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Martin Gore is the principle songwriter and member of Depeche Mode. This solo project was created during the literal height of Depeche Mode's world fame. Recognized the world over as the author of some of the 80s most influential alternative rock songs, even during the band's fame, Gore made a unique decision in releasing this e.p. Fans of Depeche Mode were surely expecting more interesting tidbits of his popular songwriting style. Instead, they were treated to a compilation of cover songs. As the name implies, these were counterfeit tracks of the originals.
At first listen, you notice how sparse the arrangements are. Back in my days of music making, the keyword was "simplify". Whenever something didn't sound right, we'd simplify it in various ways. Drop out sounds or instruments. There are a number of ways to bring something to a manageable level. Whether or not the less bodied sound is due to the lack of Alan Wilder's input or intentional is unknown. It does possess a similar sound to demos circulating among collectors of popular Gore compositions. They sound almost like he'd cut them at home as song ideas to present for full production with the band.
Another interesting aspect of the disc is the glimpse it gives you into the mind of this artist. You hear the music that inspires him to write what he writes. His taste and style are clearly evident in these songs. With the exception of 'Motherless Child'; which is listed as a traditional piece, all tracks come from 70s/80s punk/new wave bands. Groups on the forefront of these musical movements like Joe Crow of the Nightingales, Tuxedomoon, Durutti Column, Comsat Angels and the Sparks. Over the years, I've tried to track down the original versions of these songs and I'm always surprised by the difference Martin makes on his versions. He brings an amazingly clear vision to the material and even after you've heard the originals, you're left thinking, "These really could be Gore compositions."
So you might not get what you want when you pick this up, but then again, you might get something you really enjoy. It's gonna be a toss up. But rest assured, the sweet timbre of Gore's vocals makes the release worth it.
In 'Compulsion' Gore sings, "Charm's in limited supply - And refusing to stretch." In the case of 'Counterfeit e.p.', it stretches for miles and miles. My final word: INCREDIBLE.
MARTIN L. GORE - COUNTERFEIT E.P.
01. Compulsion
02. In A Manner Of Speaking
03. Smile In The Crowd
04. Gone
05. Never Turn Your Back On Mother Earth
06. Motherless Child
Make no mistake... The disc may be credited to The New Power Generation, but it's definitely a Prince record. This incarnation of The NPG are pictured on the album cover in cartoon form and are (from left to right): Michael Bland (drums), Tommy Barbarella (real name Thomas Elm, keys), Sonny Thompson (bass), Tora Tora (actually Prince wearing a mask, all instruments), Mayte (vocals and dancing), Morris Hayes (keys). How much of this album is really a band effort is unknown. Prince often credits his musicians for contributions they don't actually make. All of the songs on this disc are credited as full band input, but the Prince sound is unmistakable. Makes me wonder just how true that claim is.
The disc starts off with Mayte as the NPG Operator talking to Prince (whose voice is distorted) as a caller wanting more information about NPG Records. The next track is a funky number called, 'Get Wild'! Originally, it appeared in the Robert Altman film, "Ready To Wear". The version appearing on the soundtrack is somewhat different than 'Exodus'. I personally think the 'Exodus' version is superior. The next two tracks are skits involving the band taking over a night club (with Prince's 1986 composition 'Dream Factory' playing in the background), and introducing a live band sound with an instrumental jazz number called 'New Power Soul'. Up to this point, the music is wonderful, but not different from what Prince was doing at the time. After a couple more segues, a trio of songs play. 'The Good Life', 'Count The Days' and 'Cherry, Cherry' are all wonderful tunes that stand out. 'Count The Days' is particular in that it starts a re-occurring theme on the album. During this point in time, gangsta and hard rap was really catching on. Lyrics were becoming more violent and sexual imagery was filtering into everything. The New Power Generation avoided the blatant imagery and more unsavory trends in rap music, but on this record it focuses on some more disturbing aspects of that social network: gun usage and other forms of violence. In 'Count The Days', Sonny says before he can bring peace to the people, he's gotta take his gun and blow some *blankety-blank* away. In 'Cherry, Cherry' a similar theme occurs when Sonny again suggests he'll take his .45 to get rid of a guy who hurts his woman. She ends up committing suicide. The intensity of the subject matter is extreme and yet the music is so compelling you simply accept what's playing and go along for the ride.
