ELECTRIC SIX - MIMICRY AND MEMORIES

Usually when I get a new CD I spend some time with it before I write a review.  I let the music kinda permeate and soak in before I attempt to share an opinion of it.  But I'm not gonna be able to do that with this album.  I've been waiting for it for almost a year and when I picked it out of my mailbox this afternoon, I just about lost it.  I dumped it straight into my truck and hit the road.  Had to drive to experience this amazing double disc release...  And let me tell you, it really is AMAZING!!!!

For those of you who aren't familiar with Electric Six, do a search of my blog and you can read reviews of other albums the band has released.  As for this beauty...  It was the result of a Kickstarter campaign and you could only get the disc if you participated.  For those of you who didn't, you're kinda outta luck.  The band won't print anymore copies and they won't sell them online, in stores or at shows.  This was your one and only chance.  I guess copies might show up on eBay or other sites, but I'm guessing they'll run you a pretty penny by the time they show up.

Anyway, for those of you who didn't get it, here's what you're missing...  There are two discs:  Mimicry (comprised of covers the band recorded); and Memories (a selection of demos, outtakes, unused tracks, single tracks and anything the band wanted to put out there).

The first track on the Mimicry disc is 'I Got The Six'.  Written by Billy Gibbons, Dusty Hill and Frank Beard, this track is from ZZ Top's 1983 "Eliminator" album.  This is a great song to start the album off with.  E6 doesn't pull any punches on this one, but they also don't do anything strange or unusual.  This is a very straightforward rockin' version of the original track.  The biggest difference is the inclusion of keyboards on E6's version.  I also think E6's version is more substantial.  There's a bigger feel to it and it's more satisfying.  Although ZZ Top really rock this number, all recordings of the song I've heard sound thin and old.  The fuller production and larger sound make this a track ZZ Top should reconsider updating.  It still packs an enormous punch.

The second track is 'Easy Lover'.  This chart topping hit is a duet between Philip Bailey and Phil Collins.  The two share writing credits along with Nathan East.  It's taken from Bailey's 1984 album, "Chinese Wall" and I very much doubt there's a single person who lived in the 80's that wasn't aware of this song.  I was never a huge fan of it back then and I was a bit suspicious when it turned up here.  But Dick Valentine and crew deftly turn it out in E6 style and make it a song that could easily be a standard for them.  Although it's better not to be known for covers.  It's followed by a song I've never heard before.  A little research shows the track was written by Donnie Iris and Mark Avsec.  It was originally released on Donnie Iris And The Cruisers' 1992 album "Out Of The Blue".  I listened to the original and it sounds familiar.  It reminds me of something I might have heard back in the early 80's.  Maybe even some early Cars.  But it's a bit strange and goofy.   E6 take the camp out and deliver an anthem rock version.  Once again, it stays true to the original, but Valentine is more convincing singing this song than Donnie Iris.  Giorgio Moroder and David Bowie teamed up on the next number, 'Cat People (Putting Out Fire)'.  This creepy track is taken from the soundtrack to a 1982 film I never saw.  And haven't even heard about.  I checked out the original version and I have to say...  Yikes.  It was around this time Bowie was transitioning to 80's pop icon with his hit record, "Let's Dance".  But this precursor is a bit on the "ummmmmm, what???" side.  This is the first track E6 offer us a drastically different version than the original.  And it rocks!  It is vastly superior and a great example of how a song can be great with a different arrangement.

'Do You Love Me?' is from Kiss' 1976 album, "Destroyer".  Written by Paul Stanley, Kim Fowley and Bob Ezrin; this was a dynamic song that sounds a  bit dated.  Much like ZZ Top's 'I Got The Six'.  E6 restore it to stadium rock status with this exuberant cover.  So far, I think all of the covers have been just as good as or better than the originals.  Michael Melchiondo Jr, and Aaron Freeman are credited with writing 'Buckingham Green' from Ween's 1997 album, "The Mollusk".  I always thought this song was a bit thin, but grandiose.  In this case, I'm not sure which version is superior, but Valentine delivers a creepy vocal performance worthy of the creepiness of the song and the production value on E6's version is far superior to Ween's.  

Next up is a track E6 played last year on tour.  It was an encore number and supporting act, Yip Deceiver would join on vocals.  Taken from 1987's "Tango In The Night", 'Everywhere' is Christine McVie's contribution to Fleetwood Mac's record and although I've excitedly waited for this song more than any other, I'm not as thrilled with it as I wanted to be.  And here's why...  Musically, it stays true to the Fleetwood Mac version and that's great!  It's an amazing song you probably shouldn't mess with.  Tait's keyboards are spot on.  But, this studio recording was done with Yip Deceiver and the shared vocals don't really cut it here.  I love both bands and I hate saying this.  But I'd much rather hear Valentine on all verses.  His deeper tone somehow suits the song far better than Yip Deceiver's higher sound.  Still, the music is flawless.  Written by Per Gessle, 'The Look' is taken from Roxette's breakthrough 1988 record, "Look Sharp!"  I didn't mind this Swedish duo, but I didn't like them either.  Most of my friends picked up this record but I skipped it.  I really thought they were a copy cat band.  Of all the tracks on this first disc, this is the one I think is completely out of place.  It just doesn't fit in here.  It's hard to judge covers of songs that were released as singles and were successful for their original artists.  It's more exciting to find an obscure song from a group and breathe new life into it.  E6 tackle some big hits here and this one is probably the only one I feel like they fail on.  There's no way you can convert this piece of pop fluff into a song you'd want to hear Dick Valentine sing.  I'm disappointed to say it, but waste of a track.  I would've picked something more funk or R&B oriented for this number.  Valentine has proven he's got the chops for some heavy funk.  Much better direction.

