Reviews

As the Beatle with the least amount of writing credits and vocals performances to his name, Richard 'Ringo' Starkey has still managed to make a long and surprisingly prosperous career with limited talents in both those areas. He is of course an amazingly talented drummer, but that alone usually can't carry an artist. With many smart decisions and well-known special guests (other former Beatles included) he has managed to keep his music relevant to his fans. Look Up is a perfect example of this, sharply tilting away from rock to a more country-tinged affair. From the moment the acoustic opener 'Breathless' bursts through the silence it is obvious this is a different Ringo album than anything else in recent memory. Featuring bluegrass master Billy Talent on the strings, the song is both rich and sparse at the same time, the density coming from the feel rather than the instrumentation. The song will make you smile, and let's face it, that's all Ringo has ever really wanted us to do when listening to his music. Don't analyse it. Don't be critical of it. Just bob your head and smile. The title track has a bit more of a muscular punch to it, but is still light and fun, and it is clear that Ringo has worked hard to craft a set of tunes that his vocal range can compliment. 'Time On My Hands' and 'I Live For Your Love' are full country steel-string soaked ballads, and 'Never Let Me Go' feels like it could have its own boot-scootin' line-dance. 'Come Back', featuring indie stars Lucious on backing vocals, is about as deep into Texas as you can travel. 'Rosetta' lifts the album back out of a deep-south tavern, and puts a little more rock on the album's roll, and its placement is perfect to lift things. It all wraps up in a bow with 'Thankful', a largely forgettable track that is only really saved by the irresistible Allison Kraus sharing the vocals. At a smidge over 35 minutes long, the album is short - but it works at that length - and the production is smoother than an aged Kentucky Bourbon, making the album a very easy listen. This wasn't the first time Ringo had tried country as his second solo album way back in 1970 was also sporting the Nashville sound. Critics at the time noted how well the style fit his voice, and it seemed like he would return there in the future. Now that he has, we must wonder why he took so long?

OK, I won't got into the history about how a prestigious rap artist got to writing some rap/metal album which at the time caused some significant pushback, it was in fact the notoriety itself that put the band even further into the headlights and ultimate success with their very first album. It's very clear right from the first track the record was to be a message to whoever wants to listen, the treatment of native African Americans within U.S. society. Being mostly raised by his dad and being educated in South Central L.A., a place you really don't want to visit, Ice takes a little bit of time to set the scene with track one 'Smoked Pork'. It sets the scene to some extent but will not be what the entire album is about. Read on. The second track 'Body Counts In The House', is the most unique way I have seen to introduce all your band members. It is a winner and very enjoyable, particularly the solo's from Ernie C, for whom we would come to learn years later was part of the reason for forming the band. Oh and I just love Beatmaster V on the drums. It is a different sound in some ways, but if you saw him back in the day playing (he's now deceased) he was a sight to behold. For the next 10 minutes or so, the listener is treated to some short commentary / statistics. It's track 8 that suddenly hits the humour / cheap comedy side of Ice. 'K_K_K' and 'Voodoo' - while I like the tracks, they are a little cheesy. It's track 11 where you come across the masterpiece of the record. 'The Winner Loses'. A ballad if I dare say about the challenges of a young kid spiralling out of control in the drug scene. A not uncommon theme in many communities. Ice shows his soulful side and clearly is the highlight of the record. 'There Goes The Neighbourhood' is a perfect follow on and again does a great job of the disparity between whites and blacks. The remainder pans out with a few more slapstick songs, but enjoyable and catchy to me. The final song, that only was available on early pressings of the CD before the U.S. courts ordered for it to be removed, is the track 'Cop Killer'. Very direct in its intentions that didn't sit well with those that had the power to influence change. In some ways validating yet again the oppression and challenges the African American has trying to just live, even survive. All up one of my favourites, now over 30 years old, that I still enjoy listening to. Good to know they continued on but with some ups and downs. I'll get to those another time.