SUGARHILL GANG - RAPPER'S DELIGHT: THE BEST OF SUGARHILL GANG

Do you remember the Sugarhill Gang?  They were part of the burgeoning rap community when it was just starting.  They sampled music from other artists; which I normally hate, and they created some memorable music that is just as ingrained in my memory of the 80's as New Wave and the Minneapolis sound.

In the grand tradition of George Clinton, Parliament and Funkadelic, the Sugarhill Gang turn each track into an extended musical jam.  This was before rap became a more popular crossover genre and the songs shortened to a radio friendly length.  However, on this collection, you don't have to worry.  Nothing is edited down.  You're treated to the full versions!  In fact, 'Rapper's Delight', probably the song the band is most remembered for, clocks in around 15 minutes.  In this instance, I think a well chosen edit would've gone a long way to making this a more accessible collection.

In reality, the long track lengths often make the songs hard to sit through.  It's kinda cool and a bit of a status indicator that 'Rapper's Delight' and 'Apache' are in my collection.  If I ever wanted to do a comedic strip tease I've got the tunes all ready to go.

The songs themselves are highly reminiscent of Disco in the 70's with horns punctuating changes and beats.  This music is really dated and definitely has not stood up to the test of time.  But isn't that kind of what makes a classic a classic?  It certainly limits the audience and relevancy of the material, but that's OK.  As long as the fans who remember these tunes fondly are still around to listen to them.  Their music reminds me of Curtis Blow.  Of course with the advancement of rap, these raps sound like something you'd hear at a grade school talent show.  There's not much more I can say about this record.  I bought it as a gag because I remembered the songs and how much I liked them as a kid.  As an adult, they leave a lot to be desired.  My final words:  A NOVELTY CD AT BEST.

SUGARHILL GANG - RAPPER'S DELIGHT: THE BEST OF SUGARHILL GANG

01. Rapper's Delight

02. Hot Hot Summer Day

03. 8th Wonder

04. Showdown

05. Apache

06. The Lover In You

07. The Word Is Out

08. Kick It Live From 9 To 5

09. Livin' In The Fast Lane

10. Girls

11. Work, Work, The Body

PRINCE - HITNRUN PHASE TWO

Well, it seems to be official...  HITnRUN will be a series of releases and for what it's worth...  I'm excited for it.  Comprised of mostly one-off internet tracks, "HITnRUN" Phase Two" is an almost polar opposite of "HITnRUN Phase One".  In the first phase, we saw Prince working in a musical genre he's not entirely comfortable with...  Electronic pop.  With Joshua Welton at the helm producing, the material was radically different for most Prince fans.  You could hear current music production trends all throughout and it felt like they were trying to be part of the current pop market.  Create a product more appetizing to a younger generation.  I think the effect it had was something of a backlash.  

Most die-hard Prince fans didn't like it.  In fact, I think I've read more negative comments about this record online than any of his previously.  On the other hand, those of us who enjoy innovation and experimentation were pleased to see him branch out and try something new.  Let's face it, with a musician of Prince's caliber, there's not a lot of ground he hasn't covered.  Hearing him commit to a sound like this was interesting and exciting.

"HITnRUN Phase Two"...  Well, that's a different story altogether.  At this point in his career, Prince is the undisputed king of funk.  Even funk pioneers like George Clinton stand in his shadow.  With the passing of James Brown, the godfather of soul, Prince takes his place at the head of the pack when it comes to Funk/Soul/R&B...  He's so good at what he does, funky ditties roll off the cuff.  He can record a track in a single day funkier than almost anything any current artist could produce with years of effort.  It's just that easy for him.  

In light of this, releasing an entire album of groovy tunes seems almost effortless.  It's almost a love/hate relationship.  Fans want to hear the masterful Prince doing what he does best, but then go on to judge him for being stuck in a rut and lacking innovation.  In so many ways, "HITnRUN Phase Two" fits this description.  It gives the fans the funky jams they were looking for on "HITnRUN Phase One", but doesn't branch out into unknown terrain.  

Personally, I love both records.  And I could't be happier with the direction I feel this project is going.

I've had a digital copy of this album for quite awhile now.  I only just received my physical CD.  Considering how long this music has been playing on my iPhone, I think it's appropriate to discuss my opinions.  So here goes...

