YAZ - UPSTAIRS AT ERIC'S

I'm trying to remember how I discovered Yaz.  I do remember not knowing how closely they were tied with both Depeche Mode and Erasure.  In fact, I stumbled across them rather late in the 80's rather than when they were actually releasing.  My fascination with the group was sealed when I bought a copy of this album on cassette and heard the song, 'Midnight'.  At the time, I thought the group featured a male lead singer.  If you consider that and the lyrics of the song, it's no wonder I found this group fascinating.  I was struggling with my sexuality at the time and hearing a tune that seemed to be from the perspective of a gay man was something any kid in my position would gravitate to.  Finally, someone was writing music I could identify with.  Ultimately, 'Midnight' was written and performed by a female singer.  So that's slightly disappointing, but also goes to show you how undercover sexuality still was back then.  How desperate gay kids were for music and culture that they could relate to.

Now, let's talk about the music.  The album features vocalist Alison Moyet and electronic music wizard Vince Clarke.  The group was called Yazoo in the UK but here it was shortened to Yaz.  The music highly resembles the structure and sound of Depeche Mode's first album almost entirely written by Clarke, but Moyet brought something to the mix Clarke didn't have before on his own.  She brought soul and volume.  Moyet is a strong vocalist and she can dump a lot of emotion into her singing.  Although the songs are split up crediting one or the other as writer, it's obvious Vince did most of the music arranging and in some cases, wrote music for Moyet's songs.  Her style and depth forced Clarke to develop deeper rhythms and stronger bass motifs.  In effect, she brought R&B to his compositions.

Right off the bat you hear phatter beats driving the intensely paced rhythm of 'Don't Go'.  This song is absolutely brilliant.  It's followed by 'Too Pieces'.  Another smashing number.  This sparse tune is effectively one verse surrounded by a souffle of sound.  It's light, delicate and provocatively sad.  'Bad Connection' is another superb track.  It bounces, it bops and dances along at such a wonderful speed.  The lyrics are simple, fun to sing along with and catchy.  This is one I always get in trouble with.  Just the other day, while I was driving home, I was singing this one at the top of my lungs in my truck with the window down right up until I noticed by neighbors were watching me.  I quickly stopped singing only to get shouts and applause.  Doubtfully because my singing was so go...  Mostly because they enjoyed watching me make a fool out of myself.  But there you go, sheer perfection and I couldn't stop myself.

'I Before E Except After C' is a rather strange number.  It's one of Clarke's early forays into composing soundscapes or writing music specifically to evoke or create a feeling.  It features various people including Moyet reading instructions manuals to various keyboards and one speaker talking about the mythology of dragons.  It's highly experimental and oddly captivating at the same time.  I actually like the song!  'Midnight'...  What can I say?  It's soulful, amazing and sheer joy when you hear it.  This is a song I could picture many famous divas covering.  It has the depth and the power to successfully transition to a soul medium.  Imagine Patti LaBelle, Aretha Franklin or Rosie Gaines tackling this one.  Wow.

'In My Room' is one song I enjoyed but didn't think much about until I saw a movie towards the end of the 80's called, "The Chocolate War".  This was one of the tracks featured in the film and it was quite effective.  After seeing used in a narrative, I've never viewed it or heard the same way again.  It's more meaningful now.  'Only You' is probably the biggest hit from the album and although I like the number, it's not my favorite off the album.  I've heard dozens of covers, but nothing compares to the original.  'Goodbye Seventies' is a Moyet written number and this one really swings.  It's got those deep beats, the heavy bass motif running throughout and an overall stunning vocal delivery.  This one has the guts and power some of the others are lacking.

'Situation' is another pulse pounding powerhouse from the album and it's awesome!  This was another successful single and you have to hear it to believe it.  'Winter Kills' is the second experimental track on the disc.  I say this because it is surprising, unexpected and stark.  It's almost entirely comprised of a classical piano piece with a slightly sinister edge playing just below Moyet's striking dialogue and singing.  It's haunting, spooky and sad all at the same time.  Well done, Yaz...  They swing and hit again on the experimental songs.  The final number is 'Bring Your Love Down (Didn't I)'.  This is another soul infused blistering pop effort that leaves you breathless and wanting more.

