro day with this flashback! Adam Ant was previously known as Adam And The Ants before this solo effort. I remember seeing the videos to this album on MTV as well as hearing the songs on the radio. I didn't really know much about Adam Ant before hearing 'Puss'n Boots' but I latched on easily enough. I was totally into New Wave bands, sounds and looks. Adam fit right in with what I thought was cool at the time. Even years later, this fluff pop effort continues to have amazing musical value.
'Strip' is the typical libertine dandy type song the cover photo and subsequent media portrayed Ant as being. The spoiled aristocrat tumbling in the hay with the milk maid. For all it's pretentious sophistication and Victorian era sexuality, 'Strip' typified the overindulgence of the 80s in a very sincere way. Loose morality and social values echoed the excess of previous time periods and Adam pursued them all over the course of the disc.
The Euro trash nature of the album was also appealing. He was a cavalier gambler throwing money at beautiful women in 'Montreal', a charging matador seducing an innocent girl in 'Spanish Games', a cartoon character in 'Puss'n Boots' but most importantly; this disc fires the imagination. Sure the themes are tawdry and often layered in outrageous proclamation, yet Ant lived up to the theatrics of the music and deftly portrayed his "Little Lord" character to the hilt in public appearance.
The strength of the music doesn't lie in the lyrical content, rather it's true longevity comes from the diverse and unusual sounds, styles and tones. It sounds fresh and vital even today. Unlike other New Wave bands, the sound doesn't date itself on the majority of the songs. Worth a listen. Even if you're not a fan of the Ant. My final word: CHEEKY.
ADAM ANT - STRIP
01. Strip
02. Baby, Let Me Scream At You
03. Libertine
04. Spanish Games
05. Vanity
06. Puss'n Boots
07. Playboy
08. Montreal
09. Navel To Neck
10. Amazon
I was living in Switzerland when this disc came out. About the only thing I really knew about the disc was that Wendy & Lisa had worked with him on it. To this day, I'm still not sure to what extent their involvement on the disc was. I can hear them very distinctly on different tracks, but the actual contribution seems mired in mystery. Still, with that in mind, you can understand how excited I was to see this disc take off and be so popular in Europe. It was everywhere. In every store window, on everyone's bookshelf and all over the radio. I heard the tunes everywhere I went. I didn't actually pick the disc up until I was back in the states. But I'm glad I did. It really is a remarkable effort by a new artist.
These days, Seal's old hat. Everyone knows the guy and his appearance has mellowed somewhat. He's not nearly as shocking and you come to realize, he's actually a really nice guy. But even before then, his call to love and vision of world peace recalled the 60s even if his music was more modern and progressive. The three singles from this disc... 'Crazy', 'Killer' and 'Future Love Paradise' were huge hits and seemed to be manufactured specifically for radio airplay. Although it's easy to accept Lisa & Wendy playing on these tracks, their influence is more prominent on 'Deep Water', 'Whirlpool', 'Show Me', 'Wild' and I suspect 'Violet'.
My favorite songs are 'Show Me', 'Whirlpool' and 'Violet'. However, the entire album is an enjoyable mix from start to finish. It's easy to see why Lisa & Wendy wanted to work with him. Well, aside from the mutual association with producer Trevor Horn... This is one of those discs everyone should own. Like the "Star Wars" dvds or Charmen toilet paper. It's the creamy middle of an Oreo cookie. Sit back, twist the chocolate cookie off and enjoy the sweet goodness of tasteful pop. My final words: YUM.
SEAL - SEAL
01. The Beginning
02. Deep Water
03. Crazy
04. Killer
05. Whirlpool
06. Future Love Paradise
07. Wild
08. Show Me
09. Violet
Crazy is a great tune and in the grand tradition of single releases, we're treated to a plethora of mixes, odds and ends. The 'Crazy (Single Mix)' is more or less an edit of the album version. The second track mixed by William Orbit is probably my favorite of all the mixes. There's a wonderful build and blend to the mix that really stands out. The 'Crazy (Acoustic Version/Instrumental Version)' is an interesting piece. It starts out with a great acoustic rendition of the song with Seal's vocals to the fore and suddenly morphs into an ambient rhythm. It's a strange choice to combine such different sounding versions together and seems slightly haphazard.
