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wonderboy
Re: Party Doll, the song could have been written over lunch by any one of a thousand Nashville songwriters. It could have perhaps been lifted by the performance, but by this time, Jagger was all artifice and posing. It's a shame that the singer who could make you feel he was distraught when he 'saw you stretched out in Room 10-09' doesn't even sell pathos on this one.

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Rocky Dijon
Enjoyable as always, Gaslight. About the only thing you're right about is I am not and never will be "woke." I don't respect deliberate misuse of any language and the concept behind it is far closer to Mao's cultural revolution than it is following a golden rule of not being a jerk to others on purpose.

As for PRIMITIVE COOL, what can I say I haven't already? The album was made to tour for the first time since TATTOO YOU.

"Throwaway" is an excellent opener. I loved it then, I love it now. I quibble over the one Beck solo being borrowed (perhaps unconsciously) from Journey (generally speaking, a dirty word in my household).

"Let's Work" is not as bad as its reputation suggests, there is a good rhythm guitar riff (Jagger's) that suggests if he hadn't released an edit of the dance mix as the album track, the undoctored track would likely be stronger.

"Radio Control" is great. A nice James Brown update. Solid funk. Great lyrics. Great vocal delivery. I never stopped loving this track either.

"Say You Will" is okay. The Beach Boys "Do It Again" opening drums turns into "Hard Woman" Part 3 (Part 2 is the one with The Hooters). A bit schmaltzy. A bit obviously 1987 pop power ballad, but not terrible.

"Primitive Cool" is terrific. Great lyrics, vocals, and music. Mick embraces pop prog with some smooth jazz stylings. The template for "Terrifying" lies here. Wonderful from start to finish. A classic that ranks among his best work ever.

"KowTow" is classic as well. Great rocker, stinging lyrics, wonderful vocals and guitar work. I love this and welcomed the echo of it in "Warring People" on SUPERHEAVY. "KowTow" should have become a live standard.

"Shoot Off Your Mouth" is also great. The bluesy licks convince me there's more Jimmy Rip on this track than the others, but who knows? Lyrics, vocal delivery, and music are top notch. Another one that should have been a live centerpiece.

"Peace for the Wicked" is strong. Another solid James Brown-inspired funk tune. I'd love to hear the raw demo with Woody on guitar. Vernon Reid said he's playing the solo on this one. Solid all around. Like most of the album, I never tire of it.

"Party Doll" is exquisite. Mick's country vocal is heartfelt rather than affected. The lyrics are heart-wrenching. The track blends country with its Celtic roots using The Chieftains to terrific effect.

"War Baby" is a disappointment, though not a failure. Mick tries for his "Brothers in Arms" by way of Roger Waters-style WWII sound effects. The callback to "Gimme Shelter" and "You Can't Always Get What You Want" by way of "fire sweeps the streets" and a chorus used to better effect than on "Let's Work" seems a bit crass when it intends to evoke baby boomers coming full circle. In many ways, that's the theme of the entire album. The minimalist use of bagpipes by way of The Chieftains helps the track flow from the last one in a holistic fashion.

"Catch As Catch Can" misfires, but shows promise. Mick has a solid enough soul song, but didn't seem to spend enough time developing it. The arrangement would benefit being more traditional, though the point of these sessions was for Mick to truly embrace the sound of the 1980s. He did just that rather convincingly and without echoing Jackson or Prince as he did on SHE'S THE BOSS and "Too Much Blood."

All in all, an excellent album that never disappoints.

All other opinions (which is 99% of the people who ever listened to the album) are, of course, wrong.

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SomeGuy

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Rocky Dijon

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SomeGuy
And don't forget the rather pretty, 45's B side, Catch As Catch Can. All in all I'd say Primitive Cool is my second favourite Jagger solo record. Also I don't have a problem with the supposed 80s sound. I know lots more awful sounding records than this one from that era, that no one complains about.

I don't really know you, SomeGuy, but you can have Gaslight's seat for dinner on Christmas. I'll tell the wife to expect you.

Thanks Rocky, for the invitation. I'll bring my Journey records.

