BETH ORTON - CENTRAL RESERVATION

I'm always, always going on and on about how I'm not drawn to vocalists.  I prefer musicians.  And yet her voice is one of the qualities I love about this amazing singer songwriter.  There's not a single track on this record you couldn't take on its own and not see the absolute brilliance of it.  Not to mention the power of the songs together.  Orton is a true poet.  She starts the record out with 'Stolen Car' which is an amazing number and seems to poke fun at righteous indignation.  It's the perfect door to open as we join her on this glimpse of her world.  'Sweetest Decline' is the next number and in my opinion, the most powerful of all the songs on this record.  I'm not sure what it is about the song...  But the sheer poetry of the lyrics is astounding.  She makes me constantly think throughout this wonderful track.  It's a tune about growing older.  And she delivers it with such conviction and power.

'Couldn't Cause Me Harm' starts off sounding like a cop movie from the 70's.  Suddenly, Beth's breathy vocals float in and you know you're far from that head space.  It's followed by a tune that leaves me feeling haunted...  'So Much More' promises the hope of something more and yet the song itself is a mystery to be solved.  There's a sense of unresolved questioning here.  'Pass In Time' starts off small and it never really leaves that place.  And yet there's a quality in the song...  She consoles you.  Gives you hope.  And you can hear that certain quality all great singer songwriters have.  That ability to charm you with their words and reach right into your heart.  "Come on, now, come on, now, child...  You're here just a while".

'Central Reservation' is an incredible song.  I heard the remix at the end of the album before I heard the original version.  But both of them are equally powerful.  The remix because you see how easily Orton can transition between musical styles and how effective her voice is no matter what she's singing.  The original, slower version is nostalgic and as light and drifting as leaves floating on a small stream as they rush past.  Many of the lyrics she sings remind me of experiences I've had and still think of fondly.  'Stars All Seem To Weep' is the first song to employ a major sound change.  There's an almost hip hop quality to the electronic drums playing under her.  This is a song about unanswered love.  There's no resolution, just a longing...  A question being sent out into the void.  'Love Like Laughter' is much like its title; it's sweet and joyful.  It's about opening yourself to happiness and love.  How they're so intertwined.

'Blood Red River' feels like a creepy story you'd tell around the campfire.  One of those stories with a moral at the end.  A warning sign.  It's got some hesitant moments and Beth sounds almost forlorn here.   'Devil Song' is another tune in the same vein.  Only this time, Orton knows exactly who the Devil is.  And you'd better watch out when he blows through your door.  He's a dangerous soul to love.  If you don't count the remix of 'Central Reservation', 'Feel To Believe' would be the closing track on this record.  And it's an amazing way to end.  You feel like you've been on a strange journey that this lovely, visionary voice has narrated for you.  

But it actually ends on an even higher note than you'd expect.   The 'Central Reservation (The Then Again Version)' feels like a blanket of memory washing over me everytime I hear it.  "I can still smell you on my fingers and taste you on my breath..."  This song could be an anthem of sorts.  For the 90's, for the all nighters at clubs in Vegas...  Hanging with my friends...  Wow, what an awesome adventure this record is.

If you don't know Beth Orton, it's time you did.  You need to run to a music store and find something.  Give her a shot.  I can't recommend her enough.  My final words:  AN INTENSE ALMOST COUNTRY RIDE WITH A TRUE VISIONARY POET!!!

BETH ORTON - CENTRAL RESERVATION
01. Stolen Car
02. Sweetest Decline
03. Couldn't Cause Me Harm
04. So Much More
05. Pass In Time
06. Central Reservation (Original Version)
07. Stars All Seem To Weep
08. Love Like Laughter
09. Blood Red River
10. Devil Song
11. Feel To Believe
12. Central Reservation (The Then Again Version)

DEEP FOREST - MADE IN JAPAN

By now, I'm sure you're aware of why I like Deep Forest and respect their work.  This is a little different than what you'd expect from them and that's because this is a live album.  Normally, electronic artists who try to convert their sound to live instruments often end up losing the intensity of the music.  In most cases, it just sounds blah...  Depeche Mode is an example of a band that has some success transitioning their electronic songs to a live stage.  But it doesn't always work.  Juno Reactor is another band who does it and I normally think it doesn't work at all when they do it.  However, I enjoy the songs anyway.  Deep Forest have one advantage to all of those groups.  They incorporate many live instruments into the electronic music during the initial recording.  Along with the vocals.  So you have a blend that has a good chance of transitioning to a live setting.  It still sounds a bit off, but it's a magnificent attempt at recreating the sound you get on the albums.

My biggest complaint with this release is the fact the Japanese version includes two additional tracks not featured on the US version.  And I don't understand that.  It makes no sense why the Japanese versions end up with more material.  They're expensive to buy in the states if you're wanting to own it.  And I don't know why the record companies think one country should have access to the entire concert while others shouldn't.  I think it's a ripoff and I'm disappointed I'm missing the two tracks.  Eventually, I'll have to upgrade my copy to the Japanese version.  If I ever find it for a reasonable price.

My second biggest complaint is why the band didn't do a world tour...  I'd love to see them live.  But as far as I know, they never came to the states.

There's some improvisation in the songs you don't ever get on the albums happening here.  And that's fun to hear.  Especially during the breakdown portion of 'Cafe Europa'.  I love that track anyway, so it's exciting to hear. 

They have 3 vocalists who do a very good approximation of the vocals you hear on the albums.  I was very impressed with the way they came out.  I believe this attention to detail demonstrates the respect and dedication the band have for the traditional folk music they seek to preserve and protect.

