DEAD OR ALIVE - NUKLEOPATRA

I was a fan of Dead Or Alive when this record came out.  Of course for me, their highpoint was "Mad, Bad, And Dangerous To Know".  That was the first DOA tape I owned and loved.  Subsequent releases left me a little disappointed, but there was always something keeping me interested.  As much as I loved DOA during the 80's, these later releases are more difficult to appreciate.  Pete Burns moved increasingly towards a transsexual persona.  In fact, the title track of this CD is about his transsexual side.  'Nukleopatra' was a minor dance hit in some of the gay clubs in Vegas.  I remember hearing it and deciding I would pick up the record.  Of course, at the time, DOA wasn't going to release the album in America and I ended up picking up the Japanese version.  Imports always cost a little more and this one was no exception. I regret spending so much on it.

Track 2 and 10 are both taken from an earlier Dead Or Alive album called "Fan The Flames, Part 1".  The addition of them here, albeit with new music arrangements is disappointing.  I wasn't a huge fan of the music on that CD and finding some of it here is a major let down.  Neither one is particularly appealing.  In fact, that was the disc that kinda turned me off to Dead Or Alive.  However, the number 3 track is a David Bowie cover called, 'Rebel Rebel'.  There are two covers on this disc and both are phenomenal!  'Rebel Rebel' kicks in and you get all the angst and confusion Pete Burn's new gender bending look boiled down into one aggressive pop single.  The second cover is Blondie's 'Picture This' coming in at number 8.  It's not as good as 'Rebel Rebel', but it's a worthy attempt and enjoyable.  Almost as much as the original version.

I could go on with a track by track breakdown of the CD, but the truth is, none of the music is interesting enough to keep my attention.  I don't have anything to say about it other than, eh...  It all sounds half-hearted anyway.  Like they were just trying to get something together to release.  There's no real "Umph" behind any of it.  It's not completely generic sounding, but it doesn't have anything special in it either.  Edina from "Absolutely Fabulous" once called this kind of music, "Dull Soulless Dance Music" and that's exactly what I think when I listen to this disc.  There's not even enough energy to get you moving.  I actually played it for Tyler and he found it boring.

This album is listed as Hi-NRG and Dance music on most reviews and information releases I've found online.  Although I'm not sure what to classify it as, I know it doesn't live up to their earlier work.  Whether it's the departure of the Dead Or Alive band that left the group without original material or the movement towards becoming an image celebrity rather than a singer; I've basically come to the conclusion Pete Burns gave up.  Since he and Steve Coy went "Solo" as Dead Or Alive, the focus has been more on appearance and drag persona rather than music and entertainment.  It's like they went on to feast on celebrity and ignored the music.

There's never been a happy balance for this group.  And for me, this record was the last straw.  I stopped buying them after this one.  Every now and again, the group will release something and I'll look at it.  The most recent thing I saw was a remix or remake of 'You Spin Me Round (Like A Record)'.  That makes me feel bad.  I'd rather see them doing something innovative and new.  Instead, they're continuing to cash in on old material hoping to squeeze one more ounce of gold out of that dried up rock.

I'm also horrified by the personal appearances I've seen Pete Burns do lately.  He's become something I absolutely detest and hate among the gay community...  A bitchy horrible old queen.  I avoid them in real life, I think they give gay people a bad image and I won't continue to financially support one who can't be a decent human being as a celebrity.  I know I'll probably get a lot of negative feedback for this review from Dead Or Alive fans.  And all I can say is, wait cause I've got great things to say about other releases.  Just not this one.  My final words: TROUBLING TRANNY TRASH!

DEAD OR ALIVE - NUKLEOPATRA

01. Nukleopatra

02. Unhappy Birthday

03. Rebel Rebel

04. Sleep With You

05. The Right Stuff

06. I'm A Star

07. International Thing

08. Picture This

09. Spend The Night Together

10. Gone Too Long

11. Getting It On

12. Sex Drive

TEARS FOR FEARS - SONGS FROM THE BIG CHAIR

Here's another one from the 80's, folks!  There was a radio show called "Rock Over London".  I can't remember which station played it in Southern Utah, but I do remember it came on Thursday nights and I would sit in my mom's bathroom (cause that's the only place the radio would pick up the station), and discover all kinds of new bands and music.  That's where I first heard Tears For Fears.  Later, this record came out and the group exploded on the American charts.  You couldn't tune in a radio station anywhere without hearing one of their songs.  