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DandelionPowderman

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Doxa
An incredible tune. That's Jagger solo at best - being as far as possible from the safe waters of the Stones, and actually reinventing himself - like he said, that vocal melody was out of his reach but he was forced to do it (by Dave). The musical track is pure 80's pop, as it should be and that's why it funnily makes the difference now, but the song is one of the best Mick ever has composed. The same with some other PRIMITIVE COOL tracks, such as "Kow Tow", "Party Doll", "Throwaway" - after a decade or so, not caring a shit about proper melody lines, Mick was once again composing properly. His best work since TATTOO YOU. Actually Mick re-invented his whole way of singing and rediscovered the rich nuances of his unique voice in this album (after having shouted out more or less without sense and nuance throughout the early decade). Surely the people just concentrating on guitar tracks (and if there is Ronnie or Keef not) do not might hear any difference. But there is.

PRIMITIVE COOL altogether is one of the most interesting albums a Rolling Stone ever has done. Those who are interested in deeper mechanics and dynamics of Rolling Stones development might hear there something crucial going on. It was the last album a proper (not any Woody) Rolling Stone was reinventing his game properly and was ambitious. None of them, not even Jagger, had tried anything like that since then. But many of the experiments tried then are standard now. That's the Mick we hear now singing technically note-to-note now.

I think PRIMITIVE COOL is the last musically forward-going, non-repititive album a Rolling Stone, or if you like, The Rolling Stones, ever have done. The musicologists of future will confim that, when all is said and done. The true story ends there.

Besides, "Piece of the Wicked" is actually the only Rolling Stones-related piece which truely hits its actual target: it is real funk as it should go, not any lazy half-assed simplification (like all those hotstuffs, heynegritas and sexdrives, which are entertaining an sich - at least for some Rolling Stones fans - but not any real bad-ass, groovy funk).

- Doxa

Interesting opinion.

It sounds like you're thinking that trying to reinvent yourself, and leaving your comfort zone is a guarantee for artistic success? Remember that sometimes one falls flat and don't succeed. You should be applauded for trying, but eventually you realise it didn't work (I suspect Mick realised that for PC).

I'm pretty sure if Mick did a solo tour today, he wouldn't pick too many of the PC-songs for the setlist, just like he chose not to in 1988. And that's not because the songs are difficult to do live.

That said, there is definitely good stuff on PC. Actually, there is good stuff on all his solo albums, imo.

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Rocky Dijon

It's all about communication between guitar and drums. If you find joy hearing the DIRTY WORK demos or a track like "Slave" then you know what Keith was aiming for. Getting hung up on how high the drums were mixed or how rough the compositions are is missing the point entirely. It isn't pop, it's anti-pop. He wasn't trying to adapt to the current trend or live up to his past, he was redefining his sound and image in a way that respected the past outlaw human riff and saw the way forward into a rootsy elder statesman who lives the rhythm. From that standpoint he succeeded because he found his niche, a niche life as a Rolling Stone permitted him to enjoy.

Mick, by contrast, could never do that - not because of lack of talent or because Keith is better, but because Mick on his own is the voice and polish and structure. The result is really good or disappointing because the yardstick Mick as a solo artist is measured against is the Stones' best work. Mick could not establish his own expectations the way Keith could. Mick had the harder task. The fact that he succeeded (solely my view, of course) so well about 50% of the time is proof of his enduring talent and the slow decline in his creative faculties. Keith, by contrast, found a corner where he could thrive almost outside of the mainstream.

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wanderingspirit66

Focusing on Party Doll

For me, the video below is both (un)watchable and (un)listenable. A bit sad to see and hear Jagger the aesthete, completely loose his appreciation of art and form - his visual and aural aesthetic.
[www.youtube.com]

Contrast this with Mary Chapin Carpenter's cover of the same song
[www.youtube.com]

Somewhere during the 80's, Jagger forgot how to interpret the songs he wrote and what to convey. He lost that feeling, but yet, this Mary Chapin Carpenter version is a reminder that when you peel the layers, you uncover the songwriting god that Jagger was and still is.

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Swayed1967

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DandelionPowderman

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Doxa
An incredible tune. That's Jagger solo at best - being as far as possible from the safe waters of the Stones, and actually reinventing himself - like he said, that vocal melody was out of his reach but he was forced to do it (by Dave). The musical track is pure 80's pop, as it should be and that's why it funnily makes the difference now, but the song is one of the best Mick ever has composed. The same with some other PRIMITIVE COOL tracks, such as "Kow Tow", "Party Doll", "Throwaway" - after a decade or so, not caring a shit about proper melody lines, Mick was once again composing properly. His best work since TATTOO YOU. Actually Mick re-invented his whole way of singing and rediscovered the rich nuances of his unique voice in this album (after having shouted out more or less without sense and nuance throughout the early decade). Surely the people just concentrating on guitar tracks (and if there is Ronnie or Keef not) do not might hear any difference. But there is.