I won't bother breaking this one down track by track because I'll do my individual reviews of the songs on their respected albums.  But I will comment on the overall presentation of them.  The songs are all wonderful and they're showcased nicely in these live arrangements.  The audience is appreciative and you get the sense the atmosphere was dynamic!  There are a couple highpoints I'd like to point out.  'Forest Power' has an amazing instrumental jam, 'Sweet Lullaby' is absolutely amazing and 'Madazulu' is fantastic live.  Of all the tracks, I think 'Madazulu' would be the one least suited to a live performance and yet they pull it off brilliantly.

I won't go on and on about the disc.  You'll have to decide yourself to pick it up.  I'll just sum it up in my final words and say:  TOTALLY WORTH IT, BUT BUY THE JAPANESE VERSION...

DEEP FOREST - MADE IN JAPAN
01. Ekue Ekue
02. Green And Blue
03. Deep Weather
04. Bohemian Ballet
05. Deep Folk Song
06. Freedom Cry
07. Cafe Europa
08. Forest Power
09. Hunting
10. Forest Hymn
11. Sweet Lullaby
12. Madazulu

JANET JACKSON - ALL FOR YOU

I think it was the "Janet" album that threw me initially.  After it came out, I wasn't keen on following Janet as hardcore as I had been throughout most of the 80's.  The production on that record was a new direction for her and for Jam & Lewis.  They branched out into new sounds, new beats and a new style I wasn't altogether pleased with.  I still liked her and I enjoyed her music, but I didn't rush out and buy what she was releasing.

I got her next album only because I won it at a Pride event in Las Vegas.  They were giving away promotional copies and I won one.  But the subsequent releases, I admired from afar but never picked up.  Until recently.  I won an auction on eBay and stocked up on a bunch of CDs I'd missed out on over the years.  By a lot of bands I loved, but didn't have complete collections of their material.  Janet was one of them.

And that's how this record came into my possession.  I know this sounds like a broken record, but I think sometimes the segues on Janet Jackson records can really slow the pace of the music and can sometimes actually ruin a song.  And although I'm not fond of the snippets appearing on this release, they're not nearly as bad as some of her other records.

It starts off with 'Intro' that is somewhat funny, but doesn't really have to be there.  'You Ain't Right' kicks in shortly after and although it's funky and aggressive, it's not her best track.  It's still pretty good, but nothing to write home about.  However, 'All For You' is absolutely incredible.  I loved this song the first time I heard it.  Not only do I love it, I love the video!  This is pure Janet.  The dancing, the moves, that cool girl next door vibe she wears so well...  This is the Janet we remember from 'Love Will Never Do Without You' video.  That cool chick we all wanna hang out with and be best friends with.  She rocks this track!  

The next track is another interlude that kinda drags, but it sets up the next track...  'Come On Get Up' is another driving number that screams "Here's the Janet you remember!"  I love this song too.  It absolutely bursts out of the speakers and swings you as you sing along.  These are the songs she does that are so wonderful because as you sing along, your heart feels happy and cheerful.  Next up is 'When We Oooo' and it's the first ballad on the record.  It's also another strong track.  Janet does seduction well and this number let's her express all of that sensuality with minimalist music arrangement and a mellow groove beat...

'China Love' clocks in at number 7 and it's the second ballad on the disc.  The first time I heard it, I initially thought it was a throwaway slow jam, but as I listened to it, the more I fell in love with it.  It's a delicate number with interesting notes and sounds.  Janet really delivers on this one too.  She sounds sincere and soft on it.  I picture her laying on a velvet couch in the middle of a pool with huge orchids and other flowers floating in the water around her.  Cherry blossoms in trees surrounding the pool.  It's a very visual song and you can't help but imagine a romantic rendezvous when you hear it.  The next ballad is 'Love Scene (Ooh Baby)' and this one isn't as good as the previous two, but it has a lovely chorus.  It's followed by yet another ballad, 'Would You Mind'.  This song is on the naughty side and I'm a little uncomfortable with it.  It's a bit raunchy for this medley we've heard thus far.  She fades out to another interlude that supposedly winds up the medley.

'Trust A Try' is up next and this frantic panic number is a rockin' fast paced bit that leaves you feeling a little confused.  It combines different elements to create a song that is basically all over the place and so intent on making it point, it slams you more than rocks you.  I'm not a fan.  Next up is the interlude leading into the Carly Simon collaboration.  I'm not a huge fan of Carly Simon.  I dig the beat of 'Son Of A Gun', but I'm not big on the lyrics or the inclusion of Carly Simon.  I guess it's OK for what it is.  'Truth' is another ballad and it's nice, but it's not exactly what I wanted to hear after the previous song.  It goes out with another interlude.  Unremarkable.  But it's cool for what it is.

'Someone To Call My Lover' is a mid tempo pop number and this one gets us back on track with cool Janet grooves.  I love this one.  It's got those lovely bell sounds in the chorus Jam & Lewis are famous for using.  And it don't stop there...  Cause 'Feels So Right' kicks in with another strong beat and it's more classic Janet.  It's followed by 'Doesn't Really Matter'.  Once again, we have string of great tunes back to back.  'Better Days' rounds out the album and it's another ballad.  It's good, but not as exciting as other tracks on the album.  Then one final segue to close out the disc.

So to my surprise, there are some strong Janet songs here.  Enough to keep me coming back for more.  But there's also a lot of filler material here.  This disc is loaded with ballads.  Almost half the actual song material on the disc is slow.  That would be fine if Janet had come up as a ballad singer like Whitney Houston or someone like that.  But she's a pop star.  People wanna dance and hear some beats when she comes on.  So in that sense, I think the album failed.  But there's enough strong material to make me feel like I shoulda stayed around.  I shoulda kept listening to Ms. Janet.  My final words:  SOPPY WITH BALLADS, BUT FUNKY WITH BEATS...  IT'S WORTH THE MONEY!

