After the very Minneapolis dance/funk influenced Sex And The Single Man Ray Parker Jr was very well aware of the changing tide in the R&B world during the latter half of the 80’s. The success of Anita Baker and Gregory Abbot was showcasing urban music’s move again back into the relm of a more adult jazz-pop frame of mind. At the same time this was mixed with some of the live/electronic rhythmic elements of boogie funk as well.
This late 80’s urban sound was great news for Ray Parker Jr. Sometimes thought of as the purveyor of almost novelty funk for teenagers,as a lyricist Ray did possess that Smokey Robinson sense of wordplay and a refreshingly witty plain spokenness. Not to mention the man was one serious guitar player. On this album,he delivered on one of his most significant and vital musical statements of a very successful decade for him.
“I Don’t Think That Man Should Sleep Alone” is a wonderful hit,an honest lyric on male vulnerability with some thickly layered keyboards playing some mood and complex jazzy chords that are also melodic. It’s definitely a highlight of Ray’s career. The ballads here “Over You” with Natalie Cole and “The Past” are unlike any of Ray’s earlier ballads;fully fleshed out and arranged numbers with very well done orchestrations. The uptempo numbers are some of the most funky and varied of his career.
“Lovin’ You” and “You Make My Nature Dance” are both thick grooves with a lot of bottom and some excellent electronic percussion effects. “Perfect Lovers” makes even better use of that as the groove kind of rolls right along with similar rhythmic patterns. “After Midnight”,harmonically similar to Janet Jackson’s “Funny How Time Flies” is an instrumental with a beautiful soul jazz solo from Parker.
On “You Shoulda Kept A Spare” he lets his inner Anita Baker shine with powerful sax from Gerald Albright and another example of his wit and worldly lyrics. “I Love Your Daughter” is a somewhat more conversational number reference that..certain little hook that I noticed Ray has present on every album at least once since it first appeared on 1980’s “For Those Who Like To Groove”. The title track that concludes the album is a perfect summation of everything on here.
It’s got a hard funk groove,a mean mean bass/guitar line and great wordplay likening a hidden affair to mechanical repair work. Without any bias this is musically one of Ray Parker’s finest and most consistent solo album. Because it was released during the 1980,it might not be a bad full length album for anyone only aware of Ray Parker Jr’s singles. In terms of full lengths,this might actually be his very best release.
*This is take from my Amazon.com review of this album posted there on July 8th,2012
When I heard about Public Enemy making a comeback in 2012,I was very excited to say the least. On the other hand this comeback seemed delayed for release again and again. By the time it finally arrived it came in the form of two seperate albums. The first of them was Most Of My Heroes Still Don’t Appear On No Stamp,followed by this one as the second. That first album did a superb job at realizing PE’s sociopolitical microscope in order to visually magnify a lot of the truths and contradictions we all see,but for the most part force ourselves to deny. And it did an excellent job,especially when it came to utilizing the musical medium of “the funk” to illustrate that almost like verbally expressed pages in a book. On the second part of the comeback,the same intention is there but the approach is slightly different.
Right off the bat,the musical difference expressed here is that this album focuses on music that is more epic and cinematic. The raps themselves are similarly expressed as very lyrical verses and choruses rather than James Brown style rapping/singing. On the title song,”Don’t Give Up The Fight”,”PEace”,”ResPEct/Spit Out Your Mind”,”Riotstared” and “ICEbreaker” the overall intent here focuses more on the human side of societies ills. This is especially evident when the funk is again on heavily expressed in the music on “Beyond Trayvon”,one of my favorites in it’s tales on how racial profiling isn’t just a problem in itself,but because it now has mainstream acceptability. A similar intent shows up on “Notice (Know This)”. “Everything” is probably my favorite cut,sounding like an early 60’s James Brown soul ballad with Gerald Albright on a sax solo guest spot with Chuck actually counting the blessings of his life,and they aren’t the ones one might expect either.
The album closes with two heavily funk oriented numbers on “Broke Diva”,which goes into the self victimization and manipulations of modern femininity and closes with “Say It Like It Really Is”,where Chuck states that while he hasn’t been consistently present with PE the way he was in the late 80’s/early 90’s that he still intends to keep his message of truth and honestly going forward and expressing it to the people. This along with the second PE release of this year it was paired up with make up for an excellent comeback. While I suppose this could’ve easily been released as a double album much in the same manner as OutKast’s Speakerboxxx/ The Love Below,I can certainly Chuck D’s viewpoint for the albums as two separate entities. Both make similar points. But they express them from somewhat reverse points of view both musically and thematically. This one of the two does so more with human drama. And that makes the topics PE express all the more relatable to those listening.
Originally Posted On November 12th,2012
*Here is a link to the original Amazon.com review