PRIMITIVE COOL altogether is one of the most interesting albums a Rolling Stone ever has done. Those who are interested in deeper mechanics and dynamics of Rolling Stones development might hear there something crucial going on. It was the last album a proper (not any Woody) Rolling Stone was reinventing his game properly and was ambitious. None of them, not even Jagger, had tried anything like that since then. But many of the experiments tried then are standard now. That's the Mick we hear now singing technically note-to-note now.

I think PRIMITIVE COOL is the last musically forward-going, non-repititive album a Rolling Stone, or if you like, The Rolling Stones, ever have done. The musicologists of future will confim that, when all is said and done. The true story ends there.

Besides, "Piece of the Wicked" is actually the only Rolling Stones-related piece which truely hits its actual target: it is real funk as it should go, not any lazy half-assed simplification (like all those hotstuffs, heynegritas and sexdrives, which are entertaining an sich - at least for some Rolling Stones fans - but not any real bad-ass, groovy funk).

- Doxa

Interesting opinion.

It sounds like you're thinking that trying to reinvent yourself, and leaving your comfort zone is a guarantee for artistic success? Remember that sometimes one falls flat and don't succeed. You should be applauded for trying, but eventually you realise it didn't work (I suspect Mick realised that for PC).

I'm pretty sure if Mick did a solo tour today, he wouldn't pick too many of the PC-songs for the setlist, just like he chose not to in 1988. And that's not because the songs are difficult to do live.

That said, there is definitely good stuff on PC. Actually, there is good stuff on all his solo albums, imo.

Yeah, I was going to say something similar but decided it was pointless since his opinions are both violent and half-crazed and because I was under the impression that he had stormed out of here in a huff (which he seems to do every few months).

But yeah there’s lots of good stuff on his solo albums – it’s just a shame that he found it necessary to sing on them.

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Swayed1967

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DandelionPowderman

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Doxa
An incredible tune. That's Jagger solo at best - being as far as possible from the safe waters of the Stones, and actually reinventing himself - like he said, that vocal melody was out of his reach but he was forced to do it (by Dave). The musical track is pure 80's pop, as it should be and that's why it funnily makes the difference now, but the song is one of the best Mick ever has composed. The same with some other PRIMITIVE COOL tracks, such as "Kow Tow", "Party Doll", "Throwaway" - after a decade or so, not caring a shit about proper melody lines, Mick was once again composing properly. His best work since TATTOO YOU. Actually Mick re-invented his whole way of singing and rediscovered the rich nuances of his unique voice in this album (after having shouted out more or less without sense and nuance throughout the early decade). Surely the people just concentrating on guitar tracks (and if there is Ronnie or Keef not) do not might hear any difference. But there is.

PRIMITIVE COOL altogether is one of the most interesting albums a Rolling Stone ever has done. Those who are interested in deeper mechanics and dynamics of Rolling Stones development might hear there something crucial going on. It was the last album a proper (not any Woody) Rolling Stone was reinventing his game properly and was ambitious. None of them, not even Jagger, had tried anything like that since then. But many of the experiments tried then are standard now. That's the Mick we hear now singing technically note-to-note now.

I think PRIMITIVE COOL is the last musically forward-going, non-repititive album a Rolling Stone, or if you like, The Rolling Stones, ever have done. The musicologists of future will confim that, when all is said and done. The true story ends there.

Besides, "Piece of the Wicked" is actually the only Rolling Stones-related piece which truely hits its actual target: it is real funk as it should go, not any lazy half-assed simplification (like all those hotstuffs, heynegritas and sexdrives, which are entertaining an sich - at least for some Rolling Stones fans - but not any real bad-ass, groovy funk).

- Doxa

Interesting opinion.

It sounds like you're thinking that trying to reinvent yourself, and leaving your comfort zone is a guarantee for artistic success? Remember that sometimes one falls flat and don't succeed. You should be applauded for trying, but eventually you realise it didn't work (I suspect Mick realised that for PC).

I'm pretty sure if Mick did a solo tour today, he wouldn't pick too many of the PC-songs for the setlist, just like he chose not to in 1988. And that's not because the songs are difficult to do live.