Right off the bat, the album starts with a track previously released online.  'Baltimore' is a song Prince released in response to the Freddie Gray incident.  Gray was a young man in Baltimore who was arrested for possession of an illegal weapon.  He died while in police custody and fueled the current crisis in the US about police brutality and prejudice.  There's a lot of hostility and anger brewing among Americans who view events like his death as a great social injustice that needs to be addressed.  Obviously, this young man's death struck Prince deeply and he expressed his opinion through song.  You would expect a protest song.  A call to arms.  Something radical and angry.  Instead, you get a mid-tempo groove with a simple melody calling for peace and understanding.  He's hurt by the injustice...  He wants change...  But he wants a peaceful change.  One motivated and fueled by love rather than anger or hatred.  No doubt many will view this song as weak or ineffective.  For someone like me, it mirrors my own point of view and I'm glad he chooses this path.  The older I get, the more I realize LOVE really is only solution.  The only answer.  Oh, and I love the song.

'Rocknroll Loveaffair' is next and this song is similar to many previous Prince grooves fueled by a rhythmic guitar line.  It bursts forth in a blaze of horns and settles into a solid beat.  This track reminds me of 'When You Were Mine' and 'Little Red Corvette'.  It's all about a romance and tells a story almost like a fairy tale.  It's another strong track and also one that saw an earlier release as a one-off internet cut.  Still, it's a good one!  '2 Y. 2 D.' is number three and is the first on the record that didn't have a previous release.  However, it did make appearances during live sets for a couple of years prior to this disc.  Still, you wouldn't know that unless you were A) at the show and heard it there or B) you had a bootleg of a show and heard it there.  It features a fuller band sound with the NPG Horns in full effect.  This one is a tight example of how Prince has assumed the place of James Brown.  Those soul horn blasts are the kind of punctuation only Brown was capable of using effectively.  And P just swaggers through the track with all the confidence of an heir apparent.  I think this is a phenomenal number, but it's not my favorite on the record.  If I had to choose the order of my favorite songs to my least favorite, this one would be on the least favorite end of the list.

'Look At Me, Look At U' starts off with a delicate flute line.  When the full band blends in, the song settles into a semi-slow tempo and kinda floats along at this pace.  It's a lovely number.  I think it gets washed away by the previous number.  If you listen to it by itself and not in the order of the record, it's more enjoyable.  The smooth jazz feel is mellow and sheer ecstasy from start to finish.   It's another new track and as far as I know, it wasn't played live prior to this release.  It's followed by a more aggressive and rockin' track called 'Stare'.  Sometimes, I dislike songs like this one just because I find the subject matter tedious, but on this one, the beat is infectious and Prince doesn't preen or come across as pretentious.  He creates another strong groove and settles in to paint across the current making all kinds of musical pictures for the listener to admire.  A strong track.  'Stare' did have an internet release prior to showing up on this album.  It was part of the additional music you could hear if you bought phase one from Tidal music subscription service.  However, you only got snippets.  Three in all I think.  This is where you hear the song in its entirety.

"HITnRUN Phase One" included an updated version of a popular and well circulated Prince outtake.  "HITnRUN Phase Two" does as well.  Track number six is 'Xtraloveable'.  This track was previously released as an internet only cut.  However, its been around since 1982 or 1983.  The original version is radically different than the version appearing here.  It's hard to say which is better.  Initially, I thought I'd lean toward the original because I've always associated it with that era and sound.  Yet, the more I listen to the updated released track, the more I prefer it.  This is a strong funk workout and it lives up to its reputation.

'Groovy Potential' is next and like most of the album, this was previously available online as a single track.  In fact, I remember buying this one among others from the 3rdeyegirl website.  This tune starts off so laid back and unassuming...  You just glide along with it and sink into the rhythm.  The beat jumps at the chorus but quickly settles back down.  Just when you think this will be a languid bit of groovy funk, the song builds and erupts.  This tune is absolutely amazing!  It swells and ebbs like it has a life of its own.  Simply put, this is my favorite track on the album.  It's pure heaven!!!  There's not enough I can say about it.  You have to experience it for yourself.

