Record
company executives must have been creaming in their pants when Lenny Kravitz
came along. Here was somebody who looked and sounded like a cloning experiment
between Jimi Hendrix and Stevie Wonder had gone exceedingly well, and an artist
that could successfully cross racial boundaries, appealing to white and black audiences
alike.One of my greatest regrets at Glastonbury - and I have quite a few - is walking past Lenny Kravitz playing on the Pyramid Stage on the Sunday afternoon of my first time at the festival, and not really noticing. I had forgotten how much I loved his earlier stuff, because by that time he was very much in the pop buyer’s market with his cover of American Woman. I probably didn’t stop and listen as I had Sunday fatigue at Glastonbury - when you get tired of seeing so bands play that your eyes and ears stop registering. I wouldn’t mind if he was the sort of artist who tours - but he isn’t, and that might have been my only chance to see him. Fuck!
This album is his last record below the radar before its follow-up Are You Gonna Go My Way catapulted him into the mainstream. It has a very nice appearance by Slash on Always On The Run, the standout track on the album aside from the radio-friendly It Ain’t Over ‘Til It’s Over.
Hit: It Ain’t Over ‘Til It’s Over
Hidden Gem: Stop Draggin’ Around
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