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Ok, Ok, let's be honest... Did I need this CD? No. So why did I buy it? Simple... Because it's a promotional copy of a single Wendy & Lisa had previously only released in vinyl. I happen to love this song. In fact, I love the entire album, but this song is easily one of my favorite. It's just wonderful. This record was the one Wendy & Lisa officially broke away from Prince and went on their own. No more Revolution... Just two girls out to take on the world.
What strikes me the most about this song and the album it comes from is the sound. Prince was moving away from his domineering funk sound when Wendy & Lisa began to influence his music. In fact, they're largely responsible for the direction he took from about 1984 to 1986. Albums for artists like The Family and Madhouse showcased this directional change. It was obvious to music lovers who paid attention to what was happening, but for the general public; most just figured Prince was a wierdo with strange tastes in sound. But the reality was something more like Lisa and Wendy exposing him to new genres of music. Stuff he'd have written off before giving a chance. I think we're all like that in a way. Our tastes usually grow because people close to us expose us to new forms of music. And that's exactly what I think happened with them. I think they showed him cool jazz and introduced a European flare to his writing he didn't have before.
That sound continues on Wendy And Lisa's first album and is obviously lacking on Prince's next record. There are hints of it on the lingering tracks Wendy And Lisa worked on, but Prince moved back into his deeper funk sound. Whatever you think of any of them, this little bit of music history has a lucky spot in my collection and I'm pleased as punch to have it. My final word: ECSTATIC!
WENDY AND LISA - HONEYMOON EXPRESS
01. Honeymoon Express
After a year and a half break from "Fire", Electric Six got back in the studio to record this new disc. If you're like me and you loved "Fire" then you were a little apprehensive about "Senor Smoke". Sometimes a band can release an amazing first album and then waste all their talent in that one record. The second album usually sets up the pattern for the band and will establish whether or not they're worth hearing. Although it didn't get very good reviews in England, I'm here to tell you, it's an incredible record. One of their best. From start to finish, Tyler Spencer growls and croons his way through each song. 'Rock And Roll Evacuation' starts the disc off on a rock note. The song bursts forth as Tyler proclaims, "This is an evil generation". It's a call to arms of sorts. Reaching out to those outcasts who feel separate from corporate money making American values. It goes on to say you can check out of that world and find safety in Rock and Roll. There is salvation in the music. This number is a little different as it is the first time under the Electric Six moniker that the band plays a purely rock number.
The second track is a song die-hard fans would recognize as the sound the band has become famous for. 'Devil Nights' has a melodic guitar line and has a disco funky beat. It's also a theme Electric Six carry on through most of their subsequent records. Tyler Spencer writes a lot of songs about the devil. This one details an evening driving around the city with him. 'Bite Me' sounds like a traditional new wave classic from the early 80s with all the driving force of a punk rock attitude. In the vein of 'Hit Me With Your Best Shot' by Pat Benatar or 'Hurt So Good' by John Melloncamp, 'Bite Me' equates physical violence with pleasure. It's another incredible track that rocks out while it delivers funky beats. The next track is 'Jimmy Carter' and it's the only ballad on the album. Tyler paints a bleak picture of who we are as a country and as a society through his lyrics. He pokes fun at pop culture and how superficial consumers are. He also includes some lyrics that seem prophetic in nature.
'Pleasing Interlude I' is a strange number. It's a sketch comedy routine that is more odd than interesting. Still, it's weirdness kinda fits in with the rest of the record. There's so much randomness happening musically and lyrically, having an offbeat sketch like this one only notches up the radical nature of the material. It's followed by another funk/rock/disco number, 'Dance Epidemic' and like the previous tracks in this genre, it's bang on awesome! 'Future Boys' is a synth laden tour de force that fires across your ears like lasers. It's followed by 'Dance-A-Thon 2005'. This track has a heavy bass and a deep bottom sound to it. The slower pace could make it a ballad, but the synth lines are fast and there's a lot of momentum in the drumming. It's more like a mood than a ballad.
