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Radiohead – Kid A Mnesia

I have a distinct memory of buying Kid A on release Tuesday October 2, 2000. My plan was to take my daughter to gymnastics lessons and kick back in the mini van and savor it in peace. I tore the cellophane off the CD and slipped it into the dash and out came a sonic gibberish and my immediate response was WTF? I was not savoring, I “woke up sucking on a lemon.”

I loved the previous two Radiohead releases: The Bends and OK Computer. I had great expectations for the new album. What I did not realize was the band wanted to sabotage their career. They recorded an intentionally challenging album, dumping their signature guitar sound for a stew of electronic music, ambient music, krautrock, jazz, and 20th-century classical music. I thought it sounded terrible, in hindsight I was clearly not hip enough to get it:

  • Kid A debuted at the top of the UK Albums Chart
  • Became Radiohead’s first number-one album in the United States
  • It was platinum in Australia, Canada, France, Japan, the US and the UK.
  • It won the Grammy Award for Best Alternative Album and was nominated for the Grammy Award for Album of the Year

It took me years to get it, but eventually I did. So it was with these informed expectations that I have been looking forward to this release. Specifically on vinyl as I have originally purchased these as CDs when they debuted.

Kid A and Amnesiac were released eight months apart from one another and were recorded simultaneously in 1999 and 2000 with producer Nigel Godrich. The re-release joins the two albums and adds a third album of outtakes and alternate versions. Kid A and Amnesiac flow seamlessly together and could easily have been originally released as a double album. I have to admit I have listened to Kid A more than Amnesiac. I was so put off by Kid A back in the day that I never gave Amnesiac a fair chance. Once I accepted Kid A, Amnesiac got lost in my collection and I never spent quality time with it. Listening to Amnesiac now, it is every bit as good as Kid A and more accessible.

I was excited for the third album of alternative takes and outtakes. However, that turned out to be underwhelming. There is some cool extra stuff, for example, “Follow Me Around” which could easily be a Seattle grunge song. But most of the extras are not that revelatory.

Overall, if you already own or have access to Kid A and Amnesiac in your desired format, this is release is not essential (unless you are a completist).

For me, I felt the need to upgrade from my CDs to vinyl, but as I publish this post, the vinyl release is still in supply chain limbo. I have yet to hear the vinyl – an initial batch of colored vinyl did make it out on release day, but that sold out immediately. Hope it will be worth the wait.

The War On Drugs – I Don’t Live Here Anymore

I have been a fan of The War On Drugs (TWOD) since 2014’s Lost in the Dream. I loved its narcotic psychedelic ambiance, yet 80s vibe. It was bathed in synths, hot guitar licks, pop-rock melodies, and dreamy vocals. They didn’t miss a beat on 2017’s A Deeper Understanding. I assumed TWOD was a studio concoction, but 2020’s Live Drugs showed they could rock it live. With I Don’t Live Here Anymore they continue to be on a roll. It is so rare when a band/artist can pump out three great studio albums in a row – TWOD have done it!

If you are not familiar with TWOD, the best way I can describe them is contemporary 80s classic rock. I hear many influences: R.E.M., late era Pink Floyd (sans Roger Waters), 80s Dylan, Tunnel Of Love era Springsteen, Dire Straits, etc. The music is highly layered keyboards and guitars on a solid toe-tapping rhythm section. It is great headphone music.

The new album is sonically similarly to their last two, but I would say the craft is a bit more polished and pop. Not in a bad way – their evolution is similar to R.E.M.’s who similarly evolved to a more polished and pop sound without artistic compromise. It does not feel contrived or reaching for the fences – just a confident embrace of their success.

The opening track, “Living Proof” is disarming – a new sound for TWOD. It is sparse and unadorned (by TWOD standards). But the album returns to traditional lush TWOD form after that.

Nice quality vinyl release

If you liked the last two TWOD albums, you will like this one. If you are new to the band, this is a great starting point.

Brandi Carlile – In These Silent Days

In These Silent Days is the seventh studio album by Brandi Carlile, released via Low Country Sound/Elektra Records on October 1, 2021

My introduction to Brandi was purchasing her album The Story on CD in 2007. I loved the album and its titular song, but somehow it did not make me a fan. I pretty much ignored her despite her success in the Twin Cities market. What caught my attention was her performance of “The Joke” at the 61st Grammys (2019) – it was stunning.

