TEARS FOR FEARS - THE HURTING

1983 was a crazy year for 80's music.  So many huge albums coming out.  And Tears For Fears appeared on a radio show I used to listen to called Rock Over London.  The first song I heard from them was 'Suffer The Children' and I heard it shortly after seeing "The Lost Boys".  For some reason, the two kinda merged in my mind.  Even now, it's hard to separate the movie from the song.

But it wasn't until many years later I actually picked up this disc.  By the time I got it, I was already exposed to their later albums.  At first, this album seemed a bit amateurish compared to later efforts.  However, as I listened to it, I was enamored by the complexity of the lyrical content and the music.

'The Hurting' is not only the title track, but also the opening song.  It seems to me, the song is about discovering how complicated and unexpected life can be.  And painful.  There's an unusual breakdown in the song and it leaves me feeling rather odd.  It's followed by 'Mad World', another song lamenting the ambivalence of modern life and how nothing really has value.  So far, both tracks are enjoyable and I'm feeling the music.  But I'm not prepared for the radical difference about to jump out at me from track 3!

And that's 'Pale Shelter'!  Easily my favorite song on the record.  The vocals on this song are extremely powerful.  There's such an odd mixture of vocal technique.  He moves from a falsetto to his normal singing voice virtually flawlessly.  Very dramatic.

'Ideas As Opiates' is an interesting tune.  It slows the pace of the record down to a funeral march.  However, it expresses an interesting idea.  This song could be the early poster child of the Critical Thinking method of modern Western philosophy.  The next number, 'Memories Fade' starts off in a rather dismal way and when the song finally starts to gain some traction, the music get pulled back in the mix and the only forward movement occurs in the drum track punctuated from time to time by some power chords on the guitar.

'Suffer The Children' is the track I first heard and as such, it's the song that reminds me most of the band.  I quite like it even though it's not their strongest tune.  'Watch Me Bleed' comes in next and although it's a great song, it doesn't do much for me.  However, 'Change' is remarkable and succeeds in drawing the listener back into the disc.  It's got an interesting build and it's well worth checking out.  It's followed by 'The Prisoner'.  This song, more than any other on the disc demonstrates the progression of the writing.  These chords will turn up again on the next album and in a big way.

'Start Of The Breakdown' rounds out the album and in many ways, it's the appropriate closing to the record.  It stays relatively together in theme and sound.  There's not a huge change happening.  Although the keyboard motifs can sometimes sound a little off kilter, it's a strong finish to a strong introduction record.

My final words:  I WISH I'D HEARD IT BEFORE LATER MATERIAL.  I PROBABLY WOULD'VE LISTENED TO IT MORE.

TEARS FOR FEARS - THE HURTING
01. The Hurting
02. Mad World
03. Pale Shelter
04. Ideas As Opiates
05. Memories Fade
06. Suffer The Children
07. Watch Me Bleed
08. Change
09. The Prisoner
10. Start Of The Breakdown

PRAGA KHAN - TWENTY FIRST CENTURY SKIN

Praga Khan is one of the masterminds behind the adult electronic band, Lords Of Acid.  He's produced so many offshoot groups and bands using just as many pseudonyms it's almost impossible to keep track of how many songs this guy has actually written.

His real name is Maurice Engelen, but Praga Khan is the name he uses as band member and solo artist.  This record continues the use of that assumed name.  It also sharply demonstrates how a prolific songwriter can orchestrate their own downfall.

Through his collaborations on Lords Of Acid material, Khan developed an aggressive form of techno that has evolved over the years.  It's hardcore dance and usually concerns itself with subjects leaning more toward the 21 and older crowd.

However, the need to release music spawned an entire industry built up around side projects and solo releases.  Because so much material was finding its way to retail shelves, the band members and Khan seemed to lose the ability to judge strong material from average and weak material.

Part of his appeal as a songwriter initially was his ability to make each song sound so different from previous efforts.  His solo albums also work to achieve this, but none of them have succeeded to the same degree.

Khan is not a strong vocalist and he writes lyrics with English as a second language.  He falls into the same trap as most international artists who aren't writing in a native tongue.  Sometimes his lyrics are written to fit a rhyme scheme.  And more often than not, the most obvious rhyming choice is the one chosen.  So if you're looking for spiritual enlightenment chances are, you won't find it here.

