PRINCE - DELIVERANCE

So I know what some of you Prince fans are thinking...  "Deliverance" release was cancelled by a judge who was overseeing Paisley Park and the Prince family's lawsuit against Ian Boxill claiming he doesn't have the right to release the music on the disc.  According to Boxill, the discs were already pressed and ready to ship.  The disc I have was listed on eBay as an advance promotional pressing sent out prior to the judge's order to cease distribution.  Therefore, I'm counting it as a legit copy.  Quite frankly, I'm not 100% sure it is, but if it's a bootleg, it's the best bootleg I've ever seen in my life.  Of course the only images we were actually shown of the album was the cover so I have nothing to judge the remaining artwork against.  However, it seems to conform and flow together like it was planned.

This is a tricky disc to review right now.  I find my opinions of the music itself is clouded by my opinions of the legal battle going on between the engineer and the estate.  I think it's the most ridiculous thing I've ever seen.  And I feel highly compelled to discuss my opinion on that battle rather than the musical content of the disc.  

But I won't.  My opinion on that subject doesn't belong here.  So...  Let's talk about the music!

To me, this material sounds very similar to the type of stuff he was doing in the early 90's.  He experienced a writing boost and was recording a lot of material.  I'd say this stuff was probably done around the same time the tracks for "Chaos And Disorder" were done.  All of that material was intensely spiritual but also highly sexual.  It has the sound and experimentation of "Chaos And Disorder" but...  (and this is the reason I'm second guessing myself) ...the religious themes seem more fleshed out and fully formulated.  At the time, Prince didn't have the stable influence of a full time religion to help him define his spirituality and form opinions on a great number of issues.  Still, even with the Jehovah's Witness faith dictating his beliefs, the soulful expression of the music is more in the tradition of a small local African-American church congregation choir.  

And that "freedom" can be felt in his vocal delivery, guitar playing and every small groan, scream and expressive sound he creates throughout the performance.  'Deliverance' could easily become one of my all time favorite Prince songs.  It's just magical.  He sings from his heart and you feel it all through your body.  'I Am' is a slow burning rocker allowing him to build intensity through his guitar and vocals.  I really dig this track!  It's fantastic as well.  The downside is it's actually the opening movement of a suite that is given different titles, but in reality, are they individual songs?  Or just a part of a larger suite like some of the musical movements in a track like '3 Chains O' Gold' from his "Symbol" album.  

This is also one of the reasons the music reminds me so much of "Chaos And Disorder".  He was doing some similar song combining on that record as well.  Just listen to 'I Will' and 'Into The Light'.  'Touch Me' starts off this blurry, ill-defined suite and it moves into 'Sunrise Sunset'.  Now that transition is fairly clear and you can see where one song ends and the next starts.  But from there, the rest is a jumbled mess.  The movement that is mainly considered 'No One Else' makes an appearance toward the end of the 'Sunrise Sunset' track, but the other song reasserts itself and we're right back to it.  But once the tracklisting on the media player shows the song has officially moved into 'No One Else' you get at least two strong transitions back to 'Sunrise Sunset' and it ends with a reprise of 'Touch Me'.  A hot mess.

The final track on the EP is an extended version of 'I Am' which thankfully doesn't devolve into the suite.  It has a strong beginning and end.  This should be the official version of the song.  For me it certainly is.

Although some of these throw away records Prince released in the 90's to fulfill his contract with Warner Bros. aren't considered very good by the majority of his fans, "Chaos And Disorder" has always been one of my favorite albums.  I really enjoy it and the way it's put together.  For me, "Deliverance" is like a continuation of that record.  I feel like I'm getting more music from that time and I'm tickled to death by it.

Normally, I would shy away from such a strong religious theme, but in this case, the soulfulness of his performance makes it redeeming.  For me, it's a homerun hit right out of the ball park and these performances where Prince seems absolutely free and unfettered are the absolute best.  This is some of the finest material I've heard in years and quite frankly, outside of the unreleased bonus disc from the "Purple Rain" deluxe edition, this is the first true posthumous release of Prince music.  It would be an absolute shame not to give it to the world.  This is Prince at his finest!

My final words:  A UNIQUE AND POWERFUL PERFORMANCE FROM A MUSICAL ORIGINAL BURSTING WITH SOUL!  GET IT!  GET IT!!! GET IT!!!!!!

PRINCE - DELIVERANCE

01. Deliverance

02. I Am

03. Touch Me

04. Sunrise Sunset

05. No One Else

06. I Am (Extended)

WENDY & LISA - EROICA

Eroica...  You can search the term on google, bing, whatever search engine floats your boat and you'll always find yourself coming back to Beethoven.  He used the word more than once in his compositions and its since become a word many people associate with him including authors and film makers.  