The Grammy performance convinced my wife and I to see her live at the Minnesota State Fair later that year. I have seen a lot of live shows and this was a Top 10 show. We bought T-shirts and became fans.

What is Brandi? Is she folk, Americana, rock, pop, county, etc. My conclusion is she is classic rock. Despite her affiliation with Joni Mitchell, I think the more accurate template is Elton John. The songs are written by a team, she has had a consistent band over the years, she performs in dramatic arrangements with lots of dynamics and she is a charismatic front woman. It doesn’t matter – she makes my favorite kind of music: good music.

And so we come to the follow up to a very successful album, By the Way, I Forgive You. Always a tightrope walk for an artist. The follow up is great – she has defeated the odds with a worthy follow up. I should say “they” vs “she” as I see Brandi Carlile as a band vs solo act: Brandi, the twin brothers Tim and Phil Hanseroth and a stable touring band.

Carlile returns with the same production team as her last album: Dave Cobb and Shooter Jennings. Cobb has worked his magic all over alternative Nashville: The Highwomen, Chris Stapleton, Sturgill Simpson, Jason Isbell, and John Prine to name a few.

Lyrically Carlile deals with adult relationships – this is my new working definition of country music. Musically there is Elton histrionics, Joni pop folk, Bonnie Raitt swagger and those classic Brandi and the Twins harmonies. Nothing new here from Carlile, just the usual high quality craft.

Spinning Brandi Carlile’s In These Silent Days

My hot take would be that In These Silent Days is better than By the Way, I Forgive You. By the Way, I Forgive You had a few slow spots, whereas every song on In These Silent Days is perfect. Brandi seems fully comfortable and confident in the skin of the rock star she has become. She believes in the truth that is Brandi Carlile. Can’t wait to see her play this batch of new songs live – hurry up Brandi and announce a proper tour!

Bob Dylan – Springtime In New York (1980-1985) The Bootleg Series Vol. 16

Bob Dylan – Springtime In New York (1980-1985) The Bootleg Series Vol. 16 (Columbia/Legacy/Third Man Records)

First: how about that cover art? A sexy 80s Dylan that could be right out of a Miami Vice episode.

I don’t come to this period of Dylan with objectivity. This is when I was absorbing Bob in real time. I have a distinct memory of waiting in the parking lot of The Wax Museum (worlds best name for a record store) for the store to open so I could pick up Shot Of Love on release day. “My Bob” starts with 1978’s Street Legal. When I went to college in the fall of 1977, my mentor, Uncle Paul, turned me on to Dylan (among other things) and I was immediately smitten by the bard. By the time Street Legal was released in the summer of 1978, I was a big fan. I got even deeper following him in real time over the subsequent years. Love the old stuff, but there is something special about the stuff I experienced in real time – “my Bob.” And so I have been looking forward to this release of prime early “my Bob” material (the 80s).

Per Bob’s website:

Bob Dylan – Springtime In New York (1980-1985) celebrates the rich creative period surrounding Dylan’s albums Shot Of Love, Infidels, and Empire Burlesque with previously unreleased outtakes, alternate takes, rehearsal recordings, live performances and more.

It is not exactly a hot take to say that Dylan’s outtakes are better then most artists’ greatest hits. This collection reemphasizes that concept. There are amazing outtakes on this album: songs we have heard before, like “Blind Willie McTell” and “Foot Of Pride” (although not these versions – some of these were foreshadowed on the original Bootleg box in 1991) and ones that are fresh like “Fur Slippers.” The alternate takes of songs off the three studio albums are less revelatory, but as a fan it is cool to witness the evolution of those songs.

The easiest version to access is the two CD version (also available on streaming services). The full version is on five CDs. The vinyl edition has a smaller selection than the CD and in order to have a vinyl equivalent to the five CDs you need to augment the standard two LP edition with a four LP edition from Third Man Records (I am in possession). However, the vinyl option still comes up 4 tracks short of the 5 CD version (I am missing out on Bob’s cover of “Sweet Caroline 😕). The full edition has a lot more outtakes, some amazing covers (Dave Mason’s “We Just Disagree” – who knew?), and some more adventurous alternate takes. The expanded edition is well worth the extra investment.