'Crazy (A Cappella Mix)' isn't entirely an accurate description of the next mix. Seal's vocals are backed by odd bleeps and trance noises used for orchestration. It's more like a science experiment than a decent mix. 'Krazy' is Tim Simenon's version of the track and is also a satisfying mix. The final two mixes didn't leave a huge impression aside from what seems like a different vocal performance on the 'Crazy (Chick On My Tip Mix)'.
'Sparkle', the single's only b-side is a danceable tune with a lively beat and repetitive lyrics. Despite it's limited scope, it's an entertaining ditty and enjoyable to listen to.
Often, singles get bogged down in mixes that identify more with the mixers than the original band and performance. In this case, careful attention has been paid to maintain the integrity of Seal's original release. With special vocal tracks on mixes and an interesting b-side this is a great single to own. Well worth the expense. My final words: WELL BALANCED.
SEAL - CRAZY
01. Crazy (Single Mix)
02. Crazy (William Orbit Mix)
03. Crazy (Acoustic Version/Instrumental Version)
04. Crazy (A Cappella Mix)
05. Sparkle (Extended Version)
06. Krazy
07. Crazy (Do You Know The Way To L.A. Mix)
08. Crazy (Chick On My Tip Mix)
I'd heard 'Don't Know Why'... This was back in the day when I actually watched television and I'd seen the video. I knew the name, but I never really listened to the music. It wasn't until I saw "Two Weeks Notice" where Norah appears in a cameo singing 'The Nearness Of You' that I realized how interesting this up and coming artist was. The first disc I actually bought was her second and it wasn't until much later that I finally picked up 'Come Away With Me'. Still, I always knew I'd have it one day.
Norah has one of those sultry seductive voices. It floats across any room it fills and kinda wafts like rich hot chocolate under your nose on a cold day. She's as soothing as lemonade in summer and warm as a fleece blanket in fall. She welcomes you, wraps you up and makes you feel like an old friend hanging around under a pile of fluffy pillows.
As much as I love her voice and style, I sometimes take exception to the songs she chooses to perform. Most of them are written by her band members. And for the most part, they're exceptional. Still, some of them seem like throwaway country at times. On this disc there are some amazing stand out cuts. Like 'Turn Me On', 'The Nearness Of You' and the haunting 'I've Got To See You Again'. 'Feelin' The Same Way' is a bouncy number with an enjoyable rhythm and a lovely intensity while 'Come Away With Me' starts out sounding like 'Moon River'. As a title track, it's mellow and sweet sentiment aptly describes the look and feel of Norah while at the same time showcasing her whispery vocals in a sensual blend of emotional longing and practiced skill. 'Shoot The Moon' is a remarkable song with powerful lyrics about missed opportunities and loss. 'Painter Song' almost reminds me of Simon & Garfunkel, while 'One Flight Down' has an almost Dolly Pardon-like quality to it. 'The Long Day Is Over' feels like an old negro spiritual at first before morphing into a number you'd expect to hear in a smokey piano bar. I think the only song I don't really like on this disc is 'Lonestar'. Not for any reason other than it just seems predictable and somewhat lackluster to me.
Although it wasn't my first Norah Jones cd, it certainly is the root of my appreciation for her. Subsequent albums have special places on my music shelf and I find myself turning to her during stressful times to just kinda take the edge off the day. If you haven't heard it, find someone who owns it and borrow it. Let it play softly in the background while you go about your day and see if Norah doesn't become a ready friend you've known your whole life. My final word: SULTRY.
NORAH JONES - COME AWAY WITH ME
01. Don't Know Why
02. Seven Years
03. Cold, Cold Heart
04. Feelin' The Same Way
05. Come Away With Me
06. Shoot The Moon
07. Turn Me On
08. Lonestar
09. I've Got To See You Again
10. Painter Song
11. One Flight Down
12. Nightingale
13. The Long Day Is Over
14. The Nearness Of You
This disc was only available directly from the artists. I bought it for a couple reasons. I initially saw a program featuring the band on television. I think it was PBS and I was interested in what they were doing. Shortly afterward, I learned Prince contributed a song to the band. Even though I didn't want to admit it, the Prince song was the motivation I needed to pick up one of their cds and listen to it. Sadly, Prince later reclaimed the song and released his own version through the NPG Music Club. In my opinion, that was kinda messed up. It ruined the value of the track and the importance of this disc to Prince fans. He defeated his own efforts to build up the group.