'Return Of The Bump Squad' is an amazing funk workout. Unrelenting in rhythm and complexity, this is one of three outstanding funk numbers. The other two are 'Big Fun' and 'The Exodus Has Begun'. Both are diverting and enjoyable to listen to. I could sit here for hours and break them apart, analyzing and dissecting them; but the simple fact is they are thrilling pieces of music that encompass a range of influences and sounds. It's funk at it's finest!
There are a few segue tracks that feature skits with Prince playing various characters along with other members of The NPG. They're so funny, I laugh every time I listen to them. The one track that's somewhat lacking is 'Hallucination Rain'. The storyline behind the song (which is loosely built in previous segues), is ridiculous and boring. The song has an amazing instrumental build and crescendos in a screeching guitar performance completely unparalleled. The biggest drawback on 'Exodus' is Prince's flawed belief that the people he surrounds himself with are as interesting as he is. Sonny Thompson doesn't possess the presence of Prince and his performance leaves a lot to be desired. Perhaps the themes, sounds and feel of 'Exodus' are too Prince-ish for Sonny to successfully pawn off as his own. And who do they think they're fooling? Most of those who actually bothered to track down the disc already know it's a Prince record. 'Hallucination Rain' for one, would've benefited from Prince rather than Sonny on vocals. He also frequently alludes to his situation with Warner Brothers Records. If you know Prince's history, you understand this little drama. These days, the lyrics are outdated and seem untimely. But that's the danger of writing such personal lyrics. Time's change.
Still, this is easily one of my most favorite and satisfying Prince projects in a long time. I dance, sing, stomp and freak out to it with every listen. For those of you interested in hearing this overlooked gem, be forewarned... It was never picked up by an American Distributor. 'Exodus' was only available in Europe except for a small number sold directly to the public through Prince's 1-800 number.
If I had a rating system, this would get all the stars, or the highest number available. I absolutely love this album. My final word: FUNK-TACULAR!
THE NEW POWER GENERATION - EXODUS
01. N.P.G. Operator Intro
02. Get Wild
03. Segue
04. DJ Gets Jumped
05. New Power Soul
06. DJ Seduces Sonny
07. Segue
08. Count The Days
09. The Good Life
10. Cherry, Cherry
11. Segue
12. Return Of The Bump Squad
13. Mashed Potato Girl Intro
14. Segue
15. Big Fun
16. New Power Day
17. Segue
18. Hallucination Rain
19. NPG Bum Rush The Ship
20. The Exodus Has Begun
21. Outro
I believe this was the first single from 'Exodus'. The first track is the album version of 'The Good Life'. The second mix, 'The Good Life (Bullet's Go Bang Remix)', is an interesting mix. The instrumentation is subdued and more urban in tone. 'The Good Life (Big City Remix)' is virtually another song entirely. In fact, when I count original compositions, I give this song it's own credit rather than a mix credit. The lyrics are completely different and the music is completely different. The only this it has in common with the original track is the repeated chorus. Otherwise, it's a sung/spoken lyric performed by Prince rather than Sonny Thompson. It's entertaining and interesting all at the same time. I especially like the line, "Just like Aretha with a sack of Fritos".
'Free The Music' is more of a sampler song. It features an original beat with Mayte chanting "Exodus - Free the music" while clips of other songs from 'Exodus' are played in the background. Although hardly an amazing track, it's still interesting in the way things are mixed together.
'Get Wild (In The House Remix)' has a lot of house beat intensity and certainly builds to a big finish, but it feels like the build is in a subtle tempo increase rather than actual sound. It was typical of mixes at the time and although drastically different from the original, it doesn't live up to the original track. The 'Get Wild (Club Mix)' is also quite different from the original mix. It features a heavy bass line thumping underneath the rhythm section and features a more evenly mixed vocal track. You can hear Prince more prominently alongside Sonny Thompson. It's a great release and important to anyone interested in the 'Exodus' album. Great material. My final words: MMMMM GOOD!
THE NEW POWER GENERATION - THE GOOD LIFE
01. The Good Life (Album Version)
02. The Good Life (Bullets Go Bang Remix)
03. The Good Life (Big City Remix)
04. Free The Music (Non-Album Track)
05. Get Wild (In The House Remix)
06. Get Wild (Club Mix)
I'm not sure which single this is from the album. Whether second or third. Either way, I picked it up because I thought there were songs I didn't have. At the time, I didn't have 'Exodus'. So 'Hallucination Rain' was one I certainly didn't have and 'Beautiful Girl' was an unknown possibility. I was disappointed when I got home and discovered 'Beautiful Girl' was another mix of 'The Most Beautiful Girl In The World'; this one with Eric Leeds performing a saxophone version. There's really nothing overly important about this disc. The music is fantastic, but nothing really unique or different.