Third Man Records edition

80s Dylan is unfairly maligned – there is only one stiff: Knocked Out Loaded (and even that is not horrible, merely below Dylan standards). Shot Of Love, Infidels, and Empire Burlesque are great. And the 80s ends with Oh Mercy which is a masterpiece. The 80s was set up by Dylan’s Christian period which inspired him to great work: lyrically, musically and in performance. The only criticism of the Dylan trio of Shot Of Love, Infidels, and Empire Burlesque is that they have some dated production values. But I kind of dig the production of all three albums – they are true to the era they were created.

I am not sure who the audience for this is beyond Dylan obsessives like me. But if you are one of those obsessives and you appreciate Shot Of Love, Infidels, and Empire Burlesque you will dig this collection. Each Bootleg Series release sheds new light and in some cases reassess a chapter in the Dylan discography. This release reassess the much maligned 80s Dylan as fertile period with not good, but great material.

Spinning the wax

Kacey Musgraves – Star Crossed

Kacey’s Golden Hour is one of my favorite albums of the last 5 years. One of the great mysteries in music is the fine line between country and pop/rock. This is not a new phenomenon. Was Patsy Cline pop or country? Was Johnny Cash rock or country? Is Shania Twain pop or country? Is Garth Brooks rock or country? You get the idea. The music business seems more flexible these days. Taylor Swift can fully transition from country to pop. Darius Rucker can transition from rock to country. Kacey started her career with country – her first two albums are unabashedly country. But with 2018’s Golden Hour, Kacey went pop – not even country pop – it was pop. On Star-Crossed she doubles down on pop – it has no trace of country. One of my theories (not original) is that country is adult music – it is dealing with adult themes. Pop music generally deals with teenage themes. By that definition Golden Hour and Star-Crossed are country albums – those are adult albums dealing with adult issues.

Star-Crossed is a concept album – more specifically a divorce album. An interesting sequel to Golden Hour which was a falling in love record. What is remarkable is that Star-Crossed is not bitter. It is candid about the unraveling of a marriage, but it is also a classic tale of what “doesn’t kill you makes you stronger.”

Per Kacey: “You can easily say it is a post-divorce album, which yes, it is factually on paper. But this album is full of a lot of love and gratitude for that person, for Ruston, for my life and my ability to explore all the emotions as a songwriter.”

Despite being a concept album, each song can be appreciated as singles, but it is also a cohesive album that tells a story.

The album is what I call a “grower” – meaning it grows on you with each listen. It took about five times through before it hooked me. Now with each listen more is revealed to me both sonically and lyrically. Golden Hour was love at first listen.

The album ends with a cover of “Gracias a la vida” (Spanish for “Thanks to life”). Given it is sung in Spanish and clearly a cover I did some research. It is a song written, composed and originally performed by Chilean Violeta Parra and made famous by Mercedes Sosa. The song “Gracias a la vida” was considered as a “humanist hymn” that finds joy in the little things in life. Ironically, Parra committed suicide shortly after recording the song. The song has been frequently covered by Latin singers. Joan Baez popularized the song in the United States in 1974 by including it on her album of the same name.

Per Kacey: “I think it’s interesting that this song was on the last album she had written; she did commit suicide. I think that adds to the intense, tragic, and sorrowful nature of what this song is saying ‘thank you’ to life. You’ve given me so much. You’ve given me the beautiful and the terrible. You’ve given me the pain and the laughter. And I’m thankful for all of it.”

In light of all I learned, it is a perfect ending to the album.

The album has a movie to accompany it available on Paramount +. I have not seen it yet, but it sounds intriguing per this mini review:

In a collection of three acts, Musgraves transforms: First she’s a doe-eyed, iron-wielding wife; then a fleeing cross-country traveler, crashing head-on with heartbreak; and finally a woman rebuilt (by Eugene Levy’s team of surgeons, no less), a dark horse shedding the innocence of newlywed bliss for the shock of real life.

Musgraves transformed from a mid-tier country act to a top-tier pop act with Golden Hour, it was a masterpiece. A let down would not be unexpected. But Star-Crossed has maintained, and I would say, enhanced her greatness. Not Golden Hour Part 2, but a subsequent masterpiece. Sonically and lyrically it is cut from the same cloth. Not so much “more of the same” as much as with Golden Hour Kacey found her voice and with Star-Cross she has perfected it.