Both 'Be My Dark Angel' and 'Vibrator' refine the band's developing disco rock in new ways and both are exciting numbers. 'Vibrator' leans heavily towards 80s New Wave, while 'Be My Dark Angel' has all the energy of a runaway train. It pile drives you and it's one of my all time favorite E6 songs. 'Boy Or Girl?' is another New Wave nod; though not as exciting as 'Vibrator'. It's got a less enthusiastic rhythm and Dick Valentine doesn't sing this one. I think it's Tait Nucleus, but I could be mistaken. 'Pleasing Interlude II' is a solo number with Dick on piano. It clocks in at 00:27 seconds and is over before you realize it's begun.
The next cut is a Queen cover. You know covers of other people's material always run the risk of being inferior to the original and are often simply a way of an artist paying tribute to someone who inspired them or who they enjoy. It's seldom a cover is as good or better than the original. Especially in rock and roll. As for E6's cover of 'Radio Ga Ga', I won't go so far as to say they surpassed the original version, but I will say this... I never liked the song until I heard it on "Senor Smoke". It's difficult for any vocalist to compare to Freddy Mercury. The man was simply incredible and I can't even begin to think how you would compare Dick Valentine to his style and sound. But I do love the E6 arrangement and it works quite well with Valentine's voice. 'Taxi To Nowhere' is another solo piano effort. It's another short number, but it begins an interesting story. One I wouldn't mind hearing more of. If only.
The final track on the record is 'Future Is In The Future'. Of all the songs on this cd, this one sounds completely out of place. It's so comfortably at home in radio friendly pop waters you can barely imagine it on a rock record. Still, here it is and without a doubt, I love this song immensely. At every E6 concert I've attended, I sit in the back and watch the show. I stay comfortably out of the way. But the last time I saw them live, they played this number. Needless to say, I was on the dance floor in seconds. I had to jam to my song.
"Senor Smoke" cemented my fascination with Electric Six and made me a die-hard fan. There isn't enough I can say about the wit, intelligence and character of these songs and the band who created them. It's so worth your time and effort to pick this project up. I can't stress it enough. If you're wondering why there are two covers posted here, the answer is simple... The first is the official cover of the cd. The second is the cover of the promo edition of the album that was sent out in England. I have a copy of each one, so I included them both. No sense in posting a review twice. I'm not sure which copy I prefer. The first one has a 60s go-go look. I feel like I'm in a Cantina watching a stripper with a beehive dancing to the Strawberry Alarm Clock. Anyway... My final words: THE PERFECT FOLLOW UP FROM AN INCREDIBLE BAND!
ELECTRIC SIX - SENOR SMOKE
01. Rock And Roll Evacuation
02. Devil Nights
03. Bite Me
04. Jimmy Carter
05. Pleasing Interlude I
06. Dance Epidemic
07. Future Boys
08. Dance-A-Thon 2005
09. Be My Dark Angel
10. Vibrator
11. Boy Or Girl?
12. Pleasing Interlude II
13. Radio Ga Ga
14. Taxi To Nowhere
15. Future Is In The Future
I discovered Andy D during a streaming Electric Six concert. He was the opening act. I didn't realize it at the time, but Andy D is the rapper on the Electric Six song 'It Gets Hot'. I love that song! So I watched his performance and I was completely stumped. I wasn't sure what to think. On one hand, he's a sexy bear of a man and he strips during his show. He got my attention right there. I was also intrigued by his Electric Six cover. He played a version of 'Jimmy Carter'. On the other hand, I thought his music was somewhat juvenile and embarrassing. Still, when he performs, he loses himself in the music. I knew I'd be seeing him the next time I saw Electric Six live, so I decided to reserve my judgment until then.
Well, the day finally came and I saw him live at the Urban Lounge in Salt Lake City. He was amazing! The show was funny, funky and entertaining from the minute he took the stage to the minute he left. I had the chance to hang out with him and talk for awhile. He's nice, intelligent and dedicated to his craft. I bought both of his albums and he autographed them for me. My personalized message inside "Choose Your Perversion" is "Let's ride unicorns!" I loved the experience. Absolutely wonderful!
