Michael Franti & Spearhead - Yell Fire!

74%
There's certain music that we all like despite the artist. For me, I was always a big fan of "Black Star" by Yngwie Malmsteen, even though he just happens to be the single biggest asshole in the universe (and I mean that quite literally, it's a proven scientific fact).

A lot of times for Michael Franti, unfortunatly, it's the opposite. He's got such an idealistic message, such an honest genre-mixing attitude, such a serious committment to his ideas and overall, he just seems like such a nice guy that it's hard not to want to like his music. A lot of times, Franti makes it easy by making awesome, soulful and enlighting music - take for example, "Sometimes" on 2001's "Stay Human". Other times, however, he falters.

As Franti returned from a 2004 trip to war-torn regions of Iraq, Israel, and Palestine, he came to the conclusion that people over there didn't want to hear that many more songs about war; instead, they wanted to celebratory music.

As such, the album is suprisingly light for the most part, stepping into balladry now and then, but avoiding any real darkness. Franti gets a crucial assist from the legendary Jamaican rhythm section of Sly & Robbie on most of the songs on the album, their contribution along with his backing band's consistentcy through bass player Carl Young, drummer Manas Itene, and guitarist Dave Shul.

Backed by a Chuck D-inspired booming yet with such a ... brotherly quality to it, Franti's assertions of peace, respect, equality and the legalization of marijuana (just as examples of this highly topical album) seem earnest and convincing (whether they are values to be agreed on is another debate).

The album is at it's best on it's faster moments, including the opener "Time to go Home", the more straightforward reggae of "Hey Now Now". Both Franti and Spearhead probably are at their best when playing reggae with elements of soul, and they still may be one of reggae's most talented acts.

It's weaker moments are when Franti tries to write 80's rock-inflected ballads that sound like second-rate U2. They are decent, but certainly not exciting.

And that last sentence may sum up this album at it's best: good, but just not excitingly so. Franti seems to make music only as a vehicle for his political message, which in of itself is completely open to interpretation and subjectivity. Franti is a good songwriter but he is by no means genius, and his inability to really make a song hit home is what ultimately holds back the album: it's an attempt at a celebration, but it's not inspiring in any way. The overall concept of this record is as likeable as the artist, but you really would have liked for a little better execution.

-Luis