The music, though interesting and strong, never moves beyond what you've come to expect from Khan and his cohorts.  There are some outstanding cuts on this disc.  Most of them were released as singles.  You also get a lot of tracks that are interesting and beat oriented that never really take off. 

Some of the standout numbers include: 'Breakfast In Vegas', 'Lonely', 'Supersonic Lovetoy', 'Bored Out Of My Mind' and a rehashed version of 'Begin To Move'.  Of this material, 'Lonely' seems to be the only track you could find a smidgen of Khan getting personal.  But even here, it sounds more ironic than real.

I'm not going to break this one down as I usually might.  Mostly because at the time I bought the disc, I was really into Lords Of Acid, and I never made the distinction between Praga Khan as a solo artist and his contributions to LOA.  Although I enjoy certain tracks, I never pull this one out and play it.  Khan is not an artist I could follow on a regular basis.  I could never buy everything he puts out because there's too much he's made generic in his sound.  He's too prolific.  

My final words:  JOIN THE TWENTY FIRST CENTURY AND DOWNLOAD INSTEAD OF BUYING.  SOMEONE'S POSTED IT ONLINE FOR FREE.

PRAGA KHAN - TWENTY FIRST CENTURY SKIN
01. Breakfast In Vegas
02. Visions & Imaginations
03. Isolation
04. Adult Entertainment
05. Far Beyond The Sun
06. Lonely
07. What's Wrong With Me
08. Supersonic Lovetoy
09. Lady Alcohol
10. Bored Out Of My Mind
11. Begin To Move
12. One Foot In The Grave

STEVIE NICKS - THE WILD HEART

"The Wild Heart" is Stevie Nicks' second solo album.  Released in 1983, it's her follow-up to 1981's "Bella Donna".  At this point in time, Nicks was at the top of her game.  Her success with Fleetwood Mac was at superstar levels and her solo records were making her an international household name.  She was in demand.  Without a doubt.

I've never fully researched Stevie Nicks or bought all of her material either solo or with Fleetwood Mac.  But I've always wanted to.  I respond to the mystical in her.  She touches a part of my soul.  Whether it's her voice or her lyrics, she can often find her way into my thoughts and feelings.  I'm a child of the 80's and Fleetwood Mac always seemed like a product of the 70's.  I avoided 70's music and culture as much as possible as most kids coming up will do.  You embrace the pop culture happening around you and see what came before as old fashioned or a waste of time.

Fleetwood Mac and Stevie Nicks were part of what I rejected as a kid, but secretly, I loved their music and I had "Rumors" as well as other Mac material hidden in my collection.  Around the mid-80's, when "Rock A Little" came out, I finally came out of my Nicks closet and opening admired her. 

Imagine my surprise when I discovered....

Nicks had actually worked with Prince!!!!!  But it was kept on the down low.  That particular  collaboration appears on this album.  Inspired by 'Little Red Corvette', Nicks contacted Prince and he contributed some music to 'Stand Back'.  Oddly enough, this was one of my favorite Nicks tunes and it seemed a fated coincidence that he was a part of it.

It wasn't until I found out he'd worked with her that I absolutely had to have this disc.  And I'll be honest, there are many tracks on this album I wasn't familiar with when I bought it.  I owned some live tapes and more recent releases.  I had some Mac material...  But this was the first of her older albums I was buying.

The overall sound of this disc is very 70's.  There's a lot of that blue collar rock happening on this album. It reminds me of 70's Bruce Springsteen and Elton John.  Most of the songs blend into that sound with certain tracks standing out more than others.  'If Anyone Falls' is the first number to really branch out.  The music arrangement is what really drives the track.  It became well known just for the opening keyboard motif.  The second most recognizable song is 'Nightbird'.  This lovely number suffers from some odd production and percussion, but the music itself is similar to something Fleetwood Mac would do.  I've always believed the song would've fared better if it'd been arranged and produced by Lindsey Buckingham.  

It's followed by the Prince collaboration.  Nicks recognizes the intensity of his contribution to the song by giving him a writing credit.  His additions change the dynamic of the tune utterly.  Nicks describes the tempo and rhythm as having a different TimeSpace unique to Prince.  And anyone who listens to her knows this song moves in a completely different frequency from what she normally creates.  It compliments the music on the album but also kicks the entire sound up a notch.