'When She Comes' is a bluesy new number.  These sort of blues cuts have appeared on recent Prince albums with alarming frequency.  It's OK, but I'm not a huge fan of this kind of blues and I often find these tracks hard to listen to.  I'm not a huge fan of the subject matter either.  Suffice it to say, my favorite number on the album is followed by my least favorite.  'Screwdriver' is a rock track in a similar vein to 'Peach' and 'Guitar'.  These guitar driven rock out's are another specialty of Prince's and I think it's actually a 3rdeyegirl cut.  It's another previously released internet single.  I won't get too deep into it.  The play on words is obvious and even though I like the song, I'm not in love with it.  'Black Muse' is another new tune and it incorporates a strong early Minneapolis Sound vibe.  This is another funk workout Prince can generate almost at whim.  It's a song that would be easy to dismiss, but if you don't and give it a chance, it's actually quite amazing!  

'Revelation' starts off sounding like another blues ballad, but then it evolves into a jazzy heartbeat that settles over you like a warm blanket on a cold night.  P has a way with ballads and this song demonstrates why his slow music can be so powerful.  It's lovely.  It's also a new song.  The final track on the album is also new to release, but it was played live with the full NPG line-up quite a few times in the two or three years building up to this release.  'Big City' is a retro-sounding funk number including horns, back-up vocalists and just about everything but the kitchen sink thrown in for good measure.  But guess what???  It's brilliant and another incredible track!

This is a solid, strong record for Prince!  It has some of the best material he's done on it and I'm excited about it and subsequent phases.  I can't wait to see what he'll do next.  I'm also happy to have so many of these tracks included in an album and on a physical CD format I can take with me wherever I go.

There's not much more I can say other than I love virtually everything about this project.  I love the artwork, I love the overall musical themes he's choosing and the diversity of the material he's releasing.  Probably my biggest complaint was the CD release.  It wasn't widely publicized and actually hard to find online.  The first place I looked was sold out already.  People who did find it were buying up copies and selling them on eBay for double even triple the cost.  I hate that kind of thing.  Otherwise, this is the perfect release.  My final words:  2ND IN A SERIES I'M LOOKING FORWARD TO WITH MORE AND MORE EXCITEMENT.  A BRILLIANT RECORD!

PRINCE - HITNRUN PHASE TWO
01. Baltimore
02. Rocknroll Loveaffair
03. 2 Y. 2 D.
04. Look At Me, Look At U
05. Stare
06. Xtraloveable
07. Groovy Potential
08. When She Comes
09. Screwdriver
10. Black Muse
11. Revelation
12. Big City

ANDY D PRESENTS THE WEEKEND - SONGS IN THE KEY OF MAGIC

As many of you already know, I discovered Andy D when he performed on 'It Gets Hot' by Electric Six and met him when he opened for them during the "Heartbeats And Brainwaves Tour".  I'd already seen him perform on Youtube clips and I was excited to see more of him.  Andy is a dynamic live performer and a genuinely nice guy.  I enjoyed chatting with him and spending time at the show.  I bought his first and second albums at that concert and I felt like the first disc, "Name Your Perversion" didn't quite translate from the live performance to the disc.  But I had great hopes for this album and I wasn't disappointed.  This disc certainly conveys the energy he projects during a live performance.

I don't think it will come as a surprise that most of his songs are sophomoric and over-sexualized.  Sometimes he comes across like a teen boy who's just discovered sex and his lyrics come across as rather trivial.  But that's more or less where Andy D lives.  He's not here to change the world or make a political statement, he's here to party and have a good time.  Once again, the instrumentation is quite minimalist and the lyrics simple and straight forward.  The first song, 'Playground' is an interesting song about oral sex of various kinds.  Um, wow.  'Electric Wilderness' is next and it's got a few funny lines throughout.  It's a pretty good song.  I like the music on this track and I think he delivers on the vocals.  On my CD, Andy wrote "Your magic is real and I believe in you!"  Imagine my surprise when I heard that line appear in the song.  I'm gonna go out on a limb here and tell you, that autograph actually personalized this song for me and made me listen to it constantly.  It's one of my favorite tracks on the disc!  'Hey Tina (Pick Up The Phone)' was probably the track I remember most from his live show.  It was highly dramatic.  And he delivers it here with just as much enthusiasm.  When you actually listen to song you realize the music is actually inspired and borrows elements from George Clinton and his 70's bands like Funkadelic and Parlet.  It's actually quite funky and enjoyable.  If you don't listen to anything else, check out this number.  

