#488 D'Angelo- Voodoo (2000)

I realize you shouldn't judge a book by its cover, but somewhere along the process, the writer of that book chose that cover.  I start my review by judging the album cover; a black man staring at me with his shirt off, like he's ready to fight, like he's egging me on.  OK "D", let's do this.

Playa Playa- normally at this point, I would have googled or wiki'd the artist, looking for insight.  I'm going to get as far into this album before doing this as I can.  Shortly into this song I'm pleased to hear a funky groove, and a really soulful horn section.  It's jazzy, it's not assaulting me like I thought the guy on the cover might.  It's almost Prince like in it's feel, and maybe a little Stevie.

Devil's Pie-  If Playa Playa didn't, the three part harmony vocals that open up this song now really remind of Prince's 7.  "Ain't no justice... just us, ashes to ashes dust to dust"  I am guilty of prejudging.  I thought this album was going to be angry west coast rap.  It's clearly not.

Left & Right- That's not to say there isn't rapping... here ya go there is.  So now I'm off to research.  The couple of rapped lines in this song are plenty reason for the Parental Advisory.  While I laugh at the Joanie loves Chachi reference, it's raw and I'm not sure if it really fits with the sensual vibe--it's as if D'Angelo and you were into each other slow dirty dancing, and then rappers Method Man and Redman come up from behind and start coppin' a feel.

The Line- Very Lauryn Hill sounding in its groove, and thick with soul and harmony.  Lyrically it's deep, perhaps a self-affirmation, or a promise he's making to himself, not to give up.  "Will I hang or get left hangin"  I'm hearing Al Green and Marvin all over this.

Send it On-  Oh stop already... damn... this is really good. Al Green's back and taking no prisoners, well maybe one prisoner--Prince.  Really nice bridge; I love when I can't predict the road ahead in a song, especially when it doesn't jar me with a sharp corner, but rather takes my breath like getting to the top of a hill and getting an eyefull of the ocean that's finally revealed.

Chicken Greese-  This funky morsel could have fallen from the table of James Brown, all it's missing is Maceo.  It's very much in the pocket, but I almost want to hear D rip hard in the middle of it.  The people talking in the background is reminiscent Marvin Gaye's What's Going On.

One Mo'gin-  Since I've referenced "keyboards of an era" on previous blogs, I think this is a perfect place to talk about a keyboard used here that is timeless to me.  The Fender Rhodes Piano is unmistakably featured in this song that's about longing for an old lover.  There's also a strange/wonderful tapestry of jazz that ends the track.

The Root-  harmony rich, and a swirling backwards tracked guitar solo that reminds me of Hendrix, but not overdriven, it's mellow.  I've also talked about structure in past blogs (i.e. verse verse chorus verse bridge chorus); this song defies templates, it's a wonderfully unique story told for the first time by a really interesting person, who's baked. (or maybe you are?)

Spanish Joint-  As you'd expect from the title, this latin inspired jazzy groove could have easily been taken off of Stevie Wonder's Innervisions album.  I read that D'Angelo and crew spent countless hours listening to black music, playing covers of artists influential to them, until their vibe was right and the creative juices flowed.

Feel Like Makin' Love-  Speaking of covers, mmm.  This is good, really good.  Roberta Flack called, and said that you could keep this song D, it looks better on you.  Oh, I know that horn lick about 4 minutes in... damn.. is it James Brown?  Where are my jazz-heads at?  Help.

Greatdayndamornin' - Booty-  Two songs welded together, one that reminded me of Good Times Bad Times by Led Zeppelin as told by Al Green, and the second a march that reminded me of a Strawberry Fields Forever fade out ending.