Tom Petty And The Heartbreakers contribute 'I Will Run To You'.  As much as I've enjoyed some of his work, I don't really think this number does much for the album.  I think they sound great together though.

'Sable On Blond' is another number I think would've done better under Fleetwood Mac.  The most well known and possibly the most popular song on the album (certainly the most personal) is the final track, 'Beauty And The Beast".  This is a very tender song.  It's written and meant for a very personal relationship.  Anyone who's loved a man and lost that love can find a reason to look for solace in these words.  In one song, Nicks creates an anthem of love and loss.

I put so much of the loss I've experienced in my own life in this song.  Once again, she reaches me deeply.

Although this isn't an album I listen to on a regular basis, I do appreciate what's happening here and there are songs on it I find incredibly beautiful.  And the magic lingering all these years later on this disc, continues to cloud my vision and wash over me like a blanket of soft aching.  It increases my tender feeling for this artist.  My final words:  A WORTHY ADDITION TO ANY COLLECTION & A FINE EXAMPLE OF AMERICAN ROCK AND ROLL.

STEVIE NICKS - THE WILD HEART
01. Wild Heart
02. If Anyone Falls
03. Gate And Garden
04. Enchanted
05. Nightbird
06. Stand Back
07. I Will Run To You
08. Nothing Ever Changes
09. Sable On Blond
10. Beauty And The Beast

LINUS IN THE SAPPHIRE - FREE SLEEP

Right off the bat, I thought I was listening to something Wendy & Lisa would of put on "Eroica" or "Girl Bros."  The first number is '( )'.  I've taken to calling it Bookends.  This is a complicated song.  There's a lot happening musically and the aggressive turns it takes are softened greatly by Laura Fisher's surprisingly versatile voice.  At one point, you feel like you're sitting in a downstairs Italian bistro listening to a live acoustic guitar and piano.  It progresses into a strong verse and chorus before transforming into a Smashing Pumpkins rant!  It then subsides and makes room for some vocal sparing before completely blending everything you've heard into a wild spinning dervish.  Let me be completely honest with you...  This song has no potential at all of getting radio play.  But it's phenomenal!  And if this is what we have to expect from LITS, I'm on board!

'Clever Dolphin' makes use of ethereal keyboards to create the feeling of ocean, but then moves into a sinister minor progression.  This song gives me the impression of a dreamscape being described by a waking dreamer caught unaware.  It has the magical intensity of an Owl City track except there's no happy ending here.  There's the hope of resolution.  There are no answers.  Once more, there's some vocal harmonizing with Mike Britt; the second half of this duo.  His voice compliments Fisher's.  The next number is 'Defective Angel' and Britt takes over on lead vocals.  This tune reminds of Shiny Toy Guns.  

Fourth on this disc is 'Soviet Kitten'.  I'm starting to see a pattern emerging in the songwriting.  Many of the lyrical ideas are punctuated by unusual time signatures.  There are many shifting tempos happening and they can be challenging to follow.  But it's this unusual sound creating their unique style.  'Empty Water' is the most accessible song on the disc and follows the more traditional style of songwriting in Western culture.  Fisher delivers her vocals like a gymnast on the uneven bars.  Her voice soars across the music like a razor blade sharp and clean.

'Wait For The End Of The World' is the final track from this EP and hearing this song is like being hit full on by a Semi!  Of the music on the disc, this song is the one track I hope to see live at some point.  I suspect I'll find myself completely knocked out.  There are a couple short movements throughout the number, but they maintain the drive and tempo.  This one doesn't let you go.

So LITS features a remarkable vocalist...  Some fascinating music...  Interesting ideas and stunning artwork.  There's an untamed quality to the music that could be focused under the hand of a strong producer.  In it's current state, LITS will either inspire a huge dedicated following...  Or fade away under the overbearing weight of popular music.  With the right production, the music could cross over to a mainstream audience without losing the integrity or vision of the band.

This disc has been on heavy rotation in my truck for a couple weeks now and I've enjoyed it.  My final words:  A BRILLIANT AND EXCITING BEGINNING!!!!