'Girls Want To Be With The Girls' kicks in and I think to myself, "That's a right jaunty jig!"  This David Byrne composition appears on Talking Heads 1978 album, "More Songs About Buildings And Food".  The Talking Heads are one of the bands who defined New Wave sound in the 80's.  The art-centric lyrics and descriptions David Byrne litters his songs with was copied by many acts following behind and the genius of his work is given new life in this fun and full version.  I love what E6 has done here and I can't praise this number enough.  Pure brilliance.  In 1988, Weird Al Yankovic released his record, "Even Worse" and the second track was an original tune he wrote called, 'Stuck In A Closet With Vanna White'.  To his credit, Yankovic treats this campy number as seriously as he can.  He tries to deliver a serious vocal, but it gets washed away in the 70's piano stylings and bland music production.  E6 keep the slamming keys, but they filter them through a wall of screaming guitar!  After years of singing songs dealing with suspect subject matter, Valentine gives us the energetic rock vocal Yankovic always intended for this song.  It doesn't feel stuck in a foregone decade...  It reaches out, grabs you by the balls and drags you screaming into the closet right next to Dick and Vanna.  Whew!  You could blow a gasket here.

Tomas Ford's 2014 album, "An audience with Tomas Form" is an interesting piece of music.  I haven't heard the whole thing, but I sampled it on Amazon.  E6's cover of 'Rockets' starts out sounding like a theme from a 1950's suspense film.  It gradually moves into a more sinister rendition.  Compared to the original minimalist version, E6 once again fill a rather empty room with strong and sparkling sound.  Easily the better version, I quite love this song and I'd be interested in hearing a collaboration between E6 and Ford in the future.  The last track on this first disc is the Mike Reno, Paul Dean penned track, 'Turn Me Loose' from Loverboy's 1980 self-titled album.  I remember the song and I remember Loverboy.  For whatever reason, I remember thinking Loverboy wanted to take over where Queen left off.  The lead singer hits some powerful, high notes.  I always like the fact Loverboy included keyboards in their band make up and so prominently in their arranging; but they were too much of a hair band for my taste.  E6 takes this wimpy 80's scrapped gel rock number and provides it with a deep and urgent feel Loverboy would kill to achieve!

So I'm very positive and happy with everything I heard on the first disc barring 'The Look', now let's talk about the Memories disc.  This one has more songs, but they're shorter.  This disc is the follow-up to "Sexy Trash".  Another album of demos, outtakes, rarities and more.  I'll go through this one more quickly.  The opening track is the 'Exterminate Tour Intro'.  I didn't see that tour, but this intro makes me wish I had.  It's an interesting blend of various tracks.  I'm assuming the band actually came in right as the track ends with a whomp!  Next up, is 'Dance Epidemic (XFM Session)'.  XFM is a radio station in the UK and bands often go on and play live songs.  This is a track the band played on that show.  No. #3 is 'Typical Sagittarius'.  This is a song that didn't make the final cut for "Zodiac".  I love it!  At one point, the band made the song free to download.  You could've picked it up then, but it's wonderful to have it on a CD.  'The Sheik Don't Lie' is a frenzied number.  There's no information on where this song actually comes from, but it's an interesting number and cool to hear.  'Taxi 2 Nowhere (Demo)' is an alternate version of the one that was released.  It's basically a different vocal take.  The released version of that song always sounded like a demo anyway.  'Shortlove' is up next and this is another song with no information.  I love this song!  The guitar is fantastic and the drum machine is pretty cool here too.  The subject matter reminds me of a song that's similar but sounds nothing like it...  George Michael's 'Fastlove'.

The next track is 'Night Vision (Demo)'.  It's an acoustic demo and it's stripped down to the bare essentials.  Valentine's voice is still stunning and compelling on this track.  There's a frenzy to the strumming that was later filled in with the drum track.  I love this demo!  I actually like this version of the song almost as much as I like the released track.  Taken from the 1968 album, "Aerial Ballet", Harry Nilsson's 'One' is next.  This track was originally intended for the Mimicry disc.  Why it shows up here isn't explained.  But let me say...  The original of this song is very sad and soft.  Three Dog Night had a hit covering it, but they didn't do anything quite like what E6 achieve here.  They take a sad and depressing song and turn it into a rockin' jam!  So much better!  Absolute excellence!

'I Don't Speak French (Demo)' is kinda exciting to see here as the released version of the track is actually from Dick Valentine's solo effort "Destroy The Children".  Very cool to hear a demo of this song.  Love, love, love it.  'I Can Translate' was a bonus download track for "Zodiac".  I think the group also put this one up for a free download but I could be wrong.  I downloaded this song somewhere and I really like it.  Initially I felt uneasy listening to it because the guitar is quite piercing when you play the song loud, but there's so many great elements to the song it's easy to see past it.  The main keyboard line is borrowed from another song, but I'm not quite putting my finger on which one.  'My Struggle With Heroin' is another song we don't know much about.  It's got a demo quality to it, but it's still a fun track.  This song reminds me of Prince's "Dirty Mind" era.  It's got that raw sound and feel.  'Free Samples (Demo)' is a more acoustic rock version of the released track.  Still, this was one of the songs I really loved on "Heartbeats And Brainwaves" so there's nothing bad about hearing this alternate version.  I still love it!  

'Badass' is another song without any information.  It's quite rockin'.  It does feature a drum machine pattern playing under the guitar.  Percussion World's playing would certainly fill this song out and make it richer.  It's still got some potential and I'd love to hear a finished version.  'Gay Bar (Live At Manumission Ibiza 2004)' was actually released on one of the UK singles for 'Radio Ga Ga'.  It's still nice to have it here for those who weren't able to get copies of the single.  Holly Knight and Nick Gilder wrote 'The Warrior' from Scandal Featuring Patti Smyth's 1984 album, "Warrior".  This would be another cover I expected to be on the first disc, but here it is.  This was a big hit for the band and although I really love E6, I have to give props to the original on this one.  Their cover is passable, but it doesn't equal the intensity the original inspires.