Since that night, I've had time to listen to the albums and I'm ready to write a review. On "Choose Your Perversion" you very quickly realize the music on the disc is quite different from what you heard live in concert. Andy doesn't come across digitally as magnificent as he does live. The disc starts out with 'New Addiction'; which is also where the albums title comes from. Right off the bat, I was shocked. The music is sparse and sounds like it was programmed on a little Casio Keyboard. When you think about it, a lot of early rap artists sound similar. They have those minimal drums sounds you can get on just about any small keyboard. His flow reminds me of Will Smith back when he was in his Fresh Prince days. 'Rockslow' doesn't change the tempo or add much to the musical diversity of the CD. The one difference is the inclusion of some drum sounds that were popular with hip hop bands from the 90s. 'God Loves Drunk Chicks' continues the sparse musical arrangement. There is a nice keyboard motif, but he follows it with a weak line that downplays the intensity you expect.
And then out of nowhere, 'Blow U Away' comes in like a holy roller revival on Sunday morning! It doesn't do much to improve the beat situation, but it utilizes a guitar sound to create a moody and compelling melody that's quite different from the disc up to this point. The tune is actually quite good and stands on it's own without relying on adolescent humor or dirty jokes to draw attention. It's my favorite song on the record.
'Party Werewolf (I Need A Freak)' zaps us right back to that late 80s, early 90s hip hop style. He even refers to Michael Jackson's "Thriller" video. 'Magic Lady' has some updated keyboard sounds, but it's trapped in the ancient drum loop trap the rest of the album has found itself in. It's not until 'Just Push Play' that Andy seems to break free from those old sounds. Probably because he relies more on bass drum sounds rather than snares and high hats. Much more timeless sounding. There is one bass keyboard line that sounds similar to 'Ice, Ice Baby' by Vanilla Ice. '2 Inches From Crazy Town' is another old sounding hip hop tune. 'Dirty Boyfriend' has great sounds, but it's still mired in those awful drum tracks. 'Party Nite' is better beat wise. It doesn't escape the nostalgia of that early rap sound.
Basically, Andy D wrote a record in a style of music he really likes. And that's cool. But it doesn't offer anything new or interesting. Thankfully, his next record shows more promise. Andy D is great live. His rhymes aren't always flowing, but he delivers a lot of soul in his performance. He has some interesting ideas lyrically and as long as he's avoiding cliches, he creates some cool songs. I think what's missing is access to better electronic instrumentation and a decent producer. Andy's rap on 'It Gets Hot!' is incredible. He's got a style, a hook and a look... Now all he needs is a more original sound. With the right collaborator, he could have that as well. And he wouldn't need to take his clothes off to keep people watching.
I'm glad I bought this disc. Having seen some of the songs performed live, it's nice to have versions I can listen to at home. I like Andy enough to keep following him; which is something I can't say for some of the other bands I've seen Electric Six tour with. I see a lot of potential here and I want to see it go somewhere. My final words: IT WAS GOOD, BUT I WANTED BETTER.
ANDY D - CHOOSE YOUR PERVERSION
01. New Addiction
02. Rockslow
03. God Loves Drunk Chicks
04. Blow U Away
05. Party Werewolf (I Need A Freak)
06. Magic Lady
07. Just Push Play
08. 2 Inches From Crazy Town
09. Dirty Boyfriend
10. Party Nite
Crystal Waters is a singer I'd heard at clubs and sometimes on the radio when I lived in Las Vegas. I didn't know much about her, but there was a period of time when I was buying cds from artists who covered Prince songs. I'd done my research on the internet and I knew this album had a Prince cover so when I found it at the used CD store for a couple bucks I bought it. I can't say for sure what I was expecting, but when I put it in and played the first song, I was eager to skip ahead and hear the Prince track. Mostly because I hated it and I wanted to see if she'd murdered 'Uptown'.
Since that time, I've listened to the disc and my opinion has changed greatly. Although I'd be hard pressed to include this album on any top list I can think of, I certainly enjoy it for what it is. The majority of this record is the pop electro equivalent of what's circulating all over pop stations today. That being said, it's surprising Waters didn't have more success with this record. As a vocalist, she isn't the most dynamic or exciting. Her range is fairly limited and her voice lacks any great quality that might set it apart from other singers. But it's not irritating and certainly pleasant enough to hear. For her part, Waters doesn't write music outside of her range. She certainly knows her limitations and you have to give her credit for that. As a song writer, she's ok but more on the lackluster side. Her songs aren't trite cliches used over and over. She's smart enough to choose different word play instead of going straight for the vernacular punch; however, she's also got a tendency to write some tedious material as well. For example... The opening track to this recording is 'Momma Told Me'. The sing song chorus doesn't create a magical feeling. Instead, it sounds whiny and complaining. The lyrics are also a little silly. But she follows it up with 'The Love I Found'. This is the first track that really stands out on the record. Soon enough you get the Prince cover and for the record, she does a great job. It's more danceable and fun than the original, though it loses some of the intense energy of the Prince version.