LINUS IN THE SAPPHIRE - FREE SLEEP

01. ( )

02. Clever Dolphin

03. Defective Angel

04. Soviet Kitten

05. Empty Water

06. Wait For The End Of The World

ERASURE - OTHER PEOPLE'S SONGS

Ok, this one is complicated.  I'm not a huge fan of covers and Erasure made an entire album FULL of them.  I might've skipped the disc entirely, but I was invited to this tour and it was the first time I was seeing them in concert.  So, I picked up the CD in preparation for the show.

Musically, the sound is typical Vince Clarke circa that time period.  He makes the songs much more exciting than the original versions.  But he's not a miracle worker and even though Vince and Andy may like these songs, I'm not partial to most of them.  Not even Erasure versions make them worth hearing.  At least in my opinion.

'Solsbury Hill' is a Peter Gabriel cover and this is probably my favorite track on the whole disc.  I like his version and I like theirs.  It's followed by 'Everybody's Got To Learn Sometime'.  The original version is by a group called The Korgis.  I'm not familiar with this group.  I don't know anything about them, but I have heard other versions of this song.  Erasure's is subdued and rather quiet.  I'm not sure it brings anything to the album.  I don't hate it, but I'm not rushing to play it either.  'Make Me Smile (Come Up And See Me)' actually sounds like something Erasure would write themselves and Andy's vocals make the track his.  It's not a bad tune.  In fact, it's quite enjoyable.

Buddy Holly is represented twice on this disc and 'Everyday' is the first of these two tracks.  Although Erasure have covered some classic rock tunes in the past; and done so quite successfully, this one seems a bit lackluster and never moves beyond a light shake and maybe a toe tap or two.  Next up is a cover of The Three Degrees big hit, 'When Will I See You Again'.  The music is upbeat and Andy delivers a credible version of this classic.  It's followed by The Ronettes 'Walking In The Rain'.  This is the third Phil Spector composition they've covered.  I've always thought it was a rather strange song and the version here does nothing to change my mind.

'True Love Ways' is the second Buddy Holly track and it has a simple rocking swing that's delicate and sweet.  The arrangement is quiet and showcases Andy's vocals.  He's right on target here, folks.  Those crooning ballads of the 50's sound wonderful under Andy's careful renditions.  Despite originally thinking this was a waste of time, I actually love this number and I've pulled the disc out a few times just to hear it.  Probably because I enjoy hearing Andy sing it.  The Righteous Brothers get a nod with 'Ebb Tide'.  I've never liked their sound, but this track sounds like it would fit on "Loveboat" and the deeper drum track saves it from slipping into complete obscurity.

What classic covers album would be complete without an Elvis Presley tune?  'I Can't Help Falling In Love' is a Presley staple.  Vince and Andy offer a passable version.  But it's nothing to get excited about.  'You've Lost That Lovin' Feelin'' has the distinction of being a doubleheader.  It's the second Phil Spector track and the second Righteous Brothers cover.  It's a boring song and it goes nowhere here.

If I had some input on this disc, I might've switched the last two tracks and put 'Goodnight' at the end.  It is, after all, a parting of sorts.  I've never heard it before and I don't even know the artist it's taken from.  It's similar to other tracks Erasure have done in the past and it has the distinct feel of a "Chorus" outtake.  It wouldn't surprise me if it was recorded during those sessions.  The final number is a Buggles cover.  'Video Killed The Radio Star' was a huge MTV hit and it's a great 80's song.  Erasure pay homage in grand form.  They're a product of the 80's and I think Clarke's musical quirks, beeps, blips and burps are perfect for this delightful number.  It's performed in a more reserved manner than the original; but it's bubbly fun from start to finish.

This really is a complex album to review because I can't rant and rave about it as much as I'd love to.  I have great respect for both Andy Bell and Vince Clarke.  As a musician, I think Vince Clarke is a singular vision.  He understands the binary code of modern music more than any other artist out there.  He's completely ahead of his time.  And Andy has the soulful voice of a Diva!  But the quality of the music they've selected to cover isn't nearly as interesting or accomplished as they are.  

I feel a little disappointed.  I CAN say the show was absolutely amazing and I'm so grateful I got the chance to go.  It was a magical evening and it happened during a time in my life when I was very happy.