I'd recommend picking this up only if you're a completest and have to have every possible mix. My final word: EH.
THE NEW POWER GENERATION - THE WILD EXPERIENCE
01. Get Wild (Single Mix)
02. Beautiful Girl
03. Hallucination Rain
This disc was a comeback of sorts for the Fleetwood Mac singer. After a string of low impact albums, 'Shangri-La' came on like a punch in the gut. Although I don't know the history of the record or where all the tracks originate, I can tell some of them are older. 'Bombay Sapphires' for example sounds like something belonging to 'Street Angel'. There are also songs like 'Sorcerer' I suspect are from early times. Back in the 70s even.
First off, before I get all crazy let me make one thing perfectly clear... I love Stevie Nicks. Absolutely adore her. I think she's beautiful, spiritual and talented beyond belief. Ok, now that's out of the way... Nicks has a rather monotone singing voice and not much range. She uses certain tricks to augment her sound like using background singers to hit the notes she can't. It's an effective method. But her more recent material has been so monotone, it became a boring mass of repetition. Of course, and this is something I remember from "Behind The Music" on VH-1, I think I remember she was suffering from writer's block. That being the case, I suspect someone encouraged her to get back to writing. Hence the tune 'That Made Me Stronger'. "Can you write this for me - He says no, you write your songs yourself".
Irregardless, this disc was a return to form. With catchy melodies and her standard poetic lyrics, it's easily the best Stevie Nicks to date. There's not a single bad track on the entire disc. Certain songs are more exciting than others, but all of them are gorgeous and lovely to listen to. My favorite tracks are 'Sorcerer', 'Planets Of The Universe', 'Every Day', 'That Made Me Stronger', 'Too Far From Texas', 'Love Changes' and 'I Miss You'. But all of the songs are great.
'It's Only Love' reminds me of my ex. I've had different relationships, but I only had one I feel was really love. I say that because I felt loved by him. Losing that was devastating. I look at my life now and I think if I spend the rest of my life alone, it's ok because I had it once. I want more, but I can be satisfied with what I had. "Ah, if only love comes around again - It will have been - Worth the ride". But if it doesn't, I'll still be happy.
Many of these songs make me think about my own life and different situations I've been in. To me, that's the strength of a great poet or songwriter. If they can relate in such a way, the listener can put the song into their own lives and find meaning in what they're hearing. These are the artists people feel so emotional about. Stevie has the ability to do this. And she works with people who also create this or accentuate her natural ability. I can only imagine how collaborative she is as an artist. She'd be a joy to work with.
Sheryl Crow puts in an appearance on the album, writing and also producing many tracks. I'm guessing she's a long time Stevie fan and wanted to work with her. Crow is an amazing talent in her own right and her sound blends flawlessly with Nicks'. The two are absolutely stunning together.
If you're too young to think of Stevie as the woman of your dreams, it's not hard to imagine she's the mother you always wanted. Or some important woman in anyone's life. She projects a sense of kindness, intuition, strength, love and concern. She's a woman any of us would love to have in our lives. I think of her as an angel. My final word: ENCHANTING.
STEVIE NICKS - TROUBLE IN SHANGRI-LA
01. Trouble In Shangri-La
02. Candlebright
03. Sorcerer
04. Planets Of The Universe
05. Every Day
06. Too Far From Texas
07. That Made Me Stronger
08. It's Only Love
09. Love Changes
10. I Miss You
11. Bombay Sapphires
12. Fall From Grace
13. Love Is
Certain artists have sounds they're famous for. In the case of Cameo, it's an interesting situation. In the 80s and 90s, Larry Blackmon became famous for a particular sound. Whereas Prince made his trademark sound based on heavy synth melodies and the Linn Drum Machine, Blackmon did it through a combination of different things. He had unique vocal arrangements using an affected voice, interesting drum programing and trendy drum sounds. Even though nothing was really revolutionary about Cameo's music, it was distinct. To say it was exciting is an understatement. But it was also inconsistent.