'Dancing Like An Idiot' is a Dick Valentine demo.  It's from the Wildbunch days but this demo makes me think he re-purposed it for another project.  Possibly for one of his solo records.  The recording sounds newer with much better production.  'Technical Difficulties' is basically Valentine playing with a song idea while tuning or sound checking his guitar.  It's quite humorous and interesting to hear him in an unguarded moment like this.  A rare treat.  'Slices Of You (Demo)' is an interesting demo.  Once again, you get a fun drum machine track playing underneath a scorching guitar.  Another song I adore and it's terrific fun to hear this demo version.  The funk guitar part in the middle is absolutely worth the listen.

'Turn It Up (Demo)' is an early version of 'I Wish This Song Was Louder'.  There's another demo on "Sexy Trash" with the same title, but I haven't listened to them back to back to see if their are similarities.  'Strike While The Iron Is Hot (Demo)' is another song that appears on "Sexy Trash".  This version is a little different.  Another one I'll have to listen to back to back and see what the differences are.  According to their Kickstarter update page, 'Ziggy' was a song they wrote especially for the "Absolute Treasure/Pleasure" project.  But it was never released.  It's exciting to see it here.  This song would've fit in nicely on "Zodiac".  And I can tell it wasn't completely finished.  Live, I bet this number would've rocked the joint!  It's a strange track and I suspect it's based on David Bowie's character Ziggy Stardust.  I need to listen to it a few more times before I'm sure.

The next three tracks were all songs written for but not included on the last album, "Human Zoo".  'Fucking In Another Man's Clothes' is totally brilliant and I can honestly say, leaving this one off the album was a huge mistake!  It's incredible and would've fit in nicely with the flavor of "HZ".  'Suitcases' starts off sounding like a strange dusty lounge act playing in a dirty bar in Mexico.  But the odd groove and lyrics are oddly intoxicating.  There's a vivid story happening here.  Another song I need to listen to a few times.  'Wikileaks' is the final "Human Zoo" leftover.  This song combines the acoustic and the electric quite seamlessly and it's another track I would've enjoyed greatly on the album.  I find it incredibly sad so many good songs get set aside when a band is recording an album.  These outtakes are strong and well written.  I'm not sure why they decided not to use them.

The last two tracks I'm including in this review are two you actually get as a bonus download.  'White Eyes (October 2008 Demo)' was announced as part of the Memories disc but then left off.  It's basically just an instrumental of the album track.  Same for 'Bleed For The Artist (December 2009 Demo)'.  I think the band decided they didn't add much to the Memories disc so they left them off.  But because they'd initially announced they would be included, they threw them to you as a bonus.

After a long wait, I finally got my new music and I can honestly tell you, I'm very happy with what I've received.  E6 is one group who believes in putting value in their releases.  This really was an effort to give something back to their fans and I must say, they succeeded!  My final words for this already long, long review:  GOLD STARS ON EACH BAND MEMBERS' FOREHEAD!!!!  IT MAY NOT BE #1 ON THE BILLBOARD CHARTS, BUT IT'S #1 IN MY PLAYER FOR A LONG TIME TO COME!!  I CAN'T BELIEVE YOU MISSED THIS ONE...

ELECTRIC SIX - MIMICRY AND MEMORIES
MIMICRY DISC 1
01. I Got The Six
02. Easy Lover
03. Ah! Leah!
04. Cat People
05. Do You Love Me?
06. Buckingham Green
07. Everywhere
08. The Look
09. Girls Want To Be With The Girls
10. Stuck In A Closet With Vanna White
11. Rockets
12. Turn Me Loose
MEMORIES DISC 2
01. Exterminate Tour Intro
02. Dance Epidemic (XFM Session)
03. Typical Sagittarius
04. The Sheik Don't Lie
05. Taxi 2 Nowhere (Demo)
06. Shortlove
07. Night Vision (Demo)
08. One
09. I Don't Speak French (Demo)
10. I Can Translate
11. My Struggle With Heroin
12. Free Samples (Demo)
13. Badass
14. Gay Bar (Live At Manumission Ibiza 2004)
15. The Warrior
16. Dancing Like An Idiot
17. Technical Difficulties
18. Slices Of You (Demo)
19. Turn It Up (Demo)
20. Strike While The Iron Is Hot (Demo)
21. Ziggy
22. Fucking In Another Man's Clothes
23. Suitcases
24. Wikileaks
25. White Eyes (October 2008 Demo) (Digital Download)
26. Bleed For The Artist (December 2009 Demo) (Digital Download)

EVIL COWARDS - MOVING THROUGH SECURITY

"Moving Through Security" is the second album from Evil Cowards and it continues the tongue-n-cheek humor from the previous release.  Without a doubt, Evil Cowards are one of the most interesting projects on the market today.  When I got the first album I couldn't stop playing it for days.  In fact, I got so used to hearing it while I was playing a new game of Mahjong I'd downloaded, I can't play the game today without starting the disc up.  This one spent almost as much time in my player after I was fortunate enough to pick it up.

It starts off with 'Fixing Machines' which features the lyric, "If there's only one sure thing that I know, some day the world's gonna bow before this two man show."  In the vein of 'Theme From Evil Cowards', the idea of the group having a major cultural impact continues.  As much as I wish this sentiment were true, it probably won't happen.  Mainstream America takes itself way too seriously for a group like Evil Cowards to rise to the top of the charts.  In a system built around record companies and media conglomerates who still control what people watch and listen to, this duo doesn't stand a chance of breaking out without conforming and that, my friends is something none of us want.  It's a catchy number and it sets up the mood of the record quite nicely.  It's followed by 'Dirty Consuela', a tune with a more pop sensible beat and build.  It's a great song musically, but the lyrics are about a barely legal girl prostitute.  I find it a little creepy, but my biggest complaint is the sax solo in the middle of the song.  I've never understood why electronic bands sometimes do this.  It's an 80's gimmick and it doesn't work now like it didn't work then.  The song would be much more interesting without it.  'System Overload' is next and this tune has some interesting sounds.  It includes a pulsing synth line similar to the previous track.  If I understand the plot of the tune, it starts with a dude planning on committing suicide.  He stops at the last minute when he realizes he can fix his problems not by killing himself, but killing his lover.  Lol, a strange but interesting idea.  And very thought provoking.