An added bonus is the appearance of Jimmy Jam and Terry Lewis on the album. They co-wrote the single 'Say... If You Feel Alright'. This song is the best track on the album. It's awesome from start to finish. Even though it's got Flytetime sound all over it, they manage to stay within the range of Crystal's other material and it blends right in with the feel of the album. I want to mention some of the other tracks on the album that I like. 'Easy' is a great little number and it's followed by 'Female Intuition'. This track is slower but has a strange beat and it works to accentuate Water's lyrics and vocal style. The final three songs, 'Body Music', 'Spin Me' and 'Passion' are all great numbers. 'Spin Me' incorporates Dead Or Alive's 80's smash hit, 'You Spin Me Round (Like A Record)' and is almost as infectious. 'Passion' is a nice way to end the disc. It's got a great chorus.
So was it enough to make me a Crystal Waters fan? Not really. But it is a disc I can put in and let play without worrying what song is coming up next. It's enjoyable enough to make it a fun listen every now and again. It's also great for the Jam & Lewis track and the Prince cover. So if you come across the disc, you can pick it up knowing its got enough good material to jam while you're in your car or let it play in the background while you're at work or doing something more important. Any way you slice it, you'll be grooving in your seat most of the time and ready to party by the end of the day. My final words: GOOD ENOUGH TO DANCE TO, GOOD ENOUGH TO LISTEN TO.
CRYSTAL WATERS - CRYSTAL WATERS
01. Momma Told Me
02. The Love I Found
03. On My Mind
04. Uptown
05. Say... If You Feel Alright
06. Easy
07. Female Intuition
08. Let Go My Love
09. Just A Freak
10. Body Music
11. Spin Me
12. Passion
First off, I'm doing something different with this review. In the past, when I picked an album I had singles from, I'd review the singles along with the record. I've decided to stop doing this. Partially because I don't always have the singles and partially because there are days when reviewing a single rather than an entire record is a better option for me. They don't take as much time. So even though I have cd singles from this album, I'm going to save them for other entries and focus instead just on the record.
For the sake of those people who don't recognize the name, here's a little history... Rosie is probably best known for the time she spent playing keyboards and singing backup in the first incarnation of Prince's New Power Generation band. This album has an interesting history as well. Many of the tracks on this disc were slated to be released on a Paisley Park solo record by Rosie called, "Concrete Jungle". Instead, the record was shelved and Rosie floated around until Motown picked up her contract and she was able to release a version of that original cd.
Rosie has one of those great soul voices you might remember from way back in the day. She's got natural power, control and above all else, emotion. She puts more into her delivery than most of the popular divas of our time. She's also a multi-instrumentalist, song writer and producer. Most of the material she performs on this disc are written or co-written by Rosie and she plays many of the instruments as well. But that doesn't mean she's recorded a great cd... Musical ability and a great voice do not a masterpiece make. So let's talk about the album.
'I Want U' is the first and final cut on the disc. Although I'm not sure why two versions of this song are necessary, I think it does help understand the progression of this disc and how it came to be. The original version of 'I Want U' is probably the final track on the album. It is co-written by Prince and has a very "Prince-y" sound. But as you get to know Rosie outside of her time with Prince, you realize she's influenced more by Bob Marley and old Motown soul records than she is by funk and modern R&B.
Here's what I think happened: The original tracks recorded for "Concrete Jungle" had a Paisley Park vibe all over them. You could probably hear Prince in every single number. When Rosie signed the cd to Motown, I think she took the basic tracks and re-arranged them to fit her own style. That's why many of the songs recorded at Paisley Park feature additional recording at other studios. The first version of 'I Want U' incorporates elements of Marvin Gaye's 'Inner City Blues'. I think this version is more in line with Rosie's solo work. Personally, I prefer the Prince version. I like Rosie when she works with Prince. I like her solo too. But this amalgam of sound is a bit on the overdone side.