That said, there is definitely good stuff on PC. Actually, there is good stuff on all his solo albums, imo.

Yeah, I was going to say something similar but decided it was pointless since his opinions are both violent and half-crazed and because I was under the impression that he had stormed out of here in a huff (which he seems to do every few months).

But yeah there’s lots of good stuff on his solo albums – it’s just a shame that he found it necessary to sing on them.

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DandelionPowderman

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Doxa
An incredible tune. That's Jagger solo at best - being as far as possible from the safe waters of the Stones, and actually reinventing himself - like he said, that vocal melody was out of his reach but he was forced to do it (by Dave). The musical track is pure 80's pop, as it should be and that's why it funnily makes the difference now, but the song is one of the best Mick ever has composed. The same with some other PRIMITIVE COOL tracks, such as "Kow Tow", "Party Doll", "Throwaway" - after a decade or so, not caring a shit about proper melody lines, Mick was once again composing properly. His best work since TATTOO YOU. Actually Mick re-invented his whole way of singing and rediscovered the rich nuances of his unique voice in this album (after having shouted out more or less without sense and nuance throughout the early decade). Surely the people just concentrating on guitar tracks (and if there is Ronnie or Keef not) do not might hear any difference. But there is.

PRIMITIVE COOL altogether is one of the most interesting albums a Rolling Stone ever has done. Those who are interested in deeper mechanics and dynamics of Rolling Stones development might hear there something crucial going on. It was the last album a proper (not any Woody) Rolling Stone was reinventing his game properly and was ambitious. None of them, not even Jagger, had tried anything like that since then. But many of the experiments tried then are standard now. That's the Mick we hear now singing technically note-to-note now.

I think PRIMITIVE COOL is the last musically forward-going, non-repititive album a Rolling Stone, or if you like, The Rolling Stones, ever have done. The musicologists of future will confim that, when all is said and done. The true story ends there.

Besides, "Piece of the Wicked" is actually the only Rolling Stones-related piece which truely hits its actual target: it is real funk as it should go, not any lazy half-assed simplification (like all those hotstuffs, heynegritas and sexdrives, which are entertaining an sich - at least for some Rolling Stones fans - but not any real bad-ass, groovy funk).

- Doxa

Interesting opinion.

It sounds like you're thinking that trying to reinvent yourself, and leaving your comfort zone is a guarantee for artistic success? Remember that sometimes one falls flat and don't succeed. You should be applauded for trying, but eventually you realise it didn't work (I suspect Mick realised that for PC).

I'm pretty sure if Mick did a solo tour today, he wouldn't pick too many of the PC-songs for the setlist, just like he chose not to in 1988. And that's not because the songs are difficult to do live.

That said, there is definitely good stuff on PC. Actually, there is good stuff on all his solo albums, imo.

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Rocky Dijon

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GasLightStreet

I always found Primitive Cool to be unworthy of being even a B-side. It's incredibly chookey. War Baby is embarrassing - who cares if the lyrics tie into Gimme Shelter (I remember reading that thinking THE SONG STILL SUCKS)? The song sucks! Party Doll is horrible as well.

This LP would've been much better as an EP:
Throwaway
Say You Will
Peace For The Wicked
Kow Tow

"Throwaway" and "Kowtow" are terrific. I've never warmed to "Say You Will." I've always found it sort of embarrassing. I'm not a fan of "War Baby." However, your unenlightened and entirely unacceptable personal opinion of "Primitive Cool" and "Party Doll" means I now have to take the Christmas card my wife was mailing you out of the mailbox and burn it in the fireplace. That hurts considering I wasted both a card and a Marvin Gaye commemorative stamp. Perhaps Hairball will have room for you for dinner on Christmas. You've soiled my linen for the last time.

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Witness

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wonderboy
Re: Party Doll, the song could have been written over lunch by any one of a thousand Nashville songwriters. It could have perhaps been lifted by the performance, but by this time, Jagger was all artifice and posing. It's a shame that the singer who could make you feel he was distraught when he 'saw you stretched out in Room 10-09' doesn't even sell pathos on this one.