JANET JACKSON - ALL FOR YOU
01. Intro
02. You Ain't Right
03. All For You
04. 2wayforyou (Interlude)
05. Come On Get Up
06. When We Oooo
07. China Love
08. Love Scene (Ooh Baby)
09. Would You Mind
10. Lame (Interlude)
11. Trust A Try
12. Clouds (Interlude)
13. Son Of A Gun (I Betcha Think This Song Is About You) With Carly Simon
14. Truth
15. Theory (Interlude)
16. Someone To Call My Lover
17. Feels So Right
18. Doesn't Really Matter
19. Better Days
20. Outro

GEORGE CLINTON - THE CINDERELLA THEORY

Jeez, trying to find information about this release online is virtually impossible.  Nobody wants to talk about it.  Of course there were all kinds of rumors and stories floating around when the disc came out.  Prince was looking to help some of his childhood heroes.  He signed George and Mavis Staples, two influential artists from the 60's and 70's to his Paisley Park label and tried to help them both make a come back of sorts.

I remember reading something at the time about George being in financial trouble with the IRS and Prince bailing him out.  I'm not sure what the actual story is, but I do know he was a fan of George and that style of funk largely influenced Prince's own sound.

And so, "The Cinderella Theory" was released.  

This was my first exposure to George Clinton himself.  But it was not my first exposure to his music; as I later learned.

One of the most interesting aspects of being a Prince fan is the exposure you get to musical genres, artists and sounds.  Through Prince, I've discovered Jazz, Gospel, Funk and classic R&B.  I've also gained an appreciation for electric guitar and other sounds I wouldn't have looked for on my own.  I've also developed an ear for hearing qualities in music I love even if I'm not partial to the genre itself.  Because of this, I've discovered new bands in all types of music.  

George Clinton was one of the first artists, who truly existed outside of Prince, I gained exposure to.

Now, for those of you who knew George Clinton before this record, probably had a hard time with it.  The music incorporates the style he was famous for, but it moves away from his previous material through sound engineering and approach.  He uses more modern sounds to create the songs.  Probably based on what Prince had at Paisley Park and you get the feeling the songs were written to appeal to a larger pop sensible audience.

George's best material is his deep groove funk.  Those heavy bass rhythms, simple hooks and deep tones add up to some heavy booty shaking.  And his tunes were usually much longer than the average album cut.  He let his funk ride along with no reason to go anywhere in a hurry.  I remember seeing him live back in 95/96 and he played a show that went on for hours.  At a couple points, they swapped out drummers so they could keep going.  The songs lasted 10 to 20 minutes and it's this groove, that gives him a lot of his notoriety.  

By contrast, "The Cinderella Theory" seems more like Clinton attempting to write a hit record than another groovy album.  Now don't get me wrong...  I'm not saying it's bad.  In fact, I love the disc!  But in comparison, it isn't his strongest material either.  And the lack of a Prince collaboration is quite disappointing to say the least.  His second Paisley Park album, "Hey Man...Smell My Finger" is more of a traditional funk record from him and it hits the nail right on the head.  There's nothing you can take from this record but a cold chill that runs up and down your body like melting ice on a hot day.

'Airbound' is a decent track.  It features a lot of the choir sound vocals Clinton uses and it's got an interesting flow.  Still, it doesn't cross over into hard funk space.  It just lingers.  'Tweakin'' is the closest he comes to making a tune more in his style.  It's got a subdued drum track but it does feature Clintonesque style vocals.  It's followed by the title track.  'The Cinderella Theory' has a certain Prince sound too it, but it sounds more 80's.  The lyrics are at an almost odd angle to the music.  It's wonderful!

'Why Should I Dog U Out?' was the obvious choice for a Prince collaboration, but it's not.  George delivers a good track here and it's one of the best on the record.  I really do enjoy this one.  'Serious Slammin'' is indeed a Clinton jam.  You don't have a lot of vocals, just a chant and some excellent drums banging along.  'There I Go Again', is a slower number with an infectious groove.  It utilizes Prince sounds from the time period blended with Clinton, vocal arrangements and an almost Caribbean vibe.  This song has elements of some of the jazz work Prince was doing at the time and I wouldn't be surprised to discover Prince was responsible for the music.

'(She Got It) Goin' On' is another track that starts off sounding like something Prince would of put on a Madhouse album.  'The Banana Boat Song' sounds more like something Levi Seacer Jr., would produce.  I can hear him all over this track.  I do like the song and I think Clinton's take is quite funky.  'French Kiss' sounds like an outtake from the 70's that Clinton revived for this project.  The driving rhythm guitars add an urgency to the track it probably didn't have originally.  It moves at an interesting pace and it's an interesting number.  

'Rita Bewitched' is pure Clinton even if it uses some newer sounds, it's all over the place in the great way George's most interesting material usually is.  'Kredit Kard' is probably the one song that sounds almost completely like an attempt to write a hit pop song.  It uses a lot of sounds big in the charts at the time.

A reprise of 'Airbound' rounds out the album and it's a flashback to a great song.  In all, it's an interesting blend of sounds and I suspect Prince's involvement is much more prominent then we're led to believe.  I think he had a hand in writing more than he lets on.

No matter how you look at it, Clinton did something not many artists who pigeon hole their sound get to do.  He takes the opportunity of using new sounds and new equipment to venture out into new territory and create a record that explores new worlds of sound and vision.  What we have here is a complex artist being truly creative and that's a visionary thing to experience.

This album gets written off by most people and it's left off most fans' fav lists.  His second Paisley Park release fares much better, but this little record is an absolute gem for those who know what they're listening to.  I think it's a strong record and one of the reasons Paisley Park was such an innovative record label.

My final words:  A FUNK TOUCHDOWN BY A FUNK MASTER!!!

