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“Love Revolution” and “Bring it on” are classic concert openers, made-for-Guitar Hero tracks that should pique the interest of nostalgic rockers.
But it’s soon clear that the lion’s share of Love Revolution has gone to the mellower of the two Lenny’s: the composer of piano-accompanied ballads and songs of the road. While some of these compositions are convincing and memorable – “Good Morning” and “I love the rain” come to mind – most others get stuck in themselves and seem to last a minute too long.
It’s no secret in the rock world that Lenny Kravitz is a Christian who wears his heart on his album sleeve. “If you want it” presents the opportunity of a spiritual “love revolution”, inevitably pleasing some and repulsing others. There’s no fire & brimstone to be found, however, and Kravitz’s spiritual themes needn’t change anyone’s perceptions of his music.
Weirdly, the good vibes peter out somewhere in the middle and are replaced by sad memories of lost fathers (“A long and sad goodbye”) and weary songs of the post-rebellion era (“I want to go home”). It ends more claustrophobic than free, if not completely sidetracked.
Love Revolution sputters to a halt well before fourth-last track, leaving riff-junkies wondering where the Hendrix version of Lenny has gone.
But it’s soon clear that the lion’s share of Love Revolution has gone to the mellower of the two Lenny’s: the composer of piano-accompanied ballads and songs of the road. While some of these compositions are convincing and memorable – “Good Morning” and “I love the rain” come to mind – most others get stuck in themselves and seem to last a minute too long.
It’s no secret in the rock world that Lenny Kravitz is a Christian who wears his heart on his album sleeve. “If you want it” presents the opportunity of a spiritual “love revolution”, inevitably pleasing some and repulsing others. There’s no fire & brimstone to be found, however, and Kravitz’s spiritual themes needn’t change anyone’s perceptions of his music.
Weirdly, the good vibes peter out somewhere in the middle and are replaced by sad memories of lost fathers (“A long and sad goodbye”) and weary songs of the post-rebellion era (“I want to go home”). It ends more claustrophobic than free, if not completely sidetracked.
Love Revolution sputters to a halt well before fourth-last track, leaving riff-junkies wondering where the Hendrix version of Lenny has gone.
