dc Talk Solo, Part 2: This album sounds great on all "stereo types"!
Written: Sep 03 '01 (Updated Mar 17 '03)
Product Rating:
Pros: Kevin's poetic lyrics don't disappoint; the Eastern musical influences are thrilling.
Cons: None for me, but some will wish for more direct songs about Jesus/God.
The Bottom Line: Kevin has far surpassed expectations and given us a challenging and thrilling album while retaining the catchy, poppy flavor of some of dc Talk's best material.
Warning: This opinion reveals major details about the album's plot.
A few short months ago, I wrote a quick review on dc Talk’s Solo EP, praising the individual efforts of three of the most talented guys in Christian music, who have cranking out hit after hit successfully for years despite their radical transformation from a cheesy Christian rap act to a wonderfully diverse and thoughtful modern rock trio. While the Solo record was a great example of the three projects to come from Michael Tait, Kevin Max, and Toby MacKeehan, I urged readers not to buy the EP, since they would most likely end up purchasing the songs they liked yet again as each group member’s album released. I’m sticking with my guns, because Solo only gave us the tip of the iceberg. As I mentioned back in July when Tait’s record came out, it was a solid straight-ahead rock album worthy of a five star rating, just about meeting my expectations, since Michael Tait is my personal favorite member of dc Talk and I knew from several months prior that his band rocked.
Kevin Max (formerly Kevin Smith, but it’s kind of convenient that he changed it and now won‘t be confused with the creator of “Jay and Silent Bob”), on the other hand, is my least favorite member of dc Talk (with white boy rapper Toby Mac holding the center spot). That’s not to discredit his talent any, because he’s got a great voice (which was criminally underused in the group’s hip-hop days) and a flair for poetry that helps to take Mike and Toby’s rather straightforward lyrical styles to the next level. Out of the group, he tends to be the biggest “freak”, often manipulating his parts of the group’s well-known songs in concert and keeping things artistically interesting, but difficult to sing along to. It’s like he has this innate need to not do anything the way it’s normally done, and as a result he can sometimes come off as being a bit “out there”. Now, there’s nothing wrong with that - I love Kevin and all, but he is kind of the “odd man out” in dc Talk. He’s lent his vocal talents to a great number of other projects, but until now, we haven’t heard much from Kevin on his own, even though we all knew he was itching to do a solo album for quite some time before the group decided to take a break and pursue their own musical styles independently of one another. And thank God they did, because the world needed to see this side of Kevin.
It’s apparent right from the beginning that Kevin Max did not set out to make Stereotype Be such an “out there” record that no one would like it except for a few patient critics or diehard fans that labeled it as “brilliant”. I think Kevin wanted to show us all that he had a commitment to making a great pop record chock full of thoughtful and catchy songs, and yet still making it different. I’m happy to say that he succeeded. Leaning mostly away from the driven, urban-influenced rock of dc Talk, Kevin colors these songs with a generous sprinkling of Eastern instruments and other “world music” sounds, subtle digital effects, and good old classic rock. The result is like getting Sting, John Lennon, Rob Thomas, Bono, and a few beatnik poets from the local coffeehouse, locking them all in a recording studio for a few days, and seeing what they come up with. Such a concoction has the potential to be a real disaster, but Kevin is no stranger to the art of pulling together distinct styles and creating a cohesive, satisfying whole, given his history with dc Talk. Stereoptye Be is chock full of great sounds and even better lyrics. The songs that you heard on Solo don’t even begin to do this album justice, and Kevin has said that he felt like Solo was kind of cheating on the full album. It may not rock like Tait’s album does, but it’s a solid, five-star work nonetheless.