The next tracks are definitely more in line with Rosie's old school soul sound. 'Are You Ready' and 'Closer Than Close' are very similar in sound. Both feature a mellow groove though 'Are You Ready' is more upbeat and faster in tempo. The next track is 'Googaga' and although it maintains the quality of the music appearing on the disc so far, it does little to branch out. It's very similar to the previous two tracks, but there is something different about this number. It's the slowest of the three and has an almost Reggae quality to it. It's also the first song with a story narrative. It sets a scene rather than just expressing a sentiment.
Track 5 is the first of two Bob Marley covers. 'Turn Your Lights Down Low' and 'Concrete Jungle' are both exceptional covers. Rosie was born to perform these cuts. 'Turn Your Lights Down Low' is the more traditional of the two with more standard instrumentation and less of a pop arrangement. It's followed by the second Prince contribution, 'My Tender Heart'. Now this track sounds completely out of place on this record. Prince music often does when he doesn't have much of a presence on a disc. It sounds like a typical Paisley Park production from the "Diamonds And Pearls" period. It's a ballad and features a very soulful performance by Rosie. You can feel the emotions on this track. But it's conflicting with the rest of the album.
The next number is a sparsely arranged bit called 'I Almost Lost You'. It's a brilliant piece, but the real kicker is the next track. 'Slowman' kicks in with some horn playing you gotta hear to believe. Rosie pulls out all her tricks on this number. She scats, growls and croons her way through the track. It's easily the sexiest, most romantic and enjoyable number on the disc. The next song is 'Can You Handle It'; which is Rosie's contribution to modern pop. This one has all the makings of a top 40 hit. Sadly, it was never promoted as a single. 'Concrete Jungle' is next and it features a scattered, unorthodox hip hop arrangement that succeeds in speeding up the tempo and updating the tune. Marley's own version is slower and more of a social cry for change, while Rosie gives us a version more in tune with the American inner city. It's followed by 'Get The Ghetto Off Your Mind'. This is a song I seriously can't believe Marley didn't write. It's in step with his philosophies and echoes much of the subject matter he spent his career developing. I'm sure he was the inspiration behind it and Rosie doesn't disappoint. This is a song Bob Marley should've written. The final cut is December 25th. I'm not sure what to say here other than it's pretty good.
All in all, this is one of those cds you can put in, push play, sit back and enjoy the ride. Every song is strong and the performance is equally satisfying. It's a solid collection of material, though somewhat disjointed considering the out of place, but still exciting, Prince additions. Rosie Gaines certainly burst out from behind the tailcoats of her former boss for those who were paying attention. This is such a great disc is could easily land on a Desert Island list if I had to put one together. If you have the chance to pick this one up, I highly suggest you do. Even though there are radio accessible numbers here, she also gives you just as much jazz, reggae, hip hop, soul, r&b and funk. It's a package everyone should try at least once. My final words: EXCELLENT LAUNCH FOR A POWERHOUSE MUSICIAN! YOU CAN'T GO WRONG WITH THIS ONE.
ROSIE GAINES - CLOSER THAN CLOSE
01. I Want U (Inner City Blue) Earth Mama Version
02. Are You Ready
03. Closer Than Close
04. Googaga
05. Turn Your Lights Down Low
06. My Tender Heart
07. I Almost Lost You
08. Slowman
09. Can You Handle It
10. Concrete Jungle
11. Get The Ghetto Off Your Mind
12. December 25TH
13. I Want U (Purple Version)
This album marks my first exposure to Alison Krauss and her music. One of my sisters had this disc and it was always in one of the bathrooms at my parents' house. I'd see it all the time and one day, I just decided to listen to it. I put it in and when I heard the first tune, I was completely hooked. Her angelic voice, delicate delivery and sentiment just swept me up. Maybe I was in love at the time or infatuated or whatever, but that song made perfect sense to me. The other songs on the cd don't affect me as dramatically as the first one. 'Baby, Now That I've Found You' came along at just the right time.
I got a copy of this disc and over time I picked out other songs that became favorites. I'm drawn to different tunes as I mature. I've found myself singing along loudly to 'Oh, Atlanta' from time to time; and although I hated it when I heard Keith Whitley sing it, I love Alison's version of 'When You Say Nothing At All'.
