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fDeluxe released a limited edition single cover of the Ike & Tina Turner tune, 'You Got What You Wanted'. I'm a stickler for singles. I get super picky. My main concern with singles is getting value for the money. Especially when you consider how rare singles are in the US. I consider value in a single when one of the following is present: 1) a b-side track not included on the album, 2) a reasonable number of mixes of the the featured track, or 3) unique material unavailable anywhere else. This single basically fills all three areas of criteria for me.
Both 1 & 3 are covered with the title track. 'You Got What You Wanted' is a track not released on 'Gaslight' and it's a b-side of sorts. 2 is covered by three alternate versions of the song and an additional version of 'Drummers And Healers'.
fDeluxe's version of 'You Got What You Wanted' is quite funky and is performed as a duet between Susannah and St. Paul. All the groove of 'Gaslight' is present here.
The first track is the basic tune and it's wonderful. Number 2 is an extended version of the number. The third track is a true mix of the song. It's very similar to the original but the arrangement is sparser. The final track is the vocal track. So basically, A Capella. The last number is an extended mix of 'Drummers And Healers' one of the better tracks from 'Gaslight'.
Basically, you can't go wrong with this release. It's only available through fDeluxe's website, but do yourself a favor and order it now. It's worth it. My final words: A MUST HAVE RELEASE FROM AN INCREDIBLE GROUP!
FDELUXE - YOU GOT WHAT YOU WANTED
01. You Got What You Wanted (Single Mix)
02. You Got What You Wanted (fXtended Mix)
03. You Got What You Wanted (Bassment Mix)
04. You Got What You Wanted (Strictly Vocal Mix)
05. Drummers And Healers (Extended Version)
Back in the 80s, Prince put a little group together called "The Family". They were only together a matter of months before disbanding. Of course, rumors flew as to why the group went their separate ways. And since Prince wrote the material for their record, most of the gossip surrounded him. It's true, "The Family" was a creation of Prince as a vehicle to release even more music to the public, but it's also a collective of musicians and personalities that proved to be much more than just a sideshow.
"The Family" is easily one of my all time favorite releases on Paisley Park Records. I abso-freaking-lutely LOVE it! It blends all of the elements I loved about Prince circa 1986. Wendy & Lisa were playing a bigger roll in his sound, the music still had a funk foundation, but incorporated a European sound that was more sweeping and layered all at the same time. "Parade" is my favorite Prince album and the music surrounding him and his associates during this time is beyond incredible. I adore it. I love finding more of it. It's amazing.
So you can understand my hesitation when I heard The Family was getting back together to record new material. Despite album credits saying otherwise, Prince actually wrote all of the music on "The Family" with the exception of the jazz numbers (co-written by Eric Leeds) and 'River Run Dry'; which is penned by Bobby Z. Aside from Eric Leeds, none of the band members actually contributed to song writing. That fact by itself left me wondering if the group could pull it together and put out something worthy of this legendary record.
I placed my order, waited patiently, and finally the package arrived in the mail.
Right out the gate you know something special has happened. 'Drummers And Healers' kicks in with a driving funk and just like that, St. Paul assumes the role of Family leader as if he'd never left it. It's got the funk, it's got the groove and it's got the jazzy inflection of the original cd all over it. Judging by one song, I suddenly feel like this group of musicians has created something truly spectacular.
'Over The Canyon' blends the jazz and funk elements in a mid-tempo ballad focusing more attention on the duel voices of Susannah and St. Paul. Refreshingly, Susannah plays a more prominent role in this incarnation. She's got a lovely voice and it's been a fixture on many Wendy & Lisa recordings over the years. It's nice to hear her get some dues. 'Gaslight' features Susannah on lead vocals. Even though you still have the band's sound, this song ventures into territory completely new and separate from the original album. I hear Lisa and Wendy all over this song. They actually have some writing credits on the record and they play on it too. Although you almost never really know how much they actually contribute to any given piece of music they work on, this song smacks of their particular brand of deliciousness. They don't have a writing credit on this number, but I'm almost positive they did some arranging and certainly played on it.
'Beautiful You' is a tune that reminds me of 'River Run Dry'. It has a ring to it. A certain sound. St. Paul and Susannah sing this one as a duet with Susannah handling the bulk of the verses. The start of '@8' is very similar to 'River Run Dry' but it devolves into a slow funk workout that scrapes the bottom of the dance floor. This tune is so deep and bumpy... It's my favorite number on the entire disc. I can't get enough of it. Everywhere I go when this song blares, I sing at the top of my lungs. People just stare and stare...