Return of the Singer I‘ll tell you how it‘s gonna be
We‘re gonna make some history
A microphone, the truth we speak
No joke, no trend, no fan of the week…
The album starts right off with Kevin’s voice being run through some odd digital effects, the notes hitting some strange Eastern-sounding notes that are a hint of things to come. A very catchy drum loop dominates this song, overlaid with real drums to make for an incredibly upbeat opening track. Kevin uses some very strange analogies to draw the listener into the album: “I’m coming out like a .45/Spinning like a Wurlitzer on overdrive”. The message of the song seems to be that he’s back (from wherever he was), and I’m not sure who exactly he’s returning to - perhaps it’s us (the audience), perhaps it’s his wife (many of the songs on this album deal with love), or God. But the track sets the bar high for the rest of the album, leaving us hungry for more of this singer’s talent. Using this track on Solo was a wise choice (at least, if Solo absolutely had to exist) - if you think this one is too weird, you probably won’t find much to enjoy on Stereotype Be. Personally, I think it’s got a great tune, cool production, and a catchy chorus - how could any dc Talk fan not like it?
Existence Illusions of the world are spinning
Out of time and frame and synchronicity…
The second track pulls back the percussion just a tad to allow the other musical elements to shine through, and it pays off - the song leads off with a compelling series of piano chords and an Eastern-tinged guitar, transporting the listener deeper into Kevin’s musical universe. This song is a metaphor - it describes a lonely girl, struggling to figure out her place in life, and keeping that struggle hidden from the outside world. Since the chorus states, “What is this, this mess of my existence?”, I have to think that Kevin shares the insecurity he is describing. The song is very slick and sophisticated, and pulls another trick out of the dc Talk hook handbook - Kevin incorporates a short rap into the second verse, which actually works quite well, given the syncopated rhythm of the song. Another rapper breaks in during the bridge - Coffee from the Christian rap group Grits. His contribution is a little more “loose” as far as rappers go, purposefully falling behind the beat at times to make the rap sound more conversational. I don’t know; I’ve always preferred Toby’s style myself, but this ain’t bad, and it’s great to see Kevin tipping his hat to a facet of his musical history that many of us thought he was glad to be rid of.
Be We follow everybody else, not knowing what we‘re made for
The Mecca of the insecure, the sign and the mark of the popular…
This is the other track included on Solo, and the first radio single - a ballad dedicated to individuality. When I reviewed Solo, I was a bit harsh on this song (as I was on Tait‘s song “All You Got“ - sorry Mike!) because I thought it was a bit cliché, but I have to recognize after listening to it a few more times that Kevin does a really good job of choosing clever lyrics during the bridges, decrying a world in which the media tries to make everyone look and act the same way, or rebel just for the sake of rebellion. I still find it to be pretty basic on a musical level, but Kevin turns in a good vocal performance, and when he croons, “Be yourself, don’t let the losers tell you what to do”, we all know he’s practicing what he preaches.
Angel with No Wings Who said romance is a chosen thing
Maybe it chose you
Who said there‘s someone perfect waiting in the wings
Perfection isn‘t you…
Some peppy acoustic guitar chords and bubbling synths start this song off, and here we get the first taste of Kevin’s apparently insatiable desire to describe the difficulties of romantic relationships in his songs. Another girl is described in this song, one that he seems to be in love with while realizing that she’s too different from him. He seems to like a lot about her, but at the same time, she seems like too much of a free spirit to be pinned down to him, hence the relational difficulties. And perhaps Kevin thinks she’s more trouble than she’s worth when he asserts “You know she flies with strings attached”. It’s kind of a funny image - as if she were only the stunt double for a real angel. This is definitely one of the catchiest songs on the album, keeping its light but driving pace, and it might just make it as a single after “Be” and “Existence” have run their course.