Pat Metheny – Side-Eye NYC (V1.IV)

‎Modern Recordings

This album culls tunes from two shows on 9.11.19 and 9.12.19 at Sony Music Hall in NYC. I had the good fortune of seeing a show on this tour earlier that month at a club in Minneapolis (The Dakota). The band on the album is a trio of Metheny, jazz/R&B/hip-hop virtuoso keyboardist James Francies and Marcus Gilmore on drums (grandson of legendary drummer Roy Haynes). I will be seeing this line up again later this fall at a small theater in Minneapolis. So this is both a souvenir of a show I have seen and a pregame for my next Metheny show.

Per things I have read and heard Metheny say, The Side-Eye concept is two things: challenging himself to play and compose in fresh contexts and give exposure to young(er) musicians (Francies was 24 at the time of this recording and Gilmore was 32 – Metheny was 65). Half the tunes are from Metheny’s back catalog and half are new (and an Ornette Coleman cover as a cherry on the top).

At times, this is a traditional 60s jazz organ trio, but at other times it sounds like Metheny in one of his grand ensembles. This is due mainly to Metheny’s use of orchestrionics. “Orchestrionics” is the term that Metheny uses to describe a method of developing ensemble-oriented music using acoustic and acoustoelectric musical instruments that are mechanically controlled by solenoids and pneumatics triggered by Metheny’s guitar. It is also due to the rich palate of James Francies. Francies somehow is able to evoke Jaco via his keyboard bass lines. At the club show in Minneapolis I was basically “social distance” from James Francies with a direct view of his hands on the keyboard and I have no idea how he did it. I recall being dumbfounded at the time. Last but not least, Gilmore holds it all together – no simple task when there is so much going on – Metheny’s controlled chaos.

I am still digesting this album, but my initial response is I absolutely love it. It is a great sampling of the many textures of Metheny. Despite many different styles that he plays, every note is unmistakably Pat Metheny.

Big Red Machine – How Long Do You Think It’s Gonna Last?

Per Wikipedia: “Big Red Machine is an American indie folk band that began as a collaboration between musicians Aaron Dessner (The National) and Justin Vernon (Bon Iver). The band is named after the nickname for the dominant 1970s Cincinnati Reds baseball teams, which won the 1976 World Series in Dessner’s birth year.” I enjoyed the first album and so I was looking forward to this album.

The first album focused on Vernon as the vocalist. The new album is more of a collaborative effort, featuring guest vocals from: Anaïs Mitchell, Taylor Swift, Fleet Foxes, Ilsey, Naeem, Sharon Van Etten, Lisa Hannigan, Shara Nova, La Force, Ben Howard and This Is the Kit. Dessner provided lead vocals for the first time in his career, on three tracks: “Magnolia,” “Brycie” and “The Ghost of Cincinnati.” Not sure what the reluctance was – he has a nice voice. Despite all the collaborators, The National and Bon Iver vibe is still pretty strong.

I have been a Bon Iver fan since day one. I am late to The National. I have only gotten hooked on one album, 2019’s I Am Easy to Find. I loved Aaron Dessner’s production of Taylor Swift (2020s’ evermore and folklore). Maybe my issue is The National’ vocalist Matt Berninger as I seem to dig Aaron’s non-The National work (and the one The National album I like has lots of guest vocals).

The music is quiet dreamy pop – a nice combination of The National’s indie rock and Bon Iver’s electronica. Aaron and Justin are staying close to their home base for both Big Red Machine albums. I liked the first album, but I like this second album even more with all the guest vocalists. The guest vocals bring Aaron and Vernon to a new place. If you liked the last two Taylor Swift albums, or are a fan of The National and Bon Iver, you will like this album.

Pat Metheny Group – Travels

Travels 1983 ECM
Pat Metheny Group (PMG):
Pat Metheny, Lyle Mays, Steve Rodby, Dan Gottlieb, and Nana Vasconcelos

This was the first Pat Metheny Group (PMG) live album. It captured the tour in support of Offramp. This is a great sample of the PMG life-to-date catalog circa 1983. It includes some of their best known material. However, over half the tracks were entirely new and have not been heard, before or since, on any studio album. So unlike typical live recordings that are merely a live greatest hits collection, this is a worthy stand alone collection and legit successor to Offramp.

I saw PMG around this time and they were fantastic. So this album is a sentimental sonic souvenir from that time.

The PMG for this album was: Pat Metheny (guitar), Lyle Mays (keyboards), Steve Rodby (bass), Dan Gottlieb (drums), and Nana Vasconcelos (percussion). Pat plays acoustic and electric guitars and like Offramp he features a lot of guitar synthesizer. The primary focus is on Pat and Lyle Mays. As usual their interplay is fantastic. Nana’s percussion is not a mere embellishment, but an essential ingredient.