I was familiar with the singles showing up on American Top 40, but one Sunday afternoon on the King Biscuit Flower Hour (I'm guessing that was the name of the show), I recorded an entire concert by them.  It was remarkable.  Still, I never picked up the album until many years later.  I stumbled across the CD in Vegas and bought it.  Brand new.  And I've never regretted that purchase.

The first track on "Songs From The Big Chair" is 'Shout'.  There's not much I can say about this song you don't already know.  It's an international hit single and just about everyone knows it.  The second tune is 'The Working Hour'.  There's already a developing theme here.  Oppression.  Whereas 'Shout' was about protest and standing up for a cause, 'The Working Hour' is about others benefiting from others efforts.  "This is the working hour, we are paid by those who learn from our mistakes".  Although our society is based on a barter system that supports payment for labor, most business' undervalue their workforce.  People are underpaid and unjustly compensated for their labors.  Still, companies endure because they know if one person quits, they can always hire another one to fill in.  Whoops, that was a bit of a rant and probably not at all what the song is about.  But it's what I take away from it.  

The third number is 'Everybody Wants To Rule The World'.  This is a straightforward piece about acquiring power and the consequences.  It's also a metaphor for the selfish nature of the human id.  Being controlled by the id is another form of personal oppression.  Having an id based personality can be extremely debilitating.  'Mother's Talk' is a song I remember from the live radio broadcast because it's got such a powerful beat and sound.  I'm not completely sure what the meaning of the song is, but it seems to me it describes the power of rumor.  "When the wind blows, when the mother's talk"... Implying words are as powerful as nature.  Again, gossip can be a form of oppression.  So in my opinion, the theme continues.  

'I Believe' comes next and even with the soft jazz rhythm, it feels like a light at the end of the tunnel.  It offers hope in the belief of another person while simultaneously calling the listener to think authentically and take control of their destiny.  Almost in response, 'Broken' kicks in and takes a huge steaming poop all over the music we've thus far enjoyed.  Roland Orzabal rebels against everything and tells you he doesn't believe things will be alright.  There's confusion, rage and uncertainty wrapped in one aggressive sound barrage.  If music were war, this song would be on the front line.

'Head Over Heels' begins and you suddenly have a new dynamic happening.  This is the one song you can actually consider a love song.  Of the bunch, it's also the most uplifting.  Still, the relationship it describes and the poetry of the piece continue the theme of oppression.  It's about being controlled by love.  I'm particularly fond of the line, "You keep your distance with a system of touch and gentle persuasion".  Whenever I hear these words, I picture a movie screen in my head and I see a couple courting like they would in older days.  When he would advance, she could keep him at bay with soothing touches and delicate arguments.  A much more subtle time.  One I wish we had today.  Too many people feel comfortable pushing and violating the personal space of others.  Even more frightening is how complacent we are about it.  We're so used to it, we don't care about privacy anymore.  That's a broad generalization to be sure and one I probably shouldn't be making.  But that's where this song takes. me.  It then goes on to describe the complexities of family relationships and how these expectations can be oppressive as well.  The song segues back into a reprise of "Broken" and ends in a firecracker burst.

The final song on the album is 'Listen'.  Although it doesn't resolve the theme of the disc, it offers a strange view of major world events.  Possibly in the hope of teaching.  Learn from mistakes.  Look to the future.  Whatever the function of the track, the music is sweeping and feels like a closing.

The entire offering is quite short, but packed with material both thought provoking and invigorating.  I truly enjoy this disc and I would recommend it to anyone who is interested in this duo.  My final words: AN OPPRESSIVE THEME TO SET YOUR EARS FREE.

TEARS FOR FEARS - SONGS FROM THE BIG CHAIR
01. Shout
02. The Working Hour
03. Everybody Wants To Rule The World
04. Mother's Talk
05. I Believe
06. Broken
07. Head Over Heels/Broken (Live)
08. Listen

PET SHOP BOYS - FUNDAMENTAL

The Pet Shop Boys usually release a regular and a bonus edition of their albums.  "Fundamental" was no exception.  I was able to get the double disc edition and I've been pleased to no end with the results of my efforts.  

My focus with PSB is usually the lyrics.  I love groups who write songs that grab you and tell you a story.  PSB is one of those bands for me.  Except you often feel like you're walking into the middle of a story and watching something happening in the moment.  This record is no exception.  

Still, my enjoyment of their music can be hit and miss at times.  And this CD certainly has a few misses in my opinion.  However, the good material is strong enough to bear up under the weight of the filler stuff; so ultimately, you win here.  What you'll find lacking is a cohesive overall theme.  The CD seems to jump around without focusing anywhere.  As a whole, it can be challenging to listen to.  On a song by song basis, the material is much more accessible and pleasing.