Why did Wendy & Lisa choose to name their album "Eroica"?  That's a question we may never have an answer to.  But when you consider the breadth of music these two study, consume and incorporate into their own sound, it's not hard to believe some of Beethoven's Eroica Variations might have had an impact on one or both of them.

It's almost beside the point when you get right down to it.  Whether the name is used to honor music they love or signal the listener something truly transformative is about to happen, it works.  Not only is it a departure from the Minneapolis Sound but it expands the subject matter and writing abilities of the pair in a dynamic way.

The first time I heard this record I wasn't sure what to think.  It seemed like W&L were branching out into some new musical territory.  At the time, a lot of women were taking center stage in a folk alt rock sorta way.  Bonnie Raitt, The Indigo Girls, Ani DiFranco and Melissa Etheridge...  A movement in women's music was off and running.  And it seemed almost like W&L were going to be a part of it.  But as I listened to "Eroica" more and more, I felt like there was something else happening.

One of the reasons I love Wendy & Lisa so much is because I don't feel alienated by their music.  I can relate to it from so many different angles.  Sometimes, I view their stuff from a more emotional, feminine side while in others, I'm more in tune with my masculine side.  Either way, they reach out to me because they sing about things I can internalize.  Their music becomes a backdrop to my life.  On this record, there are some astounding examples of that and there are songs I continually go back to even after all these years.

When you hear the opening chords of 'Rainbow Lake' a part of you feels completely at ease.  It's just Prince-y enough to make you feel like your in a comfortable place.  The organ swells over the minimalist electronic drum patch and the lovely visuals painted by the lyrics...  If Paisley Park were a real park, Rainbow Lake would be right beside it.  It's a visionary song.  

However, nothing can prepare you for the transition into 'Strung Out'.  Once that drum kicks in, you know you're in for something new and you're not disappointed.  Although the comparison of Love to a drug may not be a new concept, being addicted to a specific person is an interesting spin.  One approached from an almost joyful headspace.  As if the high achieved through that lover's touch, kiss and smile is more powerful than any drug.  Since discovering my demisexual nature, this song takes on a new meaning for me and is even more powerful.    A lover's smile can literally set my mind and heart free.  It can wash away worry and concern.  Not to mention, the song is absolutely kickin' and Wendy really rocks out on this one.

The next song is a more complicated endeavor.  'Mother Of Pearl' is the first song on this disc that reminds me of those old 70's rock bands who wrote crazy stories in their music.  The sorta band Christopher Guest poked fun at with his mocumentary film, "This Is Spinal Tap".  The song appears to be about a fight between lovers, but there's so much more to the lyrical content taken both in and out of context.  I could spend hours commenting on individual lines and tracing the slow tearing apart of this relationship, but I won't.  You'll have to listen to the song and see for yourself.  There are a couple of lines I absolutely do have to point out because they are, by themselves, so much more than the sum of this song.

"Guilt is the one thing
We could do without
Judgment the anvil
That's weighing us down"

I can't tell you how important those lines were to me when I realized I couldn't live a life trying to make my family happy.  The more I lied about who I was and adopted their religious views, the more unhappy I felt inside.  I knew in time I would suffocate under the pressure of that false life.  And all because I felt guilty.  That I was letting them down.  And fearful of the judgment.  I remember sitting alone one night listening to this song and playing that part over and over.  I realized I didn't have to hold on to the guilt I felt.  I wasn't doing anything wrong and the anvil of judgment on my shoulders wasn't a burden I had to carry.  Just like that, I made up my mind to start living for my own happiness and I stopped trying to live up to the expectations of others.

'Don't Try To Tell Me' is the first song sung by Lisa and it's another one that's taken me a long time to fully understand.  There's a resignation in her voice.  A sadness but also a tone of acceptance.  She's not going to make you stay if you don't want.  But at the same time, she's not going to change who she is.  I remember my ex telling me I was too co-dependent.  I was horrified.  Yet, as I thought about it, I couldn't see what was wrong with depending on your partner, or having them depend on you.  Of all the people in the world, isn't that who you should be able to depend on?  So if co-dependent means living a shared life and relying on each other, sign me up.  But don't ever try to tell me what I should or shouldn't be doing when it comes to love.  I've earned the knowledge I have of my self and I know who I am.  I'm not compromising that.  Even if it means losing a love.  That's the message I take from this song.

'Crack In The Pavement' to me is a song about perspective.  Seeing something in someone not commonly seen or overlooked.  And at the same time, seeing the side they don't usually show the world.  The chorus seems almost resentful of it, but I think it's more of a comment on honesty.  Why do people need to pretend to be something or someone they're not?  Why tell the world you're made of stone and then come cry on my shoulder when everything is too hard.  Amazing.

