Kravitz gets back to basics with ‘Baptism’
Lenny Kravitz
“Baptism” (Virgin) •••
When he stealthily emerged onto the rock scene 15 years ago, Lenny Kravitz was something of a curiosity. In an era dominated by hair-metal bands and the lingering vestiges of synth-pop, Kravitz catered to an underserved audience, hungry for the Real Sound of Real Rock ‘n’ Roll from the ‘60s and ‘70s glory days.
But somewhere along the way — between the tabloid romances and a debilitating depression — Kravitz lost sight of his muse. Traipses into light funk, glammed-up cover songs and self-absorbed songwriting diluted the singular charm that defined his early work.
From its title on down, the new “Baptism,” his first record in three years, aims to establish a rebirth. “Baptism” is truly back-to-basics — an attempt to recapture the sparse but sizzling sound that marked such career-defining albums as “Let Love Rule” and “Mama Said.”
For better or worse, half a century after rock ‘n’ roll established its cultural dominion, genuine rock music is now a classicist’s pastime, whether it’s the minimalist crunch of a White Stripes or the Beatles-Zeppelin-Family Stone handiwork of a Kravitz. And when he remembers that, as he clearly has on “Baptism,” Kravitz is capable of creating something that transcends artifact and gets much closer to art.
— Brian McCollum, Detroit Free Press
Gretchen Wilson
“Here for the Party” (Epic) •••
Country music has been a boy’s club lately, with solo women shut out of the top spot on Billboard’s Country Tracks chart for more than two years. But what the polished Shania, Reba and Sara Evans couldn’t do, a tough woman from a trailer park in the small town of Pocahontas, Ill., just has.
The opening lyric of Gretchen Wilson’s rowdy “Redneck Woman” — “Well I ain’t never been the Barbie-doll type” — sums up who she is: a high-school dropout who was working in taverns at 15; a single mom of 30 who seems to be connecting with the masses because, unlike robo beauty queens like Shania Twain, Martina McBride and Faith Hill, Wilson sounds like she’s actually lived rather than been manufactured in some Music Row factory.
“Pocahontas Proud” traces Wilson’s struggles in narrow-minded Nashville: “I knocked on every door on Music Row/But they looked down at me and said, ‘Girl go back home/You ain’t got what we need in this town,’ ” she sings with authority.
Wilson is best for what she represents — a move away from the sugary pap of McBride et al — and her voice and music carry a distinct Dixie Chicks flavor. With country radio at a banal low point, we’ll take that kick.
— Howard Cohen, Miami Herald
Petey Pablo
“Still Writing in My Diary: 2nd Entry” (Jive) •••
The explosive success of his debut single, “Raise Up,” probably kept Petey Pablo’s initial chapter, 2001’s “Diary of a Sinner: 1st Entry,” from getting a thorough reading. The North Carolina rapper may get more of a perusal with this new batch of brash anthems, energized by his rugged rasp and banging beats supplied by the likes of Lil’ Jon (who produced hit “Freek-a-Leek,” among others), Timbaland and Manny Fresh.
Guest stars Missy Elliott, Bubba Sparxxx and G-Unit’s Young Buck add to the general rowdiness, in which Pablo seems to revel. But just when he seems about to fall into a raucous rut, Pablo turns introspective and turns in some of the album’s best work on the Kanye West-produced “I Swear,” the hater-dismissing “Roll Off” and the bluesy, spiritual-inspired “He Spoke to Me.”
— Steve Jones, USA Today