GEORGE CLINTON - THE CINDERELLA THEORY
01. Airbound
02. Tweakin'
03. The Cinderella Theory
04. Why Should I Dog U Out?
05. Serious Slammin'
06. There I Go Again
07. (She Got It) Goin' On
08. The Banana Boat Song
09. French Kiss
10. Rita Bewitched
11. Kredit Kard
12. Airbound (Reprise)

NINE INCH NAILS - HESITATION MARKS DELUXE EDITION

Some people consider Trent Reznor the dark God of the American underbelly...  Taking everything we find socially embarrassing, putting it in a dirty glass box and shoving our faces up against it; forcing us to acknowledge our savagery, our brutality, our racism, our hatred...  Our shame.  And then there are those who see him as a pioneer of sound.  A man who finds melody and magic in white noise and distortion.  A consummate composer who challenges not only accepted forms of song writing, but what sounds are considered musical.  An aural engineer.

But I've always seen him as something else entirely and I was excited and happy to hear him reach out to listeners like me on this record.  The disc begins much as you would expect a NIN's record to start...  There's some odd ticking sound that reminds me of a metronome.  Underneath that, you've got Tuvan monks droning and a crazy person from an old recording shouting ahead through time.  It's builds to a point and BOOM, 'Copy Of A' kicks in with a frantic synth line.  

This is where Reznor achieves his status with me...  No matter who you are, or what kind of music you like, no one can deny; when these beats kick in, he is FUNKY as hell!  He may not offer up the soulful cries of a white male diva, but he gives his listeners something even more powerful...  He give us rhythm.

'Copy Of A' has a fantastic build.  The synth lines feel like jelly being spread over the crispy crackers of the drum track.  It fills every hole and the whole thing bubbles like it's boiling; turning into something.  The joke about a copy being a copy of a copy isn't lost on anyone.  Especially Reznor's fans who grew up buying CDs.  Many of them still feel out of touch with the digital file sharing and there's a lot to be said for a file deteriorating the more it's shared.

'Came Back Haunted' is the next track, and like its predecessor, this number continues the incredible momentum of the record and pushes you further down this winding trail into wonderland.  Easily one of the strongest tracks on the record and one of the single releases.  So far, we're batting 100%.  And that's when 'Find My Way' shows up.  You feel like someone's pulled the plug out of the wading pool.  Even the strange noises can't fill the gap between the two songs.  But as it goes along, the song builds with a progression of sound layers that flesh it into something more glorious than what you thought it was going to be.  When 'All Time Low' starts you think the disc is heading in a completely self indulgent and whiny direction until that beat kicks in and you're jarred to your senses.  This is a deep foreboding beat.  Undeniable and fearless.  The whimsical turn it takes toward the end of the track only enhances its strength.  An excellent number!  'Disappointed' is up next and honestly, when I first read the title, I couldn't get the song of the same name by Electronic and the Pet Shop Boys out of my head.  That is until the song started.  This song never satisfies you.  Instead, Reznor seems to ask a billion rhetorical questions.  And you want satisfaction.  But that half fulfilled state is where he wants to leave you.  Mostly because 'Everything' pays it off within its first seconds.  Heralding back to old fashioned rock n' roll, this number is as bracing as it is exciting and fun.  I've never heard Reznor sound more carefree in a vocal delivery.

'Satellite' is next and it's got a deep full rhythm that reminds me of some of the best tracks funk pioneers like George Clinton and Sly Stone would make.  'Various Methods Of Escape' is a tensely wound number that feels like it's going to spring out of your hand at any moment.  There's an apprehension in the arrangement that is strongly conveyed to the listener.  And when he quietly confesses he thinks he could lose himself in you, it's like waking from a dream with a splash of cool water.  Shocking you  back to reality.  'Running' starts out sounding like something you'd have heard in the 90's and then he smooths it out and this is a track that adds some hypertension and sucks you back into the narrative of the disc.

'I Would For You' is another song of proclaimed dedication to the object of his desire.  If he could change, escape from the man he is, he would for you.  And if you're listening to this and being drawn in by it, that feels extremely personal.  'In Two' relies heavily on a choppy arrangement to make you feel off balance.  It's followed by 'While I'm Still Here'; and this song feels like he's trying to get away from something that's smothering him.  He loves you, but he's trapped.  And now he needs space to breathe.  It takes an unusual turn when actual horns are added.  Then the song devolves into 'Black Noise' and we go out as strangely as we came in.  But this is not the end.  Oh no.

Put the bonus disc in and you have even more reasons to fall in love with NIN all over again.  The first mix of 'Find My Way' is a blend of Church organs and small sounding electronic blips.  And yet somehow, this minimalist approach to the song is actually very powerful.  It's well done and adds a dimension to Reznor's sound he's never had before.  Remember that strange ending that happens on 'All Time Low'? Well, on this mix, it starts the song rather than ends it.  The drumming and the softer arrangement are both oddly intoxicating and make the song even more compelling.  Finally, 'While I'm Still Here' mix maintains the creepy exit of the first disc and leaves you cautiously optimistic of his return.

In the end, I was happy to hear Reznor put some massive beats in some of his songs and bring back that deeper funk groove we pretend is something else because we don't understand it.  But it's there.  And he's done it again.  Given you more reasons to spend your time listening to his CDs rather than just about anything else useful in your life.  If you're an off and on fan, this is one you don't want to miss.  But don't take my word for it.  Go to his soundcloud account and listen to some of it if you're not sure you want to buy it.  

And then...  But it. 

My final words:  WORTH THE TIME, EFFORT AND PRICE.  DON'T MISS OUT ON THIS ONE.