Untitled (How does it Feel)-  was written as a tribute to Prince.  It won D'Angelo the 2001 Grammy for Best R&B Male Vocal Performance.  It's the best Prince song he never wrote.  All the singing on the song is D's, but you'd swear there was a full gospel choir behind him... as it builds and builds, into a wash of fuzz and reverb.... and then, wow.  If you've never listened to this, I won't spoil it. (But I'm listening to this track again right now, and cranking it)

Africa-  A song originally written for his newborn son, it morphed into a song about D's heritage, his mission, his religion.  The wash of chimes you hear are actually the Fender Rhodes tines mic'd from above with the cover off.

A really amazing album, one that I'm hard pressed to say anything bad about.  Taking a long four years from his first release to make, Voodoo is rich with all the musical homework he must have done during the time it takes some to get a college degree.  D'Angelo majored in Prince and graduated Summa Cum Laude.

Musician Saul Williams wrote in the liner notes "I'd pay to see Prince's face as he listens to this album."  I think that probably holds true for anyone listening for the first time, like I just did.  Maybe the look on that man's face on the cover wasn't challenging me to a fight, but challenging me to a listen.  If you haven't listened before, I encourage you to do it, and you try to keep your shirt on.


Next Up-  #487  The Smashing Pumpkins- Mellon Collie and the Infinite Sadness

#489 Steve Earle- Guitar Town (1986)

In the case of this album, I can say at least that I've heard of Steve Earle, and that I've heard a song or two of his music which I'd categorize as country/rockabilly.  I can also tell you that once or twice in the mid 90's, I'd heard him interviewed by broadcasting legend Steve Dahl (of disco demolition fame) on Chicago radio and was captivated by his story telling and politics.  I recall he had a troubled past--a long time drug addiction and ensuing incarceration for a short stint, and that upon release had been re-energized as an artist and a writer.  This is my basic starting point as I cue up track one.

Guitar Town- While I can't generally categorize myself as a country music fan, I'm not a hater of the genre either.  I can appreciate when it's done well.  This is done well, it's not cliche in structure, sound, or lyrics.  I can't get enough of his signature tremolo guitar sound, but that cheesy organ was used by everyone and their brother in the 80's.

Goodbye's All We've Got Left-  I'm impressed by how crisp and clean it sounds.  The second single released (after the country and pop billboard charting title song) from the album shines like a brand new quarter in my earphones.  I read that GT was one of the first country albums recorded digitally using state of the art equipment for 1986.

Hillbilly Highway-  a footstomper that was the third charting single, but a little light on substance

Good Ol' Boy (Gettin' Tough)- "born in the land of plenty and there ain't enough" It's better than filler, but not much.

My Old Friend the Blues- When a song is strong like this one, it doesn't need alot of help.  This is Steve, a guitar or two, and a sad story that slowly builds.  Sweetly simple, and simply sweet.

Someday- A song about wanting to get out of small town America. It was the fourth country charter

Think it Over-  Another toe tapper, sounds like it could have come out of the 50's, as if Buddy Holly might have penned it.  The guitar picking style reminds me of Buck Owens (via the Beatles).

Fearless Heart- If I had to pick a song on the album I don't like, this is it.  It sounds like a bad Bryan Adams song all countrified.  Structurally, it could have come from a template, and the choice of guitar sound doubled with a jangly synth on the solo is horrible.

Little Rock n' Roller-  It was a nice enough song written from the perspective of a touring musician to his young daughter; that is until the bad synthesizer sounds crash in.  The songs of the mid to late 80's are marked or rather cursed with the Yamaha DX7.  It was hands down the most popular keyboard of the era, and makes everything sound like the theme of Doogie Howser to my ears.

Down the Road-  Steve's voice is pure, heartfelt, and honest.  The song opens (and closes) with just him singing, and it's easy to see why he was nominated for a grammy in the best male country vocalist category.  The backing upright bass, mandolins and guitars warm the song up enough, that I can ignore the 80's timestamp organ again.

Guitar Town was the debut album for Steve Earle, who'd spent the 10+ years prior writing hit songs for the likes of Vince Gill, Carl Perkins, Johnny Lee and even Elvis.  The next six years would prove both commercially successful for him, and personally challenging as he went to jail on heroin charges.  He emerged clean and focused. He went on to release more than 10 albums, has had key TV roles (The Wire) and has hosted radio shows on Air America as well as Sirius.

