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

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

WENDY AND LISA - "DANGEROUS MINDS"

Wow, so today is an interesting and rather unique CD I'm going to write about...  This album isn't one you can purchase in stores and it's also not a promotional item as far as I know.

Way back in the 90's, Wendy And Lisa composed the score to the film, "Dangerous Minds".  I've already reviewed the movie soundtrack.  And I freely admit I bought it because of the Wendy And Lisa track.  I loved the new version of 'The Life' re-titled 'This Is The Life' and I had to have it.  If you watch the movie, you can hear a lot of the incidental music they wrote although my memory seems to play tricks on me.  Much of what I remember hearing were variations of the song 'This Is The Life' and I'm not entirely mistaken.

This disc is apparently some outtakes of themes they recorded for scenes in the movie.  Some of them are based on 'This Is The Life' but others aren't.  In fact, track 13, 'M26 - Master' actually sounds like the musical blueprint for 'Niagra Falls'; a song released many years later.

Track 17, 'M3 - Master With Electric Guitar' appeared on their website many years back as a streaming file showcasing some of the scoring they'd done for different projects.  I used to check the site every day hoping they'd upload new songs and outtakes.

This material is phenomenal.  It's relaxing and wonderful to just sit down and groove along with.  I wish everyone could hear this amazing bit of work.  I'm astonished.

As a long time follower of Lisa & Wendy, I've grown to love the complexity and otherworldly quality I imbibe from the music they compose.  It helps me hear more in the music I listen to from other artists.  Maybe it's the way they put all the little notes together.  It's so different.  Even Prince noticed a difference in his music when they left.  He lost a key ingredient to the sound he'd become famous for.  They added complication and dimension to his music in ways even he couldn't recreate.

They are unique.  And this incredible disc convinces me of this even more.  It's breathtaking and lovely.  I'd like to see them create a fan club and release material like this directly to their hardcore fans.  I know I'd pay to get discs of music like this each month.

My final words:  TOO UNIQUE AND INCREDIBLE TO DESCRIBE.  PURE JOY AND HAPPINESS TO OWN AND LISTEN TO THIS WORK.

WENDY AND LISA - "DANGEROUS MINDS"
01. M12 - Old Master
02. M13 - Master
03. M13 - Alt. (No Bass, Drums Or Guitar)
04. M10b - Master
05. M15 - Master
06. M12 - New Master
07. M17 - Master With Stereo Drums
08. M17 - Master With Mono Drums
09. M30 - Master
10. M31 - (Death) Master
11. M29 - Master
12. M29 - Alt. (No Drums)
13. M26 - Master
14. M28a - Master
15. M21 - Master (Piano Segment)
16. M22 - Master
17. M3 - Master With Electric Guitar
18. M3 - Master With No Ele. Guitar And More Acoustic
19. M24 - Master

LITTLE DRAGON - LITTLE DRAGON

I think I've talked about where I heard of this band before, but if I haven't, here's the origin story...  Wendy Melvoin of Wendy & Lisa, Prince And The Revolution fame mentioned this was a band she'd discovered and was really enjoying.  When I heard that, I decided to check them out and see if they were any good.  The very first song I heard from them is on this album and I loved it.  I loved it instantly.  The second song I previewed was also from this record and I loved it just as much.  From that point forward, I was hooked.  

As they've released subsequent records, I've been delightfully amazed at the ideas and music they've produced.  I look forward to more in the future.  This is a group I'm very excited about.

The album starts off with the small sounding 'Twice'.  Although it's a quiet and rather unexciting beginning, the lyrics of this song are quite powerful and amazing.  "Twice I turned my back on you.  I fell flat on my face but didn't lose."  The imagery of turning away from someone who is obviously important to you...  Seeing the negative fallout from the loss of that relationship and yet knowing inside, you ultimately made the right decision.  I have people in my life this song utterly describes and for that reason alone, I adore it.  It's a piano driven slice of perfection right at the start of this amazing record.