NINE INCH NAILS - HESITATION MARKS DELUXE EDITION
01. The Eater Of Dreams
02. Copy Of A
03. Came Back Haunted
04. Find My Way
05. All Time Low
06. Disappointed
07. Everything
08. Satellite
09. Various Methods Of Escape
10. Running
11. I Would For You
12. In Two
13. While I'm Still Here
14. Black Noise
BONUS DISC REMIXES
01. Find My Way (Oneohtrix Point Never Remix)
02. All Time Low (Todd Rundgren Remix)
03. While I'm Still Here (Breyer P-Orridge 'Howler' Remix)

THE MUSICAL CAST OF TOYS FEATURING WENDY & LISA - THE CLOSING OF THE YEAR (MAIN THEME FROM TOYS)

Wow, how was that for a mouthful???  Despite the endless title, this disc holds a prized place in my Wendy & Lisa collection.  It's an import, (the song was never released in the US as a single), and it's one of their lesser known achievements.  Probably because they didn't write the song.  For now, I want to focus on the reason for disc existing in the first place...

"Toys" was a complicated, ambitious film that literally imploded on itself because of the scope of the film-makers vision.  And I mean imploded because it never sparked that inner child so many of us feel when we watch "Charlie And The Chocolate Factory" or other such films.  It just crushes you with sights, sounds and colors.  "Toys" was full of wide open empty spaces that engulfed the viewer rather than embraced them.  You felt lost and exposed half the time.  Robin Williams and Joan Cusack's characters were both too weird to truly love.  You could never find a place in your heart for either one of them.  Robin Williams was a complicated man.  And this role allowed him to complicate his humor in order to complicate this character.  I love him in dramatic roles, but this one was confusing.

I'm not trying to bash the film because I intend to like it every time I watch it.  I want to like it.  I want to love it.  I respond to the innocence of childhood it tries to invoke.  But I never really find that footing in the film. 

However...  The soundtrack is one surprise after another.  And this track is the best example.  As far as modern Christmas carols go, I think Trevor Horn did an OK job.  On its own, the song is a bit disorganized and free flowing to ever find a place in popular Christmas culture.  But that's where Wendy & Lisa work their magic best.  Under their guidance, the song transforms from a partially developed idea into a virtual masterpiece.  The life of the song erupts through their performance and delivery.  Wendy's voice is fragile and just delicate enough to sound like an Angel calling to you through the snow.  She has that lilting bell quality to draw you in and hold you tightly.  Seal's golden bravado steals the show when he steps in and adds yet another dimension to this already layered cake of Christmas caroling and in the background, the famous harmony Wendy & Lisa so naturally achieve, swells like breakers rushing toward the northern shores of Santa's home.  And the bells...  The bells burst forth - like Christmas morning! - in glory and wonder!

But it's not over...  If you can get your hands on an extended version of the song, the girls take you on a snippet of jazz rock that's more satisfying and exciting than the actual tune itself.  Sadly, even the extended portion fades out leaving you breathless for more.  Wondering to yourself...  What would've happened next???  What if we could hear the whole song?

In that instance, the song achieves what "Toys" the movie fails to deliver.  And once again, Wendy & Lisa take a mediocre piece of work from another musician and turn it into gold.  There are 3 edits of the song on this single.  And my final words are:  3 AREN'T ENOUGH...!

THE MUSICAL CAST OF TOYS FEATURING WENDY & LISA - THE CLOSING OF THE YEAR (MAIN THEME FROM TOYS)
01. The Closing Of The Year (Main Theme From Toys) (Edit)
02. The Closing Of The Year (Main Theme From Toys) (Instrumental)
03. The Closing Of The Year (Main Theme From Toys) (Smooth Variation Featuring Wendy & Lisa & Chris Bruce)

ELECTRIC SIX - FLASHY

By the time "Flashy" came out, the deed was done.  I was hooked.  Like a junkie trying to score my next fix, I hunted down this disc and listened anxiously for the intergalactic journey to begin.  And although I was preparing for the cosmic, this one hit closer to home.  In fact, it was like gently landing after experiencing the most mind blowing trip you've ever had.

And I realize, with those words, you start to expect a tamer, more subdued Dick Valentine.  Or a less than stellar rock effort by the dukes of disco funk rock. 

But that's not at all what you get.

Instead, you get slight of hand and misdirection...  E6 tells you to look over here and rock out, but in the meantime, they're espousing complex ideas about love, relationships and priorities.

Right from the start, 'Gay Bar Part Two' informs you this is not the type of party you stay at all night.  This is one you listen to and reflect on.  There's a message here for those willing to seek it.  'Formula 409' seems almost like a conflict of interest after that.  It's a pop rocker that gets the blood pressure going and seems to be more of a filler piece they're trying to get out of the way.  I love the track.  In fact, by itself, it's one of my fav numbers.  But I'm not sure I like it here.

'We Were Witchy Witchy White Women' is an incredible tune.  Not just because it seems to have it's own momentum, but because of the ideas Dick flirts with here.  He considers the depth of love if you were reborn.  Could you find the same love?  His tells the story from the point of view of a lesbian who practices witchcraft and her relationship with another woman.  It's a complex thing for someone to consider angles like that.  But Dick Valentine has never been orthodox in his contemplation of the human heart.

And right from the contemplation of being gay for the right woman, he hits us with 'Dirty Ball'...  A song that champions casual and lusty sex as therapy.  The metaphors abound and the rhythm is thumping.  All in all, an excellent track.  To me, 'Lovers Beware' is more than just a song about two people not getting what they want from each other, it's about the dangers of expectation.  It also sheds light on an interesting phenomenon...  People who hate happy couples and try to break them up.

'Your Heat Is Rising' is a song about desire and corruption.  But I also hear a cautionary tale of vulnerability and how that can so easily be manipulated.  'Face Cuts' is a strangely sad song about how even love can be enslaved by superficial standards.  The deadened vocal delivery all blend to create a love that must bow to the whim of social trends.  Although it's a serious song, it is rich with irony.  'Heavy Woman' tells the story of a woman who, because of some childhood trauma, used weight to hold the world at bay.  She uses her weight to keep love out.  He doesn't specifically say this in the song, but that's the impression I have of it.  Genius.