While I can't generally categorize myself as a supporter of this album being in Rock's top 500, the vocal performances and song writing are strong enough that I can't hate on it either.


Next Up- #488 D'Angelo- Voodoo (2000)

#490 Gang of Four- Entertainment! (1979)

This is (hopefully) where this blog gets entertaining.  I've never heard of Gang of Four, I don't know anything about them, not sure what type of music they play, or even if there's literally a gang of four in the band.  The year 1979 gives me some clue--disco, funk, or punk--but then again plenty of hard rock bands were born of that era as well.  Is this another band that I just missed on my radar, or did Rolling Stone strategically place a few less-known on the list?

1979 was the year I bought my first two records: My Sharona by the Knack and Tragedy by the Bee Gees.  I won't try to defend, or even recall what was going through my mind as a 10 year old.  But suffice to say, I had entered the realm of making musical decisions.  Would I have decided on Gang of Four?  Should I have?

Ether-  OK, so it's punk. At first listen it reminds me of a cross between the Clash and Violent Femmes.  It has an uncluttered "bass up front" sound but it's also dissonant, both musically and lyrically.  A quick wiki search on the band reveals they were part of the "post-punk" movement and were politically charged.

Natural's Not in It-  Ten year old me would have jumped around to the beat.  Forty-something me is desperately searching for the lyrics online to fully understand the song's message of the  Karl Marxian theory of alienation.  Yeah, I'm serious.  "Dream of the bourgeois life, This heaven gives me migraine"

Not Great Men- Even if I turn off the lyrics in my ears (which I'm often guilty of) these songs are still highly engaging, raw, and naked of the effects processing that many bands hid behind.  You add the lyrics into the mix, and it's high level sociopolitical commentary (that you can mosh to).

Damaged Goods- "your kiss so sweet, your sweat so sour"  Four songs into this album, and I realize that unlike Mott the Hoople's album, this time Rolling Stone's list got it right.  I find myself madly looking for the words to each song, which I'm now realizing was GOF's forte.

Return the Gift- "please send me evenings and weekends" repeated over and over and over.  Normally I'd jump all over the ad-nauseam use of a line, saying "I get it already."  But in this song about conforming to the work schedule of the world; each time the line is repeated, it takes me a little further down the road of enlightenment.

Guns Before Butter-  "just keep quiet no room for doubt."  Is the point of view that of a young German circa 1939 who's moral compass is struggling with the path of the swelling nationalism?  Does it sound like the story of Vietnam draft dodger?  I think this song that questions blind-patriotism is applicable today, as it was countless times in history.  Whether the point of view is that of a hero or a villain, is dependant on where you stand.

I Found That Essence Rare-  Side two of the album opens with a song about media, TV, or maybe it's about sex?  "Look at the world through your Polaroid glasses, things'll look a whole lot better for the working classes"

Glass- I've been attempting to boil down each of these songs into a singular meaning, or a "read".  There are messages, swirling messages that are interpretable, and I don't want to do them the disservice of telling you what they are about.  It's going to take a whole lot of listens before I can do that, and even then, I'll only be able to tell you what they are about, to me.

Contract-  "our bodies make us worry".  Another song full of dissonance, mental and musical, seemingly about sex, relationships, and differing role perceptions.

At Home He's a Tourist-  was the highest charting song for GOF (#58 on UK).  "Two steps forward, six steps back six steps back"  I haven't mentioned it mainly because I've been hyper-focused on lyrics, but each of the songs so far have really interesting bridges, and sub bridges, and departures... in a word, substance.

5:45-  A melodica opens the song, and acts as the haunting background melody.  "Guerrilla war struggle is a new entertainment"  Are we getting desensitized to violence on the news, or are we so predictably fascinated with blood and death that the media knows how to cash in?