'The Vigil' is the only song written solely by Wendy & Lisa. It's also the most complex track of the bunch. Musically, it sounds like the simplest, but that's a trick the girls like to throw at you. They use a minimalist sound to cover up some serious chords. And this bit is no exception. It's actually more jazz infused than any other song on the record and it reminds me of so many outtakes from 1985 and 86. The lyrics are quite beautiful and meaningful. Susannah and St. Paul once again, trade vocals back and forth on this sensual ballad. I believe this is the track that defines fDeluxe. Older fans will either fall in love with them or they'll decide the group can't hold up. It's the tune that makes or breaks the disc.
The original Family album featured a couple of jazz numbers fronted by Eric Leeds and in keeping step with that formula, 'Leeds Line' delivers an intricate instrumental. It's in danger of devolving into a segue between two songs, but thanks to his fellow band mates, it becomes an enjoyable listen all on its own. 'Lover' is the second tune to feature writing input from Wendy & Lisa. It starts off sounding quite "Family-esque" but once again, branches off into some new territory. Susannah takes over the lead vocals and the song sweeps you along like a waltz. Another wonderful track. "The music speaks to the soul of us"... This one literally does. It reaches out to you from the speakers.
'When You Go' is so delicately fragile it's heartbreaking. The first time I heard this number, it reminded me of a moment in my own life. I listened to it and couldn't help but feel moved. I think the greatest measure of an artist is the ability to touch an audience on a personal level. To create something other people can relate to or see themselves in, that is the true test of art. And fDeluxe achieved it for me with this tune. On a very sad level, but they did it nonetheless. 'Sanctified' feels like gospel on Sunday! It's got all the elements of a praise spiritual and they don't pull their punches here. The funk is present and so is the beat! 'Last House On The Block' closes out the disc. Although there aren't any writing credits listed on the sleeve, rest assured, Wendy & Lisa wrote this one. It's basically an instrumental reprise of 'The Vigil'. It sounds almost like the closing score to a motion picture and in a way, that's what The Family was. A picture of life. fDeluxe just shows you what's happening years later.
Many bands in the past have tried to copy the Prince sound. Some succeed more than others, but nothing ever truly touches his style. But what happens on "Gaslight" isn't even close to this. Instead of copying a sound Prince engineered through his own creativity and the imagination of people around him, fDeluxe take the essence of the music and make it their own. They blend the elements that made the first record special and make music in a direction Prince never would've considered. And all of this without losing that "Family-Sound" we've grown accustom to.
For those of you who have no idea who The Family were, don't fret. You can pick up "Gaslight" by fDeluxe and still feel like you've caught a train going somewhere new and exciting. For those of us who already know where that train has been, we're now looking forward to where it's going. Cause where it is right now is beautiful! My final words: GORGEOUS, NOSTALGIC & FULL OF PROMISE!
FDELUXE - GASLIGHT
01. Drummers And Healers
02. Over The Canyon
03. Gaslight
04. Beautiful You
05. @8
06. The Vigil
07. Leeds Line
08. Lover
09. When You Go
10. Sanctified
11. Last House On The Block
Ok, Ok, let's be honest... Did I need this CD? No. So why did I buy it? Simple... Because it's a promotional copy of a single Wendy & Lisa had previously only released in vinyl. I happen to love this song. In fact, I love the entire album, but this song is easily one of my favorite. It's just wonderful. This record was the one Wendy & Lisa officially broke away from Prince and went on their own. No more Revolution... Just two girls out to take on the world.
What strikes me the most about this song and the album it comes from is the sound. Prince was moving away from his domineering funk sound when Wendy & Lisa began to influence his music. In fact, they're largely responsible for the direction he took from about 1984 to 1986. Albums for artists like The Family and Madhouse showcased this directional change. It was obvious to music lovers who paid attention to what was happening, but for the general public; most just figured Prince was a wierdo with strange tastes in sound. But the reality was something more like Lisa and Wendy exposing him to new genres of music. Stuff he'd have written off before giving a chance. I think we're all like that in a way. Our tastes usually grow because people close to us expose us to new forms of music. And that's exactly what I think happened with them. I think they showed him cool jazz and introduced a European flare to his writing he didn't have before.
That sound continues on Wendy And Lisa's first album and is obviously lacking on Prince's next record. There are hints of it on the lingering tracks Wendy And Lisa worked on, but Prince moved back into his deeper funk sound. Whatever you think of any of them, this little bit of music history has a lucky spot in my collection and I'm pleased as punch to have it. My final word: ECSTATIC!