'Porch Swing'...  I actually think this song is about Prince.  Although I don't for one second think that Prince takes things real slow, the other metaphors they use to describe "The Guy (she) knows" are perfect.  It's a tender number and one that offers insight into a magical time in their lives.  'Why Wait For Heaven' is the sleeper rock opera I can't believe someone finally wrote.  The idea of making heaven here on Earth isn't new, but it's still incredible to hear Wendy sing about it like a call to arms.

'Turn Me Inside Out' is a tune about trying to understand  lover and be understood at the same time.  It's all about that process we go through as we get to know new people.  'Skeleton Key' is the promise of opening the door to new beginnings and a new life.  Maybe it's about introducing someone to their sexuality and helping them discover who they are.

'Valley Vista' is a track we can all relate to unless we've lived in the same place our entire lives.  I've driven past old homes my family lived in and homes I lived in with families I've made on my own.  There are so many memories that flood back to us when we see and experience these places later in life.  Such a unique song and one of the reasons I find them so compelling.  They can capture a specific feeling and moment in a song.

'Staring At The Sun' is the hopeful conclusion to the album and leaves you wondering, "What now?"  You wonder both for Wendy & Lisa and yourself.  This is another track I can personalize easily.  I can't imagine someone not being able to take this perspective and look out into their future and wonder what to do.  

The fact is, I could write about each one of these songs all day and discuss them at great length, but that's not what I'm trying to do here.  I'm trying to review the disc and give people the chance who haven't heard it to discover it.  Or those who are familiar with it, an opinion that might make them go back and listen again.

"Eroica" is one of my Desert Island Discs.  Whether the list be top 10, or top 20, this record will always find its way there.  It's simply that good and too much a part of my life.  I love it from start to finish.  How can I convince you to give this album a try?  If you haven't listened to Wendy & Lisa before, this would be the album to start with.

I feel like I'm just blithering now so I'll wrap it up.  But first, I should say...  My copy of this most excellent album includes a bonus disc of piano improvisations by Lisa.  I bought my copy on CD in Europe.  They're also amazing pieces of music.  I wonder if 'Eric's Ghost' is about Eric Leeds.  It would be nice to ask Lisa about that sometime.  And now for my final words:  A MUSICAL MASTERPIECE TRANSCENDING TRADITIONAL ROCK AND EMBRACING THE SPIRITUAL.  EVERYONE SHOULD OWN THIS RECORD.  IT'S THAT GOOD!

WENDY & LISA - EROICA
01. Rainbow Lake
02. Strung Out
03. Mother Of Pearl
04. Don't Try To Tell Me
05. Crack In The Pavement
06. Porch Swing
07. Why Wait For Heaven
08. Turn Me Inside Out
09. Skeleton Key
10. Valley Vista
11. Staring At The Sun
LISA COLEMAN - PIANO IMPROVISATIONS
01. Minneapolis #1
02. Minneapolis #2
03. Eric's Ghost
04. C-Ya

DEBORAH ALLEN - TELEPATHY

So first off, let me say...  I'm not entirely sure this album is a legitimate release or a bootleg, but if it's a boot, it's the best boot I've ever seen.  Down to the barcode number.

This album came out in 1987 and I'll be completely honest with you, I picked it up because Prince wrote the title track.  That's right, folks, you heard me...  Country Western singer Deborah Allen enlisted a song from Prince for her latest album.  Absolutely shocking.

I guess from a certain standpoint it makes sense.  Allen was experiencing some cross over success at the time and had seen some airplay on the Adult Contemporary charts.  But that hardly justifies what happens on this record.  Under the right circumstances, Prince could'be contributed a strong R&B ballad for her and she might've had a hit with it.  Instead, he sends along this funk jam that seems out of place on her record.  If she'd had more funky sounds on this record, she could've pulled it off no problem, but the rest of the album fits solidly in the same Country Western/Adult Contemporary she'd gained recognition for on previous releases.

I remember rocking this album out on cassette and feeling sorta stupid because I loved the second track on the record, 'You Can't Say No'.  Of course at the time, I didn't like anything that wasn't part of the musical world I'd built around myself.  Oldies were a joke and hair bands were ridiculous.  I didn't gain an appreciation for any of these groups until much later.

It would stand to reason, based on who Deborah Allen was, that I wouldn't listen to the rest of her record, but I did.  And let me tell ya, Allen wasn't a joke.

When I got this disc in the mail, I put it in the truck and went for a long drive.  I wanted to remember the entire disc and I wasn't disappointed.  Surprisingly, the tracks on this album might sound a little dated today, but they're lyrically strong and have interesting musical ideas that keep the listener engaged.  'You're The Kind Of Trouble', 'One Step Closer' and 'What's Right Tonight' are all excellent examples of the country rock Allen delivers.  They're infectious, fun to sing along with and catchy as all get out.