'Angels On The Dancefloor' is a song that doesn't offer much musically, yet I love the lyrics on this one.  It makes me laugh everytime and I listen to it a lot.  'Wizard' kicks in with some interesting sounds, but when the tinkling keyboards kick in, it starts to sound like early 80's rap.  Still, it's cool for what it is.  Andy does have an affinity for that older rap and he emulates it with his own material.  'I Wanna Be Your Unicorn' combines some rock metal guitar licks with some funk rhythm guitar.  It's a metaphor.  His horn is of course his "you-know-what" but the tune is catchy.  'Bump In The Nite' is Andy's Halloween single.  Of course, the four letter words strung throughout the chorus means it will never see playtime at kids parties.  If it could, this might have been a breakthrough hit for him.  

'Moderne Romance' is up next and this one uses lots of drum fills and beats to create a frantic pace.  'Alchemy Of The D' is the obligatory "I'm-all-that" track.  Andy proclaims his superiority in many different ways.  'Black Rainbow' is another song with that's highly Clintonesque.  It's got a 70's funk vibe and I like the chorus.  The final track is 'Ragnarock (Viking Lover)'.  This one kinda marches on with a guitar lick playing along with the beat, but it's mixed low in the track.  Based on the title, you'd expect something huge and climactic, but it never achieves that build.

In the end, this is a CD that at the very least lives up to the live performance of this artist.  The live show is unbeatable.  I think it's vastly superior to the previous disc and I'm looking forward to hearing even more.  Andy D is a fun listen.  My final words:  AN IMPROVEMENT WITH THE PROMISE OF EVEN MORE TO COME.

ANDY D PRESENTS THE WEEKEND - SONGS IN THE KEY OF MAGIC
01. Playground
02. Electric Wilderness
03. Hey Tina (Pick Up The Phone)
04. Angels On The Dancefloor
05. Wizard
06. I Wanna Be Your Unicorn
07. Bump In The Nite
08. Moderne Romance
09. Alchemy Of The D
10. Black Rainbow
11. Ragnarock (Viking Lover)

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)

GEORGE CLINTON - PAINT THE WHITE HOUSE BLACK

Originally, the album this single is from and the other singles were released on Paisley Park records.  Shortly afterward, Paisley Park was shut down and Prince began releasing on his new label, NPG Records.  Some of the final Paisley Park albums were also released on NPG and this single is the NPG release.

It features a single edit of the song, 'Paint The White House Black' with unedited lyrics and the full length album version.  It also features the album track, 'Hollywood'.  This song is based on a play on words.  The subject of the song, Holly... "would" do a lot of things if she could.  And she wants to live in Hollywood, California.  It would've featured nicely on the soundtrack to the movie "Cool World", but here it just seems sophomoric and trite.  

The only song authentic to the release is the b-side, "Booty".  It's a jaunty tune more in line with the George Clinton escapades of the 70's than the music he was recording at Paisley Park.  Of all the outtakes I've heard from sessions for this album, "Booty" is one of the weakest.  There are stronger tracks, but somehow, this one ended up being featured.  It's by no means a bad song, it's just not his finest.

My final words:  A SAD END TO PAISLEY PARK AND A GOOD START TO THE NPG...  A FINE CLINTON MOMENT!!!

GEORGE CLINTON - PAINT THE WHITE HOUSE BLACK
01. Paint The White House Black (Uncensored Single Version)
02. Paint The White House Black (Album Version)
03. Hollywood
04. Booty

FONKY BALD HEADS - THE SELF TITLED ALBUM

It's been a few days since I've written a review. It's taken me that long to move past the new Chems CD long enough to pick up something else. But finally, I've been able to set it aside long enough to write about this little release.

The Fonky Bald Heads are a band formed by New Power Generation members Kirk Johnson, Kip Blackshire and Mike Scott. Rapper DVS is also a member though I'm not sure he's famous for anything else. He may have a local reputation. This disc never received national distribution. This is another record you had to buy directly from the group.

So the inclusion of NPG members isn't enough to make me pick up a cd. But Prince wrote a song on this record and it isn't available anywhere else. An edit of the track was released as part of the NPGMusic Club back when that was going, but it wasn't the complete song.

I originally bought this disc as a digital download and then found it on Amazon.com a year or so after. I picked it up and my impression then is the same as now. There are certain tracks on this disc I absolutely love. And then there are songs I don't care for either way. What does surprise me is the material I do like.