'Turn Left' is the second track and it's just as interesting.  The lead singer of the band is half Japanese, half Swedish and she has a style that is oddly cultural and jazzy at the same time.  As a vocalist, no one would classify her in a category with Patti LaBelle or Celine Dion, but she's got a style that is evocative and soothing.  On this track, she seems to push an idea forward about identity and trying to find connection with others.  In the faces of those around her.

'No Love' is another song with powerful and compelling lyrics.  Just hearing someone say the things she says in this song would be emotionally devastating.  The minimalist arrangements throughout are very dramatic and although they are listed and classified as an electronic band, they're more like a jazz quartet.  The music is free and seems to flow in an unrestricted fashion.  quite different from the structured and finely timed sound of electronica.

'Recommendation' is a more upbeat track and it's another one fans will be drawn to.  It has more interesting lyrics and will make you fall in love with what the band is trying to create.  It's followed by the first track I ever heard from them, 'Constant Surprises'.  This one has a beat like you wouldn't believe.  It's subtle and sturdy.  Comes in quickly and establishes a momentum the tune doesn't deviate from.  The lyrics are built around an almost metaphysical experience with the physical world and how the singer views these happenings with wonder and amazement.  She draws you in with her vocals and you feel like you're falling into her life.

Once again, the soft thud of bass drums fills the speakers until the main body of 'Forever' kicks in.  When she finally comes in, Yukimi (the lead singer) delivers her most interesting and diverse vocal arrangement thus far.  This is an intensely driven song and there's a Japanese quality to it.  An almost Asian sound in certain notes used to punctuate specific ideas.

'After The Rain' is up next and it's another track that more upbeat and faster paced.  Like many of the tracks we've heard so far, it relies heavily on acoustic instruments with the electronic sounds backing up and helping strengthen the material.  It all works in a fine collaboration.

'Place To Belong' is a more melancholy number and it's built around a rising and falling scale played over a slow beat.  Once again, the emphasis is on the vocals, lyrics and the effect of them combined together.  It's followed by 'Stormy Weather'.  This is one is played on a keyboard, but it almost sounds like Yukimi singing along with a stand up bass being played softly beside her.  There's a whimsical sadness to this number.  It's like seeing something written on paper so thin you can see the light through it.  You can see past the sound of her vocals and feel the emotions she's expressing.

'Test' is probably one of the better fast numbers on this disc.  It's got a great beat and you can really get caught up in the song.  Once again, the vocals and lyrics are right on target.  'Wink' is probably my favorite track on the disc itself.  This one features a funky deep beat and a more complicated vocal arrangement that really shows off Yukimi's vocal talents.  Once again, there's an unmistakable Asian sound in the music.  But it's driving and quite powerful.

'Scribbled Paper' closes out the album and it's another acoustically dominate track.  Like most of the material on this disc, Little Dragon have created a minimalist sound and packed it with meaning, great melodies and arrangements that make each track powerful on their own.  What they've achieved here is nothing short of dynamic and worth listening to.  It s a hybrid combination of electronic art and jazz/soul.  If there is a band pushing boundaries in musical forms, this is it.  You just can't go wrong listening to this record.

My final words are gushing and all over the place:  THE BEST FRESHMAN DEBUT EVER!  CAN'T BE TOPPED AND AMAZINGLY UNIQUE!  A NEW SOUND FOR A NEW WORLD!

LITTLE DRAGON - LITTLE DRAGON
01. Twice
02. Turn Left
03. No Love
04. Recommendation
05. Constant Surprises
06. Forever
07. After The Rain
08. Place To Belong
09. Stormy Weather
10. Test
11. Wink
12. Scribbled Paper

fDELUXE - RELIT

After feeling like I'd recaptured a part of my youth with "Gaslight", I was pleased beyond words that fDeluxe returned with a remix album entitled "Relit".  I didn't wait long before ordering the disc.  And let me tell ya, it doesn't disappoint.  Right off the bat, you get two back to back remixes of 'Sanctified'.  The first mix was done by a guy named John Fields and in a nod to The Beatles, he calls his mix the Strawberrius Remix.  "Strawberry Fields" is the title and subject of a Beatles song.  The tempo seems punched up and the track is really grooving.  This is a great number and a lot of fun.  The second mix seems to be the product of a number of people but this one is so far beyond funky it's not even funny.  With a Linn drum patch fronting the rhythm section, this one is a nostalgic romp to the Minneapolis sound of the 80's.  Definitely the best mix of the two and so dang infectious.  I should point out, both mixes of this song are actually fantastic.