My overall assessment of this disc is promising. The influence of The Beatles is prominent. You can also hear some 80s vibe happening. They use lots of 80s electro pop tricks here and there; but it's the combination of rock with melody that dominates the writing structure of their material. Though much of what you hear is easily written off as a whole, when you examine the songs one at a time, you get a better sense of their intent. 'Simple Cinderella' sounds too much like a Joe Cocker number for my taste. 'The World In A Nutshell' is an interesting piece and really caught my attention. Lyrically, Van Gogh have a 60s psychedelic feel to them; focusing on the abstract rather than the rational. 'Maybe' sounds like a cross between Randy Newman, ABBA and modern country.
The Prince track is produced and arranged by the band. Even though his version sounds remarkably different, it still stands out with its rhythm and quirky build. Lyrically, it's an interesting concept... Loving someone so utterly, you only see the illusion they choose to show you ultimately leaving you blind to reality.
My opinion of the disc is favorable though it's not a disc I spend lots of time with. I've never been caught up in The Beatles or the Americana sound of Bruce Springsteen and Bruce Hornsby. I certainly respect and admire the musicianship of these artists, but I don't relate to them. If you feel a connection to this kind of rock and roll, Van Gogh may be right up your alley. It's still an interesting listen just to hear their version of the title track. My final word: PROMISING.
VAN GOGH - VAN GOGH
01. Simple Cinderella
02. The World In A Nutshell
03. All The Time In The World
04. Almost Too Real
05. Ready, Willing And Able
06. Van Gogh
07. Tangled
08. Lift Me Up
09. Maybe
10. My Telescope
11. All That Glitters
12. Waiting For A Revolution
With her first album churning out heavy hip hop urban street beats, you kinda thought Meshell would be a hip hop artist. But she followed it up with an artsy pop record, then an adult contemporary disc and an R&B urban soul effort. So where does one go from there? In Meshell's case, 'Comfort Woman' is a rhythmically slow paced reggae sound one would expect to hear while smoking out with friends on a rainy afternoon. It's a soothing record with lyrics that lift the heart and speak of superhuman love and devotion. She seduces with poetry in her half sung, half spoken timber. There's longing, sensuality, need, fragility and pain all deftly placed on the surface for anyone to see. The heart of this album is on it's sleeve.
Various tracks have appeared in other places. One was featured on her website under a different title while another originally appeared on a film soundtrack. The 'Comfort Woman' version is rerecorded with different vocals and instrumentation, but it still shines like a brilliant star on this record as one of the stand out tracks. I'm talking about 'Liliquoi Moon'. I've always loved Meshell's approach to relationships and the way she describes deep complex emotional themes so simply. She has an expressive ability to bring the most abstract thought into written word. And she makes perfect sense while doing it.
This is a record you'll wanna listen to while you're alone or with people you can chill with. It's extremely laid back. Imagine a dark room, with candles and incense burning... Wine and good conversation. These are the elements and conditions under which one can easily enjoy this dope cd. It's also great for driving. Really helps me deal with road rage. Hehehe. Check it out! My final word: MELLOW.
MESHELL NDEGEOCELLO - COMFORT WOMAN
01. Love Song #1
02. Come Smoke My Herb
03. Andromeda & The Milky Way
04. Love Song #2
05. Body
06. Liliquoi Moon
07. Love Song #3
08. Fellowship
09. Good Intentions
10. Thankful
Ok, so my relationship to Ani is long and extremely complicated... She hoovered around my conscious mind for months. Her image was everywhere. Spin Magazine, Rolling Stone, cd covers at friends' homes... Then my friend Brenda asked me to go with her to an Ani concert at the Joint in Las Vegas. At the time, I was concert bound virtually every night, so I agreed to go. I loved every second of it and immediately went out and bought some Ani cds. I've seen her in concert since a few times and each one was a wonderful experience. Very casual and free.
This album is somewhat unique in my collection because I own it for two reasons. First, it was the new Ani Difranco cd and I wanted it; second, Prince contributes vocals to one of the songs. I never suspected Ani would work with Prince but I'm pleased she did. Both are extremely diverse artistically and tend to write unconventional music.
The first track is a wonderful number about gun control and teenage shootings. At the time this disc was released, Columbine was still strong on the social radar and people were freaking out about teen violence. It's a poignant piece. Extremely blunt and straight forward. And I'm sure it's incredibly offensive to Republicans and those who think gun control is anti-American. I'm kinda in the middle myself. I think people who have guns should be extremely responsible for them. But enough about politics, let's talk about music.