Normally, I'd do a song by song breakdown, but in the case of this CD and considering how late it is, I think I'll just write about the impressions I get from the discs.

I like 'Psychological', but I'm more impressed with the mix on the second disc.  I find the build quite exciting and ethereal.  I get excited when I listen to it.  Let's face it, the first few songs are very strong and keep you on the edge of your seat.  'The Sodom And Gomorrah Show' is absolutely astounding and I've had more than a few fantastic moments singing along while listening to my ipod and having someone look at me like I'm smoking crack because of this tune's lyrics.  They're wonderful and bring to mind Armistad Maupin's "Tales Of The City".  All about discovering the world and embracing a less traditional lifestyle.  Seeing through the crap and finding enlightenment free of superstitious inhibitions.

'I Made My Excuses And Left' is a song I quite love, but I'm also uncomfortable when I hear it.  I've actually had moments like that in my life and it's difficult to listen to a lovely ballad describing feelings I'd prefer to forget.  'Minimal' kicks in and lightens the mood with a refreshing beat reminding you PSB are masters of dance floor hits.  This one made the circuit all around the world I'm sure.  If it didn't, it should've.  'Numb' is a rather doleful number.  I think it's a clever tune, but reminds me heavily of sentiments expressed by Nine Inch Nails and other industrial bands rather than a pop duo.  Still, the issue of avoiding one's feelings is a subject I can't expect master song writer's like Neil and Chris to avoid.  

The next notable track is 'I'm With Stupid'.  It's common to think you're mentally superior to others.  I used to think I was smarter than most people.  In fact, I had a superiority complex because of it.  As I've grown older, I've changed my views quite a bit.  It doesn't stop me from feeling superior when I'm hanging around people who haven't devoted time or energy researching politics or paying attention to what's happening in the world.  My critical mind also feels an ego boost when I listen to people spout nonsense they hear on programs like Rush Limbaugh or accept some radical propaganda as reality instead of researching the truth.  My initial reaction is to pity them and view them as weak minded.  Fortunately for me, I work in an industry where I'm not the smartest or most talented individual in the building.  Quite the opposite, I'm usually the one wondering what's going on.  I've grown to realize people are different and smarter in different areas.  I've been able to see past my own bias and find the strengths of others rather than finding a reason to feel superior.  

Whew, that was a long ramble...  And all to say, I can certainly understand the meaning of this song.  I've often found myself in this position.  

'Twentieth Century' is a wonderful number.  The tempo is slower, but the chorus is simply brilliant and lovely to sing.  It's one I belt out at the top of my lungs.  No matter where I am.  It leads into one of the most wonderful ballads ever written, 'Indefinite Leave To Remain'.  Absolutely beautiful.  

The second disc is loaded with some truly memorable tracks.  From exciting mixes, b-sides and new versions of older songs...  There's something for everyone here.  I love 'Fugitive (Richard X Extended Mix)'.  As I mentioned before, I also love the Alter Ego Remix of 'Psychological'.  I think it's stellar.  About the only thing I'm not impressed with is the updated version of the tune PSB wrote and produced for Dusty Springfield, 'In Private'.  It's performed as a duet with Elton John.  I much prefer the original version to the remakes.  But that's just me.  A name like Elton John is sure to draw some interest in the tune.

So to wrap up, "Fundamental" is a strong record with minimal filler tracks.  You can safely purchase this disc knowing you'll have some great songs to look forward to and enjoy.  For fans of PSB, it's heavenly.  For those who are just discovering them or enjoy them in passing, this is a record you will find many of their styles showcased in great form.  It's definitely worth the purchase price.  The bonus disc is also worth the effort to track down.  It's just brilliant.  You won't go wrong there.  My final words: IT'S GOT EVERYTHING YOU NEED FOR YOUR COMPLETE ENTERTAINMENT AND INSTRUCTION.

PET SHOP BOYS - FUNDAMENTAL

01. Psychological

02. The Sodom And Gomorrah Show

03. I Made My Excuses And Left

04. Minimal

05. Numb

06. God Willing

07. Luna Park

08. I'm With Stupid

09. Casanova In Hell

10. Twentieth Century

11. Indefinite Leave To Remain

12. Integral

FUNDAMENTALISM

01. Fugitive (Richard X Extended Mix)

02. The Sodom And Gomorrah Show (Trentemoller Remix)

03. Psychological (Alter Ego Remix)

04. Flamboyant (Michael Mayer Kompakt Mix)

05. I'm With Stupid (Melnyk Heavy Petting Mix)

06. In Private (Stuart Chrichton Club Mix)

07. Minimal (Lobe Remix)

08. The Sodom And Gomorrah Show (Dettinger Remix)

PRINCE - 20TEN

I'm not sure if I should title this cd using the old symbol name or Prince.  Since he's using his name again, I'll go with it, but the symbol is what actually appears on the cover.  