Next up is Eric Leeds' mix of 'Lover'.  Eric's sax is featured heavily in this mix and it's quite lovely.  This song was already beautiful and having a romantic jazz version only heightens its edge.  Not to be missed, this one stands out as a serious contender for best mix.  St. Paul gets credit for the Amsterdam mix of 'Drummers & Healers'.  It's an interesting mix bordering on a house beat with minor notes drizzled about for atmosphere.  Another base hit for the band.  Next up is one of two mixes of the song, 'Over The Canyon'.  This mix is exciting for a couple of reasons...  1) it's funky and fun - 2) it uses sounds that seem to date back to early 80's and they're just brilliantly mixed in with the song.  I love this one too.  Next up is '@8'; which also has another mix later on.  This is the Swang mix by someone apparently called Swang.  It's a stripped down version with some guitar bits and orchestral swells making the tune sound very much like it belongs on 1986's Prince And The Revolution album, "Parade".

Wendy & Lisa put in appearance on 'Midnight Gaslight' one of the first mixes released to those who pledged during fDeluxe's fundraiser for "AM Static".  It's a brilliant mix.  Next up is the second mix of 'Over The Canyon' by a guy named Josh Beagley.  It's a minimalist mix, but also well executed.  It doesn't do a whole lot for the song, but it has got a thumping club beat and that's probably what the band was looking for at this point.  'Beautiful You' gets a remix by artist Steve Parke and his mix partner Jesse Hayes.  The vocals are treated with a computerized distortion of some sort and the tune is stripped down to the bare minimum.  This is probably my least favorite mix on the disc, but it's still an interesting interpretation.

'@8' get it's second mix by a DJ who hypes the tune by speeding it up.  The vocals are slightly sped up and the music is stripped out.  Of the two mixes, this is the one I'd say dropped the bomb even though I love the music.  The sped up vocals just ruin the track.  Would've worked better as an instrumental.  'Gaslight' gets another mix.  This one by St. Paul and he demonstrates his affinity for techno mixing once again.  This is the track I think has the best chance of becoming a club hit.  

'The Vigil' gets an interesting reworking by Ishan Cooper.  It's a kinda digital lounge mix.  It's laid back, chill and hints of something naughty happening behind the scenes.  Like we're all sitting around while the good stuff is all taking place in the green room.  'Gaslight' gets a third and final treatment.  Another mix by St. Paul, but this one sounds like some bizarre Spanish/Arabic war time thing.  It's really trippy.  The final track is an alternate piano version of 'When You Go'.  It's lovely and a delicate way to end the disc.

fDeluxe have made another amazing record.  So far, I haven't heard a single release from them that's disappointed.  They're on a major roll!  This is a group that needs to continue to record and release.  I can't wait for more.  My final words:  A REMIX CD THAT DELIVERS THE GOODS AND LEAVES YOU BEGGING FOR MORE.

fDELUXE - RELIT
01. Sanctified (Strawberrius Remix)
02. Sanctified (Neon Romeoz Pajama Party Remix)
03. Lover (Mr. Leeds Mix)
04. Drummers & Healers (Amsterdam Remix)
05. Over The Canyon (MasSheen Mix)
06. @8 (Swang's @85 Remix)
07. Midnight Gaslight (Jackhouse Remix)
08. Over The Canyon (J-Man's Getting Deeper Remix)
09. Beautiful You (Designer ReMix)
10. @8 (Flight To Paris Remix)
11. Gaslight (MMI Remix)
12. The Vigil (Coop DeVille Remix)
13. Gaslight (Yeager Remix)
14. When You Go (Alt Piano Mix)