Shaping Space It‘s a prophecy of long ago
It‘s a blueprint for the journey home
And we‘re writing as we stumble on
Making history to build upon…
Also beginning with acoustics and synths, this is a slower song that took me a few listens to get into. Apparently it was one of the first that Kevin wrote for the album. He seems to be addressing one or more of his friends here, and though it’s tempting to think it’s a love song just from its dreamy, “spacy” sound, I have to let go of that idea when he gets to the chorus and proclaims “We’re the princes of the universe.” Such a statement seems a little odd coming from a man who bares so much of his insecurity elsewhere on the album. This song seems to describe the music business and the people who didn’t think he and his friend(s) would last (perhaps he’s talking to Mike and Toby?) Perhaps the “universe” he speaks of is the world of Christian music, and it can be a rush to be in the limelight, though Kevin has always approached his celebrity with mixed feelings - he’s got his own issues with the industry that he alludes to from time to time during interviews. Anyhow, the song sticks to its triumphant theme, making the trumpet fanfare that breaks in mid-song all the more satisfying.
Dead End Moon Oh dark mistress, my only salvation
If only to hold you in blessed suspension…
Here’s where the Sting comparison factors in the most. Kevin seems to have gone for broke with the Middle Eastern sounds on this song, creating a luscious, dreamy landscape in which he tells the story of a temptress who won’t seem to let him go. All we need her is for some guy singing in Arabic (or a similar language) to jump in, and we’d have Sting's “Desert Rose” all over again! But Kevin keeps the vocals to himself, and as always, does a great job. The imagery is really thick in this song, and I haven’t deciphered it all, but he definitely comes across like he knows what he’s doing - he confesses to being a huge fan of some of the Eastern-sounding stuff that the Beatles did in their more experimental days, and he manages to create something that doesn’t sound like any other artist in Christian music that I can recall.
Union of the Souls How can I bleed my sorrows
And you hide your accomplishments?
I was dead right when I predicated that Kevin would include a few short poems as interludes on his solo album - this is the first of two. Lasting only a minute or so, this is a personal note to his wife, praising her virtues and musing on how she can love him when he feels so much like her imperfect opposite. The backing music is just gorgeous on this one - an almost medieval-sounding bed of acoustic guitars and strings draw out the romantic character of Kevin’s poem. Kevin’s co-producer Adrian Belew (who has played guitar for the band King Crimson and produced for many other notable artists) brings back memories of his work on some of Jars of Clay’s early songs all too briefly, and then the song fades out. It’s a darn shame that the music backing this piece didn’t develop into its own song - it’s that good.
The Secret Circle I wonder if she‘s lost it in the head
Yeah, she just wants to get you into bed…
I have to admit, it seems almost jarring to have such a lovely poem in between two songs about tempting and deceptive women (though I haven’t actually bought the CD just yet, so it’s possible I could have an icorrect track order, but anyways…) This is definitely the weirdest song on the project, the one most likely to turn fair-weather fans away with its fluid tempo, disorienting production, and lyrics that describe the life of a prostitute (or perhaps just a woman who likes to use men for the fun of it). Apparently Kevin took the lead from Adrian Belew’s progressive rock history on this one, due to the seemingly disjoint musical passages (including a few spoken parts that are rather hard to hear over the maelstrom of sound), but it still runs a bit short to be a true prog-rock composition. The song isn’t so much angry as it is honest about the hazy lifestyle of a girl named Ellesun and her covert society. It’s a peek into a dark and troubling world, and the song doesn’t really offer any answers, other than maybe telling guys to steer clear of such women. Impatient or overly conservative Christian listeners will likely wonder at this point when Kevin’s gonna start singing about God again. I just wonder what Kevin went through is his love-life before he got married. He is quite the man of mystery…
I Don’t Belong You made me a prince, you made me a pauper
Then you turned and closed the gate…
This easy-going, mid-tempo tune breaks right in with a rather disarming lyric: “So we broke up/So you decided/It was you, it’s always you.” The song unfolds from there to allow Kevin to describe, with an awkward fascination, his status as a misfit - whether in the Christian music industry, or just among his circle of friends, or whatever. He’s said that this song deals with his relationship to the other guys in dc Talk, and it’s almost humorous when he begs, “I don’t belong, say I’m wrong.” He doesn’t want to compromise his “weirdness”, but he wants to be accepted. I guess you could still read this as the breakup of a romantic relationship, since it seems to deal with the awkwardness two people feel around each other after they have called it off. It works on both levels. I’m just glad that all three members of dc Talk have made it abundantly clear that they are not breaking up, because this song would sure scare a lot of fans otherwise. I guess it’s Kevin exploring the “what if” of the situation, knowing that the three of them have such radically different tastes. Kevin was, after all, the one who thought about leaving the group for a little while after the Supernatural tour had worn them all out.
