12 Songs, 41 Minutes

EDITORS’ NOTES

The decision to open its second album with a cover of Curtis Mayfield’s “Freddie’s Dead” was Fishbone’s boldest statement to date. The band updated the instrumentation for 1988 but otherwise offered a completely sincere reading of Mayfield’s classic, asserting its spiritual affinity with an earlier generation of political and musical innovation. The rest of Truth and Soul introduced a slightly more mature Fishbone. The band retained the energy and diversity of its early days, but its delivery was less tongue-in-cheek. Vocalist Angelo Moore is full-bodied and impassioned as he sings the refrain of “Question of Life.” The themes here include self-examination and political principle, but when the band makes a statement on racism it's careful not to fall back on boring language. “Slow Bus Movin’” is as surreal as it is enraged: “Stricken with determination to rise above a slave/The mayo men used firehoses to spray the monkeys back in their cages.” Musically, the band was at a muscular peak, with every instrument following the fearless athleticism of Moore’s vocals.

EDITORS’ NOTES

The decision to open its second album with a cover of Curtis Mayfield’s “Freddie’s Dead” was Fishbone’s boldest statement to date. The band updated the instrumentation for 1988 but otherwise offered a completely sincere reading of Mayfield’s classic, asserting its spiritual affinity with an earlier generation of political and musical innovation. The rest of Truth and Soul introduced a slightly more mature Fishbone. The band retained the energy and diversity of its early days, but its delivery was less tongue-in-cheek. Vocalist Angelo Moore is full-bodied and impassioned as he sings the refrain of “Question of Life.” The themes here include self-examination and political principle, but when the band makes a statement on racism it's careful not to fall back on boring language. “Slow Bus Movin’” is as surreal as it is enraged: “Stricken with determination to rise above a slave/The mayo men used firehoses to spray the monkeys back in their cages.” Musically, the band was at a muscular peak, with every instrument following the fearless athleticism of Moore’s vocals.

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