MICHAEL PENN - MARCH

I discovered Michael Penn through my research into Wendy & Lisa.  I was going through a period where I tried to find everything they'd ever done.  I read about them working on this disc and so I scoured used record shops in Las Vegas until I found a copy.  I didn't know much about him.  It didn't even occur to me he might be related to the famous Penn brothers, Sean and Chris.  Or that he was at one point, the brother-in-law of Madonna.  I just wanted to hear more Wendy & Lisa.

Oddly enough, after I bought the disc, I had a friend who saw it in my apartment and started singing the first song, 'No Myth'.  That's when I realized he'd had an impact.  Quite honestly, I didn't listen to the album until that point.  I'd listened to the one track Lisa and Wendy performed on, but I skipped the rest.  That was a huge mistake.

'No Myth' is one of the album's singles and aptly so.  It starts off with a strong beat and a catchy tune that doesn't stop from the second it starts.  When I look at pictures of Penn and view the artwork, I think about the dust bowl.  Recession period USA.  But that quickly fades with the irresistible rhythms that jump out at you.  Granted, there's an element of the past in just about everything he writes, but it's infectious and exciting.  'No Myth' is a wonderful song.  It's fun, energetic and compelling.  You can't listen to this one and not want to boogie down.  'Half Harvest' is the second number and it's significantly slower than 'No Myth'.  The beat picks up a bit during the chorus.  The lyrics to this one are a little confusing.  I'm not exactly sure what the song's about, but I feel like it's a social commentary piece and deals with something specific to Southern California.  But I have no idea what that might be.

'This & That' practically jumps out of the speakers at you and the punctuated guitar jabs are impulsive and exciting...  They blend well with the melodic chorus.  This song is a piece of brilliance.  I absolutely love it!  There's an element of the track that sounds like the Paisley Underground movement from the 80's.  Just marvelous.  'Brave New World' is another rocking number.  This one has a rockabilly sensibility to it and reminds me of a Stray Cats swing beat.  Enjoyable tune!  'Innocent One' is the first ballad on the disc.  It's a folksy tune with a tender vocal delivery.  It feels personal in many ways.

Next up is the reason I bought the album.  Although it's listed as one song, track 6 is actually two songs.  The first is an instrumental intro written by Patrick Warren called, 'Disney's A Snow Cone'.  It's followed by the cut featuring Lisa and Wendy, 'Bedlam Boys'.  'Bedlam Boys' has that deep groove Wendy & Lisa are so great at producing.  The song is phenomenal!  I can't praise it enough.  I feel like these two have an amazing talent to bring out the best in the people they work with and in this case, they help an extremely gifted musician create absolute magic.

'Invisible' is another song built around a strong beat.  Penn has a great sense of timing and avoids a common trap encountered by first time musicians...  He doesn't pigeonhole himself into a set tempo.  He's all over the place!  It's quite thrilling to listen to someone take a mid-tempo song and create urgency and speed through the vocals and melodies rather than the drums and bass.  'Cupid's Got A Brand New Gun' is the second ballad on the disc and highlights Penn's interesting vocal arrangements.  His complicated structures are showcased here.  This track has highly intense lyrics.  It's a profound description of love.  You could easily find your personal state of mind in this track.  He so aptly describes the surrender each person experiences during love.

'Big House' floats in with a country twang then settles into a rock number with some transitions happening on a third count.  I think this is a great track and I could see a number of different bands covering it successfully.  It's fantastic!  'Battle Room' is a different number once again highlighting his versatility.  It's a slower tune, but it doesn't settle into a ballad.  I find the lyrics on this one interesting as well...  Hiding highly charged emotional scenes away from public view.  This is a complicated songwriter with a wide vision.  He's able to draw from a variety of situations for his subject matter.  I find that quality in a songwriter compelling and interesting.  