Anthrax- The buzz and screech intro to the last song on the album lasts over a minute,  but it's not random, it's planned, it's poetry.  As is the brilliant device of the two distinct streams of singing and speaking in each headphone channel. They seem to be skew in this "anti-love" song, unrelated and then you realize they meet.  

Wow, what a trip that was.  A journey I'll need to make quite a few more times before I can even claim proper appreciation for what Gang of Four did here on their debut album.  They wrote music, interesting stripped down songs that musically I'd put on par with the Clash, and infused it with hard political and social inspection. Topics so far beyond the normal love-lost, or teenage angst of rock, that the album will warrant multiple listens (and I plan on doing just that).

I've been introduced to a new band--a band that I don't think I'd have stumbled upon if it wasn't for this project.  I wasn't ready for this when I was ten, but why couldn't I have done this blog last year?  Gang of Four performed live here in Chicago last February.  I'm convinced that after listening to this album, I would have instantly bought tickets to the show.  If, like me, you hadn't heard of GOF, or if you aren't familiar with their music, I'd encourage giving them a listen, and just as importantly, giving them a read.


Next up #489  Steve Earle- Guitar Town (1986)

#491 Mott The Hoople- All the Young Dudes (1972)

I guess I've sorta taken this list as gospel.  With all the musicians, producers,  and music aficionados who voted on albums, I assumed each entry was deserving of its spot.  I assumed each had significance: a breakthrough for an important artist, or a genre; perhaps a chronicle of the time.  I've owned this album for years, and from memory, I can't understand why it's on the list, even as far down as #491.  Sure, the song All the Young Dudes is epic, classic and glam's  ambassador to  music.  Does that warrant the album's inclusion on the list?  We'll see.

Sweet Jane- A Lou Reed/Velvet Underground cover.  I'm not Lou's biggest fan, but I also don't dig MTH's interpretation.
Momma's Little Jewel- While there's nothing inherently wrong, the song takes me nowhere.

All the Young Dudes- I could write the entire blog dedicated to this song alone.  Those opening few guitar notes remind me of the the Star Spangled Banner, Reveille, and the Beatles All You Need is Love, in a glamrock wrapper.  David Bowie was a fan of MTH, and upon hearing they were near break up, quickly penned this song for them, and in turn transformed them from "rock also-ran's" into rock idols.  Many of you, if not informed, probably thought this song was performed by Bowie himself.

Sucker- Up on cripple creek, with a harpsichord, and about 2 minutes longer than need be.
Jerkin' Crocus- The Rolling Stones called, they want their sound back.
One of the Boys-  Anyone born before 1980 won't recognize the intro--it's a rotary dial phone.  Sonically everything is right, great production, structure too; but it lacks something.  3 minutes could easily be shaved off of the end.
Soft Ground-  Written and sung by the keyboardist Allen, probably because Ian Hunter knew crap when he heard it, as long as it wasn't his own.

Ready for Love/ After Lights-  Sound familiar?  It should, guitarist Mick Ralph would go on to front Bad Company.  He'd take this song with him, along with the chord progression from One of the Boys which then became Can't Get Enough.  This is a solid listen, and refreshingly sincere and engaging.

Sea Diver-  Lead Vocalist/Pianist Ian Hunter ends the album with a forced-introspective song that can't decide if it's Pink Floyd, Bowie, Moody Blues, or Bob Dylan.  I'm a keyboard player, and I know self centered piano fluff when I hear it..

Look, if the voters and contributors of Rolling Stone Magazine's poll placed this album at #491 to honor David Bowie's brilliance as a producer, then I can accept that; the album "sounds" amazing.  Had the album consisted of 7 different versions of All the Young Dudes plus Ready for Love; and RS deemed it one of the 500 best albums, then so-be-it.  But I feel the need to call "bullshit" on this one.  There's nothing groundbreaking, or defining, or even marginally interesting about the other 7 songs.  And I don't buy that somehow they are even related to Bowie's rock-anthem.  They sound like versions of other bands' songs in that era.  Am I missing something? Please enlighten me.