This last record from Prince sux for a couple of reasons. The first is the fact it was never available to buy in America.  From what I understand, it was included as a free gift in newspapers throughout Europe.  I'm impressed by the fact he gave it away to newspaper buyers for free...  But let's break it on down.  Most likely, the news organizations who owned those papers probably paid him quite a sum of money for the right to distribute this release.  It was also another way for him to test new avenues of distribution.  Still, I find it hard to believe he didn't make money on this disc.  It's also a bad publicity move because he left out all of his fans in countries where people didn't have access to those newspapers or magazines.  The United States was completely snubbed.  Those of us who are lucky enough to have copies either bought them online from people over in Europe or were lucky enough to have friends living there who picked them up for us.  

But I won't complain anymore.  I'm grateful I have it and at this point, I just wanna talk about the music.

You notice right off the bat he's using the Linn drum machine again.  Still, that familiar sound that was once so interconnected with Prince doesn't step up and save the day here.  The opening track is 'Compassion' and it nods along.  There's lots of nifty little tricks and tickles here and there to make it interesting, but somehow it leaves you feeling like you want more.  'Beginning Endlessly' moves in a different direction entirely.  It's more substantial musically, but that rolling drum reminds me so much of that awful fight song he wrote for the Vikings...  Yikes.  This is the first really good song on the album, but the Linn actually holds it back.  It needs a more organic sound.

'Future Soul Song' is just astounding.  Rediscovered are the poetic lyrics of Prince's heyday and the inventive use of the drum machine finally fits the song.  It's gorgeous and flows like multi-colored waves washing over you.  It's followed by 'Sticky Like Glue' and this song seems to transport you back to the early days of Prince funk.  I'm talking "Controversy" folks.  It's got that great guitar, punctuating the beat.  Another number where the drum machine fits the material.  So far, he's 2 for 4.  'Act Of God' is a cool song and easy to sing along to.  I enjoy the tune and groove along when I'm driving.  It's not a classic Prince track, but it's great to bounce along to.  

'Lavaux' is another cut that takes you back to the late 70s, early 80s.  Sometimes I think I'm hearing outtakes from back in the day, but if you pay attention to the lyrics, they're more in tune with today than back then.  'Walk In Sand' is a lovely ballad.  Prince rarely fails when he sets out to record tracks like this.  'Sea Of Everything' is another beautiful ballad.  Something inspired Prince to pick up a history book on these r&b classics.  'Everybody Loves Me' relies on the new wave beat of the early 80s.  Prince never really followed that formula back then, but it's here in all it's glory.  

The final number on this album is a hidden track (it pops up as track 77).  The title is incorporated into the artwork.  It's called 'Laydown' and it is, without a doubt, my favorite Prince song in a while.  I love it.  The music, the lyrics, the funkiness...  Although it's not the only song on this album that reaffirms Prince is one of the most talented musicians and song writers of our time, it is the most complete example of his innovation.  The rest of the cd, great as it is, can sound sorta off the hat.  Almost throw away.  But 'Laydown' sounds exciting and fresh.  This is the one to look forward to.

So I'm extremely happy to have these new songs.  They are all wonderful additions to my Prince catalog of music.  What the album lacks is the shock of "Dirty Mind", the rock of "Purple Rain", the eclectic sound of "Parade", the funk of "Sign "O" The Times", the challenge of "Rainbow Children" or the old school blues of "Musicology".  There's nothing holding these songs together.  Or maybe I'm just missing the point.  What is here is a collection of tunes virtually accessible to any listener.  It's friendly, kind-hearted, romantic and timely. And maybe that's all it was meant to be.  My final words: NOSTALGIC AND WHIMSICAL!

PRINCE - 20TEN
01. Compassion
02. Beginning Endlessly
03. Future Soul Song
04. Sticky Like Glue
05. Act Of God
06. Lavaux
07. Walk In Sand
08. Sea Of Everything
09. Everybody Loves Me
10. Laydown

fDELUXE - YOU GOT WHAT YOU WANTED

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)

fDELUXE - GASLIGHT

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 

WENDY AND LISA - HONEYMOON EXPRESS

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