Ultimately, this album doesn't have a weak link in the chain.  It's great for whatever reason you may be listening to it.  It's an amazing example of British synth pop, New Wave, soul pop, whatever...  You can be a diehard fan of Moyet, Clarke or Depeche Mode and walk away completely satisfied with the record.  My final words:  ABSOLUTE YAZZY PERFECTION!!!

YAZ - UPSTAIRS AT ERIC'S
01. Don't Go
02. Too Pieces
03. Bad Connection
04. I Before E Except After C
05. Midnight
06. In My Room
07. Only You
08. Goodbye Seventies
09. Situation
10. Winter Kills
11. Bring Your Love Down (Didn't I)  

ROSIE GAINES - CLOSER THAN CLOSE

First off, I'm doing something different with this review.  In the past, when I picked an album I had singles from, I'd review the singles along with the record.  I've decided to stop doing this.  Partially because I don't always have the singles and partially because there are days when reviewing a single rather than an entire record is a better option for me.  They don't take as much time.  So even though I have cd singles from this album, I'm going to save them for other entries and focus instead just on the record.

For the sake of those people who don't recognize the name, here's a little history...  Rosie is probably best known for the time she spent playing keyboards and singing backup in the first incarnation of Prince's New Power Generation band.  This album has an interesting history as well.  Many of the tracks on this disc were slated to be released on a Paisley Park solo record by Rosie called, "Concrete Jungle".  Instead, the record was shelved and Rosie floated around until Motown picked up her contract and she was able to release a version of that original cd.

Rosie has one of those great soul voices you might remember from way back in the day.  She's got natural power, control and above all else, emotion.  She puts more into her delivery than most of the popular divas of our time.  She's also a multi-instrumentalist, song writer and producer.  Most of the material she performs on this disc are written or co-written by Rosie and she plays many of the instruments as well.  But that doesn't mean she's recorded a great cd...  Musical ability and a great voice do not a masterpiece make.  So let's talk about the album.

'I Want U' is the first and final cut on the disc.  Although I'm not sure why two versions of this song are necessary, I think it does help understand the progression of this disc and how it came to be.  The original version of 'I Want U' is probably the final track on the album.  It is co-written by Prince and has a very "Prince-y" sound.  But as you get to know Rosie outside of her time with Prince, you realize she's influenced more by Bob Marley and old Motown soul records than she is by funk and modern R&B.  

Here's what I think happened:  The original tracks recorded for "Concrete Jungle" had a Paisley Park vibe all over them.  You could probably hear Prince in every single number.  When Rosie signed the cd to Motown, I think she took the basic tracks and re-arranged them to fit her own style.  That's why many of the songs recorded at Paisley Park feature additional recording at other studios.  The first version of 'I Want U' incorporates elements of Marvin Gaye's 'Inner City Blues'.  I think this version is more in line with Rosie's solo work.  Personally, I prefer the Prince version.  I like Rosie when she works with Prince.  I like her solo too.  But this amalgam of sound is a bit on the overdone side.  

The next tracks are definitely more in line with Rosie's old school soul sound.  'Are You Ready' and 'Closer Than Close' are very similar in sound.  Both feature a mellow groove though 'Are You Ready' is more upbeat and faster in tempo.  The next track is 'Googaga' and although it maintains the quality of the music appearing on the disc so far, it does little to branch out.  It's very similar to the previous two tracks, but there is something different about this number.  It's the slowest of the three and has an almost Reggae quality to it.  It's also the first song with a story narrative.  It sets a scene rather than just expressing a sentiment.

Track 5 is the first of two Bob Marley covers.  'Turn Your Lights Down Low' and 'Concrete Jungle' are both exceptional covers.  Rosie was born to perform these cuts.  'Turn Your Lights Down Low' is the more traditional of the two with more standard instrumentation and less of a pop arrangement.  It's followed by the second Prince contribution, 'My Tender Heart'.  Now this track sounds completely out of place on this record.  Prince music often does when he doesn't have much of a presence on a disc.  It sounds like a typical Paisley Park production from the "Diamonds And Pearls" period.  It's a ballad and features a very soulful performance by Rosie.  You can feel the emotions on this track.  But it's conflicting with the rest of the album.  