My final words today are:  A SKIP-ABLE DISC FROM A LEGENDARY DUO.  :-(

ERASURE - OTHER PEOPLE'S SONGS
01. Solsbury Hill
02. Everybody's Got To Learn Sometime
03. Make Me Smile (Come Up And See Me)
04. Everyday
05. When Will I See You Again
06. Walking In The Rain
07. True Love Ways
08. Ebb Tide
09. Can't Help Falling In Love
10. You've Lost That Lovin' Feelin'
11. Goodnight
12. Video Killed The Radio Star 

ELECTRIC SIX - ZODIAC

The first time I saw Electric Six play live, it was in support of this CD.  I bought the disc at the show and I listened to it for the first time driving home from the show.  They played some of the songs live that night and they were new tracks for me.  I loved every second of the show.  

Truthfully, the first time I heard the disc, I wasn't partial to it.  But over time, it's become one of my favorite discs.  There are so many strong songs on the record.  I think the reason it took awhile to grow on me is for exactly the reason Dick Valentine suggests in various interviews.  Each song represents a sign of the Zodiac and as each sign is assigned different qualities and attributes, so indeed do the tracks on this disc possess a variety of musical styles and sounds.

It's a wild ride.  Without a doubt.

There are two additional internet tracks I'm including in my review.  One was a bonus track included only with the iTunes purchase and the second was a demo track the band posted online for their fans.  The demo cut was intended for the album, but was left off.  Sadly, because it's one of the strongest numbers recorded for this project.

The first track is 'After Hours'.  Every album has an opening track that's very similar.  They're all rock oriented and aggressive.  These songs are often used as the opening songs in the live performance and sometimes rotate between shows.  I've had the pleasure of seeing this song performed a few times and every single time, it's been an absolute joy.  I dismissed it at first.  Until I caught myself singing it under my breath while I worked or humming it as I drove.  This is an incredible song and there's a quality about it (probably the strong piano track), that makes me think of Elton John.

Next up is 'American Cheese'.  A rock n' roll track for sure, it continues the Americana of the album thus far and benefits from a complicated musical arrangement.  There's a rush to the song.  A need to push forward.  Much like February, a month that is almost always in a hurry, this track moves quickly to completion.  It's followed by one of my all time favorite E6 tracks...  'Clusterfuck!'  There's no way to describe this one other than to say from the outset, it hits a groove you can't escape.  It rocks you like a lover and delivers a sonic brain pounding unlike any other.  This is one I sing along to at the top of my lungs!  And it's awesome live.

'Countdown To The Countdown' is the 4th rocking track on the disc and thus far, everything's been coming on like a Mac Truck until 'Doom And Gloom And Doom And Gloom'.  Although not a show stopper or a bottom dropper, this track definitely slows the pace of the record somewhat.  After it, you're not quite sure where the album will go but 'Jam It In The Hole' brings the tempo back up and sets you right back rocking your socks off.  This is another popular live track.

'I Am A Song!' has a more traditional pop flare and even features some doo wop singing towards the end.  It's followed up by another track I consider a favorite, 'It Ain't Punk Rock'.  As nonsensical as this song can be, it's also one of my favorite so sing along with and party down to.  I absolutely love this number.

'Love Song For Myself' sounds almost like something Evil Cowards would do.  It's got all the techno bells and whistles they're famous for and are sometimes featured heavily in other E6 songs.  Here, it keeps the tempo but adds a techno twist that's highly enjoyable.  It's followed by 'The Rubberband Man'.  It's a cover of a track done by The Spinners and although the song is almost note for note a direct cover of the original, Electric Six make it more interesting, more fun and more entertaining.  Highly recommend listening to this track a few times.  It's fun!

'Table And Chairs' is an interesting number but probably my least favorite on the album.  I'm much more partial to the final track, 'Talking Turkey'.  It's another strong track and one I absolutely love.

The final two internet tracks are 'I Can Translate' and 'Typical Sagittarius'.  This song has a strong Tait Nucleus influence and it sorta describes the direction the album was supposed to go.  It's very techno and seems to be another Evil Cowards outtake.  You can still find it online on youtube.  