WENDY AND LISA - HONEYMOON EXPRESS
01. Honeymoon Express
After a year and a half break from "Fire", Electric Six got back in the studio to record this new disc. If you're like me and you loved "Fire" then you were a little apprehensive about "Senor Smoke". Sometimes a band can release an amazing first album and then waste all their talent in that one record. The second album usually sets up the pattern for the band and will establish whether or not they're worth hearing. Although it didn't get very good reviews in England, I'm here to tell you, it's an incredible record. One of their best. From start to finish, Tyler Spencer growls and croons his way through each song. 'Rock And Roll Evacuation' starts the disc off on a rock note. The song bursts forth as Tyler proclaims, "This is an evil generation". It's a call to arms of sorts. Reaching out to those outcasts who feel separate from corporate money making American values. It goes on to say you can check out of that world and find safety in Rock and Roll. There is salvation in the music. This number is a little different as it is the first time under the Electric Six moniker that the band plays a purely rock number.
The second track is a song die-hard fans would recognize as the sound the band has become famous for. 'Devil Nights' has a melodic guitar line and has a disco funky beat. It's also a theme Electric Six carry on through most of their subsequent records. Tyler Spencer writes a lot of songs about the devil. This one details an evening driving around the city with him. 'Bite Me' sounds like a traditional new wave classic from the early 80s with all the driving force of a punk rock attitude. In the vein of 'Hit Me With Your Best Shot' by Pat Benatar or 'Hurt So Good' by John Melloncamp, 'Bite Me' equates physical violence with pleasure. It's another incredible track that rocks out while it delivers funky beats. The next track is 'Jimmy Carter' and it's the only ballad on the album. Tyler paints a bleak picture of who we are as a country and as a society through his lyrics. He pokes fun at pop culture and how superficial consumers are. He also includes some lyrics that seem prophetic in nature.
'Pleasing Interlude I' is a strange number. It's a sketch comedy routine that is more odd than interesting. Still, it's weirdness kinda fits in with the rest of the record. There's so much randomness happening musically and lyrically, having an offbeat sketch like this one only notches up the radical nature of the material. It's followed by another funk/rock/disco number, 'Dance Epidemic' and like the previous tracks in this genre, it's bang on awesome! 'Future Boys' is a synth laden tour de force that fires across your ears like lasers. It's followed by 'Dance-A-Thon 2005'. This track has a heavy bass and a deep bottom sound to it. The slower pace could make it a ballad, but the synth lines are fast and there's a lot of momentum in the drumming. It's more like a mood than a ballad.
Both 'Be My Dark Angel' and 'Vibrator' refine the band's developing disco rock in new ways and both are exciting numbers. 'Vibrator' leans heavily towards 80s New Wave, while 'Be My Dark Angel' has all the energy of a runaway train. It pile drives you and it's one of my all time favorite E6 songs. 'Boy Or Girl?' is another New Wave nod; though not as exciting as 'Vibrator'. It's got a less enthusiastic rhythm and Dick Valentine doesn't sing this one. I think it's Tait Nucleus, but I could be mistaken. 'Pleasing Interlude II' is a solo number with Dick on piano. It clocks in at 00:27 seconds and is over before you realize it's begun.
The next cut is a Queen cover. You know covers of other people's material always run the risk of being inferior to the original and are often simply a way of an artist paying tribute to someone who inspired them or who they enjoy. It's seldom a cover is as good or better than the original. Especially in rock and roll. As for E6's cover of 'Radio Ga Ga', I won't go so far as to say they surpassed the original version, but I will say this... I never liked the song until I heard it on "Senor Smoke". It's difficult for any vocalist to compare to Freddy Mercury. The man was simply incredible and I can't even begin to think how you would compare Dick Valentine to his style and sound. But I do love the E6 arrangement and it works quite well with Valentine's voice. 'Taxi To Nowhere' is another solo piano effort. It's another short number, but it begins an interesting story. One I wouldn't mind hearing more of. If only.
The final track on the record is 'Future Is In The Future'. Of all the songs on this cd, this one sounds completely out of place. It's so comfortably at home in radio friendly pop waters you can barely imagine it on a rock record. Still, here it is and without a doubt, I love this song immensely. At every E6 concert I've attended, I sit in the back and watch the show. I stay comfortably out of the way. But the last time I saw them live, they played this number. Needless to say, I was on the dance floor in seconds. I had to jam to my song.