There are some special moments on the album. For example, Pat said in an interview, soon after this album’s release, that he preferred Travels’ version of ‘Are You Going With Me?’ to the Offramp original. I have to agree.

I bought this album when it first came out. Like most ECM releases, it is well recorded (it is studio quality, despite being live), mixed and pressed. The Master (MQA) stream on Tidal sounds great too.

If you are new to PMG this is an excellent introduction. I recently listened to Pat being interviewed on Questlove’s podcast and Pat mentioned that when people ask him a good entry point to early PMG he recommends Travels. If you are a fan and have not checked this out previously, this is a must have. If you have it in your collection, pull it off the shelf and give it a fresh listen.

Billie Eilish – Happier Than Ever

Indie record store brown vinyl edition

Billie Eilish’s When We All Fall Asleep, Where Do We Go was such a huge success that a sophomore slump is inevitable. My hot take is that Happier Than Ever is better. It does not have the killer singles of its predecessor, but it holds together better as an album. Granted I am more of an album guy then a singles guy, so this aesthetic choice appeals to my biases.

The sound has progressed. On their debut EP, dont smile at me, the band (I consider Billie Eilish a band given the significance of brother Finneas’s contribution) was innocent bedroom pop. On When We All Fall Asleep, Where Do We Go the sound and lyrics went dark – almost Nine Inch Nails lite. On Happier Than Ever the sound is more diverse from track to track: trip hop, folky, jazzy, industrial lite, etc. It it all sounds thicker and more crafted. I assume they are just getting more confident as a band and have access to better tools. Billie’s vocals are more confident and expressive – almost a croon. Listening to her older material that crooner has always been there, it is just more obvious now.

Lyrically the album focuses on the trials and tribulations of being a pop superstar. Normally I would find this annoying, but Billie is a fascinating pop superstar and so I am plenty interested to get in her head to witness how she is processing it all.

The album is quiet, which draws you in more. Like all her work it is weird, but as weird as it is, it is highly accessible.

I love the rebranding of her look from bratty goth hip hop teenager to old Hollywood glamour. It is a symbol of the maturity of the music.

In summary: no sophomore slump, no difficult second album, no When We All Fall Asleep, Where Do We Go Volume Two, but instead an appropriate step forward. Most of all an enjoyable listen that grows on you. As to whether it will maintain Billie’s trajectory as a pop star? Probably not – more likely a plateau. But being a mega pop star is not necessarily a noble goal. Making great music is a noble goal and Billie has achieved that.

Interesting fun fact: Per New York Times the album had great physical sales in week one:

Released in an array of boxed sets and retail-exclusive variants, “Happier Than Ever” made 54 percent of its total sales in the United States on physical formats, including 73,000 vinyl LPs, 46,000 CDs and nearly 10,000 on cassette. It had the second-highest weekly vinyl haul since at least 1991, when SoundScan, MRC Data’s predecessor, first began keeping accurate data on music sales. (Only Swift’s recent LP release of “Evermore,” which sold 102,000 copies after months of preorders, had more.)

I understand the vinyl sales. CDs? Do her fans really play music on CDs in a streaming age when the premium streaming services have better than CD quality streaming? I doubt it is audiophiles buying those CDs. Cassettes? That is even more of fetish object than vinyl – weird!

Don’t be deceived by these release week sales numbers that Billie has a follow up hit – they are inflated by preorders from hard core fans. The album is not a stiff, but it is unlikely to be the mega – hit that the last album was – that is OK. To repeat myself having repeated commercial success is not a goal – you can have a great career following your muse – just ask Norah Jones.

P.S. If you have access to Disney + check out Billie’s “concert.” More of a long form video than a concert film. For me it added a new textures and context to the album and made me appreciate it even more.

Prince – Welcome 2 America

When I first heard about this album I assumed if Prince shelved it there was a good reason – like it did not pass his quality control. After listening to the teaser singles my conclusion was that it was not quality, but that he did not feel the time was right in 2010. Well the time is now.

Per a Prince press release: “Recorded in the spring of 2010 and then mysteriously abandoned by Prince before its release, the statement album Welcome 2 America documents Prince’s concerns, hopes, and visions for a shifting society, presciently foreshadowing an era of political division, disinformation, and a renewed fight for racial justice.”