'Moving Through Security' continues with another pulsating synth.  There's a lot happening in this song.  Lead singer, Tyler Spencer (AKA, Dick Valentine) covers a lot of concepts here and I'm not going to break them all down but one thing I will point out happens in the first verse where he talks about seeing what's in his bag.  On social media, he mentions his fans reaching into his bag and buying his merchandise.  This tune discusses getting his merch through security.  Among other things.  It's quite funny.  'Bedford Avenue Wine Distributors' is an amazing cut.  It features the repetitive lyric, "Black drug dealers vs. white drug dealers" and that the extent of the song.  Absolutely brilliant.

The next track is 'Jerkin' Each Other Around'.  The gist of the song is no matter what you've been taught about love and happy endings, it's never that simple.  Everyone goes through heart break.  But no one ever tells you that's going to happen.  'Optical Day' has a fun beat and is easy to sing along with.  This is one of the tracks I tune the volume up on and roll down the windows.  I sing this one at the top of my lungs.  One of my favorite numbers on the disc.  'Dormitory Girls' lists Gina Gershon as additional vocalist.  I don't know if it's actress Gina Gershon but I love her and if it is, I'm in pure heaven.  I love this song.  The subject matter is a bit ridiculous...  I'll never understand songs about young girls.  It's a bit repulsive and lecherous, but I do love the music and the lyrics are catchy.

Next up is 'Rich Kids', my absolute favorite track on the disc.  And don't ask me why.  I find it absolutely hilarious and the music is fantastic!  'Gravy Train' is also exciting and fun to listen to.  It uses food as a metaphor for a long term relationship.  One that was delicious when it was new but over time has lost its flavor.  'Military Man' has a compelling beat and describes a military man in various ways.  Of all the tracks on this album, this one seems the most nonsensical, but it's got such great music, it's easy to overlook the lyrics.  'Lazy As Fuck' is like a slap in the face or the water bucket challenge.  It's one of those uncomfortable truths so many people deny and run away from.  In this number, Evil Cowards take the idea of failure and people who don't live up to their potential and shine a giant spotlight on it.  Maybe it's not the world keeping you down, maybe it's you and the fact you're lazy!  Depending on where you stand in life, this song will either seem uncomfortable or honest.  Either way, it's a subject I've never seen tackled in music before and I give a huge high five to EC for covering it.

The final track on this record is also the most complicated and strange.  It's also one of the most incredible pieces of music I've heard in a long time.  The song suggests the seduction of young men into a homosexual life by someone referred to as the Purple Man.  It's not the first time Evil Cowards have tackled the subject of gay lifestyles, but it's the first time they've tackled gay men.  Their previous foray into the subject revolved around a lesbian couple.  However...  I see this song a little differently.  'Summer Of The Purple Man'...  When I listen to this song, this is what I hear; it's a nostalgic look at the summer these musicians were seduced into loving and discovering music.  The year in question is 1984 and the "Purple Man" is Prince.  When he burst on the scene, parents had no concept of what was happening.  He was a threat because unlike Michael Jackson, he wasn't the family friendly black guy showing up on America's television screens.  He was blatantly effeminate, sexually explicit and one of the first commercially successful black artists on the top 40 charts.  Older generations didn't know what to make of him at all.  The back lash against "Purple Rain" was extreme.  And yet, his impact on young people and the desire to make music is legendary.  You could literally write a novel on the fears Christian parents had and the things they would blame him for over the years...  Their children being gay, young people being sexually active, etc. etc.  But like a ruffled Pied Piper, he trounced across stages all over the US and filled his "bag" with young boys and girls; seducing them with his music.  It really was a summer of a purple man.  There's no mistaking the early 80's drum pattern.  The only argument you can make against it is the mention of 1991 being the year it happened.  But that was a big year for Prince and he was credited as having a huge comeback during that time with "Diamonds And Pearls".  He was still considered the Purple One.  I think 1991 is used to throw the listener off track and also keep the song in a safe zone.  In 1984, Spencer would've been 13 and the song would've been super creepy with the double entendre.

However you choose to see it, this is a complex song with complex ideas.  And that's one of the things Evil Cowards does best.  This is an extremely satisfying follow-up to their previous record and all it does is whet the appetite for more.  Here's hoping Evil Cowards continue to collaborate and release.  I'll be in line to purchase new material.  My final words: AN EXCELLENT FOLLOW-UP AND SATISFYING RELEASE!  BUY IT IF YOU CAN GET IT.  AN AMAZING ADDITION TO ANY COLLECTION.

EVIL COWARDS - MOVING THROUGH SECURITY
01. Fixing Machines
02. Dirty Consuela
03. System Overload
04. Moving Through Security
05. Bedford Avenue Wine Distributors
06. Jerkin' Each Other Around
07. Optical Day
08. Dormitory Girls
09. Rich Kids
10. Gravy Train
11. Military Man
12. Lazy As Fuck
13. Summer Of The Purple Man

GENERAL PUBLIC - ...ALL THE RAGE

General Public was a band formed by members of other bands.  The group came together, released a couple of records in the mid-80's and disappeared almost overnight.  In many ways, they typify the concept of a "one hit wonder".  But the songs I loved by them are songs that I've continued to love over the years.  I've never really stopped liking them.  So it's no surprise I picked up the disc when I found it back around 1996.

The band has a interesting sound.  They're typical New Wave but there's a Reggae twist to almost every song and they don't rely on the electronic instruments as heavily as many English bands of the time did.

The opening track, 'Hot You're Cool' is actually the one song on the disc I dislike.  I think the lyrics are a bit foolish and he says at one point, "Show me my favorite beauty spot..."  I find that lyric a bit appalling.  But that's my opinion.  It's followed by the hugely popular and still oft-mentioned 80's standard, 'Tenderness'.  This is perhaps the band's most famous and well known track.  I certainly love this number.  In fact, it's the reason I bought the cassette back in the 80's.  The lyrics are vague enough to be open to interpretation and I saw it as a secret gay anthem.  I'm probably wrong but if you look at the lyrics and you consider them from the point of view of a gay man who's dating a straight guy...  "I held your hands, rings but none on that finger.  We danced and danced, but I was scared to go much further with it"  Then he goes on to talk about the guy having problems with his girlfriend finding out about him.  How confused he seems and ultimately, how the gay guy feels abandoned and lonely when the next night after their one night stand he's all alone.  It would take forever for me to go through every lyric so I'll leave it there.  But consider it.  Consider it.