There are a number of tracks that stand out to me on this disc. I'd describe her musical style as punk/folk. She's got all the punk rage and rhythm but her sound is more organic in the style of folk singers. 'Wish I May' is an amazing track. Also stand out are 'I Know This Bar', 'Hello Birmingham' and 'Carry You Around'. The quirky 'The Arrivals Gate' is also a highlight. It sounds almost out of place on the album configuration with the exception of the last minute of 'Freakshow'... But would fit perfectly in a movie soundtrack. Its offbeat canter is exciting and surprising at the same time.
Prince adds a dimension to 'Providence' in a way you wouldn't expect to hear on an Ani record. Yet, she uses his contribution well and instead of detracting from her sound, it enhances it greatly. It's a wonderful collaboration and shows Prince working with another artist in a different way than usual. Normally, he writes a song, donates it and steps back or controls the project to the end. He rarely steps in, does a bit for someone else and walks away. A unique occurrence for certain. And one worth hearing.
Sadly, most of my Ani cds have vanished over the years. Theft or circumstance have taken them out of my life. But I long to have them again and I wish my collection of her music was more complete. Sometimes I long to hear a certain song only to discover it's gone from my shelf. It would be almost better if I'd never known what I was missing. Despite the odd way Ani came into my life, she's a welcome figure in it now. And 'To The Teeth' is just one reason I want her to stay. My final words: SO RIGHT.
ANI DIFRANCO - TO THE TEETH
01. To The Teeth
02. Soft Shoulder
03. Wish I May
04. Freakshow
05. Going Once
06. Hello Birmingham
07. Back Back Back
08. Swing
09. Carry You Around
10. Cloud Blood
11. The Arrivals Gate
12. Providence
13. I Know This Bar
Pizzicato Five is a Japanese band who gained some success in the USA when some of their songs appeared on soundtracks and in TV shows. I first heard them in the movie, "Ready To Wear" a Robert Altman film. 'Twiggy Twiggy' is played during Issey Miyake's fashion show. I really like the sound of the tune and eventually tracked down the group.
The sound of this band is retro but in an interesting way. If you take pop music from the sixties hipster scene and released brand new material today you'd have this band. Other groups have done similar things mostly using the style and imagery of this time period with new music. Bands like Deee-lite and The Chemical Brothers, but though those other groups only incorporate elements of the 60s sound, Pizzicato Five blend it completely with modern equipment to make something new and innovative.
There are lots of great tracks on this disc, which isn't surprising when you consider it's actually a compilation of their previous Japanese releases. Each track is fairly strong and catchy. If not avant garde. 'I' musically sounds like a French street musician standing beside an outdoor cafe playing the accordion for Francs. 'Sweet Soul Revue' captures the musical feel of the Motown era. My favorite tracks are 'Catchy', 'Twiggy Twiggy' and 'Magic Carpet Ride'.
I've never been a huge fan of modern Asian culture. Anime, Manga, Retro Bands... But for some reason, I really dig what this band accomplished. I was disappointed to hear they'd broken up. I'd have liked to see them in concert. Irregardless, this is a group worth checking out. It good clean fun for the whole family. My final word: NIFTY.
PIZZICATO FIVE - MADE IN USA
01. I
02. Sweet Soul Revue
03. Magic Carpet Ride
04. Readymade FM
05. Baby Love Child
06. Twiggy Twiggy/Twiggy Vs. James Bond
07. This Years Girl #2
08. I Wanna Be Like You
09. Go Go Dancer
10. Catchy
11. Peace Music
I heard about The Detroit Cobras on NPR when Fresh Air did a review of this record. I liked one of the tracks I heard and looked for it online. But no luck. The local record store owner and I were talking about it and she said if I bought it and didn't like it, she'd buy it back from me full price. So I bought it.
At first listen, this isn't your typical rock band in any way. They seem to come from the same circle of local bands that produced such acts as Electric Six and the White Stripes. They basically update old rock 'n' roll covers. Since I'm not familiar with most of the original material, the majority sounds new and fresh to me. The songs are quite engaging, catchy and have an alternative punk sensibility to them.
