12 Songs, 1 Hour 4 Minutes

EDITORS’ NOTES

If you think the longtime rocker would fly away as the world collapses, you don’t know Lenny. Global worries have led to a deeply creative period for Kravitz, and he finds release on Raise Vibration. There are wild instrumental breaks and extended sax solos, Native American drums and chants, a psychedelic ballad named after the Man in Black, even real Michael Jackson ad-libs from their “(I Can’t Make It) Another Day” session. Most of all, his 11th studio album skillfully marries rock and soul’s past to comment on the current state of the world. “It’s Enough” follows Marvin Gaye’s lead, asking questions about Middle East strife and political corruption over a slinky cowbell-assisted groove. “Who Really Are the Monsters?” takes a similar tack, this time invoking Prince & The Revolution, going in on the White House with snake-charmer guitar, brass, and percussion. Lenny, being Lenny, lets his sensitive side shine on “Ride,” one of his finest ballads yet.

EDITORS’ NOTES

If you think the longtime rocker would fly away as the world collapses, you don’t know Lenny. Global worries have led to a deeply creative period for Kravitz, and he finds release on Raise Vibration. There are wild instrumental breaks and extended sax solos, Native American drums and chants, a psychedelic ballad named after the Man in Black, even real Michael Jackson ad-libs from their “(I Can’t Make It) Another Day” session. Most of all, his 11th studio album skillfully marries rock and soul’s past to comment on the current state of the world. “It’s Enough” follows Marvin Gaye’s lead, asking questions about Middle East strife and political corruption over a slinky cowbell-assisted groove. “Who Really Are the Monsters?” takes a similar tack, this time invoking Prince & The Revolution, going in on the White House with snake-charmer guitar, brass, and percussion. Lenny, being Lenny, lets his sensitive side shine on “Ride,” one of his finest ballads yet.

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