Next up is 'Anxious'.  This one has a strong reggae beat.  When I was younger, I didn't really like this track, but now when I listen to it, I like it quite a bit.  Especially the lyrics.  I find them inspiring.  It's followed by my second favorite number from the band, 'Never You Done That'.  I adore this song.  It's happy, upbeat and more New Wave than the other tracks.  'Burning Bright' has some strange chord changes.  The bass is really kickin' on this number.  It reminds me of something Big Audio Dynamite would've done and quite honestly, it would've suited their record better than General Public's.

'As A Matter Of Fact' is another reggae number, but this one is more fun and exciting.  I enjoy this song.  I have certain opinions about the meaning of this number too, but I'm not going to spend the time discussing them here.  It's got a lovely groove and you can tune this one out in the background and just let the beat and vocals wash over you.  Very relaxing tune.  'Are You Leading Me On?' is next and it's much more frantic and hurried than the previous number.  The chorus breaks down with a great reggae beat and it's another song with interesting chord changes.

'Day-To-Day' is one that uses some popular 80's sounds throughout.  'Where's The Line?' comes next and it's a tune I really love.  I think it falls into my top three favorite numbers on this record.  The final number, 'General Public' is ok, but it meanders a bit.  Depending on my mood, I find the song either fun or annoying.  I can take or leave it.

Overall, the songs I like, I really love.  The one I don't like, I really don't like and the rest are just kinda...  there.  Still, I hear and see enough positive stuff here to warrant buying more material and wanting to hear the group do more things.  I wish they'd focused more on pop numbers than doing more experimental reggae infused songs.  As a pop band, there's no stopping them.  They're letting the air out of their tires by miring the record down with the reggae beats.  They just aren't strong enough tracks.

Overall, I'm positive about this disc and my final words are:  80'S CLASSIC YOU COULD PROBABLY BOIL DOWN TO THE SINGLES.  BUY INDIVIDUAL SONGS.  SKIP THE RECORD.

GENERAL PUBLIC - ...ALL THE RAGE
01. Hot You're Cool
02. Tenderness
03. Anxious
04. Never You Done That
05. Burning Bright
06. As A Matter Of Fact
07. Are You Leading Me On?
08. Day-To-Day
09. Where's The Line?
10. General Public

JANET JACKSON - CONTROL

Shortly before this little disc came out, this artist's brother was enjoying the success of the most popular record of all time.  Imagine what the impact that would have on brothers and sisters who were also trained as singers and dancers but never achieved any solo success.  So now imagine his chart topping success followed almost immediately by his baby sister's disc that almost did as well as "Thriller".  

For those of you who weren't there, "Control" took over everything.  Girls at school were wearing their housekeys on their hoop earrings, kids practiced her dance moves during lunch and in the halls between classes.  If you missed recording it on cassette off the radio, you didn't have to wait long for another chance.

While fans dreamed of rivalries between Prince and Michael Jackson and squared up behind the star of their choice, Janet tried a different approach.  She knew she didn't want to go into the studio with a label, engineers and producers who'd worked with her family and the Motown sound for many years.  She wanted to do something new and exciting.  She was listening to the Minneapolis sound.  And she liked what Prince and other artists surrounding him were doing.  But she also knew her parents would never let Prince produce their baby girl.

So she did the next best thing.  She's met Jam & Lewis during her previous recording sessions in Minneapolis.  And they were excited to work with her.  But the trick was...  Blending the pop sensibility of Motown's hit making traditions with the vital and exciting energy of the Minneapolis sound.  She brought the experience and the knowledge of the Motown history and Jam & Lewis brought the Minnesota funk.

The blend was something new and exhilarating.  When it hit the streets, fans couldn't keep their hands off it.  Her parent's worried she'd sound like Prince, but Janet didn't let it stop her.  Ultimately, it was the blending of these two very different styles of musical tradition that helped Jimmy Jam and Terry Lewis develop their own signature version of the Minneapolis sound.  And once the hits started coming, they never stopped.

With one declarative statement, Janet ...  Sweet little baby sister Janet, stepped out into the spotlight and seized control of her own life.  And her message, heard all the way around the world, was a very public wake up call to her family and friends.

Her first single, 'Control' was accompanied by a live performance video letting everyone know, this time she meant business.  And the album released single after hit single.  I think there are only a couple songs that didn't actually get a single release.

Listening to it now, some of the drum sounds are a bit outdated and there are songs where they rely heavily on old R&B sounds on the keyboards, but otherwise, the disc has held up. 'Control' kicks it off with just the right blend of both musical schools of production that you think you know what you're in store for.  Fans of The Time who know Jam & Lewis saw it as a Time performance.  But it was completely different.  For one thing, instead of the misogynist preening of the Morris Day character, this band was led by a woman.  Her dance moves were bold and avoided being overtly sexual.  She took the stage as a confident band leader and rocked the house down.  This is when we knew something special was happening.

Even now, the drum track on 'Nasty' sounds amazing.  It was such a different sound and no one really copied it.  Where Madonna empowered 80's women to own their sexuality, Janet empowered them to expect/demand equality and projected an image of a strong female archetype who didn't rely on sensuality to send a message.  In fact, the message of 'Nasty' was a demand for respect rather than objectification.  It was followed by, 'What Have You Done For Me Lately' which tells the story of a partner who takes his lady for granted.  All three of these songs were released as singles and had huge chart success.