The one song I could probably write anything negative about would be 'You Can Tell Me Anything'.  And I would only say that because I feel like the sentiment expressed here is slightly overused and unimaginative.  Musically, it's the least exciting of the bunch and doesn't really move the record along.  Otherwise, the album is strong and tight.

'Telepathy' is Prince at his finest and this song deserves to be on a Prince record surrounded by tracks that compliment it.  Here, it sticks out like a sore thumb.  To her credit, Allen didn't change anything from the master recording Prince sent her with the exception of her vocals.  His signature sound is absolutely bursting with purple power, but it still feels out of place.  Even Allen's vocal delivery, which she does her best to deliver, falls flat against the onslaught of his funk.

I think the record sounds better if you listen to it starting with track 2.  'You Can't Say No' is truly a sleeper hit.  I think if she'd released it as a single, it would've done well.

This is a musical mismatch, but at the same time, you have to give both Prince and Allen credit for making the attempt to bridge such musical divides.  Oddly enough, I think Prince could've easily written a song in the style Allen was performing, but he didn't.  And we'll never know why.

This album was originally released on Cassette and Vinyl.  It didn't get a CD release so I'm extremely happy to find it now.  The track, 'Telepathy' was released on CD by Allen many years later in the form of an edit on her Greatest Hits compilation.  As grateful as I was then to have a copy of the song on CD, I'm even more happy to have it here in its full glory.  This is definitely an excellent addition to any Prince collection and to any Deborah Allen collection.  Get it while you can.

My final words:  AN OUT OF PLACE SPICY TRACK ON A TRULY DECENT COUNTRY RECORD!

DEBORAH ALLEN - TELEPATHY
01. Telepathy
02. You Can't Say No
03. You're The Kind Of Trouble
04. One Step Closer
05. Don't You Think I Don't Love You
06. What's Right Tonight
07. Take A Picture
08. You Can Tell Me Anything
09. Somebody For Everybody

SHITTING GLITTER - SIDESADDLE SWEET TALK

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PRINCE - 4EVER

My biggest fear after Prince died was that major record companies would do what they've done with artists like Elvis Presley or Jimi Hendrix.  Anytime they come up with a previously unreleased outtake, demo or live recording, they package it along with previously released material to make a greatest hits package they can sell for a cool profit.

I hoped, with the amount of music Prince left behind, there would be the motivation to release entire albums of previously unreleased material.  However, in its rush to capitalize on Prince's passing, Warner Bros. put together this hasty compilation.  The packaging is lovely, but at the same time, a bit disappointing.  They use photos from his previous greatest hits package, Paisley Park's "The Hits/B-Sides".

In order to make the set more appealing, they also list edits of certain songs as previously unreleased on CD.  We all know that's not the case.  With most of these tracks, you can find the edits on CD singles or promotional CD releases.  There's no real value here.

There is one, and let me be specific here, one singular unreleased track included.  'Moonbeam Levels'.  And this is exactly what I feared would happen.  For the rest of our lives, we'll get a new Prince greatest hits compilation once a year with one or two new songs.  They'll charge us the price of a double disc set for a single song or two.  Not even at his most anti-establishment, "artists should profit from their legacies" moments would Prince imagine screwing over his fams like this.

Most die-hard fans already have copies of this song.  Either downloaded or purchased on bootlegs.  It's not new to the community.  So now, you're asking me...  If you have all of this material, why did you invest in the set?  

The answer is simple...  I've always said and I wrote this in a chat with Prince himself once, that even if I owned a bootleg, if he released music in an official capacity, I would purchase it legally.  And I have.  However, I'm disappointed with what's happened here.

Prince is not an artist you can parse out over time.  He has work that needs to be put together and sold as a complete package.  Anything else is a betrayal of his legacy.

I'm not going to get into this release much more.  I find it somewhat sad and not worth the price tag.  I'll leave it at that.  My final words:  A SKIP UNLESS YOU'RE A COMPLETIST.

PRINCE - 4EVER
CD1
01. 1999
02. Little Red Corvette
03. When Doves Cry
04. Let's Go Crazy
05. Raspberry Beret
06. I Wanna Be Your Lover
07. Soft And Wet
08. Why You Wanna Treat Me So Bad?
09. Uptown
10. When You Were Mine
11. Head
12. Gotta Stop (Messin' About)
13. Controversy
14. Let's Work
15. Delirious
16. I Would Die 4 U
17. Take Me With U
18. Paisley Park
19. Pop Life
20. Purple Rain
CD 2
01. Kiss
02. Sign 'O' The Times
03. Alphabet St.
04. Batdance
05. Thieves In The Temple
06. Cream
07. Mountains
08. Girls & Boys
09. If I Was Your Girlfriend
10. U Got The Look
11. I Could Never Take The Place Of Your Man
12. Glam Slam
13. Moonbeam Levels
14. Diamonds And Pearls
15. Gett Off
16. Sexy MF
17. My Name Is Prince
18. 7 (Album Edit)
19. Peach
20. Nothing Compares 2 U

ERASURE - LOVEBOAT

Until "Loveboat" came out, the last Erasure album I liked all the way through was "Chorus".  Because "Loveboat" wasn't released in the US until 3 years after it's release in the UK and Europe, my copy is an import from the UK.  I actually downloaded a pirated copy of the disc and listened to it before I bought it.  I couldn't believe it didn't have a US release!  I thought it was phenomenal!

