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Taken from The New Hampshire (February 27, 2004)
A soul-stroking album
by Cory Levine, Staff Writer
Media Credit: Courtesy Photo
Michael Franti and Spearhead will be appearing with Ziggy Marley at the Whittemore Center on Thursday, March 4 at 7 p.m. |
Michael Franti's history of politically fueled musicianship carries on with melodic consistency on Spearhead's latest release, "Everyone Deserves Music." Spearhead successfully blends reggae, soul and funk, creating a strong afro-centric sound to accompany Franti's powerful, socially conscious lyrics.
In his previous musical outings in bands like The Beatnigs and Disposable Heroes of Hiphoprisy, Franti developed a reputation for an angered political outspokenness. With Spearhead his music remains topical, but he foregoes resentment and frustration for intelligent criticism set to relaxing reggae beats.
"Everyone Deserves Music" is designed as a feel-good record, and it works well with only a few mostly negligible stumbles. The album starts off confidently with the self-affirming "What I Be," Franti's heed-bob inducing anthem of identity. Franti moves next into the funk-fueled rap "We Don't Stop," in which he points his finger at the social injustice but remains optimistic about the power of the masses to invoke change.
The soul stroking continues with the title track, "Everyone Deserves Music." The song is the best sing-along track released so far this year that didn't come from Sesame Street. It's the type of song you dance to on your way to class on a sunny morning while you smile and point your fingers at mopey looking passers-by to brighten their day. It is a guaranteed shot of sunshine straight up you're a*s.
The only major misstep on the album comes after the midway point. A handful of the tracks toward the end of "Everyone Deserves Music" overdo the feel-good gospel effect. Most notably "Feelin' Free" and "Love Invincible" have accompanying back vocals that go far enough over the top to make it hard to take the songs seriously. They become too corny for their own good.
Franti and Spearhead come up with a few very strong, rock-inspired tracks on "Everyone Deserves Music," which make good use of guitarist Dave Shul's electric stylings. "Love, Why Did You Go Away?" throws a few power chords into the mix, which show the versatility of Spearhead's musicians. Also worth noting are the two versions of "Bomb the World." The first of which is the user-friendly, soulful version, complete with gospel back vocals.
The second, more powerful "Armageddon Version" harkens back to political frustration associated with Franti's early career. This version's lyrics are filed into a razor sharp point, cutting deep into America's political fabric over a potent guitar riff, soul-screaming backup singers and the beatbox of Radioactive.
Both versions work off of the Franti mantra of "We can bomb the world to pieces, but we can't bomb it into peace." The "Armageddon Version" backs it up with more emotion and life. Its volatile feel makes it a more effective political rant than the original song, which seems hesitant in comparison.
Franti and Spearhead put an appropriate end to the album with "Crazy, Crazy, Crazy." It is an excellent, melodic reggae tune that returns to the message of personal affirmation that Franti exudes throughout. It also seems to leave something unsaid, as though the album isn't yet completely closed. It is the "to be continued. . ." of "Everyone Deserves Music" that invites repeat listening and great anticipation for the sequel.
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