After the progressive and new sounding opening of 'Control', 'Nasty' and 'What Have You Done For Me Lately', 'You Can Be Mine' sounds a little outdated and weak.  The message is empowering and as the song progresses, the music clears up and you get some wonderful arrangements from the masters of Minnesota funk.  It goes out on a high note.  Next up are two more tracks that saw single releases...  'The Pleasure Principle' and 'When I Think Of You'.  'The Pleasure Principle' is the first track appearing on the album not written by Jackson, Jam & Lewis.  However, it's written by former bandmate and Time member, Monte Moir.  Most of the original Time members went on to produce and write for other artists and they were all part of that Minneapolis sound.  Although this tune does have a distinctive quality that sets it apart from the others, it still sounds like it belongs in the fused sound they'd created.

Both 'The Pleasure Principle' and 'When I Think Of You' reached the US top five.  The next track is the one song that seems utterly and completely out of place on the record.  'He Doesn't Even Know I'm Alive' was written by Spencer Bernard.  Although I'm not sure where he comes from or how he hooked up with Jam & Lewis, he's been with them ever since and contributed numerous songs to their artists.  This one, however, sounds like dated Motown, not something that belongs with the innovative style of the rest of the album.  In addition, the song seems take the powerful strong woman Jackson has presented throughout the rest of the album and turn her into a tiny, frightened uncertain little girl.  It's demoralizing to see it happen.  This song would have better served the record if it'd stayed in a drawer for another artist.

I don't even consider it part if the album.  More like a filler track left over from her previous two albums recorded under her father's watchful eye.

The next two tracks set up a formula Janet would repeat a few times over the years.  Both are ballads.  It wasn't uncommon for her to save the slow music for the end of the album and use it to segue out of the disc.  'Let's Wait Awhile' is a song about abstinence and not allowing yourself to be pressured into sex.  Once again, Janet was empowering women to say no.  To control with whom and when they choose to engage in sexual conduct.  Although today this isn't seen as a radical concept, in the 80's it was still a topic people wanted to ignore and pretend didn't happen.

The disc ends with Janet gently but firmly rebuffing her beau in the middle of an intimate setting choosing instead to wait until the time is right for both of them.  'Funny How Time Flies (When You're Having Fun)' is both sensual and serious without being preachy or pandering to one specific ideal.   With this final track, Janet told an entire generation of women, intimacy is wonderful and can be extremely fun, but you have the power to say no.  You can stop at anytime.

The importance of this record and how it shaped women's roles in society cannot be taken for granted.  Madonna and other pop singers of the time wanted to free women from oppressive sexuality and allow women to enjoy and control sex.  But the message of "Control" branched out into virtually ever corner of society and expressed strength for almost every conceivable obstacle a young woman in that decade might face in her life.

Her social awareness, dedication to empowerment and strength made her an overnight icon.  The impact of this record may never be fully known.  But it does demonstrate a social awareness none of her family possessed in any great amount.  Her brother Michael produced and wrote songs he used to inspire change in others but his attempts were almost always extremely direct and lacked the inventive approach Janet took each time she planned an album.

My final words:  THIS ALBUM EMPOWERED ME!  HER BROTHER WANTED TO HEAL THE WORLD, BUT JANET CHANGED IT.

JANET JACKSON - CONTROL
01. Control
02. Nasty
03. What Have You Done For Me Lately 
04. You Can Be Mine
05. The Princeiple of Pleasure
06. When I Think Of You
07. He Doesn't Even Know I'm Alive
08. Let's Wait Awhile
09. Funny How Time Flies (When You're Having Fun)

DEPECHE MODE - SUFFER WELL

Through this blog I learned why British artists release multiple versions of singles.  It's mainly to do with making sure your song qualifies to appear in the charts.  The governing body of that rating won't allow more than so many minutes on a single.  So most bands release a single with a song and possibly a b-side and then release a second longer single with mixes.

Our disc today is the second longer mix disc of Depeche Mode's single, 'Suffer Well'.    'Suffer Well' is a track taken from 'Playing The Angel".  Not only is it one of my favorite tracks from the album, it also was the beginning of a new trend in the way DM records were released.

Depending on who was in the group, Martin Gore would sometimes share writing duties with other band members.  Since he's been working on solo material, David Gahan was approaching the group about recording some of his original compositions.  Of which this is one!

The first track is the '(Tiga Remix)' which basically sounds like a minimalist version of the album track.  There's some percussion mixed in, but it's often faint and almost hidden in the track.  Track 2 is the '(Narcotic Thrust Vocal Dub)'.  This one jumps in pounding deeply and only relents when Gahan begins to sing.  His vocals are highlighted.  The house intense beats and loud frantic pace make this one a fun if not panic inducing party pleaser.

Number 3 is called the '(Alter Ego Remix)' and this track employs some distortion on the speakers to give the vocal delivery a gritty sound and make you think you're hearing a totally different recording of the vocals.  It's followed by the '(M83 Remix)' which sounds amazing.  Some of Martin's atmospheric vocals are highlighted and they sound so much better when you can hear then clearly.  It's another somewhat minimalist arrangement, but it's lovely and surely one of the best on this release.

The final two tracks are both done by the same person.  There's the '(Metape Vocal Remix)' and the '(Metape Remix)'.  They're both nice and similar.  All in all, you don't go wrong with this disc.  It has a nice variety of mixes you've come to expect from DM.  Lovely packaging and video as well.  Love it.  Well done, well done.

I highly recommend picking up this single and the album.  My final words:  A TASTY TREAT FOR THE EARS!

DEPECHE MODE - SUFFER WELL
01. Suffer Well (Tiga Remix)
02. Suffer Well (Narcatic Thrust Vocal Dub)
03. Suffer Well (Alter Ego Remix)
04. Suffer Well (M83 Remix)
05. Suffer Well (Metape Vocal Remix)
06. Suffer Well (Metape Remix)

FULL FORCE - DON'T SLEEP

Full Force is a band from New York.  They gained fame when they joined with singer Lisa Lisa and another R&B band called, Cult Jam.  The acts came together and formed one major group, Lisa Lisa with Cult Jam and Full Force.