John Lennon was once asked in an interview "what's the reason you(the Beatles) are so popular?" to which he replied "I don't know. If we knew, we'd get together four boys with long hair and be managers".  Perhaps Bowie did just that.


Next Up- #490 Gang of Four- Entertainment! (1979)

#492 Pearl Jam- Vitalogy (1994)

Somewhere in my transition between college and real life, I encountered Pearl Jam.  I had one foot firmly planted into corporate suit & tie life, and tried to keep the other foot somewhat anchored in "the music scene."  I couldn't understand why I kept pulling leg muscles.  It wasn't that I didn't like grunge, I think I just felt that I didn't belong anymore.  I felt like the alumnus with responsibilities and accompanying haircut, trying to hang with the longhairs around the keg.  Was it just me that went through this?

By the time Vitalogy came out, I'd had a couple of years to reassert my likes and dislikes in a way that was no longer distracted by guilt, nostalgia, or illegal substance; not to say those three didn't exist, I just wasn't as swayed.  It was also the year that I'd reentered the music scene, and sought a balance between business, and performing music... a quest that would confront me and Pearl Jam a few times over the coming years.

Last Exit's intro hints there's going to be some experimenting on this album, Pearl Jam's third release.  After a little bit of "avant garde", the song kicks in with a strong driving beat, but with no hook.

Spin the Black Circle-  The first single released from the album, could have easily been on the Husker Du album I reviewed.  It's got the same fast furious punk rock "in and out in under three minutes" vibe to it.  Guitarist Gossard wrote it much slower, but Vedder insisted they speed it up, much to the chagrin of the rest of the band.
Not for You, the second single, reminds me of some of Neil Young's later anthems.  I can hear the toll that the "biz" had been taking on them, the disillusionment and disappointment, fighting battles with Ticketmaster and eventually each other.

Tremor Christ- I'm digging this from the get go, but it's probably because I'm an unabashed Beatle-head, and this song sounds like it was lifted from Helter Skelter & I Am the Walrus outtakes.
Nothingman-  The first slow song on the album.  Written in less than an hour, it's ironic that the best songs often just come easy.  Also ironic is that some of the sweetest songs are by those who normally scream.

Whipping-  Eddie, what's the hurry, put the Starbucks down.
Pry, To-  Side 1 ends with more experiment (yes side 1, Vitalogy was first released on vinyl first before CD)

Corduroy- To me the best track on the album.  It's got a hook, it's got a book, and melodic at the same time.  "can't buy what I want because it's free"  Music and Business--always a strained marriage.

Bugs-  Avant garde, poetry read.  Do the bugs represent the businessmen? or the fans? fame?  What do they mean to you?
Satan's Bed- Drummer Abbruzze missed this track while getting his tonsils out, so they used his drumtech on the recording.  A few months later, Abbruzze was fired for personality reasons.  Tensions were at an all time high, and communication between members of the band, at an all time low.

Better Man- A song Vedder wrote in high-school about the "bastard that married my Momma".  I'd like to tell you how I don't like this overplayed song, and I would sound so hip saying why I don't... but I do.  Some bands sound best turned up to 11-- IMHO Pearl Jam owns the 7-8 range on the amp.

Aye Davanita- The Pearl Jam instrumental equivalent of hold music.
Immortality- The third released single is heavy of heart, and honest in its gravity.  While not directly about Kurt Cobain (suicide 7 months before album's release), it's a theme suitable to anyone struggling to remain true to themselves.
Stupidmop-  I can listen to the Beatles Revolution #9 at over 8 minutes with a smile, but this 7:44 avant garde album ender was the most challenging listen I've had so far on my countdown.