She is a rare performer for someone like me. I almost never follow bands or artists based on singing ability or the sound of their voice. I certainly enjoy unique sounding vocalists, but I'm rarely prompted to buy something just because someone is singing it. I'm more into song writers, musicians and stuff like that. Yet, here I am listening to Alison for all the reasons I normally avoid singers.
I'm not partial to her earlier material. She was slack-jowled yokel yodeling when she first started out. But over time, she pulled a Sade and her singing style found footing. She's moved away from shrill vocalizing and made her home in the warmth, comfort and healing touch of a songbird's song. It's steady, strong, rising and falling, but always delicate and fragile. She has a voice that emotes.
I think this record is a double whammy of sorts. It certainly contains older material that is cringe-worthy. But it simultaneously showcases some of her lovelier numbers. I've grown to love more songs over time, but there are still a couple I manage to avoid every time I put this disc in to play. It doesn't change the fact I love her and her voice. My final words: SPOTTY, BUT WORTH THE PURCHASE.
ALISON KRAUSS - NOW THAT I'VE FOUND YOU A COLLECTION
01. Baby, Now That I've Found You
02. Oh, Atlanta
03. Broadway
04. Every Time You Say Goodbye
05. Tonight I'll Be Lonely Too
06. Teardrops Will Kiss The Morning Dew
07. Sleep On
08. When God Dips His Pen Of Love In My Heart
09. I Will
10. I Don't Believe You've Met My Baby
11. In The Palm Of Your Hand
12. When You Say Nothing At All
It would be fair to say "Purple Rain" was how I discovered music. Or more accurate, how I became passionate about music. It was different from anything I'd ever heard before and the sounds resonated in my very soul. Some people see God in nature, while others see it in man made structures. Some people hear heaven in a Mozart concerto, while others hear it in simple folk music or jazz. I heard it in the electronic funk rock of the Minneapolis sound. Of course my tastes have expanded greatly since then, but I will always remember these first bands I felt passionate about.
For those of you not in the know, The Time are a band formed in the 80s, in Minneapolis, by Prince who used the group as a vehicle to make more of his music available. He had various relationships with the individual members and they have all gone on to have careers beyond the Prince influence. Some more successful than others.
Still, you can't hold Prince fully responsible for the success of The Time. Sure he wrote some great tunes for them and they still play his stuff today. But It's the characters played by the band members that make the group truly memorable.
Morris Day struts around the stage like a peacock preening for a mate. He flashes his feathers, well in his case it's expensive jewelry, fancy clothes and his Stacy Adams... His onstage antics with Jerome and the cool demeanor of the zoot suit dressed band all culminate into a tight, satisfying live act.
As for this album... Two songs appear in the Motion Picture, "Purple Rain". The other tracks are musical numbers written to further the mythology and reputation of the band and its girl chasing leader. Unlike previous Time records based heavily in funk, this disc starts off with 'Ice Cream Castles' a number you can hardly call an old school funk effort. It's got an incredible beat, a nice melody and is catchy as all hell, but it doesn't have that funk/bass bottom to drop into. Everything happens on the surface of the song, much like icing on a cake. I've heard rehearsals of the tune where the band really work the crap out of it, but here it kinda meanders along. That's not a bad thing. It's enjoyable and satisfying. But it's not exactly what you've come to expect from The Time.
It's followed by 'My Drawers'. This number is more traditional funk. It's infectious and hard not to move too. The Minneapolis sound is all over this number as well as a nod to R&B Godfather, James Brown.
"U better find a brand new bag,
Cause this is my drawers"
'Chili Sauce' is a feature length segue. The song, or should I say seduction piece, features a dinner date between Morris and young woman he attempts to seduce. The conversation is quite humorous and features Prince disguising his voice as the waiter. The track also features Jerome Benton as Morris' sidekick and comedic foil.