The next number is a sparsely arranged bit called 'I Almost Lost You'.  It's a brilliant piece, but the real kicker is the next track.  'Slowman' kicks in with some horn playing you gotta hear to believe.  Rosie pulls out all her tricks on this number.  She scats, growls and croons her way through the track.  It's easily the sexiest, most romantic and enjoyable number on the disc.  The next song is 'Can You Handle It'; which is Rosie's contribution to modern pop.  This one has all the makings of a top 40 hit.  Sadly, it was never promoted as a single.  'Concrete Jungle' is next and it features a scattered, unorthodox hip hop arrangement that succeeds in speeding up the tempo and updating the tune.  Marley's own version is slower and more of a social cry for change, while Rosie gives us a version more in tune with the American inner city.  It's followed by 'Get The Ghetto Off Your Mind'.  This is a song I seriously can't believe Marley didn't write.  It's in step with his philosophies and echoes much of the subject matter he spent his career developing.  I'm sure he was the inspiration behind it and Rosie doesn't disappoint.  This is a song Bob Marley should've written.  The final cut is December 25th.  I'm not sure what to say here other than it's pretty good.

All in all, this is one of those cds you can put in, push play, sit back and enjoy the ride.  Every song is strong and the performance is equally satisfying.  It's a solid collection of material, though somewhat disjointed considering the out of place, but still exciting, Prince additions.  Rosie Gaines certainly burst out from behind the tailcoats of her former boss for those who were paying attention.  This is such a great disc is could easily land on a Desert Island list if I had to put one together.  If you have the chance to pick this one up, I highly suggest you do.  Even though there are radio accessible numbers here, she also gives you just as much jazz, reggae, hip hop, soul, r&b and funk.  It's a package everyone should try at least once.  My final words: EXCELLENT LAUNCH FOR A POWERHOUSE MUSICIAN!  YOU CAN'T GO WRONG WITH THIS ONE.

ROSIE GAINES - CLOSER THAN CLOSE
01. I Want U (Inner City Blue) Earth Mama Version
02. Are You Ready
03. Closer Than Close
04. Googaga
05. Turn Your Lights Down Low
06. My Tender Heart
07. I Almost Lost You
08. Slowman
09. Can You Handle It
10. Concrete Jungle
11. Get The Ghetto Off Your Mind
12. December 25TH
13. I Want U (Purple Version)

GOOD QUESTION - GOOD QUESTION

Good Question was a one-off band appearing on the Paisley Park label back in 1988. The band is basically two brothers with minuscule singing ability. They were obviously discovered to compete with 80's flop band Milli Vanilli who enjoyed success around the same time or because someone thought they had a sexy image. Regardless of which way you look at it, this is one of the worst pieces of music committed to tape in the history of modern pop.

There is nothing, from the bland uninspired generic arrangements, to the trite forgettable throw away lyrics; I repeat nothing worth listening to. The vocal performances seem forced and juvenile. As for image, the brothers are twinky little girly boys with about as much sex appeal as a brick wall. Their one video features popular dance moves but nothing original and different.

It seems to me, this band was created in an attempt to ride a musical trend rather than push musical boundaries like so many Paisley Park acts did during its short life span. The Prince involvement is non-existent; which probably explains the lack of any musical ingenuity whatsoever. This record devalues the integrity of all other artists appearing on the label.

The one redeeming quality of the disc is the fact it appears on Paisley Park. Without that distinction, that little paisley symbol on records, cassettes and CDs, there wouldn't be anything worth salvaging here. They're not even worth the time or energy it would take to destroy them. The only people in the world who will buy this material are die-hard Prince fans and possibly family members of the brothers.

It's a funny thing to have someone come up to you and make your dreams come true because they think you're pretty whereas so many truly talented and deserving people are overlooked and left by the wayside. It actually offends me so many resources and money were invested in such a wasted project as this. Even in the creative process, they had to know it was crap. I can't believe Rosie Gaines' 'Concrete Jungle' wasn't released and this dribble was. Very disappointing.

As much as I love Paisley Park and what it did back in the day, I hate to give one of its bands such a poor review, but I have absolutely no choice if I want to be honest in my critique. My final words: SKIP IT.

GOOD QUESTION - GOOD QUESTION
01. Got A New Love
02. Body Contact
03. Dance With Me
04. One On One
05. Listen To Your Heart
06. Private Property
07. Real Love
08. Mysterious Lady
09. Like An Explosion
10. One More Time