In recent years its come to my knowledge that during the late 1990’s,War was splintered apart due to the fact that many of the original members wished to separate from their manager. And lead singer/multi instrumentalist Lonnie Jordan wished to remain. In the end it would up in a fashion: Lonnie and his new band maintained the War name while the original members began to tour as the Lowrider Band. So people looked up,and for all intents and purposes there were two War’s out there. And on the road pretty consistently. Sadly many of their admirers became bitterly disappointed at the supposed legal betrayal between Jordan and his former band mates-often citing that,since its instrumentalists who generally make or break singers in funk bands,that this was all an example of greedy committee thinking. Not even to mention Jordan’s own instrumental abilities. All of this of course occurring during what I refer to as an often bitter credibility war within the music industry as a whole.
Its only now that War have re-emerged with a new album that I had no idea was even coming until less than a month ago. It is packaged as a double album with their original Greatest Hits album-a long hoped for compilation for War admirers on CD. Many of the original bands’ supporters could interpret this as insult added to injury. But for me it represents equal time. And I refuse to get in the middle of the Lonnie Jordan/War schism which,I personally feel,was motivated largely by shifty and ear whispering lawyers anyhow. What matters to me is the music. And on that level there is much to take in here.
“That L.A. Sunshine” starts out the album with that Afro/Latin/Reggae type rhythmic pop bump that has the same type of bright beats and melodic flavor of War in their mid 1970’s prime. “Mamacita” is another type of sprightly groove that has a salsa/rock type flavor with a beeping,Clavinet type keyboard and featuring a guitar solo from Joe Walsh along with the brassy participation of the iconic Tower Of Power horns. “It’s Our Right/Funky Tonk” is an exciting early 70’s James Brown type slow grinding funk number (with a contemporary production twist),which by the end features a piano solo from Jordan inspired directly from The Godfather’s Sex Machine.
“Just Like Us” is a sweet,acoustically textured soul mambo type number while “Inspiration” throws down a rocking wah-wah powered psychedelic soul/funk groove where Lonnie personally thanks fans of War (in any configuration) for sticking by them over the years. “Scream Stream” musically and lyrically basically picks up where 1972’s “The Cisco Kid” left off-providing a complete musical continuity with War between what they did 42 years ago all the way up to today. “This Funky Music” is a strong,declarative statement of the vitality inside of the funk era music of which War were a huge participant-fusing together the the idea of needing to “dance off their frustrations” with an instrumental sound that has Prince’s spare late 80’s funk sound very much in mind. Its one of my favorites here. “Outer Space” sounds very much like an orchestral modern hip-hop/soul type number with the lush cinematic harmonies of War taking high presidents.
A retooling of Edwin Star’s huge Motown hit with “War/War After War (A Soldiers Story)” showcases a half sung spoken narrative illustrating themes similar to what Stevie Wonder focused in on with his Front Line-difference being its a more contemporary setting of a disabled veteran returning from the Iraq war to face unemployment and hardship. The presence of the USC Trojan Marching Band really adds instrumental tonality to the concept as well. The industrial soundscape of “Bounce” and the theatrical arena sounds of “Everything” embrace the mid/late 90’s alternative rock style (ironically of the era in which War were absent as a recording entity) which aren’t bad but don’t mesh too well with War’s thematic approach to me. “It’s My Life” takes a more strident approach to contemporary funk/rock with a strangely self focused lyrical message while a bonus track of “That L.A Sunshine”,featuring comical inserts from Cheech And Chong rounds out the album.
Overall this album really embodies the spirit of war-whoever happens to be credited with that name at any given time. A few songs even feature some contemporary touches such as the rapping of LA Flats,whose apparent East LA style meshes well with the bands flavors. Mainly they’ve kept their “afrolatinfunkadelic stew” sound very much intact here. And the couple of songs that embrace the darker side of the alternative rock sound are at least very dramatic and emotional. War’s colorful sound has always represented a unique sort of pan cultural American hybrid. They did for LA what Santana and Sly & The Family Stone did for the bay area. And with this quality album? I am hoping it’ll be well before two decades before the band deliver more new grooves and messages!
Originally Written Today
*Here is a link to my original Amazon.com review. Please like and comment on that review as well. Thank you!