'Flashy Man' seems to go hand in hand with 'Heavy Woman'.  Both tell of individuals who use aspects of themselves to keep other people at arm's length.  No one will ever get close.  But there's nothing wrong with loving a Flashy Man...  'Watching Evil Empires Fall Apart' is the true love song of the album because it's a tale of someone who did surrender to love.  A man who gave up the conquered world for love.  And it's beautiful.  'Graphic Designer' is a complicated tune.  I'm not sure how it fits here, but it's frantic, pile driving and extremely exciting.  'Transatlantic Flight' is an interesting tale of two people who share a moment in passing.  Just enough to make them both wonder, "What if..."...  And then they both die in the same plane crash.  In my opinion, this was the perfect track to end the album with.  It's somehow fitting.  But 'Making Progress' is also a great way to end the disc.  It's the moral of the story.  The "point" if you will.  All of these songs take a look at somewhat specific and yet oddly familiar situations or points of view we see every day in the modern world.  It's true our society influences the way we relate to each other romantically.  From choosing appearance over emotional commitment ('Face Cuts'), to the fleeting momentary glance we might share with someone we never see again ('Transatlantic Flight')...  Socially, we're making progress, but it's made love more difficult and challenging then it's ever been.

I've read other reviews of E6 albums and it seems critics are quick to write them off lyrically as being simple, superficial or shallow...  But I find them extremely nuanced and complex.  I love a band that can make you think, learn more about yourself and get you off your butt to dance around all at the same time.  Electric Six is indeed that band and "Flashy" is another brilliant example of how they can do just about anything.  My final words:  IT'S LIKE GOD HIMSELF APPEARING RIGHT IN FRONT OF YOU AND SAYING, "YOU WERE RIGHT TO BELIEVE IN ME THE WHOLE TIME."  HERE'S THE PROOF...  BUY IT UP!

ELECTRIC SIX - FLASHY
01. Gay Bar Part Two
02. Formula 409
03. We Were Witchy Witchy White Women
04. Dirty Ball
05. Lovers Beware
06. Your Heat Is Rising
07. Face Cuts
08. Heavy Woman
09. Flashy Man
10. Watching Evil Empires Fall Apart
11. Graphic Designer
12. Transatlantic Flight
13. Making Progress

GEORGIO - GEORGIO

Most of you probably have no idea who Georgio is and quite frankly, if I hadn't stumbled across him while listening to a college radio station, I'd never have known him either.  It's a commonly held opinion that Georgio is a Prince clone.  I guy who loved Prince so much he wanted to be him.  And you can see the proof in almost every aspect of his short career.  He even uses the same font type on this album that Prince used for "Lovesexy".  

Georgio is a multi-instrumentalist with very little serious training.  But what he lacks in education, he more than makes up for in imagination and talent.

During this time period, Prince's Minneapolis sound was driving the Pop and R&B charts.  If he wasn't hitting with a song, other associates were.  Especially Terry Lewis & Jimmy Jam who created their own stylized brand of Minneapolis funk.  With the market spinning their way, it was natural for record companies to try and capitalize on the sound.  Any former associates were offered contracts.  Any group that even remotely copied the Prince look or Minneapolis sound was signed and packaged.  And I believe it's under these circumstances, Motown decided to take a chance on Georgio.

Here's where Georgio failed...  He came off as too much a Prince clone.  From copying the way he wrote his lyrics and song titles; (writing 2 instead of to, or u instead of you), to subject matter, fashion sense and overall appearance.  It was too easy to write him off and not take him seriously.

And that's why most people missed out on an artist with a huge amount of potential.  Unlike many Minneapolis sounding groups, Georgio delivered the goods.  In fact, sometimes I felt like he was releasing the music Prince should've been doing.  Although that would've been impossible as Prince's musical passion drives him in so many directions. 

Georgio was able to craft solid songs, and assemble them together in a cohesive package.  You can listen to the record from start to finish and enjoy the ride without a moments pause.  The arrangements, production value...  Everything is here.  The songs; although not lyrically challenging, are interesting and utilize his ability to create smart hooks seamlessly.  Another high point in the music is the use of the drum machine.  He uses it in much the same way bands coming up in the Minneapolis sound would, but he did some original beats that are on par if not equal to some of Prince's best.  In recent years, Prince has returned to using the Linn drum machine sounds, but his new beats lack the interesting hooks his older material possessed.  Georgio was able to tap into that same groove.

I guess the sad thing about Georgio is that his music didn't hold up well over time.  I blame that partially on his reliance on electronic keyboards and drum machines.  Without more enduring instrument sounds, the music becomes dated after awhile.  Sadly, this album is no exception.  But if you're a fan of the Minneapolis sound from the 80's, this is a record you need to track down, buy and listen to over and over cause it's got the beat!

I'm not going to break the disc down like I normally would because I like the entire disc.  Even songs like 'Sweeter Than Candy' that start out weak pack a punch at the end.  Somehow, he figures out how to give it a push and it ends up sounding unique and exciting.

I can't believe I let this disc sit on the shelf for so many years.  It's one more people need to discover.  My final words:  80'S FUNK AT ITS FINEST!!!

GEORGIO - GEORGIO
01. I Want 2 Dance
02. Romantic Love
03. Car Freak
04. Sweeter Than Candy
05. Love And Happiness
06. I Don't Want 2 Be Alone
07. In Love With U
08. Pok-A-Dot
09. My Name Is Georgio
10. L.A.

BARENAKED LADIES - DISC ONE: ALL THEIR GREATEST HITS (1991-2001)

Barenaked Ladies are one of those bands everyone kinda knows to one degree or another.  They've had a string of hits that filter through the music scene and wind up on soundtracks, mix tapes, compilation discs or you have that one friend who really digs the group and plays them all the time.