"Senor Smoke" cemented my fascination with Electric Six and made me a die-hard fan. There isn't enough I can say about the wit, intelligence and character of these songs and the band who created them. It's so worth your time and effort to pick this project up. I can't stress it enough. If you're wondering why there are two covers posted here, the answer is simple... The first is the official cover of the cd. The second is the cover of the promo edition of the album that was sent out in England. I have a copy of each one, so I included them both. No sense in posting a review twice. I'm not sure which copy I prefer. The first one has a 60s go-go look. I feel like I'm in a Cantina watching a stripper with a beehive dancing to the Strawberry Alarm Clock. Anyway... My final words: THE PERFECT FOLLOW UP FROM AN INCREDIBLE BAND!
ELECTRIC SIX - SENOR SMOKE
01. Rock And Roll Evacuation
02. Devil Nights
03. Bite Me
04. Jimmy Carter
05. Pleasing Interlude I
06. Dance Epidemic
07. Future Boys
08. Dance-A-Thon 2005
09. Be My Dark Angel
10. Vibrator
11. Boy Or Girl?
12. Pleasing Interlude II
13. Radio Ga Ga
14. Taxi To Nowhere
15. Future Is In The Future
I discovered Andy D during a streaming Electric Six concert. He was the opening act. I didn't realize it at the time, but Andy D is the rapper on the Electric Six song 'It Gets Hot'. I love that song! So I watched his performance and I was completely stumped. I wasn't sure what to think. On one hand, he's a sexy bear of a man and he strips during his show. He got my attention right there. I was also intrigued by his Electric Six cover. He played a version of 'Jimmy Carter'. On the other hand, I thought his music was somewhat juvenile and embarrassing. Still, when he performs, he loses himself in the music. I knew I'd be seeing him the next time I saw Electric Six live, so I decided to reserve my judgment until then.
Well, the day finally came and I saw him live at the Urban Lounge in Salt Lake City. He was amazing! The show was funny, funky and entertaining from the minute he took the stage to the minute he left. I had the chance to hang out with him and talk for awhile. He's nice, intelligent and dedicated to his craft. I bought both of his albums and he autographed them for me. My personalized message inside "Choose Your Perversion" is "Let's ride unicorns!" I loved the experience. Absolutely wonderful!
Since that night, I've had time to listen to the albums and I'm ready to write a review. On "Choose Your Perversion" you very quickly realize the music on the disc is quite different from what you heard live in concert. Andy doesn't come across digitally as magnificent as he does live. The disc starts out with 'New Addiction'; which is also where the albums title comes from. Right off the bat, I was shocked. The music is sparse and sounds like it was programmed on a little Casio Keyboard. When you think about it, a lot of early rap artists sound similar. They have those minimal drums sounds you can get on just about any small keyboard. His flow reminds me of Will Smith back when he was in his Fresh Prince days. 'Rockslow' doesn't change the tempo or add much to the musical diversity of the CD. The one difference is the inclusion of some drum sounds that were popular with hip hop bands from the 90s. 'God Loves Drunk Chicks' continues the sparse musical arrangement. There is a nice keyboard motif, but he follows it with a weak line that downplays the intensity you expect.
And then out of nowhere, 'Blow U Away' comes in like a holy roller revival on Sunday morning! It doesn't do much to improve the beat situation, but it utilizes a guitar sound to create a moody and compelling melody that's quite different from the disc up to this point. The tune is actually quite good and stands on it's own without relying on adolescent humor or dirty jokes to draw attention. It's my favorite song on the record.
'Party Werewolf (I Need A Freak)' zaps us right back to that late 80s, early 90s hip hop style. He even refers to Michael Jackson's "Thriller" video. 'Magic Lady' has some updated keyboard sounds, but it's trapped in the ancient drum loop trap the rest of the album has found itself in. It's not until 'Just Push Play' that Andy seems to break free from those old sounds. Probably because he relies more on bass drum sounds rather than snares and high hats. Much more timeless sounding. There is one bass keyboard line that sounds similar to 'Ice, Ice Baby' by Vanilla Ice. '2 Inches From Crazy Town' is another old sounding hip hop tune. 'Dirty Boyfriend' has great sounds, but it's still mired in those awful drum tracks. 'Party Nite' is better beat wise. It doesn't escape the nostalgia of that early rap sound.