Blind And if you can, please take this sword back from my side
Its poison mark is like a tattoo of my pride
I‘m guilty, so shoot me, I‘m guilty…
Picking up the tempo a bit, this is a slightly amusing, self-deprecating anthem dealing with the subject of temptation. The Eastern-tinged guitars are back in the mix for this one, but there’s also a little bit of electric in the woodwork, and Kevin makes good use of backing vocals on this one as well (though I think he handled them all himself - I think he got so used to having different vocal parts going on at once while recording with dc Talk, and so he still thinks in that mode when recording songs, but that’s just my speculation). He pretty much admits in this song that he’s a sinner and he sucks. He falls for the forbidden fruit because he’s blind to the danger lurking behind each bad decision. He seems to ad-lib a particular line in the chorus, one which he’ll probably change around further when performing this song live, as Kevin is prone to do. This song is chock full of good lines - “I’m certifiable, but I’m on time” is one of the ad-libs that he inserts into his varying chorus. The best part has to be the bridge, where he uses a great little pun - “I need divine intervention… I’m the branch, You’re divine.” Get it?
On and On You are a vision, and I am blindness…
Mmmm. Yummy little love song, this is. Alayna Max is certainly a lucky woman, because Kevin has confessed that he just doesn’t do ballads, and she prompted him to give it a try, and this song popped out at the last minute. (Good things tend to come from persistent wives in the Christian music industry - Geoff Moore’s “If You Could See What I See”, now widely used at many Christian weddings, was prompted by Steven Curtis Chapman’s wife telling Geoff Moore’s wife that she felt so fortunate to have a husband who would write love songs for her, and the Geoff Moore wife got this idea… but that’s another story…) Once again, acoustic guitars and synths are at he forefront, creating a calm and lovely description of their relationship, using similar language to “Union of the Souls” as Kevin muses about their contradictory nature: “You are a fortress and I am abandon”. Kevin has a definite “Bono moment”, sounding almost exactly like the U2 front man during the bridge, which adds in a harmonica to give the song a more organic flavor, much like a few of the ballads on U2’s latest album. This would be the perfect song to dedicate to my future lover - I get very strong visions of a slow dance in a dimly lit bedroom while this song plays quietly in the background…
Her Game Is it real or Memorex
Those secrets that you feared confess
When she was there, you let it all spill out…
Here’s one last difficult relationship song for you. Kevin has mentioned that this song sounded a bit too “John Lennon” when he wrote it, and se he got Adrian Belew to tweak it around a bit, but the keyboards and the gentle, playful percussion still dredge up what little Beatles knowledge I have (other critics have gone so far as to imply that most of Stereotype Be sounds like something the Fab Four might have attempted had they been around today). The whole song has a “cutesy” feel to it, evoking images of this troublesome girl who likes to play games with men’s hearts. The song is directed at a man whose friends can see him caught in this deceptive relationship, but he’s under her spell and he doesn’t want to leave her. Once again, I have to wonder what Kevin went through before he got married…
Deconstructing Venus You wear Versace but you look like a dirty bird
And even the paparazzi think you‘re quite absurd…
While most of the back half of the album has been rather down-tempo, Kevin ramps it back up again with a strong rocker on this one, though it takes a little while to kick in full force. The album’s theme comes full circle, incorporating the media’s tendency to tell people what they should be like and Kevin’s disdain for deception into this indictment of supermodels. He takes this “Venus” character and pretty much pulls her apart - not insulting her, but just asking her if she ever sits down and thinks seriously about anything other than her clothing and her social life. The funny thing is that when he tells her she looks like a “dirty bird” (I believe that was once the title of the song), I get this image in my head of Bjork at the Academy Awards. In any case, it’s a great tune, and it really brings up the end of the album (this being the last “official” song). It closes with sort of an impromptu jam session and then fades into…
I Went Over the Edge of the World I face the microphone and fumble in my pockets for a change…
The second of Kevin’s poems is much less peaceful than the first, an electric guitar noodling around in the background as Kevin describes his place in the music industry. “Nothing is black or white”, he asserts, “or devoid of industry”. This must have been a slightly uncomfortable one for ForeFront records to put on one of their CD’s, since they (along with several other big-mane Christian labels) have chosen flash over substance quite a bit in some of the “artists” they’ve recently signed. Cleverly, the most accusing line in the poem is backmasked: (Spoiler Alert!) “A break from the deranged world of sevitucexe drocer dna stnatnuocca, plotting out the death of art.” Way to end an album, Kevin!