They have a few songs I really love and when I found this disc for a reasonable price, I picked it up.  I was really excited about it because it has all the songs I like and I expected to discover even more tunes by the group to fall in love with.  But I was in for a shock!  I very quickly discovered my interest in the group was fairly skin deep.

This is an interesting group because it features two lead singers.  And one of them I like and one I don't.  It's not because I wanna be a jerk, I just don't like his voice.  He sounds like he's trying to be a male version of Ani DiFranco.  And I'm talking about Steven Page.  On the other hand, I'm completely head over heels for Ed Robertson's vocals.  What sucks is that Steven Page sings lead on a rather hugely unfair majority of tracks on this record and I actually find the disc rather hard to listen to.  I skip to the tracks I like and just avoid the rest.

Robertson sings lead or co-lead on the following numbers and frankly, they're the only songs I can handle: 'Falling For The First Time', 'One Week', 'Get In Line', 'Pinch Me' and 'Thanks That Was Fun'...  So on a disc with 19 songs, I only listen to 5.  And one of them is questionable.

I recently read Page left the group which means, Robertson becomes the new lead singer by default and I'm interested in hearing more of their stuff with him on the mic.  But this compilation won't inspire me to buy anymore of their music.  Sadly.

I guess if you're a casual observer of the group and you like some of their stuff, this is the way to go.  Buy this collection and listen to the tracks you love the most.  Skip the rest.

I feel awful that I'm not a fan of Steven Page's voice.  I really wanted to like what they were doing.  I'm disappointed I couldn't.  But oh well.  My final words:  A DEFINITE UNPLEASANT SHOCK, BUT WORTH THE SONGS I LIKE!

BARENAKED LADIES - DISC ONE: ALL THEIR GREATEST HITS (1991-2001)
01. The Old Apartment
02. Falling For The First Time
03. Brian Wilson
04. One Week
05. By My Yoko Ono
06. Alternative Girlfriend
07. It's Only Me (The Wizard Of Magicland)
08. If I Had $1000000
09. Call And Answer
10. Get In Line
11. It's All Been Done
12. Jane
13. Lovers In A Dangerous Time
14. Pinch Me
15. Shoebox
16. What A Good Boy
17. Too Little Too Late
18. Enid
19. Thanks That Was Fun

KRUSH GROOVE - MUSIC FROM THE ORIGINAL MOTION PICTURE SOUND TRACK

Although I knew who most of the people in this movie were, I didn't actually see Krush Groove until it was released on DVD back in the early 2000's.  But I knew a lot about the movie and I already had the soundtrack on cassette.

I won't go into the movie because it's not really important to this review.  I mainly bought the CD because of the Sheila E. solo number which was co-written by Prince.  It was released as a single, but this is the only place you can find it on CD.

There were a lot of great songs in the movie that didn't make the album.  Sadly...  But oh well.  You can't always control what's going to happen with a soundtrack.  There's some great material on this record, but there's also a lot of bad stuff too.  This record basically shows you the development of Hip Hop and Rap.  These were the artists who created the genre.  And compared to the artists in the genre today, this stuff sounds amateurish and outdated.  

There's not much to be said for the rap numbers except you can hear some really interesting music by rappers like LL Cool J and The Beastie Boys.

Right off the bat, you have Chaka Khan doing the main title number and it's a great song!  A remix of the track closes the disc out.  I quite like it and I really liked what she was doing during this whole time period.  This was about the same time she covered 'I Feel For You' by Prince.  It's followed by LL Cool J doing 'I Can't Live Without My Radio'.  Not his best effort, but still kinda fun to listen to.  Kurtis Blow is next and I don't like this song at all.  In fact, I cringe when I hear it.  I find it embarrassing.  It's followed by the Fat Boys big hit, 'All You Can Eat'.  You can tell most of these raps were written or produced by the same people because they have very similar rhyme schemes and beats.  Of the tracks the Fat Boys performed on the film, this is not the best and I'm surprised the others were left off.

Debbie Harry is up next with 'Feel The Spin'.  It's not her strongest or most memorable song, but it's a good one.  I like it.  This track has a mix at the end of the disc as well.

Sheila E.'s 'Holly Rock' kicks in and is easily the best track on the record.  There's one other track that comes close but we'll discuss that in a minute.  If you don't know 'Holly Rock', you need to hear it.  NOW!

Beastie Boys are next with 'She's On It' and this is a great number.  They do a really good job with this song.  The Gap Band deliver 'Love Triangle' which has some good ideas but doesn't go anywhere.  The next track is the 2nd best song on the album and it's phenomenal.  'Tender Love' by Force MD's is written and produced by Jimmy Jam and Terry Lewis.  It's beautiful.

The closing number is the entire cast performing 'Krush Groovin''.  Another boring number that leaves me feeling flushed and slightly annoyed.  

I'm happy this disc has finally seen a CD release and I'm enjoying it immensely, but I'll be honest with you, this is one disc that sounds super dated.  You won't listen to this record and find yourself amazed at how well the sound has endured.  Because most of the material you'll hear is trendy.  They followed a pattern and structure created by a producer that never really evolved.

It's still worth it just for the good tracks because the good songs outnumber the bad ones.  My final words:  A BLAST FROM THE PAST THAT COULDN'T LAST...