Prince has always had social commentary, politics and black pride themes in his music, but this album is his most in your face political statement of his career. Why did he withhold it in 2010? I have a theory: He was not fooled by America electing a black president and that racism was suddenly behind us. Yet he did not want to stir the pot during the Obama administration. So he sat on it. He passed away before Trump was elected, otherwise we might have heard this sooner. According to people who worked with Prince, as relayed on the podcast series that his promoting the album, the reason is “because he didn’t want to.” Prince rarely explained himself. We will never know.

Ideally this album would have been released in the summer of 2020 in response to the murder of George Floyd and a racist president running for re-election. But bringing an album to market posthumously during a pandemic is complicated. Despite the delay, the content of this release is still relevant. Just because Joe Biden beat Trump and Derek Chauvin was convicted and in prison doesn’t let us off the hook. So the timing of the album is still perfect.

I religiously studied every Prince album from his debut in 1978 through the end of the 90s. I was a bit hit and miss after that. This is the most excited I have been about a Prince album since 1998’s Crystal Ball. The is not just a posthumous money grab by the Prince estate (not that there is anything wrong with that), this is an important entry in the Prince catalog. Hopefully, this is a foreshadowing of more gems in the infamous Prince vault.

Prince uses the titular track to give us his state of the union address via a Parliament-Funkadelic groove. Prince is funky, but he’s not happy.

“Running Game (Son of a Slave Master)” is a slinky groove. Prince and Shelby J trade verses mocking the music industry. Prince, an internet innovator in marketing his music, knew the game was up and the power was shifting back to the major labels. The song is in essence an editorial – an amazing musical editorial. This is a great song despite the heavy theme.

Prince was friends with polymath Dr Cornel West. “Born 2 Die” was recorded as a rebuke toward West, who said Prince was “no Curtis Mayfield.” On a recent podcast, regarding this album, West shared that he loved that he was proven wrong with this track.

“1000 Light Years from Here” is a song of hope imagining a better world. The one we live in is not so great for many:

“We can live underwater
It ain’t hard
When you never been a part
Of the country on dry land”

“Hot Summer” is a departure from the soul and funk: a garage rock song complete with cheesy organ and hot vocals from Liv Warfield. At the moment this is my favorite song on the album.

The one cover on the album is not an R&B standard but a song from Soul Asylum (written by Dave Pirner and released on 2006’s The Silver Lining) a Minneapolis band that has its origins in punk vs funk. Prince makes “Stand Up and B Strong” totally his own and has the hottest guitar solo on the album.

“Check the Record” is classic Prince funk-rock. It is a romantic kiss off. It has a great shout out Sheryl Crow:

If it makes her happy

Can it be that bad?

Like Sheryl said

It might be the most favorite mistake I’ve ever had

“Same Page, Different Book” is a cynical, but joyous admission our world is a mess.

“When She Comes” is classic silky Prince erotica with jazz flourishes. No one does it better.

“1010 (Rin Tin Tin)” was a bit mysterious to me. I googled “1010” and it means: to embrace positive thinking, as you don’t know what’s going to happen or change in your life. It’s a message to stay relaxed and open to new possibilities. Or as Prince sings in the song: “We need to let the funk unwind.”

“Yes” is an arena anthem of positivity with a bit of a Sly & The Family Stone vibe. Nice antidote to some of the heavier earlier material.

“One Day We Will All B Free” is an inspiring end to the album. It starts out like a hymn, but gets bouncy and is very up lifting. Prince name checks Franklin Benjamin Banneker. I googled him and he is a pretty fascinating historical figure – read about him here.

Welcome 2 America featuring Tal Wilkenfeld on bass, Chris Coleman on drums, Morris Hayes on keyboards, and vocals from New Power Generation singers Liv Warfield, Shelby J. and Elisa Fiorillo. Prince had never worked with Wilkenfeld and Coleman before and he never worked with them again. He was not disappointed with them and in fact he complemented them for helping him capture a sound that had eluded him.

Musically the album does not chart new ground, but the craftsmanship is superb. Lyrically this is one of Prince’s strongest performance. This is a super collaborative sound between the band and vocalists. What a great gift from the grave to up lift us in these trying times. I am now very curious to learn what other shelved masterpieces are in the vault.

I have been listening to an MQA Master stream since release day and it sounds fantastic, but the vinyl edition sounds even better.