The final number is 'Evenfall' and although from the title and it's position on the disc, you might expect a quiet outro of sorts, the track is lively and features some unusual instruments.  It features a horn arrangement I'd associate with older rockabilly bands from the 50's and 60's.  It's a blast at the end of a dynamic bit of music.

After finally listening to the record, I'm surprised Penn didn't do much better than he did.  His insightful lyrics, unusual composition style and daring musical approach makes him someone to pay attention to and follow.  I've sense bought other albums and I've enjoyed them as well.  My final words:  MARCH YOURSELF TO THE NEAREST WEBSITE AND BUY THIS GEM.  IF YOU ALREADY OWN IT, PULL IT OUT AND LISTEN AGAIN.

MICHAEL PENN - MARCH

01. No Myth

02. Half Harvest

03. This & That

04. Brave New World

05. Innocent One

06. Disney's A Snow Cone/Bedlam Boys

07. Invisible

08. Cupid's Got A Brand New Gun

09. Big House

10. Battle Room

11. Evenfall

WENDY & LISA - RE-MIX-IN-A-CARNATION

The one thing I can say for certainty about this release is it wasn't released in the US.  It's a European release, though I'm not 100% sure I know the country of origin.  I remember discovering this disc and going out of my way to locate a copy.  I think I bought it on eBay or Amazon.  I do remember this was a disc I went looking for and I paid whatever was asked to get it.

This disc is basically a remix EP.  The mixes contained on the disc span the duo's first three records.  Two of the mixes are from their debut release, "Wendy And Lisa", three are from "Fruit At The Bottom" and the last one is from "Eroica".

The title of the album is interesting.  It's playing on the word reincarnation.  And that's not entirely far from the truth.  Each one of the songs appearing on this disc is reborn in a remix.  Not always successfully, but reborn nonetheless.

The first track is 'Lolly Lolly' and it's remixed by William Orbit.  It's a fairly straight forward mix.  The drum track is altered and there are some new electro sounds added in.  Some of the instrumentation is stripped out making it a deeper cut, but that move sacrifices the cheerful nature of the tune and makes it sound a little dull.  Nellee Hooper is responsible for the 'Waterfall' mix and this is by far, the best mix on the disc.  It's subdued, flowing and it compliments the song rather than obstructs it.  I quite love this mix actually.

'Are You My Baby' is remixed by Paul Oakenfold and Steve Osbourne.  They add some deep bass grooves, but stay fairly faithful to the original.  Nothing wrong here.  I think of all Wendy & Lisa tracks, this one is probably the most remixed.  'Staring At The Sun' is reworked by Youth and The Orb.  It has a psychedelic intro added and then it moves into an almost spiritual tantric version of itself.  The drum track is completely unnecessary.  The piano and vocals could carry this mix all on their own.  It's soaring and lovely.  

D.J. Premier tackles 'Satisfaction' and this is perhaps the most staggeringly different mix of the whole bunch.  Virtually all the music is scrapped in favor of the pseudo swing beat Premier makes.  It doesn't compliment the song and seems quite at odds with the vocals.  About the only thing it does compliment is the rap added toward the end.  Unnecessary.  Finally, Steve Anderson hypes up 'Sideshow'.  This is another great mix with the addition of percussion.  I think this mix demonstrates how instrumentation can enhance a track while the previous number distracts.

Ultimately, this is a great disc and one well worth owning if you're a fan.  I'm not sure what it's selling for these days, but if it's too much, you may want to consider buying a digital copy.  No matter what you do one thing is certain, Wendy & Lisa wrote amazing music and it lends itself well to mixing.  My final words:  DON'T MISS RE-DISCOVERING THESE CLASSIC TUNES IN THEIR NEW FORMS!

