- Audio CD (25 Oct. 1990)
- Number of Discs: 1
- Format: Import
- Label: Universal Music & VI
- ASIN: B000008DXV
- Other Editions: Audio CD | Audio Cassette | Vinyl
- Average Customer Review: 4.5 out of 5 stars See all reviews (2 customer reviews)
- Amazon Bestsellers Rank: 219,799 in Music (See Top 100 in Music)
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Top Customer Reviews
RITHMIC DRUMS AND THE VOCALS WELL..
Most Helpful Customer Reviews on Amazon.com (beta) (May include reviews from Early Reviewer Rewards Program)
The album opens up with "You Make Me Work",featuring a strong re-harmonizes the title songs refrain from the previous album with a heavier rock guitar element and some light electric organ touches in the back round-giving it a little more of a blues favor melodically in a fantastic hard funk number. The strong,uptempo dance-funk of "I Like The World" is a potent message song about empowering oneself in terms of protecting..well a world you really like and want to make better for yours and future generations. Its delivered with assertive power lyrically and vocally. Same goes for the more intensely bass/guitar driven "Skin I'm In"-with re-appropriates the racially assertive attitude (given such a boost up by the conscious hip-hop of the day such as Public Enemy and Boogie Down Productions) that brings out the cultural double standards people put in place that make human differences seem like weaknesses rather than strengths. "Promiscuous" has a thick,horn packed funk ethic to it whereas "Pretty Girls and "Honey" both bring back the bass oriented hard funk rhythmic intensity (and in the case of the latter the melodic structure) of "Candy" from the previous album. "In The Night" brings in Miles Davis for a song in which the band very accurately replicates the reggae oriented opening bass/guitar line and the jazzy keyboard chords of "Fat Time" era Miles-done up in the rhythmically thick style of Cameo of course.
"Soul Tightened",with its JB informed groove (one of my favorites on this album) as well as the reggae of the closing "DKWIG" further emphasize the important closing point I am about to make about this album. Although this is very contemporary for the late 1980's this album finds Cameo,while still firmly in it's trio format,making something of a return to a well produced live band oriented funk sound as opposed to the naked and somewhat more electronic tinged direction they began in the middle of that decade. By bringing in the late musical icon Miles Davis into this session makes an everlasting point about Cameo's musicality. It can be even better defined by...well the reason some people see this album as a retread of the previous album. One of the qualities that may have allowed Cameo to continue playing hard funk while many of their contemporaries developed more pop oriented sounds to stay afloat was one ethic they kept to from James Brown himself. They often liked to take songs that had been successful with and re-arrange them into others in infinite combinations,or in some cases out and out re-visitations. And by linking that further into jazz-funk here,with sociopolitically charged message songs that have a strong racially aware consciousness,Cameo have made their cultural influences outside of funk abundantly clear. That is why I'd personally contend that this is one of Cameo's most importantly under-appreciated albums.