For a few years in the 80's, they joined the ranks of pop royalty with a string of hits placing them alongside Madonna, Gloria Estefan and others.   But the members of Full Force never intended on getting famous as an act as much as they envisioned creating an empire built up around groups they produced and released.

Much like Prince, Full Force would write songs, record music and produce fully completed tracks for singers who were looking for music.  They would write music very similar to the Minneapolis sound and were quickly lumped into the same category with many of Prince's offshoot bands.  However, there is a distinct difference between the two.  Especially because Full Force has all members contributing to the sound whereas Prince is generally focused on his own vision of what something should be.

Full Force also seem to be more heavily R&B based whereas Prince listened to other types than just soul.  Another aspect of the band is they seem to be more open to new or different trends in Urban music.  In some cases, it works to their benefit because they're able to amalgamate new sounds into what they're doing.  On the other hand, it can also hurt them by making them sound like their chasing a sound rather than being innovative.

"Don't Sleep" starts out espousing some message about the African American community being subject to mental manipulation through the government and media.  They trumpet a call to arms and warn you, "don't sleep" or you'll  brainwashed.

However, the album then moves on to songs implying all kinds of sex.  I'm pretty sure their political message gets completely washed out by filling their disc with porno fluffer material.  The band members have great voices and they're talented musicians.  Many of the songs on the album are quite good, but they're not exciting enough to make me put it in the. truck and blast it out the window.

I was never partial to their production work and I didn't follow them back in the 80's.  The reason I picked up this record is because it was on sale used and I got it for virtually nothing.  They cover a song Prince wrote and gave to The Time.  'Girl' was the first song but not the last he wrote with that title.

It's a mediocre cover that doesn't really fit on the record.  And quite honestly, the disc is so singularly obsessed with getting into a woman's pants the subject becomes boring.  I never make it through the entire record.

I think as a group, they're talented and if they really focused on a message or pushed themselves, we'd see an amazing project.  But this album isn't it.

There's just nothing I really wanna say about this disc.  It does nothing for me.  Just nothing.  My final words:  MISOGYNIST DRAMA AND ONE PRINCE TRACK EVEN WITH UPDATED SOUNDS FAILS TO MAKE AN IMPRESSION.  SKIP IT, KIDS.

FULL FORCE - DON'T SLEEP
01. Intro-Lude (Hudlin' Brothers "No Snooze" Intro...)
02. Don't Sleep
03. Nice 'N' Sleazy
04. Quickie
05. If It's Cool Witcha Baby
06. Interlude (Quiet Storm)
07. Your Place Or Mine
08. Physical Commitment
09. Wait Till I Get Home
10. Interlude (2 Points)
11. Go Wit The Flo
12. Interlude (The Byrd Factor)
13. After All This Time (Ain't It Great To Be Black)
14. Girl
15. Sharon
16. Making Love On The Dance Floor
17. My Love Is Free
18. Interlude (900-Force Line)
19. God Will Fix It

ALPHAVILLE - FOREVER YOUNG

Alphaville is a German New Wave group with a few songs reaching worldwide acclaim and topping music charts in various countries.  My first exposure to them was this very album.  And it's their first album so they kinda hit right out the gate.

Personally, I think the centerpiece of this record is the huge hit single, 'Big In Japan'; which blends the dirty little industry secret of getting rich by releasing in Japan and a homo erotic suggestion of prostitution.  

One of the few things that set Alphaville apart from other German and European bands who attempted to build a career singing in English is that Alphaville's lead singer, Marion Gold doesn't sound like he singing in a second language at all.  The metaphors they employ are solid, meaningful and actually make sense.  They don't try to say things in English they could easily say in German.  Instead, they build their songs rather beautifully in English.

There also seems to be some genuine musical training.  Possibly classical in nature by the band's musicians.  The scales are lilting and the melodies are sweetly layered with complex patterns and notes designed to evoke response but sound simple.

'A Victory Of Love' begins the freshman release and it's a moody bit of drizzle.  There's a lot of weird sounds sprinkled throughout the track sometimes sounding like cars braking and it kinda drolls along at a plodding rate until it suddenly builds and erupts.  Gold uses his vocal delivery to enhance the builds by keeping his voice somber and cold the boisterous and booming as the song climbs up to a respectable New Wave beat.  It's ok, but 'Summer In Berlin' track number 2 is much more enjoyable.  It's followed by the first of the two songs this record is most famous for, 'Big In Japan' and let's face it, no matter what format or system you're playing this song on, it marches across the vinyl, tape or disc like a huge unstoppable monster.  Gold's voice sounds smaller on this song, but it only serves to enhance to full space the instrumentation seems to create around it.

Next up is 'To Germany With Love'.  This patriotic musical valentine is delivered from the perspective of an immigrant who found a better life in Germany.  There's a kicking funky bass on this track.  Although it's an overlooked number, 'Fallen Angel' is musically just as rich and fulfilling as any hit on the album.  There are a couple surprising moments where the band takes some unexpected turns, but they resolve nicely and enhance the song's intensity and drive.  'Forever Young' is the title track and the biggest US hit from the record.  After it's release, 'Forever Young' went on to be one of, if not the biggest prom themes for the rest of the 80's.  Even my school used it once.  It's followed by 'In The Mood' which is another track where Gold alternates his pitch and tone to achieve a creative build.  'Sounds Like A Melody' uses keyboard sounds to mimic a full orchestra.  That was a popular thing to do back in the 80's.  It was somewhat annoying but everyone was doing it.  Fortunately, this is a good song and it could've survived without the addition of orchestral bits.

'Lies' utilizes a popular piano sound from that period but it's an uptempo number and quite lively.  'The Jet Set' rounds off the album and it's an anthem if ever there was one.  This one is also one of my favorites on the record and it's a great way to end a disc that's been mostly lively, fun, original and unique.

Alphaville went on to release many more records, mostly in Germany; but with mixed results.  They never achieved the same notoriety in the states that they did with their first record.  It should still be noted, they are one of the best (if not the actual best) German new wave act that showed up during the 80's.  You might be pleased to know the group is still recording and releasing as far as I know.  More power to them.  I think that's brilliant.