WENDY & LISA - RE-MIX-IN-A-CARNATION
01. Lolly Lolly (William Orbit Remix)
02. Waterfall (Nellee Hooper Remix)
03. Are You My Baby (Paul Oakenfold And Steve Osbourne Remix)
04. Staring At The Sun (Youth And The Orb Remix)
05. Satisfaction (Gangstarr Remix)
06. Sideshow (1991 Remix)

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

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

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

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

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

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

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

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

THREE O'CLOCK - VERMILLION

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

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

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

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

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

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

My final words: ANOTHER UNDISCOVERED PAISLEY PARK GEM!

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

LINUS IN THE SAPPHIRE - FREE SLEEP

Right off the bat, I thought I was listening to something Wendy & Lisa would of put on "Eroica" or "Girl Bros."  The first number is '( )'.  I've taken to calling it Bookends.  This is a complicated song.  There's a lot happening musically and the aggressive turns it takes are softened greatly by Laura Fisher's surprisingly versatile voice.  At one point, you feel like you're sitting in a downstairs Italian bistro listening to a live acoustic guitar and piano.  It progresses into a strong verse and chorus before transforming into a Smashing Pumpkins rant!  It then subsides and makes room for some vocal sparing before completely blending everything you've heard into a wild spinning dervish.  Let me be completely honest with you...  This song has no potential at all of getting radio play.  But it's phenomenal!  And if this is what we have to expect from LITS, I'm on board!

'Clever Dolphin' makes use of ethereal keyboards to create the feeling of ocean, but then moves into a sinister minor progression.  This song gives me the impression of a dreamscape being described by a waking dreamer caught unaware.  It has the magical intensity of an Owl City track except there's no happy ending here.  There's the hope of resolution.  There are no answers.  Once more, there's some vocal harmonizing with Mike Britt; the second half of this duo.  His voice compliments Fisher's.  The next number is 'Defective Angel' and Britt takes over on lead vocals.  This tune reminds of Shiny Toy Guns.  

Fourth on this disc is 'Soviet Kitten'.  I'm starting to see a pattern emerging in the songwriting.  Many of the lyrical ideas are punctuated by unusual time signatures.  There are many shifting tempos happening and they can be challenging to follow.  But it's this unusual sound creating their unique style.  'Empty Water' is the most accessible song on the disc and follows the more traditional style of songwriting in Western culture.  Fisher delivers her vocals like a gymnast on the uneven bars.  Her voice soars across the music like a razor blade sharp and clean.

'Wait For The End Of The World' is the final track from this EP and hearing this song is like being hit full on by a Semi!  Of the music on the disc, this song is the one track I hope to see live at some point.  I suspect I'll find myself completely knocked out.  There are a couple short movements throughout the number, but they maintain the drive and tempo.  This one doesn't let you go.

So LITS features a remarkable vocalist...  Some fascinating music...  Interesting ideas and stunning artwork.  There's an untamed quality to the music that could be focused under the hand of a strong producer.  In it's current state, LITS will either inspire a huge dedicated following...  Or fade away under the overbearing weight of popular music.  With the right production, the music could cross over to a mainstream audience without losing the integrity or vision of the band.

This disc has been on heavy rotation in my truck for a couple weeks now and I've enjoyed it.  My final words:  A BRILLIANT AND EXCITING BEGINNING!!!!

LINUS IN THE SAPPHIRE - FREE SLEEP

01. ( )

02. Clever Dolphin

03. Defective Angel

04. Soviet Kitten

05. Empty Water

06. Wait For The End Of The World

ROISIN O - THE SECRET LIFE OF BLUE

So Roisin O came to my attention through a promotional release and I put the disc in not sure what to expect.  I'd heard 'Hold On', but I wasn't sure what to make of it.  Then I decided to go for it and let me tell ya...  I've been listening to the disc now for a few weeks.  I've lived with the music and I've tried to think about it without feeling so much.  Mostly because the music on this disc causes you to respond involuntary.

I remember reading one of Seal's liner notes and he wrote something about not printing lyrics because sometimes what you hear in your head is radically different from what the actual words are.  And this disc is a prime example of that notion.