In my opinion, "Loveboat" is one of their strongest albums.  There's not a single track on this disc I don't absolutely enjoy.  From the opening strums of guitar on 'Freedom' to the fade out on 'Surreal', I was completely hooked.  Each of the tracks is catchy, sensible and all around fun to sing and dance to.  It's rare for a pop band to release a disc loaded with one great tune after another.  For me, Erasure achieved that with this disc.

There are songs I like more than others, but when I play this disc, I put it in and let it go.  I have all the tracks memorized and I sing along without hesitation.  I find it engaging.  Even some of the slower tunes are above average.  'Where In The World' is a slower number, but it has some interesting vocals that make it fun to sing.  There's a difference in the drum sounds used on this record too.  It seems like Erasure got an upgrade in their sound banks.  The first track this is evident on is 'Crying In The Rain'.  When the song starts, you hear a drum I can only describe as matte finish drums.  It doesn't have much of an echo but it does sound funky.

On the next track, 'Perchance To Dream' we get more of the new drum sounds and an interesting vocal arrangement by Andy Bell as he sings part of the song in his falsetto.  'Alien' is a track that relies on Vince Clarke's trademark sound effects to build the song.  Fans of the band all enjoy Clarke's ability to fill the spaces between the chords with his electric whirs and pops.  It's part of the appeal.

My favorite track on the album is probably 'Here In My Heart'.  It reminds me of so many other Erasure tracks I've loved over the years.  One song in particular it reminds me of is 'In Your Arms' from "Cowboy".  My second favorite track is 'Catch 22' and it also fits into that perfect Erasure song category for me.  'Moon & The Sky' is a powerhouse tune.  You get some drums that sounds similar to the Linn Drum Machine clap sounds.  The bass lines are deep and the groove is funky!  This is an excellent jam in my opinion and I love the R&B soul feel to it.  It's very Prince-like.  

The final track on the album is 'Surreal' and for me, this song would feel right at home on "Chorus".  I adore it.

According to my online research, Madonna's Maverick label shelved the album for lack of a hit single.  I find that absolutely ridiculous.  I hear hit singles all over this record.  It did eventually get a US release.  Along with the cover album, "Other People's Songs" in 2003.  In my opinion, that was a huge mistake.  A band like Erasure has a hardcore following.  There are Erasure fans who will purchase anything the group puts out.  That being the case, Maverick could've been assured of at least a certain number of units sold.  I'm not sure what that figure would be but I'm sure it's more than most groups on that label could pull off at the time.

I think this is an album that Erasure expanded their sound, songwriting and musical styles successfully on.  It could be considered at experimental as "Erasure", but in this case, the result was much more positive.  I think they did exactly what they set out to do.  My second favorite Erasure album for sure...  My final words:  AN OVERLOOKED GEM IN THE ERASURE BACK CATALOG.

ERASURE - LOVEBOAT
01. Freedom
02. Where In The World
03. Crying In The Rain
04. Perchance To Dream
05. Alien
06. Mad As We Are
07. Here In My Heart
08. Love Is The Rage
09. Catch 22
10. Moon & The Sky
11. Surreal

WENDY & LISA - FRUIT AT THE BOTTOM

By the time this disc had come out, I'd already decided Wendy & Lisa were two of the greatest songwriters I'd ever heard.  Their first album left me utterly breathless.  I loved it from start to finish.  And what's even more interesting is when you compare their solo record to the albums Prince was releasing after they'd left, you could hear their influence on him and why certain songs sounded the way they did.  There's simply no way to completely understand the impact these three musicians had on each other.  They challenged each other and brought out aspects in their music they couldn't have achieved alone.

Now, I'm not going to go on forever about how great Wendy & Lisa are.  I've already done that a bunch of times in other entries, but I will say this...  "Fruit At The Bottom" caught me completely off guard.  I hadn't seen the video for 'Are You My Baby' or heard the actual song before I bought the record.  If I had, I might've been prepared for some of what I was hearing.  As unconventional and interesting as "Wendy And Lisa" had been, "Fruit At The Bottom" seemed to move in an entirely different direction.  Some of the songs seemed to be written to appeal to an audience.  To fit into a genre.  There was an attempt to make this release more commercial.  As a fan, I was more interested in hearing the new places I thought the two would take me as a listener.  I didn't want to end up backtracking into the familiar suburban Wonder Bread sound of Top 40 pop.