Ultimately, Zodiac is another masterpiece disc from E6 and is quite enjoyable from start to finish.  My final words:  ALL SIGNS POINT TO ZODIAC BEING IN YOUR HOUSE TONIGHT!  BUY IT NOW!

ELECTRIC SIX - ZODIAC
01. After Hours
02. American Cheese
03. Clusterfuck!
04. Countdown To The Countdown
05. Doom And Gloom And Doom And Gloom
06. Jam It In The Hole
07. I Am A Song!
08. It Ain't Punk Rock
09. Love Song For Myself
10. The Rubberband Man
11. Table And Chairs
12. Talking Turkey
INTERNET ONLY TRACKS
13. I Can Translate
14. Typical Sagittarius

THE CHEMICAL BROTHERS - THE PRIVATE PSYCHEDELIC REEL

I have two versions of this single.  The US and the UK.  The difference is between the covers.  The US version was a limited edition printing and features a box with the number on the cover.  The US edition was also released in a cardboard gatefold package while the UK edition was released in the slim case edition.  I'll include pics of both.

The single only features two songs.  There's a slightly edited version of 'The Private Psychedelic Reel' and a live version of 'Setting Sun' recorded at the Lowlands Festival in Holland on August 24th, 1997.

'Setting Sun' has never been my favorite track, but it is enjoyable on this release.  And it's exciting to have an actual live official recording from the group.  There will be more detailed descriptions in the regular albums.  So there's not much to say here.  The only rare track is the Live Version.  Still, it's unusual and for a collector of Chemical Brothers, it was an exciting release when it came out.  I was always excited to find a new disc.  I remember finding this single and being so thrilled.  

My final words:  WORTH EVERY PENNY!

THE CHEMICAL BROTHERS - THE PRIVATE PSYCHEDELIC REEL
01. The Private Psychedelic Reel
02. Setting Sun (Live Version)

INGRID CHAVEZ - MAY 19, 1992

Ingrid Chavez is an artist who typifies everything that was right about Paisley Park in the 80's and 90's.  Prince's vanity label was more than just a vehicle for him to release more music through.  It was often a place where artists with unique and interesting visions could find a home and create in a free environment.

She is, first and foremost, a poet.  She is secondly, an amazing speaker.  The transition to music with her spoken word poetry was an interesting if not unusual blend.  To this point, many people would consider rap to be the natural blend of these mediums.  But Chavez took it to a new plateau.  There's none of the rush, raw vitality of rap on this disc.  Instead, there's a monotone hushed voice expressing mature and complex sentiments.  The effect is hypnotic, mesmerizing and beautiful.

Prince's ability to write music and engineer sound was an ideal blend for Chavez's style.  The collaboration is one of the most complete and satisfying on the label.

The opening track, 'Heaven Must Be Near' is incredible.  It doesn't sound like a created piece of music as much as it sounds like a piece of music existing eternally in nature.  It simply found its way to this disc to appear.  The Clare Fisher Orchestra provide tantalizing strings and Prince's signature is all over the music.  This is the ultimate track and the ideal opener for the album.  It's followed by 'Hippy Blood'.  Although this song doesn't have any Prince input, it's still a solid effort.  Michael Koppelman; who was working as a recording engineer at Paisley Park, gets credit for providing the music to this number.  With its opening sitar setting the tone, this song moves into a more structured song style and showcases Chavez singing for the first time on the disc.  This song was also released as a single and many remixes are floating around including one by Prince.  'Candle Dance' is the next number and it's also co-written and produced by Michael Koppelman.   Although this song is much more reserved and subdued than the previous two tracks, it's still moody and you can hear a lot of emotion playing through the vocal delivery from Ingrid.

'Elephant Box' is the second single and second Prince composition to appear on the disc.  There's a scary circus organ playing followed by a soundbite taken directly from the bridge of the starship Enterprise.  And then the beat kicks in.  Yikes, you feel that?  That was your butt telling you to get up and move around.  That's right, while your brain is wrapping around the lyrics you're hearing the music forces you to groove right where you're standing.  "I'm living in the days of making dreams come true - so can you"....