To me though, Mick Jagger's socalled mannerisms as singer, do not detract from, but on the contrary rather add to almost any given song that he performs. And he performs songs, not only sings them. What is at display, is his ability to create unknown nuances to songs in various ways. Sometimes it involves how he may distance him somewhat from a song lyrics. As to "Party Doll", there is something else and rather opposite, Mick's singing to me supplies a bitter sweet harshness to that song, much in accordance with its lyrics.

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Swayed1967

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Rocky Dijon

It's all about communication between guitar and drums. If you find joy hearing the DIRTY WORK demos or a track like "Slave" then you know what Keith was aiming for. Getting hung up on how high the drums were mixed or how rough the compositions are is missing the point entirely. It isn't pop, it's anti-pop. He wasn't trying to adapt to the current trend or live up to his past, he was redefining his sound and image in a way that respected the past outlaw human riff and saw the way forward into a rootsy elder statesman who lives the rhythm. From that standpoint he succeeded because he found his niche, a niche life as a Rolling Stone permitted him to enjoy.

Mick, by contrast, could never do that - not because of lack of talent or because Keith is better, but because Mick on his own is the voice and polish and structure. The result is really good or disappointing because the yardstick Mick as a solo artist is measured against is the Stones' best work. Mick could not establish his own expectations the way Keith could. Mick had the harder task. The fact that he succeeded (solely my view, of course) so well about 50% of the time is proof of his enduring talent and the slow decline in his creative faculties. Keith, by contrast, found a corner where he could thrive almost outside of the mainstream.

'He wasn't trying to adapt to the current trend or live up to his past, he was redefining his sound and image in a way that respected the past outlaw human riff and saw the way forward into a rootsy elder statesman who lives the rhythm.'

As long as you enjoyed writing that I guess it’s alright...although I prefer the way Keith articulates his songwriting process: ‘five strings, two fingers, one @#$%&.’
Keith isn’t as complicated as the people who write about him.

Mick isn’t either actually. Quite by accident, I recently developed a simple test which can determine whether a song sung by Mick Jagger is good or bad for him. You see I was cleaning my toilet the other day when I suddenly starting singing ‘Too Far Gone’, a favorite of mine. I’m not much of a singer to be honest but I raised the bloody roof. Then I sang ‘Say You Will’ which delighted the birds gathering outside my bathroom window-sill. There was a consensus among people on the street that I was a far better crooner than Mick. But within minutes of singing ‘Brown Sugar’, ‘Gimme Shelter’ and ‘19th Nervous Breakdown’ a SWAT team was threatening to break down my door and my dreams of becoming a rock n’ roll star were dissipating with the tear gas...

You see where I’m going with this? The limitations of Mick’s voice and range are too easily exposed in melody-driven songs that have him high in the mix. That I can sing a passable version of ‘Say You Will’ in my toilet tells me that Mick made a poor decision in recording that song. I mean it’s obviously not the type of song that’s gonna win over a lot of Stones fans to begin with but more than that Mick can’t pull off a song that depends solely on the strength of his voice (not these days anyways). If I were his producer I’d insist he be propped by a six-guitar attack in every song. But of course that’s not going to happen – his voice is (understandably I suppose) front and center in all his solo releases and that’s why his solo career has always been doomed to failure.

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DandelionPowderman
Head on, but honest, arguments vs. belittling or ridiculing. I prefer the former.

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IrelandCalling4

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Mathijs
Primitive Cool remains to date the worst album of the 1980's. By any band. In any genre.

Mathijs

Its better than Look What the Cat Stepped In by Poison; he should have built the marketing campaign around that fact at the time

Actually I am a fan of She's the Boss and even half of Primitive Cool. Throwaway, Kow Tow, Party Doll, Say You Will..

She's the Boss is fun, funky and some good songwriting under the 80s gloss. Even revisited the "Running out of Luck" film recently (after watching McCartneys Broadstreet I had a hankerimg to view Micks music film aswell from the time).

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Rocky Dijon
Enjoyable as always, Gaslight. About the only thing you're right about is I am not and never will be "woke." I don't respect deliberate misuse of any language and the concept behind it is far closer to Mao's cultural revolution than it is following a golden rule of not being a jerk to others on purpose.

As for PRIMITIVE COOL, what can I say I haven't already? The album was made to tour for the first time since TATTOO YOU.

"Throwaway" is an excellent opener. I loved it then, I love it now. I quibble over the one Beck solo being borrowed (perhaps unconsciously) from Journey (generally speaking, a dirty word in my household).