Roisin O is one of those vocalists with the ability to emote her songs.  And in my opinion, that's the most success you can achieve as a musician.  If you can make people internalize your music, relate to it on a personal level, you succeed.

The first track on the disc is 'Here We Go' and it's a fun, bright pop tune worthy of a place on any pop chart.  Without diving into the world of electronic blips and whirls, Roisin jumps out at you with a lively number that would make anyone jump out of their seat.  It's followed by the slower paced, 'Synchronicity'.  It doesn't drop the bottom out of the momentum of the disc.  In fact, it softens it and prepares you for a more in depth experience.  The chorus is catchy and it's one you can enjoy singing along with.  With the breathy "ahs" towards the end of the song, it's easy to see why this number is so infectious.  

The next track is one I found extremely powerful.  The first time I heard it, I was listening to the disc as I was driving in my truck.  It reminded me of Ani DiFranco's singing style.  But the music itself and the rhythm...  It made me think of my sister and in minutes I was in tears.  Roisin sings, "Strive to climb high", but I heard, "Strive to come home" and my heart broke.  No matter how often I hear the song, I hear the lyrics I want to hear.  Each time, I feel an overpowering response.  By itself, this song makes the album worth owning.  

She moves the record along with 'How Long'.  I hear a lot of folk instrumentation happening here.  I read online Roisin is an Irish singer and I hear a lot of that in this song.  But it's quite energetic and keeps you interested.  Next up is 'Filled With Snow' and at this point I started hearing Wendy & Lisa in the music.  Anyone who knows me knows how much I love them and when I hear artists who remind me of their unique style of composition, I get excited and enthusiastic.  This song is no exception.

Next up is the haunting single from the album, 'Hold On'.  This is another song that causes an incredible emotional response in me when I hear it.  Where so many ballads deal with losing love, devotion or other such ideas...  Roisin uses hers to encourage her audience.  She sings songs of hope.  More than once I've found myself listening to this song when I've had a bad day and needed someone to talk to.  To lean on.

'Let's Find Some People' is another track I can hear the timeless groove of Lisa and Wendy shining through.  There's a wonderful bop happening here and I love it.  Especially the organ pumping away under the guitars.  'Tea Song' is another one that reminds of Ani DiFranco.  In fact the opening few strums recalls a track from "To The Teeth".  When the organ cuts in again, I feel almost like I'm in the smooth arms of a Norah Jones lullaby.  It's followed by 'You Owe Me A Drink'.  A hurried number, this one kinda chugs along and includes an amazing arrangement of electric organ and guitar strumming.  This is one of the tracks where Roisin's vocals really shine through.  She's got an interesting range and she's fun to listen to.  At certain points, the song almost sounds like Country and you could swear Dolly Parton was singing backup.

Winding the disc down, 'Find The Light' is almost lost on the disc.  The interesting percussion mix is a highlight and the sounds are ethereal yet earthly.  She never seems to leave you behind.  Each word pulls you along and yet, if you're not paying attention, this little gem will slip past you.  Finally, the title track, 'The Secret Life Of Blue' winds up the disc.  When I hear it, I feel like I'm sitting on the porch of the house in North Carolina.  Up in the Blue Ridge Parkway.  Playing guitars on a summer night while a warm rain strums against the roof.  It's a peaceful and lovely way to end the record.  The harmonies are delightful and enchanting as they fade leaving you longing for just a little more.

There are so many sounds happening on this recording and all of them make me want to hear more from this vital exciting new artist.  I was fortunate to have this disc brought to my attention and I hope you'll take the time to discover it and enjoy it as much as I have.  My final words: BEST NEW MUSIC I'VE HEARD IN AGES!

ROISIN O - THE SECRET LIFE OF BLUE

01. Here We Go

02. Synchronicity

03. Climb High

04. How Long

05. Filled With Snow

06. Hold On

07. Let's Find Some People

08. Tea Song
09. You Owe Me A Drink

10. Find The Light

11. The Secret Life Of Blue