Basically, Andy D wrote a record in a style of music he really likes. And that's cool. But it doesn't offer anything new or interesting. Thankfully, his next record shows more promise. Andy D is great live. His rhymes aren't always flowing, but he delivers a lot of soul in his performance. He has some interesting ideas lyrically and as long as he's avoiding cliches, he creates some cool songs. I think what's missing is access to better electronic instrumentation and a decent producer. Andy's rap on 'It Gets Hot!' is incredible. He's got a style, a hook and a look... Now all he needs is a more original sound. With the right collaborator, he could have that as well. And he wouldn't need to take his clothes off to keep people watching.
I'm glad I bought this disc. Having seen some of the songs performed live, it's nice to have versions I can listen to at home. I like Andy enough to keep following him; which is something I can't say for some of the other bands I've seen Electric Six tour with. I see a lot of potential here and I want to see it go somewhere. My final words: IT WAS GOOD, BUT I WANTED BETTER.
ANDY D - CHOOSE YOUR PERVERSION
01. New Addiction
02. Rockslow
03. God Loves Drunk Chicks
04. Blow U Away
05. Party Werewolf (I Need A Freak)
06. Magic Lady
07. Just Push Play
08. 2 Inches From Crazy Town
09. Dirty Boyfriend
10. Party Nite
Crystal Waters is a singer I'd heard at clubs and sometimes on the radio when I lived in Las Vegas. I didn't know much about her, but there was a period of time when I was buying cds from artists who covered Prince songs. I'd done my research on the internet and I knew this album had a Prince cover so when I found it at the used CD store for a couple bucks I bought it. I can't say for sure what I was expecting, but when I put it in and played the first song, I was eager to skip ahead and hear the Prince track. Mostly because I hated it and I wanted to see if she'd murdered 'Uptown'.
Since that time, I've listened to the disc and my opinion has changed greatly. Although I'd be hard pressed to include this album on any top list I can think of, I certainly enjoy it for what it is. The majority of this record is the pop electro equivalent of what's circulating all over pop stations today. That being said, it's surprising Waters didn't have more success with this record. As a vocalist, she isn't the most dynamic or exciting. Her range is fairly limited and her voice lacks any great quality that might set it apart from other singers. But it's not irritating and certainly pleasant enough to hear. For her part, Waters doesn't write music outside of her range. She certainly knows her limitations and you have to give her credit for that. As a song writer, she's ok but more on the lackluster side. Her songs aren't trite cliches used over and over. She's smart enough to choose different word play instead of going straight for the vernacular punch; however, she's also got a tendency to write some tedious material as well. For example... The opening track to this recording is 'Momma Told Me'. The sing song chorus doesn't create a magical feeling. Instead, it sounds whiny and complaining. The lyrics are also a little silly. But she follows it up with 'The Love I Found'. This is the first track that really stands out on the record. Soon enough you get the Prince cover and for the record, she does a great job. It's more danceable and fun than the original, though it loses some of the intense energy of the Prince version.
An added bonus is the appearance of Jimmy Jam and Terry Lewis on the album. They co-wrote the single 'Say... If You Feel Alright'. This song is the best track on the album. It's awesome from start to finish. Even though it's got Flytetime sound all over it, they manage to stay within the range of Crystal's other material and it blends right in with the feel of the album. I want to mention some of the other tracks on the album that I like. 'Easy' is a great little number and it's followed by 'Female Intuition'. This track is slower but has a strange beat and it works to accentuate Water's lyrics and vocal style. The final three songs, 'Body Music', 'Spin Me' and 'Passion' are all great numbers. 'Spin Me' incorporates Dead Or Alive's 80's smash hit, 'You Spin Me Round (Like A Record)' and is almost as infectious. 'Passion' is a nice way to end the disc. It's got a great chorus.
So was it enough to make me a Crystal Waters fan? Not really. But it is a disc I can put in and let play without worrying what song is coming up next. It's enjoyable enough to make it a fun listen every now and again. It's also great for the Jam & Lewis track and the Prince cover. So if you come across the disc, you can pick it up knowing its got enough good material to jam while you're in your car or let it play in the background while you're at work or doing something more important. Any way you slice it, you'll be grooving in your seat most of the time and ready to party by the end of the day. My final words: GOOD ENOUGH TO DANCE TO, GOOD ENOUGH TO LISTEN TO.
CRYSTAL WATERS - CRYSTAL WATERS
01. Momma Told Me
02. The Love I Found
03. On My Mind
04. Uptown
05. Say... If You Feel Alright
06. Easy
07. Female Intuition
08. Let Go My Love
09. Just A Freak
10. Body Music
11. Spin Me
12. Passion
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)