"Let's Work" is not as bad as its reputation suggests, there is a good rhythm guitar riff (Jagger's) that suggests if he hadn't released an edit of the dance mix as the album track, the undoctored track would likely be stronger.

"Radio Control" is great. A nice James Brown update. Solid funk. Great lyrics. Great vocal delivery. I never stopped loving this track either.

"Say You Will" is okay. The Beach Boys "Do It Again" opening drums turns into "Hard Woman" Part 3 (Part 2 is the one with The Hooters). A bit schmaltzy. A bit obviously 1987 pop power ballad, but not terrible.

"Primitive Cool" is terrific. Great lyrics, vocals, and music. Mick embraces pop prog with some smooth jazz stylings. The template for "Terrifying" lies here. Wonderful from start to finish. A classic that ranks among his best work ever.

"KowTow" is classic as well. Great rocker, stinging lyrics, wonderful vocals and guitar work. I love this and welcomed the echo of it in "Warring People" on SUPERHEAVY. "KowTow" should have become a live standard.

"Shoot Off Your Mouth" is also great. The bluesy licks convince me there's more Jimmy Rip on this track than the others, but who knows? Lyrics, vocal delivery, and music are top notch. Another one that should have been a live centerpiece.

"Peace for the Wicked" is strong. Another solid James Brown-inspired funk tune. I'd love to hear the raw demo with Woody on guitar. Vernon Reid said he's playing the solo on this one. Solid all around. Like most of the album, I never tire of it.

"Party Doll" is exquisite. Mick's country vocal is heartfelt rather than affected. The lyrics are heart-wrenching. The track blends country with its Celtic roots using The Chieftains to terrific effect.

"War Baby" is a disappointment, though not a failure. Mick tries for his "Brothers in Arms" by way of Roger Waters-style WWII sound effects. The callback to "Gimme Shelter" and "You Can't Always Get What You Want" by way of "fire sweeps the streets" and a chorus used to better effect than on "Let's Work" seems a bit crass when it intends to evoke baby boomers coming full circle. In many ways, that's the theme of the entire album. The minimalist use of bagpipes by way of The Chieftains helps the track flow from the last one in a holistic fashion.

"Catch As Catch Can" misfires, but shows promise. Mick has a solid enough soul song, but didn't seem to spend enough time developing it. The arrangement would benefit being more traditional, though the point of these sessions was for Mick to truly embrace the sound of the 1980s. He did just that rather convincingly and without echoing Jackson or Prince as he did on SHE'S THE BOSS and "Too Much Blood."

All in all, an excellent album that never disappoints.

All other opinions (which is 99% of the people who ever listened to the album) are, of course, wrong.

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exilestones



Say You Will was my wedding song. Love it! If you had someone to share that song with you may just love it. If you gave these albums many spins, you may find more songs you like, maybe not.

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Mathijs
What doesn't help is that Jagger tries to be the utmost contemporary hip and poppy with Primitive Cool, while at the same time GnR were recording Appetite. The fact that he so plainly missed what actually is a the biggest change in music since the 60's makes the album just utterly painful.

With She's the Boss at least you can say it IS contemporary.

Mathijs

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harlem shuffle
Some strange opinions here,people saying Party Doll is a bad song.
You have to be a Keithfan to say something like that.But it,s not so strange reading this on these sites.Many here just dont like Mick Jagger for some reasons.These peoples are not Stonesfans,just Keithfans.Personally i don,t like Much out of Mick,s and Keith,s soloworks,just some of it.Wandering Spirit is a very good album,almost a classic,rest of soloalbums of Mick and Keith is easy forgettable.Almost never play any of these albums anymore

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Mathijs
What doesn't help is that Jagger tries to be the utmost contemporary hip and poppy with Primitive Cool, while at the same time GnR were recording Appetite. The fact that he so plainly missed what actually is a the biggest change in music since the 60's makes the album just utterly painful.

With She's the Boss at least you can say it IS contemporary.

Mathijs

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SomeGuy

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Mathijs
What doesn't help is that Jagger tries to be the utmost contemporary hip and poppy with Primitive Cool, while at the same time GnR were recording Appetite. The fact that he so plainly missed what actually is a the biggest change in music since the 60's makes the album just utterly painful.

With She's the Boss at least you can say it IS contemporary.

Mathijs

What change is that?

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steffiestones
"Let's Work"is one of the awfulls songs of all time !