'Slappy Dappy' is the next offering.  This track is also a Prince comp, but it doesn't quite hold up to the songs we've heard thus far.  The song itself is complex and interesting.  Some people would consider it a song about co-dependency.  I'm not sure I see it that way.  But it does border on it.  Not Prince's finest effort musically, but still interesting and enjoyable.  'Little Mama'...  It seems like every female artist during this time period was including songs about babies and being a mother.  It was a topic that was overplayed and often boring.  There was another Paisley Parker who did a similar song and I'll discuss it at some other time.  Michael Koppelman gets credit for this one.  I'm starting to pick up on some of this tells.  He uses metallic sounding bells as a favorite sound.

Next up is one of two songs that are more like soundscapes than actual songs.  'Jadestone' is the complete aural collaboration between these two visionaries.  Prince's stunning musical track accentuates the poetry recited by Ingrid.  Stunning example of what can be accomplished when music meets the spoken word.  Michael Koppelman shines again on the next two songs.  'Wintersong' is another beautiful composition lyrically and subdued musically.  A lovely combination of talent.  The next number is 'Spiritual Storm' which is nothing more than a musical segue between tracks.  It's the sole composition of Koppelman and I'm not sure why it's on this album considering it has no input from Chavez.  At least that I can ascertain.  It's followed by 'Sad Puppet Dance' which seems to flow directly out of it yet hit you with a solid beat.  Levi Seacer Jr., is the co-writer of this track and his talents are well known and well regarded among Prince fans.  He delivers a solid track with Ingrid once again performing sung vocal.

The final track is another poem with Prince providing musical background soundscapes.  Included are birdsong and the laughing bark of hyenas.  Very strange and yet oddly trance-like.

Ultimately, the collaboration between Prince, the various people surrounding him and Chavez delivered some promising fruit.  Material many Paisley followers wanted more of.  Ingrid went on to deliver some amazing music.  But it all started right here.  And the groundwork developed by Prince and his associates have shaped the sound and style of Chavez to this very day.  But at the same time, it's unique, different and appealing.  

My final words:  THIS IS WHY PAISLEY PARK WAS A REMARKABLE LABEL!  A FRESH OVERLOOKED SOUND THAT SURVIVES THE TEST OF TIME AND SOUNDS VITAL EVEN TODAY!

INGRID CHAVEZ - MAY 19, 1992
01. Heaven Must Be Near
02. Hippy Blood
03. Candle Dance
04. Elephant Box
05. Slappy Dappy
06. Little Mama
07. Jadestone
08. Wintersong
09. Spiritual Storm 
10. Sad Puppet Dance
11. Whispering Dandelions

MESHELL NDEGEOCELLO - COOKIE: THE ANTHROPOLOGICAL MIXTAPE BY MESHELL NDEGEOCELLO

Wow, so here's another amazing album by the incredible Meshell Ndegeocello.  Her first album was Hip Hop/Urban...  Then she shifts into some hazy folk influenced rock effort.  After that, she hits us with an Adult Contemporary record.  And now...  She takes us back to the street with a Civil Rights record of sorts. 

It's an album that celebrates being brown skinned and also highlights some of the self inflicted attitudes keeping people of color down.  At least that's how I see it.  Right from the start on 'Dead Nigga Blvd. (Pt. 1)' she's highlighting some of the negative thinking holding so many people back.  "Somebody said, our greatest destiny is to become white - but white is not pure and hate is not pride - just cause civil rights is law doesn't mean that we all abide - tell me are you free?"  She goes on to say most are holding onto an Africa of the past while forgetting it was Africans who helped to enslave their ancestors.  She's fighting the negative thoughts of an entire generation of people.

She follows it up with 'Hot Night'.  This song is a party tune, but it's interlaced with a speech from Angela Davis...  I'm not sure how to interpret what I'm hearing.  In so many ways, the choices of soundbites from this woman are both offensive and trivializing women in society.  And yet I know these comments are taken out of context in order to present a certain idea.  Once again, it seems the order of the day is how black people are keeping black people down.  But let's be honest, this is one jamming track and I love it!