KRUSH GROOVE - MUSIC FROM THE ORIGINAL MOTION PICTURE SOUND TRACK
01. Chaka Khan - (Krush Groove) Can't Stop The Street
02. LL Cool J - I Can't Live Without My Radio (Short Version)
03. Kurtis Blow - If I Ruled The World
04. Fat Boys - All You Can Eat
05. Debbie Harry - Feel The Spin
06. Sheila E. - Holly Rock
07. Beastie Boys - She's On It
08. Gap Band - Love Triangle
09. Force MD's - Tender Love
10. Fat Boys, Run-D.M.C., Sheila E., & Kurtis Blow (The Krush Groove All Stars) - Krush Groovin'
11. Debbie Harry - Feel The Spin (Extended Remix)
12. Chaka Khan - (Krush Groove) Can't Stop The Street (Extended Remix)

THREE O'CLOCK - VERMILLION

I knew nothing about Three O'Clock when I picked up the cassette at a record store in Ogden, Utah...  What I did know is that the side of the cassette had the Paisley Park record label symbol.  And that was enough for me.

Up until that point, Prince had contributed at least one song per Paisley Park release and I bought this one along with Good Question expecting the same.  Imagine my surprise when I heard the Good Question record and couldn't find a trace of Prince influence anywhere...  

And then I listened to this one.  Again, an album without much Prince influence.  Although he isn't credited as the writer on the cassette liner notes, Prince did contribute 'Neon Telephone'.  That was obvious for a number of reasons.  The first being, it sounded like him...  Second, Wendy & Lisa sang background on the track and finally, the song is inspired by a scene from the film, "Under The Cherry Moon".  If you've seen it, you know what I'm talking about.

However...  Unlike Good Question with no Prince input, the Three O'Clock album is actually pretty good on it's own.  Granted, I wouldn't have purchased it if it wasn't on the Paisley Park label or contained the Prince song, but once I owned it and listened to it, I enjoyed it.  There are a couple of stand out tracks on this record.  From the opening swells of the instrumental segue 'Vermillion' to the soft lullaby quality of 'Through The Sleepy Town', the music has an early 80's alt rock sensibility.  Very similar to the first Bangles record. 

You could draw comparisons to the Beatles, but in my opinion, that's a less obvious choice.  They were part of a movement in L.A. called the Paisley Underground.  I only know this because I'm reading it on Wikipedia.  That's one musical movement in the 80's I had no concept of.  No clue it was going on.

Like most Paisley Park releases, the Three O'Clock album is now out of print so you won't find new copies of this disc in stores.  But it's still around on eBay and Amazon.  With exciting tracks like 'Love Explosion', 'Neon Telephone' and 'On Paper', you won't go wrong with this record.  I still think it's better suited for Prince fans, or collectors who are completing collections.  But it's not a bad listen for those who are casually moving through music.  Download it and give it a go.

My final words: ANOTHER UNDISCOVERED PAISLEY PARK GEM!

THREE O'CLOCK - VERMILLION
01. Vermillion
02. Love Explosion
03. To Be Where You Are
04. When She Becomes My Girl
05. World On Fire
06. Neon Telephone
07. On Paper
08. Ways Of Magic
09. Time's Going Slower
10. Love Has No Heart
11. Through The Sleepy Town

HABERDASHERS - HABERDASHERS EP

A couple weeks ago, I had the opportunity to see Electric Six play again.  This time in Las Vegas.  Yip Deceiver were the opening act, however, this time, the evening included performances by two local bands.  Usually, the local bands are the groups you ignore and get annoyed with while you wait for E6.

But the first band really caught my attention.  The group is called Haberdashers and they've just released a 5 song EP.  Their set was comprised of the five songs on the disc and I'm fairly certain, they were played in the exact same order as the disc.  I may be wrong.  I'm wasn't familiar with their music enough to know at the time.  But I liked what I heard enough to purchase the EP.  Which, btw, they sold for tips.  They let their customers choose how much to pay.  Interesting approach.  I wonder if it worked in their favor.

I listened to the disc while driving home and I have to be honest with you...  There's an energy the group has live that's missing on the disc.  But it's easy to pinpoint where the bottom falls out.  The lead singer still hasn't quite found his voice.  Don't get me wrong, he's a talented vocalist, but he hasn't developed that one quality that is uniquely his.  That style to set him apart from other singers.  And it's in these pockets of sometimes droning vocals that the group stalls.  

The first song is 'Bombshell' and it starts off sounding like a Southern Rock number.  Or perhaps a better analogy would be to call it the bastard child of Puscifer.  The second song, 'Glass Door' reminds me of early Smashing Pumpkins.  There's some exciting musical moments happening here, but it's the chorus that really brings out the Billy Corgan feel.

'401' is the next track and this one musically sounds like a Sublime Halloween nursery rhyme.  The tempo drags a little on the disc, but live, it has a creepy energy that was completely infectious.  A lot of people responded to this number.  Including me.  'Tremors' comes in with great build.  This is a song I can hear a lot of greatness.  It's another one that's highly reminiscent of early Pumpkins.

The final track is easily my favorite number both live and on the disc.  The song is called 'Screech Owls'.  You've got some energetic playing throughout and it's an amazing tune with so much potential.  The vocal arrangement on this number is odd, but that's where its charm comes from.  "It's oh, so strange..."  Completely brilliant.  This is also the song where the lead vocalist comes closest to finding his voice.  The music allows for some great showcasing by the band and you have some wonderful drumming along with incredible bass and guitar work.

I think this group shows a lot of promise.  What's lacking right now is a strong handed producer who can help the group tighten their fills, solidify a sound and help the singer find his true voice.  I can totally hear it on 'Screech Owls'.  He's so close.

This is obviously I group I'm going to follow and pay attention to.  I'm also going to do something I don't normally do and include a link to their facebook page.  You can find them HERE.  I'm excited because I hear depth in their subject matter, strength in the music and I have the feeling I'm hearing a huge band right at the very beginning of their musical development.  I can't encourage you enough to give this band a try.

My final words:  PICK UP THE EP, GO TO THE SHOW AND GET IN ON THE GROUND FLOOR.  THEY'RE MOVING ON UP.

HABERDASHERS - HABERDASHERS EP

01. Bombshell

02. Glass Door

03. 401

04. Tremors

05. Screech Owls