My final words:  A GERMAN SYNTH MASTERPIECE!

ALPHAVILLE - FOREVER YOUNG
01. A Victory Of Love
02. Summer In Berlin
03. Big In Japan
04. To Germany With Love
05. Fallen Angel
06. Forever Young
07. It The Mood
08. Sounds Like A Melody
09. Lies
10. The Jet Set

ROMEO VOID - WARM, IN YOUR COAT

For awhile there I was picking up 80's CD's and if there was a song I liked and I found the disc, I'd buy it.  More times than not, I shot myself in the foot spending money on some of these records.  I'd love one song and hate the rest of the record.

This album was one of those.  I loved 'Never Say Never' but couldn't get into the rest of the record.  So now, all these years later, I put the album on and let it go.  I wanted to see if my initial reaction had changed.

I don't think I gave this group a fair shot back then and I know why...  I started listening to this record and there's a saxophone featured dominantly in the music.  Because of this, I almost wrote the album off.  At the time, sax seemed to be overdubbed on everything.  I wanted to tell the band enough was enough.  The sax is overrated and annoying.  I think I'd have enjoyed it more if that damn sax wasn't in the music.  Their music just doesn't lend itself to that instrument.

However, despite the flagrant use of the horn, I actually started listening to other qualities in these songs and I was a little shocked.  Romeo Void fit into the California style of new wave that emerged from late 70's Punk rock with bands like the Go-Go's, Blondie, Missing Persons and the Cars.  This branch of New Wave still relied heavily on traditional instruments.  The new sound came from radical changes in the way songs were written, arranged and sung.  It was innovating.  These groups were constantly challenging the definition of popular music.

Musically, Romeo Void is a band with a lot of interesting melodies and song ideas.  Where they dropped the ball is a debatable topic.  No matter how many bands hired female singers, only those with unique voices convincingly  fronted New Wave bands.  Although she's an interesting vocal arranger, Debora Iyall's voice couldn't drive the band beyond the singular success of the single, 'Never Say Never', (arguably her best performance with the band).  They had one song on the hot 100, 'A Girl In Trouble (Is A Temporary Thing), but that success fizzled out almost as quickly as it came.  Seeing an overweight woman fronting a band was a shock the band relied on heavily to gain exposure.  But no matter how many people tuned in to see her perform, the interest wasn't there to guarantee the band any long term success.  Which is a shame.  I hear so many great ideas here.  There was just too much stacked against them.

I could try to break down the record for you, but there's not enough to keep me excited in the individual songs.  Instead, my newfound appreciation for their work is limited to hearing potential both in the lyrics and the music.  I will say this much, 'Never Say Never', was the track I bought this disc for and I'm still thrilled I own it.  It's an amazing song.  It can't cover the entire record though.

So to sum it up, different singer, same songs, no saxophone and this group might have stood up to The Smiths.  I think it would have driven them to great heights of fame.  My final words: HEAVY SAX SUICIDE NOTHING COULD SURVIVE!

ROMEO VOID - WARM, IN YOUR COAT

01. White Sweater

02. I Mean It

03. Charred Remains

04. Talk Dirty To Me

05, Myself To Myself

06. In The Dark

07. A Girl In Trouble (Is A Temporary Thing)

08. Out On My Own (Dance Mix)

09. Just Too Easy

10, Wrap It Up

11, Flashfirm

12, Undercover, Kept

13. Chinatown

14. Never Say Never

15. One Thousand Shadows

DEPECHE MODE - SOUNDS OF THE UNIVERSE

I was a huge Depeche Mode fan back in the 80's.  And I loved some of their later work.  On the heels of "Playing The Angel", I was expecting something truly miraculous.  At the same time, I was starting to feel like they'd hit their stride.  Certain songs on more recent albums seemed predictable.  For example, "Sounds Of The Universe" hosts the track, 'Jezebel'; a song we've already heard before.  "Ultra"'s 'Sister Of Night' is another streetwalker/misunderstood prostitute song.  And as much as I've enjoyed David Gahan's contributions to recent albums, 'Hole To Feed' sounds very much like 'The Dead Of Night' from "Exciter".

This was the first Depeche Mode record I didn't rush out and buy the day it was released.  I skipped the tour and pretty much tuned them out with this effort.  I blame the first single, 'Wrong' for my lack of interest.  When I heard the song, it was literally the first DM song I didn't like.  I thought it was boring and uninteresting.  I streamed the album once online and based on my dislike of that first single, I dismissed the rest of the album without giving it a fair shot.

I recently found the album at a pawn shop for a small amount and I picked it up.  Mostly because I have almost everything else the band has done.  I can be a completest.  I decided to listen to the record again and give it a fair shot.  

Honestly, I'm still not excited about what I'm hearing, but I am excited about some of the sound choices.  This album, more than any other seems to sound like their older material.  There are a lot of great synth sounds all over this record and I enjoy that immensely.  Certain songs like 'In Sympathy', 'Perfect', 'Miles Away/The Truth Is' and 'Fragile Tension' have that wonderful groove I love from DM.  

But the overall mood of the album is somber, melancholy and dark.  Normally, that would be something to look forward to, but in this case, the darkness holds no real mystery or secret.  

I'm not going to bother with a track by track review...  I'll simply say, this is the first Depeche Mode album I didn't love.  I can't say it's horrible, but I can't say it's good either.  I'm still up in the air.  But I am sad.  I never thought this day would come.  It's possible Depeche Mode and I are at a crossroads where we have to part ways.  More than anything, I feel like my youth is over.  And that sucks.

My final words:  NOT SURE IF I'LL BUY NEW RELEASES FROM DEPECHE MODE AFTER THIS.

DEPECHE MODE - SOUNDS OF THE UNIVERSE
01. In Chains
02. Hole To Feed
03. Wrong
04. Fragile Tension
05. Little Soul
06. In Sympathy
07. Peace
08. Come Back
09. Spacewalker
10. Perfect
11. Miles Away/The Truth Is
12. Jezebel
13. Corrupt