Last Eggs and Thyme
Overall Album Score: 8.6 out of 10 OK, so bandleader Maurice White was probably sick of his empty pockets, so he dissolved his band (sans his brother Verndine) and recruited a new line up. This isn’t so uncommon among musicians who want to finally break out into the mainstream. Like The Beatles got rid of Pete Best; Marc Bolan told his goofy friend Peregin Took before Mickey Finn was recruited for his glam superstardom. … Nothing wrong with that … They are really getting serious, though. There’s no more of that goofy avant-garde stuff that we saw at the beginning of The Need of Love nor is there anything as bizarre as “Bad Tune” from their debut album. The sound is tight, polished and even schmaltzy. Despite doing all of this at the expense of artistic innovation, this album wasn’t much of a commercial success. Well, they’ll try again, surely! White didn’t give up his artistic musings, fortunately. The first three songs sound like they wanted desperately to be radio hits. They’re all perfectly likable songs (my particular favorite of them is easily “Make it With You,” which must be a soft-rock masterpiece). It’s the fourth track, “Power,” where they go at it with some African-sounding xylophone and a REALLY REALLY GREAT SAX SOLO. So, naturally, that’s my favorite song. But the song that follows is completely awesome, too. “Remember the Children” has iffy lyrics, but it’s completely rollicking with creative and fantastic instrumentation! The singing sounds exactly like Stevie Wonder, and it’s not exactly worse than that guy’s chops. The closing track “Mom” is smooth R&B at its best. You’ve got to hear this band … their sound is as polished as hell, but they can be really innovative sometimes. My general complaints about this album is their unfortunate choice to start sounding so dang schmaltzy. They overcome this most of the time by actually coming up with compelling music, but … this does give the album its distinct, dated ‘70s feel, which I’m sure will put off many listeners. I do feel that this is worth listening to regardless. Another complaint is one track that just doesn’t cut it. It’s a curious cover of Pete Seeger’s “Where Have All the Flowers Gone.” Despite that originally being a minimalist folk song, it’s the schmaltziest song of the album. The band didn’t even seem to give it the care they gave the other songs, and the vocals are annoying. Maybe they were just trying to fill the album. Who knows? (Note: I’m streaming this from Rhapsody. The program forgot to include all the tracks called "Interlude.” They are less than 30 seconds long each. I’m going to pretend like they don’t exist.) Overall Album Score: 8.6 out of 10 (This is what Barry White should have been. Schmaltzy sure, but consistently awesome and without embarrassing bombs. Even the Pete Seeger cover, “Where Have All the Flowers Gone” wasn’t a complete waste.) Average Song Score: 8.9 (A few of these songs are uninspired schmaltz, others are brilliant schmaltz, and “Power” has a great sax solo! The Seeger cover was stupid.) Album Tilt: 8.5 (The Seeger cover ruins it. I’m sorry.) Artist Rating: 8.5 (This wasn’t meant to be an art album. They’re just polishing their sound for commercial appeal. But what songs! “Power” must be their apology track!) Track Reviews Time is on Your Side 8.5/10 This is a very normal funk song! … It seems like they were fishing for a hit here, and there isn’t such a great reason they didn’t achieve it other than I’m sure their promotion department left much to be desired. The sound is tight, and everything is properly in its place. The beat is appropriately funky. The electric guitars are doing their funky things. A neat horn section strikes up in the middle of the song. A jazzy saxophone closes things. The melody repeats way too much, but that is normally what the public likes. They Don’t See 7.5/10 This is another straightforward and likable tune. This time it’s a ballad, though. You can tell that Maurice White wanted commercial success for his band just by listening to the cheesy violins in the background and the occasional “magical” strumming of the harp. OK, I’m probably too cynical to like this song. (Oh, God, the lyrics are too dang “The world is blind.”) But it’s basically likable. The melody is nice and the atmosphere is well constructed. Make it With You 10/10 …As yes. Proto-disco. I’m not sure why that should come to me other than the singer is doing the falsetto voice that the Bee Gees would capitalize on a few years down the road. This song also sounds very ‘70s. All that said, I really enjoy this one. The melody is very catchy. Its groove is very smooth and mellow … but at the same time, it’s pretty strange and almost disjointed. The smooth sax in the background was a particularly great choice. The rapidly paced bass guitar makes this song seem zippy. This is a cheesy ‘70s ballad, but it’s entirely tasteful. It’s definitely worth scouting out if you’re willing. This song is likable, and I’m not resisting. This should have been a hit. Power 10/10 Oh yes. I remember it clearly now. This band had released two pretty weird albums previously to this. And, I guess Maurice White wanted his band to have commercial success, but also be weird just to prove that he is creative. I say BRING IT ON, MAN!!!! This song begins with some strange sounding xylophones (that I can only assume originates somewhere in Africa). Then, a funk groove starts playing, but the xylophones continue to play some notes. … The xylophones soon forget about it, a bass guitar comes in and we hear an excellent sax solo. This song is jazz, world music and funk all at once. And, it’s 100 percent inspired. (This seems like a sequel to “Bad Tune,” but it’s not quite as starkly original.) Remember the Children 10/10 This sounds like a Stevie Wonder song. The backing music and the melody not only sound Stevie Wonder, but the VOCALS. I don’t care, because this song really KICKS. It’s the high energy that wins me over on this one. It begins with some nearly crazed horn hits, and then the funk beat starts off. Busy horns are all over the place, and the singing even manages to give Wonder’s emotional dedication to his work a run for his money. The rhythm section is well done also. So, I guess this is another great song. Where Have All the Flowers Gone 7/10 Well, I would never have guessed that this is a Pete Seeger cover. It’s a really strange presentation of a war protest song … It’s probably the most ultra-polished and schmaltzy ‘70s and cheesy instrumentation featured on this entire album. I must say, after the impressive show they put on with the previous three tracks, this is a major disappointment. The vocals take a turn for the worst in the chorus … god, it’s squeaky and annoying. This is a big misstep. I’d Rather Have You 8.5/10 Oh god, it’s another schmaltzy song! (Desperate for public attention, eh?) But this song actually rules in a way. It sounds almost like a Broadway tune (OK, I have a deep affection for show tunes rooted deep within my childhood). But the song soars at the times it needs to, and the melody is nice. A lady sings on this song. I don’t know who she is, but she has some nice chops. I knocked a few points off this track for the end, which isn’t nearly as inspired as the beginning. Mom 9.5/10 Smooth R&B. I normally don’t like songs like this, but THIS SONG RULES!!!!!!!!!!! The smooth groove keeps me in the mood, but White doesn’t forget to pepper the song with some weird solos throughout. (I like the electric piano solo the best.) The rhythm section is truly unbeatable! (Gosh, maybe Mariah Carey should have assembled a band like this for her career.) I don’t even like the melody so much … it’s the atmosphere and stellar instrumentation that makes this such a delight. The dopey violins don’t even put things off. Nice, nice, nice. The album? Comments by you? Send them here. |
All reviews are copyrighted by the author, Michael Lawrence. But you love him anyway.