You I ran into Your arms like Moses parted water
I ran into Your arms like an angel to the father
I ran into Your arms like a soul that has departed
And You rescued me…
Interestingly, the bonus track fades in with the sound of an audience clapping, almost as if Kevin is leading a worship revival, and sure enough, Kevin saves the most directly spiritual song on the album for last. It’s a bit different from the rest of the CD, definitely more dominated by electronic effects and so forth, and once again Kevin manages to sound a lot like Bono. However, I’d be hesitant to lump this into the category of “worship” - it’s very reverent to God, offering Him thanks for pulling Kevin up out of a troubled world in a way that reminds me a lot of U2’s take on Psalm 40 - but some of the lyrics might be alarming to more conservative listeners, especially “You are the drugs that kill the pain”. I always feel a bit awkward whenever such a metaphor for God slips through, but somehow it works here. Other than that (and maybe the line “I come before Your altar like a lamb led to the slaughter”, I think fans are gonna love this song, and perhaps Kevin placed it as a hidden track so that the one “explicitly Christian” song, with its simple chorus of “You are the one, You are my God” wouldn’t get grabbed as the obvious single and overshadow some of the more challenging song on the record. It took guts for Kevin to write this, and I commend ForeFront for allowing him to keep it on the album, even if the same lyrical bravery I commend also makes me a little uneasy.
Overall, Stereotype Be is an excellent album, possibly better than Tait’s Empty (not that it would ever occur to me to compare the two if the two guys weren’t from the same group). There’s not a dull song on the project - my least favorite songs are still pretty darn good. Kevin’s managed to sidestep the cookie cutter nature of a lot of Christian music while crafting an intelligent pop record. If you liked some of the more esoteric lyrics that dc Talk has come up with (especially the poems at the end of Jesus Freak and Supernatural), or if you are a big fan of Eastern influences in music, then by all means go pick this one up. If you’re one of those “Type A” listeners who expects a high Jesus-reference factor and doesn’t want to be challenged or dig for meaning, though, then please don’t insult Kevin’s intelligence - just wait for dc Talk to put out a new record, and maybe you’ll like a song or two. I’d already have it in my hands, had it not come out the same day as the new Skillet and Out of the Grey albums (next paycheck, I promise…)
Only one other thing I have to say, given that Empty and Stereotype Be are both solid, five-star albums, it’s not like there’s any pressure on Toby Mac or anything…
TRACK REVIEW SUMMARY Excellent: Existence, Return of the Singer, On and On, Her Game, Angel With No Wings
Good: Dead End Moon, Shaping Space, Union of the Souls, The Secret Circle, I Don't Belong, Blind
Decent: Be, Deconstructing Venus, You
Weak: NONE
Skippable: NONE
Website: http://www.kevinmax.com (also check out http://www.dctalksolo.com)
Influenced by musicians like Elvis Presley, Queen and John Lennon, and by writers like C.S. Lewis, J.R.R. Tolkien, Kevin Max offers up an incredibly c...More at Christianbook.com
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