When I heard 'Are You My Baby' for the first time, I was disappointed.  I liked the song, but I couldn't reconcile it with what I was expecting from them.  Many years later, I sorta figured out why I felt the way I did and why I was so quick to write it off.  Although Wendy & Lisa weren't out as gay or as a couple, I kinda assumed they were.  Or maybe my young inexperienced gaydar was responding to something I saw in them.  I didn't consciously know they were gay...  Nor was I completely aware of my own sexuality...  But there was an awareness inside of me.  Like always knowing I made my grandpa and other people uncomfortable because they could see something in me they didn't like.  That quality being my sexuality.  Even at a young age, I felt that awkward twinge and hearing Wendy sing a love song to a man seemed like selling out to me.  Add to that the bubble gum peppiness of the song and you get one confused kid.  I eventually realized they were writing and releasing music the label wanted.  

Part of that was more fully embracing the Minneapolis Sound they'd contributed so heavily to during their time with Prince.  You can hear some of that on this record.  Despite the push for more commercial Prince sounding tracks, Wendy & Lisa still delve into the realm of magical notes and produce some stellar music on this disc.  

Certain tracks were meant to be more radio accessible.  These are obviously 'Lolly Lolly' and 'Are You My Baby'.  I love both of these tracks, but the fact is once you get past them you discover a wealth of more complex and interesting music.

'Satisfaction' features Jesse Johnson, formerly of The Time and this gospel tinged rock number is a powerhouse track.  It's totally different from anything else on the disc and more rockin' than the duo had been up to that point.  'In My Dreams' is the first track that heralds back to the sound of the previous record.  I always viewed that album as jazz tinged, even though it has a strong Minneapolis vibe, it feels more like Jazz than pop music.  And that's part of the reason I loved it so much.  'In My Dreams' is a straightforward ballad, but it's got such wonderful instrumentation, it feels organic.  More like Jazz.  'Everyday' continues this vibe.  

'From Now On (We're One)' features Lisa on lead vocals on the verses.  This song became an anthem of sorts for me.  As much as 'The Beautiful Ones' came to describe my longing and desire to find love, 'From Now On (We're One)' describes the love I hoped to find in my life.  I can't tell you how many times I'd sit and listen to this song and wonder what it would feel like to fall in love.

'Tears Of Joy' is transformative.  This is a powerful bit of music.  It's about discovering yourself and finally understanding what you're looking for and what you want.  I could totally relate to it.  'Someday I' is another track I think is incredible.  There are other musicians who produce music I think sounds similar to Wendy & Lisa and frankly, this is the record I usually judge them against.

'I Think It Was December' is a bluesy jam that reinforces my deep, unspoken belief Wendy & Lisa were a couple.  This song makes me think they were deeply in love even though there's nothing in the song or the music that points to that.  I can't explain it.  'Fruit At The Bottom' is a fun tune but gender confusing again.  Why would her lover have fruit at the bottom?  Never made sense to me.

I've listened to this record so many times, I know each song inside and out.  It's become a core part of who I am and I truly love it.  I honestly think Wendy & Lisa were pressured to make this album the way they did.  If they'd been given free reign, I think it'd been something radically different.  No matter how you slice it, the disc did what it was meant to do.  They had a couple mediocre hits and made some money on the record.  Of course it would've been more interesting if they'd done exactly what felt natural and real to them.  For many years, these two have lived with a mandate to conform to a corporate music market and I'm so happy that's no longer the case.  Artists of this caliber need to be free to do what feels right.

Although it didn't start off being a good album for me, that changed over time and now I can honestly say, this is record everyone should own.  If you don't have it in your collection, find a copy and add it.  Now!!!  

My final words:  YOU DON'T HAVE TO GO ALL THE WAY TO THE BOTTOM TO GET ALL THE EXCELLENT FRUIT ON THIS DISC.  JUST PICK A TRACK!  A+

WENDY & LISA - FRUIT AT THE BOTTOM
01. Intro
02. Lolly Lolly
03. Are You My Baby
04. Satisfaction
05. Always In My Dreams
06. Everyday
07. From Now On (We're One)
08. Tears Of Joy
09. Someday I
10. I Think It Was December
11. Fruit At The Bottom

MORRIS DAY - DAYDREAMING

You'll probably recognize Morris as the lead singer of The Time and star of "Purple Rain".  Believe it or not, Morris is still around and being just as funky today as he was back then.  After The Time disbanded, Morris went on to launch a solo career.  Like many former Prince associates from that time, he continued to release music based on the Minneapolis sound they'd become so famous for.

