Little Steven & the Disciples of Soul Albums (5)
What The Critics Say
"This is the record I would have made in 1969 had I been capable," writes Little Steven of Born Again Savage, his first album in ten years and fifth album overall. In case that statement doesn't tell you enough about the sound of the record, he goes into detail: "It is a tribute to the hard rock pioneers that kept me alive growing up, the Kinks, the Who, the Yardbirds, and the three groups the Yardbirds spawned -- Cream, the Jeff Beck Group, and Led Zeppelin." Actually, he cites even more influences, but that should be enough to give you the idea. With a rhythm section consisting of Led Zeppelin drummer John Bonham's son Jason Bonham and U2 bassist Adam Clayton, Little Steven layers on the guitars in emulation of everyone from Dave Davies to Jimi Hendrix, and at times it's hard to realize that you're not listening to a song from You Really Got Me or Axis: Bold As Love. The primary difference, in fact, comes with the lyrics, which Little Steven spits out in a Bob Dylan-like nasal howl that has improved from the whine of his earlier albums primarily by deepening. The man who wrote the anti-apartheid anthem "Sun City" retains his extensive political interests, though here they are often expressed in the form of rhetoric rather than spoken plainly. This may be because Born Again Savage is deliberately intended as "the fifth and last of the political albums I outlined when I decided to make my own records," as Little Steven puts it, and therefore, it is the one on which he is drawing broader philosophical conclusions. No wonder that the "suggested reading" list he provides this time around consists entirely of religious texts. Still, the basic conclusion remains that the world is going to hell in a hand basket, and, if anything, Little Steven's world view is even more depressing than it was in the 1980s for being less specific. Still, it is made more palatable by being married to guitar tracks that sound like they were recorded in 1968, and if you don't read the lyric sheet, you won't get too bummed out. ~ William Ruhlmann, All Music Guide
What The Critics Say
Surrounding himself with a sensational cast of studio pros including drummer Steve Jordan, bass players TM Stevens/Doug Wimbish (who would later join the ranks of Living Colour), and keyboard guru Bernie Worrell, in 1987, Little Steven would release Freedom No Compromise -- the E-Street-er's third solo record to date. Synth-ladden textures, samples, and programming aside, Freedom No Compromise is an ambitious if somewhat over-produced effort. Although, certainly not as accomplished as Steven's sensational debut Men Without Women, the album features some fair to very good material. With a heavy political agenda in toe, "Freedom" opens the record. "Freedom" is quickly followed by the riveting "Trail of Broken Tears" -- the latter hindered only by some ill-advised drum programming. Little Steven's weathered voice is in full-on Bob Dylan-meets-Keith Richards mode as he pronounces that "there ain't no love here, love's been sacrificed, promises buried beneath, the trail of broken tears." The Latin-flavored "Pretoria" runs side by side with the album's best track, the monstrous-sounding "Bitter Fruit" (a duet with Ruben Blades. And although the track sounds like one big party, upon closer inspection, it's clear that the song is a solemn condemnation on the state of intrusive U.S. anti-communism Reaganomics in Latin America. Surprisingly, in Europe, the track proved to be a massive hit for Little Steven. Coupled with the success of another one of Freedom No Compromise's tracks, "No More Partys," the E-Street sideman would return to the old continent as an arena sensation in his own right. Another track worth noting is "Native American," a lackluster collaboration with Bruce Springsteen which yet again gets lost in some weak programming and over-produced synth action that results in the song sounding like a bad UB40 outtake. Freedom No Compromise comes to an end with "Sanctuary" (a not so distant cousin of "Bitter Fruit"). Overall, a good effort, but not a great one. For a better taste of the artist, spend some quality time with Men Without Women. ~ John Franck, All Music Guide
What The Critics Say
E-Street Band guitarist Steve Van Zandt left the band following the recording of Born In The U.S.A. and released his own album, Voice Of America. It was Van Zandt's second album, after his prior release Men Without Women, and he was again backed by the Disciples Of Soul, including bassist Jean Beauvoir, and drummer Dino Danelli. Van Zandt himself handled vocals and guitars, as well as writing and producing the record's ten songs (the 1991 reissue included two bonus cuts). Voice Of America is a straight-ahead rock record with punk underpinnings and strong percussive rhythms. Van Zandt is a bit thin and reedy as a singer, but manages to carry through on passion and bravado. The lyrics have political overtones and occasionally come off as preachy. There's still some riveting stuff here including the rave-up rocking wake-up call of the title track, the propulsive, synth-driven anthem "Out Of The Darkness," and "Los Desaparecidos," a compelling, percussive-laden cut detailing the casualties of South American politics. ~ Tom Demalon, All Music Guide
'Men Without Women'
Release Date 1/1/1981
Tracks 10
Label Razor & Tie
See Album Tracklist and Review
What The Critics Say
Anyone who has ever saw Bruce Springsteen and the E Street Band between 1975 and 1981 knows one of the reasons they were among the best live bands in America is they had three members with the power and charisma to make great frontmen -- Springsteen, Clarence Clemons, and "Miami Steve" Van Zandt. In 1982, while Springsteen was laboring over Born in the U.S.A., Van Zandt -- who'd already proved his considerable chops as a producer, songwriter, and arranger working with Southside Johnny and the Asbury Jukes and Gary U.S. Bonds -- stepped away from the E Street Band to launch a solo project, Little Steven & the Disciples of Soul, and in many ways the first Little Steven album, Men Without Women, is the finest album the Asbury Jukes never made. Like the Jukes best work, Men Without Women blends the muscle and swagger of Jersey shore rock & roll with the horn-fueled heart and soul of classic R&B, and here Van Zandt was willing to push himself further in both directions at once. With a five-piece horn section blazing throughout (featuring Richie "La Bamba" Rosenberg leading a crew of former Jukes brass players) and former Rascals Dino Danelli and Felix Cavaliere on hand, this album's blue-eyed soul credentials are unimpeachable, but Van Zandt's guitar (and Jean Beauvior's bass) speak with the sound and fury of a true roots rock rebel. While Van Zandt's songwriting was always impressive, Men Without Women's best moments expressed a degree of passion, vulnerability, and determined fervor he hadn't quite permitted himself in the past (he also began to express the political concerns that would dominate his later work on "Under the Gun"), and if Van Zandt was a less precise vocalist than "Southside" Johnny Lyon, the gritty sincerity and emotional force of his performances more than made up for it. On Men Without Women, Little Steven & the Disciples merged the brassy swing of a classic Motown side with the sweaty blare of a amped-up garage band, and if that sounds like an odd combination, in both soul and garage rock, commitment is what counts, and Little Steven had that to spare -- along with a set of really great songs. ~ Mark Deming, All Music Guide