'Interlude: Blah Blah Blah, Dyba Dyba Dyba' is a short little jam featuring Meshell talking to someone on the phone.  It's a great interlude and it leads into one of the sexiest seduction songs ever written, 'Priorities 1-6'.  "All I got is love and time to spend".  The stuttering percussion, deep groove tones and the chanted vocals make it one of the best tracks on the disc.  Next up is 'Pocketbook'.  I think this song was the big single from the album, but I might be wrong.  If it isn't it should've been.  It's got a delicious groove that starts and drives you right dang near to ultimate pleasure.  There's no bars being held here.  Meshell is letting her sexuality stand out like a wild stamp for the world to see.  If you don't get what's happening on this track, you won't be able to pretend you don't know when 'Barry Farms' kicks in.

This track holds a special place in my heart because I heard it live before it was recorded and released on this record.  She played it at a concert in North Carolina to test it out and I loved it.  She pretty much spells out everything on this track.  Plus you hear some of the synth stylings that would play such a huge roll on her next album, "Comfort Woman".

And then we get to 'Trust'.  Wow, another amazingly complex seduction song.  This one is soft core porn virtually bordering on the explicit extreme...  And it's absolutely incredible.  These are songs that make me envy lesbians.  Lol.  Although this one seems to be more in tune with the straight side of things.  She's a complex and interesting woman and there's no way to categorize her.  She really defies attempts to file her away.

As the next song proves.  'Akel Dama (Field Of Blood)' includes lyrics I use as a closing quote on all my online profiles.  This track is as much a philosophical statement as it is a statement of faith and purpose.  It includes a rather heart touching account told by a man in prison.  He shares his thoughts about family and incarceration.  Very powerful.  It's followed by 'Earth'.  This song seems to incorporate some jazz and other musical elements Meshell is known to use from time to time.  It's another song describing dedication and devotion.  She writes these kinds of songs so well.  I'm starting to think no one could ever do it better.

Another tune with a deep groove and a funky beat kicks in called 'Better By The Pound'.  I really love this number too.  'Criterion' kicks in sounding like something you'd here in a Las Vegas lounge.  It's incredible but also deep.  'GOD.FEAR.MONEY' jumps in with a more aggressive beat and it almost sounds like something I've heard long ago.  I wanna say, there's a Prince quality to it, but it's more like something that would've inspired Prince back in the day.  Something you'd hear in his music from the artists who came before.  And so it is here.  Like the progression of music culminating in this track.

'Jabril' is next and it's got more of the same organ sounds, bass funk playing and everything you've come to expect from this eclectic disc.  I love the song, but it's not the best on the disc.  'Dead Nigga Blvd. (Pt. 2)' is an instrumental reprise with some spoken word over the top.  It's as funky and cool as the first track.  Afterward, you get an interlude to close out the disc.  'Interlude: 6 Legged Griot Trio (Weariness)' vocalizes the frustration felt by those who are trying to get ahead and feel like they're being held back.

The last piece of music on this disc is 'Pocketbook (Rockwilder And Missy Elliott Remix) Featuring Redman And Tweet'.  It's a good mix, but I'm not sure it surpasses the original.  It does feature some new lyrical content and performance by Meshell which is very cool.

Once again, Meshell opens up a door and takes the listener in a new direction and once again, those who take the trip are wrapped in music that makes you think, feel and move.  She reaches you on so many levels...  It's hard to explain her to people.  Everytime I mention her name and someone tells me they don't know her, I feel like their lives are missing an integral equation for happiness in life.  She reaches into you in such a powerful way.  There's no other word for it.  She touches her listeners.  She expresses sentiment in such a passion-filled manner.  I could go on and on about the power I feel in her music.

My final words are:  ANOTHER TRIUMPHANT CLASSIC FROM AN UNDER-RATED ARTIST.

MESHELL NDEGEOCELLO - COOKIE: THE ANTHROPOLOGICAL MIXTAPE BY MESHELL NDEGEOCELLO
01. Dead Nigga Blvd. (Pt. 1)
02. Hot Night
03. Interlude: Blah Blah Blah, Dyba Dyba Dyba
04. Priorities 1-6
05. Pocketbook
06. Barry Farms
07. Trust
08. Akel Dama (Field Of Blood)
09. Earth
10. Better By The Pound
11. Criterion
12. GOD.FEAR.MONEY
13. Jabril
14. Dead Nigga Blvd. (Pt. 2)
15. Interlude: 6 Legged Griot Trio (Weariness)
16. Pocketbook (Rockwilder And Missy Elliott Remix) Featuring Redman And Tweet