During this time in the 80's, there was glut of bands who were writing and trying to copy this sound.  Morris may have had his roots in the movement, but on his own his music lacked a lot of the substance and soul of other artists working in this genre.  His material can often sound somewhat generic and uninspired.  That never stopped him from working though.

"Daydreaming" was his second solo effort and even though it was a vast improvement on his previous record, it didn't break any new ground for the singer.  At least it didn't as far as I know.  There is one significant difference between this record and "Color Of Success"...  On this record, he enlisted the help of former Time members, Jimmy Jam and Terry Lewis.  This duo had their own brand of Minneapolis funk and they'd used it to catapult artists like Janet Jackson and The Human League to superstar status.  In all honesty, this is probably the best move he could've made.  'Fishnet', the Jam And Lewis track, was a huge hit for him and gave him his most popular single as a solo artist.

The two producers also worked on a second track on the disc, 'Love Is A Game'.  If he'd been smart, Day would've hired the them to produce the entire record and worked with them while he was writing this material.  They would've helped him put together a stronger, more solid piece of work.  

I really like Morris and I want to see him do well.  It's discouraging when an artist you like doesn't deliver the work you know they're capable of.  

I'm not really into this disc beyond the two Jam & Lewis tracks.  But I do have some memories of it.  The first time I saw Morris and The Time live, he signed my copy of this CD.  The second time I saw them, he pulled me up on stage to sing the hit single from this record, 'Fishnet' with him.  I'll never forget that.

I wish I could recommend this disc but I don't think it has enough appeal.  If you're a Morris Day fan, this is a must.  If you're a Jam & Lewis fan, it's also a must.  But for those of you who casually like to listen to some Minneapolis funk now and then, stream or download 'Fishnet' and be done with it.

My final words:  A DISAPPOINTING FOLLOWUP FROM A DYNAMIC PERFORMER!

MORRIS DAY - DAYDREAMING
01. Daydreaming
02. Yo' Luv
03. Fishnet
04. A Man's Pride
05. Standing On The Line
06. Are You Ready
07. Love Is A Game
08. Moonlite (Passionlite)
09. Sally

fDELUXE - LIVE & TIGHT AS A FUNK FIENDS' FIX.

fDeluxe made all of our dreams come true when they released this little gem!  Sold exclusively through their website, this disc is a live show recorded for your listening pleasure and let me tell you, they don't disappoint.  This is one jamming concert!

I've had the pleasure of seeing fDeluxe live before and nothing can quite prepare you for this band.  Although they were a creation of Prince as a vehicle for his material and as a favor to various band members, the group has continued to progress musically and returned a few years ago with a stunning follow-up.  Getting a live release was like a cherry on top of an fDeluxe sundae.  Sweet and perfect.

All of your favorites are here.  From the original Prince tracks he wrote for the band, to their own compositions, you get it all in one heaping serving.  It's nice to know a band you like can cut it live and this CD certainly shows the strength of the group as a unit.

Basically, you won't go wrong if you add this delightful disc to your collection.  I can't encourage you enough to pick it up.  It's just...  Wow!  My final words:  fDELUXE PROVE ONCE AGAIN THEY'RE WORTH YOUR TIME AND MONEY!  BUT THIS RECORD!

fDELUXE - LIVE & TIGHT AS A FUNK FIENDS' FIX.
01. High Fashion
02. Gaslight
03. Sanctified
04. Screams Of Passion
05. Nothing Compares 2 U
06. Leeds Line
07. You Got What You Wanted
08. Desire
09. Lover
10. River Run Dry
11. @8
12. Drummers And Healers
13. Mutiny

CAROLE DAVIS - HEART OF GOLD

Carole Davis was on my radar because she received a song writing credit on Prince's "Sign 'O' The Times" album.  She co-wrote 'Slow Love'.  I have no idea how they met or how this collaboration came about, but it was enough to make me aware of her.  I stumbled across this record while I was living in Europe.  I picked it up because it was cheap, used and 'Slow Love' was listed as a track.  I initially assumed Prince had worked with her, recording the song for her album and then using it on his own.  However, her album was actually released two years after his.

The main producer is Nile Rodgers and for the most part sounds a lot like the pop music at the time.  It actaully sounds a couple years outdated, but typical.  Davis could be lumped in the same sort of category as Paula Abdul and female groups like En Vogue.  I would go as far as to suggest she would be in the same style of Debbie Gibson and Tiffany.  Most of the music is somewhat juvenile and trivial.  Prince had a habit of writing songs for women that sounded a bit shallow.  And apparently, so does Nile Rodgers.  Coming from a grown woman, the material sounds a bit "Junior High", but oh well...  She landed a recording contract, so that's more than most people get.  The bulk of the music straddles teeny-bopper pop and Hip Hop.  She's got a couple rappers appearing throughout, but I'm not sure I've heard of any of them.