If this were a vinyl record or cassette tape, those three songs would encompass the first side, while the second side contains the music most people are familiar with. Starting with 'Jungle Love', borrowing a chant from "The Wizard Of Oz", the 2nd side kicks in with a funky fever. There's very little I can say about the two tracks on this side appearing in the "Purple Rain" movie. They've been discussed to death. Needless to say, they are classic funk tracks and will go down in history as two of the biggest hits of the 80s. 'Jungle Love' fared better than 'The Bird' on the charts, but the tunes are equally funky and oh so much fun. The middle track, a slow paced song called, 'If The Kid Can't Make You Come' is an odd piece. First of all, I never understood why it was in the record. In the movie, Prince plays the part of Morris' arch rival. He is called, The Kid. And in the song, Morris sings,
"If the kid can't make you come
Nobody can"
Suggesting the kid is the ultimate. But how can that be if they're enemies? It closes with a woman in the throes of orgasm pledging her allegiance to The Time like they were an American Flag. It's funny and quirky, but what really makes this track worth hearing are the surprising musical changes that happen throughout. The background music acts effectively as a collage of sound creating a picture of the moment. You can see it all happening in your mind. Successful composers are fortunate to create a mindscape like this when they score for a film. Prince and The Time do it here without the company of a film.
Ultimately, The Time will always be an 80s favorite. I even like the stuff they're doing now. If you haven't treated yourself to this offshoot group, you should check it out. I know it's worth it. While listening in the truck the other day, I jammed it loud. It's holding up quite well for an almost thirty year old piece of music. My final word: PERFECT COMPANION PIECE TO PURPLE RAIN AND GREAT ON ITS OWN AS WELL!
THE TIME - ICE CREAM CASTLE
01. Ice Cream Castles
02. My Drawers
03. Chili Sauce
04. Jungle Love
05. If The Kid Can't Make You Come
06. The Bird
I discovered Enya almost by chance. Of course now she's a household name. But back when this groundbreaking album came out, she was still a nobody. I used to troll music video programs on TV to find new groups. I remember seeing the video for 'Orinoco Flow'. It reminded me of the music I'd heard on a movie I'd recently fell in love with. The movie was "I've Heard The Mermaids Singing" and all of a sudden, a chord was struck. I bought the cassette on the same day I picked up the spoken word poetry and music cassette from the "Beauty And The Beast" television series as performed by Ron Perlman. Both cassettes were completely enchanting. They swept me away. Even now, years later when I listen to this disc, I can hear the lines of poetry by Rilke, Shakespear and Wordsworth...
From the opening piano of 'Watermark', you get a sense something important is happening. At this point in time, Enya was discovering a sound uniquely her own. The expansive potential showcased in this release promises something Enya never delivered. Like many artists, once she found a successful style, she continued to emulate it over and over again on subsequent releases. On this record, though, she touches on so many classical, operatic and symphonic material, one could believe they were witnessing the birth of the modern age of classical music. 'Cursam Perficio' has all the tension and force of a Faustian Opera. She vocally stomps across the tense music, swelling up and down notes like oceans sweeping across beaches.
After the build and ebb of that, 'On Your Shore' sounds as sweet and lovely as a bonny young Irish lass singing a haunting love song for her parted betrothed. 'Storms In Africa' is my favorite track on this album. It has a deep sound and the tolling bell is a brilliant addition to the track. There's some heavy sounding percussion on this track. Although probably not the most accessible of the album's numbers, it's still compelling. Other mentionable tracks include the single, 'Orinoco Flow' and 'When The Evening Falls...'. You can listen to this record all the way through and it will move from one magical moment to the next.
Still, it sets a precedent she was never able to capitalize on. She never became the amalgam of sound other artists have achieved. You hear bits and pieces of musical styles, but they're never fully incorporated in a truly innovative way. She has created a recipe for beauty in her music, but I feel like she's never moved beyond it.
This will forever be my favorite Enya CD. And I will continue to buy her music because I do enjoy it. It's lovely and wonderful. You can play it anywhere and let it go. In film scores and scenes, her sound evokes emotional response. But this particular disc has so many memories tied up in it, I can't avoid an emotional attachment. And I suspect, record sales and the opinion of most people will agree with me. My final word: AN 80'S CLASSIC!
ENYA - WATERMARK
01. Watermark
02. Cursum Perficio
03. On Your Shore
04. Storms In Africa
05. Exile
06. Miss Clare Remembers
07. Orinoco Flow
08. Evening Falls...
09. River
10. The Long Ships
11. Na Laetha geal M'oige
12. Storms In Africa II
