UPTOWN'S RAVE PREVIEW: A BRIEF ADVANCE REVIEW OF RAVE UN2 THE JOY FANTASTIC BY UPTOWN



Rave Un2 The Joy Fantastic might just be the best thing The Artist has done in the 90s! The new album is certain to please many of his longtime followers, who have longed for more of the challenging, experimental music that characterised much of his mid-80s work. Rave Un2 The Joy Fantastic contains more bold, cutting edge things than any other 90s album he has released!



The Linn drum machine is back on a few tracks and The Artist has come up with some imaginative drum programming.



Some of the arrangements are highly unorthodox and adventurous. It is pleasing to note that the album is sparsely produced and for the most part lacks the slick, polished sound of Emancipation.



It is evident that The Artist has attempted to do something that is both commercial/accessible and experimental/avant-garde. Most fans will find the new album highly exciting and there are several songs that will be considered new "classics." It remains to be seen if it will be the worldwide success that Arista and The Artist are hoping for, but there is no question that it contains several potential hits.



Here follows some brief comments on the individual tracks. Of course, you can expect a full, detailed in-depth study of the new album in the next Uptown, which will be out in early December.



Rave Un2 The Joy Fantastic (4:19):

Recorded in London on the Lovesexy tour, this classic Prince track has laid in the vault for far too long in our opinion! It was kept from release due to a reported similarity to "Kiss." It is true that the beat is not too far removed from that of "Kiss," but "Rave Un2 The Joy Fantastic" holds up well on its own. It is a raw, spartan falsetto-sung funk offering with a very primitive drum machine beat and Prince's guitar to the fore. Pleasingly, The Artist has not revamped the track, leaving it as it is.



Undisputed (4:20):

Currently playing as one of Uptown's favourites. An unusual, risk-taking funk track with more or less chanted lyrics. Chuck D. of Public Enemy adds an excellent rap towards the end. The song has a Linn drum machine beat, possibly sampled from "Big Tall Wall."



The Greatest Romance Ever Sold (5:29):

Well-known to everyone, so no need to describe this. An extended version of the current US single containing an extra verse to the single. Mike Scott is featured on guitar. The track works very well in the context of the album.



Segue (0:04):

Four seconds of silence in memory of Miles Davis.



Hot With U (5:09):

Featuring Eve of Ruff Ryders, this is a funk outing with erotic lyrics. All instruments credited to The Artist with the exception of "scratches" by Brother Jules. The production is very Emancipation-like, with Kirk Johnson's trademark drum programming. One of the least interesting tracks on Rave Un2 The Joy Fantastic because we've heard this type of song many times before.



Tangerine (1:33):

A short "unplugged" track giving feeling to the colour of "tangerine." Features acoustic guitar accompaniment (and Rhonda Smith on bass). This is a very Joni Mitchell-like number. A nice inclusion to provide variation, but not an outstanding track in itself.



So Far, So Pleased (3:24):

A nice rocker performed as a duet with Gwen Stefani (of No Doubt). The Artist follows each chorus with a catchy guitar lead line that works as a hook, not unlike he did on "When You Were Mine" (which is quite different musically, though). Features Marva King on backing vocals and Rhonda Smith on Bass.



The Sun, The Moon And Stars (5:15):

A relaxed soul/pop number with an immediate chorus. An airy synth and a deep bass create a nice contrast and an interesting sound. Clare Fischer's strings add colour.
The rhythm recalls "The Ballad Of Dorothy Parker." An almost Jamaican-style rap by The Artist interrupts the song midway through. Finishes with an instrumental section that would have fitted into Under The Cherry Moon perfectly.



Everyday Is A Winding Road (6:14):

An exuberant, disco-fied version featuring Larry Graham on bass and DuJuan and Johnnie Blackshire of 3rd Day.



Segue (0:17):

Beautiful strings orchestrated by Clare Fischer.



Man O' War (5:14):

A falsetto-sung heartbreak ballad, with Kirk Johnson's drum programming and overall sound being very close to some Emancipation tracks, most notably "Friend, Lover, Sister, Mother/Wife." Strings by Clare Fischer. Much like "Hot With U," this song offers little new in comparison to many past efforts.



Baby Knows (3:18):

Opening with the harmonica of Sheryl Crow, this is a bluesy rocker with a vague resemblance to The Time's "Shake!" but without the organ. The Camille voice returns. Features the great drums of Michael Bland and how you can hear them!



Eye Love U, But Eye Don't Trust U Anymore (3:36):

A beautiful piano ballad. Very sparse: just The Artist's delicate falsetto voice, the piano and some acoustic guitar by Ani DiFranco. A truly great song that brings back all those feelings of how wonderful "Sometimes it snows in April" really was. The melody reminds us a bit of both "A Condition Of The Heart" and "I Can't Love U Anymore" (the I'll Do Anything leftover). Another Uptown favourite.



Silly Game (3:30):

A sweet "Philly soul"-style ballad, somewhat along the lines of "Betcha By Golly Wow" and "La, La, La, Means I Love U" on Emancipation. Again featuring the strings of Clare Fischer.



Strange But True (4:12):

A sparse, edgy funk track with spoken lyrics and a weird drum machine beat (you almost think the CD player is skipping a beat here and there). This is another of our favourites.



Wherever U Go, Whatever U Do (3:17):

The album's most melodic rocker and an obvious single choice. Opens with a drum beat similar to "Forever In My Life." The steady, mid-tempo beat brings to mind The Artist's take on "One Of Us." Has an easy-going and relaxed feel that brings to mind "Take Me With U."



The 1-800-New Funk ad (0:43) [hidden track]:

An advertisement for Love 4 One Another and 1-800-New-Funk.



Pretty Man (4:24) [hidden track]:

Take all the James Brown covers that The Artist has done live, add the track "Possesesed," add a touch of Morris Day and The Time, and the sax of Maceo Parker and you have "Pretty Man," a very funky number indeed.



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