There were people I went to school with, who were in different "cliques": stoners, jocks, geeks, headbangers, etc.   I run into some of them today, and while we didn't seem to have anything in common back then, we often see each other as contemporaries now; maybe because we both were there at the same time and made it out alive.  The music of Pearl Jam now seems like a contemporary to me.  I feel like I can claim the grunge period today, not because I was clad in flannel and printed inked fliers, but maybe because we both made it out alive.

Next Up  #491 Mott the Hoople- All the Young Dudes (1972)

#493 Earth, Wind & Fire- That's the Way of the World (1975)

A week into this blog journey, and I'm still finding my way.  Seeking a happy balance between what a song means to me, past vs. present; what I know about an album vs. what I'm learning; sharing what insight I have about a group vs. revealing my unfamiliarity.  My only hope is that somehow through this balancing act, I have inspired you to revisit, or perhaps visit for the first time, some of the amazing and diverse works I'm discussing. Each blog has a comment section, and I do invite you to share your thoughts and insights, and help me in my musical enlightenment.

Earth, Wind & Fire's breakthrough album of 1975, was actually the soundtrack to a flop of a movie of the same name that year, that starred Harvey Keitel (Reservoir Dogs & Pulp Fiction) as a music producer.  The band rushed to release the album before the movie came out, in fear of being associated with the bomb.  The album made it to #1 months before the lackluster movie was released.

Shining Star- Walt Disney in the 70's with a 4 inch fro!  This funky grammy winning #1 hit has it all: horn section, layered guitars, bass, fretless bass (that I can't help but focus my attention on), and an A Capella vocal break.  It's uplifting, infectious, and tight.

That's the Way of the World- the title track and second single released from the album, is a slow groove that sounds like it would be perfect opening music for a talk-show or perhaps movie credits.  More realistically I'll be using it on the back porch for sipping wine on breezy fall nights by the fire pit.

Happy Feelin'- this uptempo tune features solo's on the kalimba, an African thumb piano.  EWF named their production company Kalimba, and included the instrument on each of their albums.  I'm not sure I understand the weird organ break/transition at the end though.

All About Love- A slow tender ballad that reminds me of the Willy Wonka song Pure Imagination, that is until the HORNS BLAST IN; startled me a little.  Side one ends, with a few minutes of what seems like a drunk lounge singer chattin' you up at the end of the night "you are as beautiful as your thoughts, right on?"  Oh yeah, and there's that crazy organ thing again.

Yearnin' Learnin'- Thick and wide horns; there should be a car chase soon, or some crossfire, in what sounds like perfect plot movement music from a 70's blaxploitation flick.

Reasons- Yum, here's the gem from this album that I sadly hadn't discovered before tonight.  Soulful falsetto singing in a way that the BeeGee's would have killed for, this song sounds like it could have been a Motown hit for the Temptations or the Four Tops 10 years earlier.

Africano-  Flutes swirl around my stereo mix, and there's the kalimba again during the intro.  Trippy.  Abrupt cut to the movie chase again.  Sax solos, wah wahs, trumpet stabs; I'd rent that flop of a movie just to see if and how they integrated this song into the action.  When was CHiP's on TV?

See the Light-  I haven't been keeping track, but I'm pretty sure the 7/8 meter latin/jazz intro to the album closer is the first departure I've heard to straight time since I started my blog project.  Some of the electronic keyboards sound rough and dated to me, but it doesn't take away much from the warm smile inducing groove.  oh.. someone tell me WTF that weird organ now turned African chant thing is, and what's so funny.

I'm quickly realizing that the numerous "greatest hits" CD's in my collection provided me quick access to the likes of EWF, but they also did me a disservice by circumventing the deeper cuts.  It reminds me of how the interstate highways and toll roads made travel across the states easier, but lost was the charm and identity of the small towns along the way.  My old cassettes back then got one thing right, they were linear, you listened to songs one by one in order.  Now that everything in our world is "on demand" we tend to fall victim to our own synaptic rutting.

Next Up- #492 Pearl Jam- Vitology (1994)