The only odd thing is the nature of the tunes. Some of these songs seem outdated like 'Baby Let Me Hold Your Hand'. You just don't imagine people walking around holding hands anymore. Even though I recently dated someone and holding hands was one of the most intimate expressions in that setting. It was incredible. 'Weak Spot' and 'Hot Dog (Watch Me Eat)' are two of my favorite tracks. 'Weak Spot' is extremely tender and sensitive. I think the tune is sweetly romantic and quite expressive. 'Hot Dog' is more funny and enjoyable for other reasons. It could be worth the purchase price alone.
'Everybody's Going Wild' reminds me of 60s go-go dancers. It has that rolling beat to it. 'Cha Cha Twist' is also pleasing. A very strong rhythm. As an added bonus, you can view the multimedia file of the 'Cha Cha Twist' video. The actual appearance of the band is somewhat shocking and different from the music. But they're still an exciting band. There's some rockabilly sounds here too. Would you call this group a greaser band? Probably if they dressed more sensibly. Live, they look more like a Vegas lounge act with leopard prints and hooker boots.
In the grand tradition of early rock 'n' roll, each song clocks in somewhere between 2 and 3 minutes. Even then, it's an enjoyable experience and well worth the listen. If you like some good rock every now and again, this album will come in handy. I've been thinking about tracking down the history of these tracks and finding out where they all came from. But that's an undertaking I don't have time for. Maybe in the future. Check out The Detroit Cobras. They rock! My final words: OLD SCHOOL ROCKS!
THE DETROIT COBRAS - BABY.
01. Slipping Around
02. I Wanna Holler (But The Town's Too Small)
03. Baby Let Me Hold Your Hand
04. Weak Spot
05. Everybody's Going Wild
06. Hot Dog (Watch Me Eat)
07. Mean Man
08. Now You're Gone
09. It's Raining
10. Just Can't Please You
11. The Real Thing
12. Baby Help Me
13. Cha Cha Twist
14. Ya Ya Ya (Looking For My Baby)
15. My Baby Loves The Secret Agent
16. Heartbeat
17. You Don't Knock
18. Silver & Gold (When I Get Like This)
19. 99 And A Half Just Won't Do
20. Insane Asylum
When I think of the Electric Six one word comes to mind... Inappropriate! These adult frat boys rock the scene with music that is politically challenging, cynical and altogether crass. 'Dance Commander' appeared in the Disney sport flick "Stick It" while 'Danger! High Voltage' appeared in one of the Charlie's Angels movies. That's where I discovered the band. I put two and two together and realized they were the same band. It didn't take me long to track down this disc and buy it. I actually had to special order it in. The local record stores didn't carry it. What a shock. But once I got the disc in the truck I fell in instant love.
Dick Valentine goes out of his way to write lyrics offensive to everyone. He steps on toes, crosses boundaries and shows little or no regard for social labeling or socially acceptable behavior. It's utterly brilliant! Also present is Jack White from the White Stripes. He sings the female lead on 'Danger! High Voltage'. Which makes this song important to Stripes fans.
Most of these songs demonstrate Valentine's rebel nature. Consider 'Gay Bar'... He wants to take his girlfriend to a gay bar because he's excited by the idea of fooling around there. He chooses a setting most people would find unacceptable and then champions behavior completely unacceptable in that setting. In other words, he's inappropriate in inappropriate places. Is nothing sacred?
I also love 'I'm The Bomb'. What an amusing little ditty. So many excellent tracks to point out and discuss. But I won't get all crazy with that here. I'm way too into what's happening overall with this band. Very exciting.
I'm drawn to them by the interesting blend of musical styles. There's disco, funky, rock, new wave, some Latin jazz, blues and metal... It seems to be the duty of this band to bastardize any and all genres of music to further their own egotistical view of rock 'n' roll. It's dynamic, exciting and incredibly fun to listen to. Not to mention the humorous and interesting videos... This band makes me wanna watch MTV, (well if they showed videos again). It's been a long time since an artist made me wanna see videos.
I'm hooked and looking forward to hearing more from the Six. Run, don't walk, to the local store and pick up 'Fire'. You'll be rocking out by sundown. My final word: TASTY.
ELECTRIC SIX - FIRE
01. Dance Commander
02. Electric Demons In Love
03. Naked Pictures (Of Your Mother)
04. Danger! High Voltage
05. She's White
06. I Invented The Night
07. Improper Dancing
08. Gay Bar
09. Nuclear War (On The Dance Floor)
10. Getting Into The Jam
11. Vengeance And Fashion
12. I'm The Bomb
13. Synthesizer