On 'Word Up!' for example there are only two tracks that seem to fit this hit making formula of Blackmon. 'Candy' and 'Word Up' itself. Though the rest of the disc has some value as nice little jingles, they end up sounding more like traditional R&B. Massive amounts of this stuff has been released over the years and even though the subject matter struggles to find a unique perspective, it winds up sounding run of the mill.
Given the space age appearance of the band itself, you'd expect something more progressive and cutting edge. It's somewhat misleading. Both 'Word Up' and 'Candy' promise a new age revolution of sorts. But the rest of the disc fails to produce it. It never moves past the opening tracks. Blackmon used his hit making talents previously and since on various tracks. But it's the lack of more interesting material that left Cameo in a one-hit-wonder limbo. It would be nice to see Blackmon and friends come back and do something interesting nowdays. I'm kinda curious what they're up to.
With downloading what it is, if you have an interest in some Cameo tracks, do yourself a solid and skip the filler songs. Focus on the really good stuff. These days, bands need to write good songs all the way through the record if they want to sell more than a single. Back then, you sometimes took your chances. With 'Word Up!', I gambled and lost. My final words: GENERIC WITH A PINCH OF GENIUS.
CAMEO - WORD UP!
01. Word Up
02. Candy
03. Back And Forth
04. Don't Be Lonely
05. She's Mine
06. Fast, Fierce & Funny
07. You Can Have The World
It's virtually impossible to say the name Alan Wilder and not mention Depeche Mode. Yet Recoil is as different from Depeche Mode as Depeche Mode is from Barbara Streisand. Alan may have been a member during the band's more formidable years, but he's now something distantly removed from that former glory.
Alan approaches the writing process somewhat differently than other bands. He composes songs with singers/lyricists giving the entire disc a rather eclectic feeling. Douglas McCarthy of Nitzer Ebb fame contributes to two of the discs more memorable songs, 'Incubus' and 'Stalker'. Both tracks are rather unorthodox viewpoints. 'Stalker' being the more controversial of the two. He assumes the character of a murderous stalker using his terrorizing methods to give his targets the identity and special social status of being a victim. It's rather disturbing. "You are nothing, you are nothing without me".
American poet Maggie Estep takes the reigns for a couple songs, 'Luscious Apparatus' and 'Control Freak'. 'Luscious Apparatus' is the story of two co-workers who through an odd flirtation end up having sex. The connection takes a dark turn when the guy decides to cut the girl. It's a strange tale and for some reason makes me think of Aeon Flux. It seems like an episode of that bizarre show. Character Trevor Goodchild actually says, "What doesn't kill us, makes us stranger" and that line aptly describes Maggie's lyrics to on both of these tracks. 'Control Freak' is another strange tale of stalking and desire. There's a reoccurring theme of emotional and physical violence throughout this disc. And the musical arrangements are created in such a fashion as to heighten the anxiety of the listener. There's an urgency filled with an underlying intensity through minor chord progressions.
The two other vocalists on the disc are Hildia Cambell; who toured with Depeche Mode on their Devotional Tour, and Siobhan Lynch; who I know literally nothing about beyond her work on this disc. None of the featured vocalists are remotely similar to the others. Each offers a unique ingredient to the formula of 'Unsound Methods'.
My overall view of the album is favorable though somewhat mixed. I personally love the disc, but I find it intellectually challenging and musically complex. It's not for the casual listener or even fans of Depeche Mode. It's unorthodox subject matter and bizarre arrangements are specifically geared towards creating an emotional response in the listener. Unless you're open to such experiences, 'Unsound Methods' will leave you confused, bored and disappointed. If you are willing to go the distance, this album will have you re-evaluating yourself and the way you view dark subject matter for a long time to come.
The disc ends with the haunting and exhilarating 'Shunt'. There's a trance quality in the fast paced rhythm. Hypnotic in its layers. But it's the spoken vocal towards the end of the tune that really grabs your attention. Recalling Recoil's Sophmore effort "Bloodline" a female voice declares, "There's blood on the line"... Beware faint of heart... There really is. My final words: DISTURBINGLY EXCELLENT!
RECOIL - UNSOUND METHODS
01. Incubus
02. Drifting
03. Luscious Apparatus
04. Stalker
05. Red River Cargo
06. Control Freak
07. Missing Piece
08. Last Breath
09. Shunt