The first track is a segue into the album and sounds like something you'd hear from George Clinton. It's spacey, grandiose and not a little pretentious. It's followed by 'Soundasame'. For those people following Prince since the inception of the New Power Generation as a band, this concept isn't anything new. He used to go on and on about real musicians who played real music and didn't lip sync onstage during a concert. 'Soundasame' basically accuses all boybands and groups that don't actually play music live as being fake and they all sound the same. I don't agree with the statement and I find this number a little tedious. The next track is a power ballad of sorts. And this one I do like. 'Under The Same Clouds' has a lovely chorus and a spirited rap by DVS that accentuates the drama revealed in the lyric's story. 'Fonky Like A' is an awesome track! It's got the funk and the groove to really make you get up and shake. I've heard three versions of this number and I like them all.

The next track is one of my favorites. 'Passin Your Name' is another awesome ballad similar to 'Under The Same Clouds'. DVS raps the verse and then the chorus is sung by Kip Blackshire I believe. It's got a wonderful story, but the deal clencher is the chorus hook. I sing along at the top of my lungs. Now that's a good tune. The next track, 'Sex In My Bones' is one I'm not partial too. It's boring and like 'Soundasame' and 'If Ya'll Wanna Rock', it tries to blend elements of hard rock into the song to give it more power. Instead, it just sounds like overlayered instrumentation. None of those tracks appeal to me and they really leave me disappointed. I should mention... 'If Ya'll Wanna Rock' is a hidden track at the end of the disc. The title comes from the internet, so I'm not even sure what it really is. But I'm guessing it's correct.

'Rowdy Mac' is the Prince contribution and is pretty good. It doesn't stand out too strongly and also includes some harder sounds but for some reason, they actually work on this track. I doubt Prince had much to do with it other than contribute to it. It doesn't have a strong Prince feel, though does remind me somewhat of 'Mad Sex'.

So my overall opinion is mixed. I certainly really like the songs I like, but I'm indifferent to the ones I don't. So I'm leaning more toward the positive here. It's worth the purchase if you stick to the songs you really enjoy and let the rest float by. My final word: FONKY.

FONKY BALD HEADS - THE SELF TITLED ALBUM
01. Introdukshun
02. Soundasame
03. Under The Same Clouds
04. Fonky Like A (Remix)
05. Passin Your Name
06. Sex In My Bones
07. Fonky Lyka (Live)
08. Rowdy Mac
09. If Ya'll Wanna Rock

CANDY DULFER - SAX-A-GO-GO

Candy Dulfer is a Holland native who gained some notoriety through her association with Prince in 1989. Since then, she's played with Prince and other musicians internationally. This album is a solo effort relying heavily on her association with various funk and soul legends. My attraction to the disc is rather obvious. I bought it because of the obligatory Prince contribution, 'Sunday Afternoon'. However, I listen to it because it's an awesome contemporary jazz disc and extremely rhythmic.

Dulfer loves funk and uses her album to explore her passion for American R&B. In doing so, she proves white women can be funky 2... The first track is a hip hop funk workout containing a free flow rap performed by Wendell Arthur Morrison Junior in the style of funk godfather, George Clinton. '2 Funky' also appears as the closing track in a more laid back mix titled '2 Funky (Radio Version)'. The title track is a more relaxed groove with lovely improvisation by Dulfer. There's a Middle Eastern flare to 'Man In The Desert'. She moves effortlessly through the various styles and rhythms.

She covers Bonnie Raitt's 'I Can't Make You Love Me' and the Average White Band's 'Pick Up The Pieces'. Both are exceptional covers! The Prince track is a beautiful floating piece with a lazy, breezy quality. Dulfer dances across the base track like a ballet dancer adding dabs of paint to a watercolor landscape. It's very moody, evoking a strong emotional response.

Prince's previous horn sections have also had some breakout artists who've gone on to record solo discs. The most notable is Eric Leeds. Dulfer is quite different from Leeds in many ways. In my opinion, Eric has a more structured sound. His scales and riffs tend to follow closely to the natural build of the song. Dulfer on the other hand, takes a more relaxes approach; as long as she's somewhere near the basic track, she'll chug along happily. Not that either style is better than the other, it just seems different to me. I guess you could say, listening to Candy leaves me feeling unhurried and the music seems less focused on the details. With Eric there's a proficiency that can sometimes be clinical. I do enjoy both styles. Since I don't play the sax or listen to jazz in heavy rotation, it's hard for me to verbalize my thoughts on this instrument and the different styles of playing. I can hear a difference in style and I've become attuned enough to tell the difference in players; but I still find it difficult to put into words.

