- Critic score
- Publication
- By date
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BlenderA conceptual bacchanal of sweat-drenched lust. [Oct/Nov 2001, p.104]
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With this eclectic, eccentric approach comes a lack of cohesion and quality control.
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Musically, the album bounces from a full-on urban polka ("Oblivion") to tracks with plenty of Apollo Showtime-style organs, horns and disco and funk elements that keep the wacky tales from sounding wack.
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The tracks are brassy and effusive, swelling with horns, organs, and tasteful orchestration. At their best, they deflect attention from Gray's often irksome voice, which veers toward novelty more than a soul singer's should.
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The music itself doesn't quite have the simple accessibility and easy soul of her debut, but it's loads of fun and bursting with ideas.
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Gray's pipes aren't for everyone, but if you can't stomach them, I feel for you. You're missing some of the best soul on the planet.
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Even though one can hear echoes of everything from "The Threepenny Opera" to Bitches Brew here, the funk is in her DNA.
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SpinThe Id, like On How Life Is before it, never seems too polished because Gray adamantly pursues her complicated pleasures, belying her image as a stoned soul picnic... [Oct 2001, p.123]
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A platter of hot-buttered R&B popcorn, liberally sprinkled with salty social critique, "The Id" finds Gray getting disco-freaky while instigating her "Sexual Revolution," and playfully rapping about her kids with Slick Rick on the funky burner "Hey Young World II."
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Amazingly, the disc still feels cohesive in spite of its unpredictability, aided by can't-miss crowd-pleasers like the irrepressible disco-pop blowout "Sexual Revolution."
User score distribution:
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Positive: 10 out of 16
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Mixed: 1 out of 16
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Negative: 5 out of 16
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tomaOct 18, 2006
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JoseAntonioAOct 8, 2002Clear & deep songs of life looking for a soul.