There are bits and pieces of musical genius on this disc, but they're only elements of songs and get overwhelmed by the mediocrity of the rest of the tune.  I think there are some great ideas...  just not enough to make her stand out in a crowd of pop singers.  It's enjoyable to listen to, but not enough to survive repeated plays over a long period of time.

Her version of 'Slow Love' is a bit more energetic than Prince's, however, she doesn't sound as soulful or as genuine in her delivery.  I would say I like the music on her version more, but the truth is, I've never really been a fan of the track and both versions leave a lot to be desired.  However, I've heard some live versions by Prince that were simply outstanding...  So I would say the track isn't a total wash.

Unfortunately, this album is.  I wish I could recommend it, but I sorta regret picking it up.  I'm indifferent to it.  Since downloads came into fashion, I think this would be one album and track I would skip buying a physical copy of and stick with a download.

My final words:  AN UNEVENTFUL START TO A SINGING CAREER THAT NEVER REALLY TOOK OFF.

CAROLE DAVIS - HEART OF GOLD
01. It's In My Genes
02. Dissin' Jerome (Girl Talk)
03. When My Money's Gone
04. Serious Money
05. The Thigh's The Limit
06. Sexual Favors
07. Mirror, Mirror On The Wall
08. Sticky Situation
09. Antonio Was A Gigolo
10. A Frown Is Just A Smile Upside Down
11. Slow Love

JEVETTA STEELE - HERE IT IS

This is an interesting release for a number of reasons.  First and foremost, there are two versions of it.  For those of you who aren't familiar with her, Jevetta Steele is a member of The Steeles, a gospel family group who recorded with Prince in the 90's.  She's probably the most prominent of that group and released a solo record, "Here It Is" in 1991.  This is that original release.  It was initially only carried by Musidisc, a French label.  It included two tracks written for Steele by Prince.  'And How' and 'Skip 2 My U My Darling'.  

In 1993, she released the album in the US on Columbia, but with a different tracklist, different songs and she replaced the two Prince tracks with two other Prince songs.  The Columbia version includes the Prince penned 'Hold Me' and 'Open Book'.

The two albums share 5 songs in common though it should be noted, the songs seem to have been re-recorded for the 93 release making them different from the versions on this disc.

Steele has a powerful voice.  This is part of the reason she's singled out among her siblings.  When you listen to the material she chooses to showcase on this record, you get a mixed message.  She's obviously a strong and talented gospel singer.  You can tell that's where she feels most comfortable vocally.  The arrangements of the songs on this album definitely play to that strength.  There's an attempt to make the songs more contemporary, but they don't always cross over.  For example, the first track, 'Say A Little Prayer For You'...  Originally titled, 'I Say A Little Prayer' and written by Burt Bacharach for Dionne Warwick, features The Steeles on background performing in full gospel glory.  Even though the very nature of this tune is contemporary, it takes on a soulful gospel tinge here.  

The music arrangements can often sound a bit generic and standard.  There are exceptional tracks that really stand out.  Both of the Prince tracks make a huge impact on the ears.  The first song, 'And How' features a funky guitar punctuating throughout and a deep bass groove happening throughout.  The Steeles once again add backup maintaining that gospel feel.  'Skip 2 My U My Darling' is a more urban sounding track with some delightful organ adding the church vibe.  'Here It Is' has a light, pop beat and has a lot of potential as a chart single.  I really enjoy the tune and I think she makes a great attempt at the Top 40 sound with this one.

'Calling You' is probably the most startling of all the songs on this record.  It's stunning.  Both versions are dramatic and intense.  They allow Steele to really cut loose and show her vocal chops.  It's breathtaking.  The haunting tune was used in the "Baghdad Cafe" film and garnered Steele a lot of attention when it was released.  By itself, this track might make the purchase of either version of this album worth the money.  Wow.

'Good Foot' is a rousing number that should be sung by every church choir!  It's exciting and full of energy.  Another stunning performance here.  I'm not as enthused about the rest of the material on this disc, but I do give her credit for making this a great disc.  Even if you're only buying the disc for a couple of songs, she delivers!

For collectors of Prince, this is the most rare version of this album and hard to come by because it was only released in France.  It's also the only place you can find these two Prince songs.  If you're lucky enough to find it, buy it.  It's a must have.

My final words:  AN AMAZING RECORD FROM AN INCREDIBLE VOCALIST.

JEVETTA STEELE - HERE IT IS
01. Say A Little Prayer For You
02. Baby, Are You?
03. And How
04. You're Gonna Love Me
05. Here It Is
06. Calling You
07. In This Man's World
08. Good Foot
09. Skip 2 My U My Darling
10. Where Do We Go From Here?
11. Love Will Follow