In conclusion, I give this disc a positive recommendation. It's a great motivational record that will have you tapping your feet and wiggling in your seat. My final word: POSITIVE.

CANDY DULFER - SAX-A-GO-GO
01. 2 Funky
02. Sax-A-Go-Go
03. Mister Marvin
04. Man In The Desert
05. Bob's Jazz
06. Jamming
07. I Can't Make You Love Me
08. Pick Up The Pieces
09. Sunday Afternoon
10. 2 Funky (Radio Version)

EL DEBARGE - IN THE STORM

El DeBarge is a member of the 80's R&B family band, DeBarge. They scored a number of mediocre hits in the early 80's, especially on soundtracks. They eventually split up to work on solo projects. On this particular disc, El enlists the help of famous producers and songwriters. The overall production credit goes to Maurice White of Earth, Wind & Fire fame. He only gets one writing credit. It's the album's final track. 'Special' is a rather unremarkable piece that drags the body of work down. Ending with 'Prelude To Midnight' would have been a smarter choice.

El brings in all kinds of brand names to create this outing. Chante Moore contributes vocals on numerous tracks. Soul/Funk veterans Patti LaBelle and Larry Graham also show up on songs. Rapper Kool Moe Dee contributes a satisfying funk workout at the start of the album in the track, 'Fast Lane'. Larry Graham thumps out a pounding bass and you can catch him vocalizing as well. Patti LaBelle donates her voice and arranges vocals on 'After The Dance'. Keith Crouch appears to be the major musician on the disc. He works well with DeBarge and the interlude/prelude pieces are interesting musical ideas. They're intriguing though sadly too short to fully appreciate. There's at least another album's worth of instrumental material waiting to be flushed out.

The lag time occurs in the ballads. Switching up from nasty funk to social consciousness has never sat well with me. It's a bit dodgy and the fact El apologizes for the naughtiness of this album in the liner notes only destroys the credibility of the funky sound. It also demonstrates he realizes he'll never be successful just singing soppy ballads. And it should be pointed out the generic, boring moments on the album are the result of poor balladry. Still, nothing compares to the instrumentation and sheer funk of 'Leggs'. George Clinton would be proud.

Of course, all of this was unexpected but welcome. My purpose in buying this disc was the addition of a Prince track co-written by Kirk Johnson. 'Tip O' My Tongue' doesn't feature a performance by Prince. Instead, El and Crouch collaborate to interpret the song in the style of the album's other material. Musically interesting and catchy; 'Tip O' My Tongue' stands out from the other songs. It's more complex and challenging with a wonderful vocal arrangement driving the rhythm section forward. El isn't a stranger to the Prince camp. He sang background on the song Prince wrote for Kenny Rogers in 1987. It's not unexpected to have this contribution floating around.

What is unexpected is the funky diversity and fleshed out soul of the entire disc. It's quite enjoyable on its own. Like most R&B albums, it contains its share of boring, generic filler material, but comparatively speaking... It has more bright moments than dull. Song highlights include though not should be limited to: 'Fast Lane', 'My Heart Belongs To You', 'Tip O' My Tongue', 'Elmo Funk' (Prelude and Interlude), 'Thick', 'Leggs' and 'Another Chance'. So if you buy nothing else from El DeBarge, you wouldn't go wrong making this your one selection. Worth it!!!!! My final word: STORMY.

EL DEBARGE - IN THE STORM
01. Elmo Funk (Prelude)
02. Fast Lane
03. After The Dance
04. My Heart Belongs To You
05. Cry (Interlude)
06. Love Me Tonight
07. Sincerely Yours (Interlude)
08. You Know What I Like
09. Tip O' My Tongue
10. Soul Searchin' (Prelude)
11. In The Storm
12. And Then I Wrote (Interlude)
13. Thick
14. Another Chance
15. Leggs
16. Elmo Funk (Interlude)
17. You To Turn Me On
18. Prelude To Midnight
19. Special