A lonely masterpiece - Reloaded

Even stupid, if you sets the bar so high coinciding with the debut album, that this brand - at least in artistic terms - can never reach again. This fate befell with Lenny Kravitz, Let Love Rule '.

When it was published in 1989 it was thought that the seed, the Prince in 1984, Purple Rain had sown finally came up, because suddenly there was another black musician of rock, funk, soul and songwriting so skillfully combined into a homogeneous mixture that a while listening simply breath stayed away. Actually, there are on this album a lot of great, some very good and no bad songs. Also unusual for later Kravitz'sche conditions here though the omnipresent, but more restrained use of guitars. Here's even plenty of room for the electric piano, which carries a lot of songs, and most of all air in the songs, here nothing is overloaded or clogged. The best example is the poignant, Be '- a song to Kravitz afterwards never wrote again in this quality.
All this is late 60s, 70s music, but was so clever and so timeless staged as today just brings together Jack White and the great, especially from independent compositions lives.

From time to time Kravitz managed then to later albums still one to two songs reminiscent of this masterpiece, but mostly he was too busy his ego to maintain, and to stage as legtimen heirs of John Lennon, Jimi Hendrix and Led Zeppelin to get his own compositional skills and his autonomy to be aware. A pity, because this debut was so full of promise.

The 20th Anniversary Edition is actually a real asset, because alone the bonus tracks on the first disc are already their money value. The hyperactive version of, Cold Turkey 'is more compelling and geqüälter as Lennon's original, and the outtake, Light Skin Girl From London' is compositionally the original albums tracks at least equal. The demos show quite well that Kravitz of his designs vocally and musically undertook no little changes to the finished product, and, Mr. Cab Driver 'works very well in the nude, accompanied only by guitar version, Weil halt a class song. The second CD then brings live recordings of the album from this period, and since you realize then that the man in the concert really good time - was even superlatively well, because with the intensity with which it these songs over brought, one gets the impression, if it were here a man of conviction, and not to the cool calculative careerists, as he turned out later. A rewarding new acquisition this issue.