If Tool fans would like to take there respective shots at me, now's your chance. Let me explain. Last year I was so taken aback by A Perfect Circle's Thirteenth Step album, that I hastily ssuggested that A Perfect Circle should now be Maynard James Keenan's first priority. Well, I got my wish, and what I've received is something that makes we want to go purge my foolish remark by listening to old Tool records.
Released on election day 2004, eMOTIVe is an all cover songs (except for two) album that is based upon the theme of peace love and understanding. That's fine by me; Maynard has shown in the past with Tool (Led Zeppelin's "No Quarter") A Perfect Circle (Failure's "The Nurse Who Loved Me") and even The Replicants (Wings' "Silly Love Songs") that he's capable of taking other artists material and spinning it into gold. The aforementioned covers take the originals and reinvints them in a way that respects the artists who wrote them while elevating them to a higher plane. But eMOTIVe is something completely different - something that I never thought Maynard was capable of: lazy, boring, tedious and artless work. These are only just a few ways to describe this colossal blunder.
Let's get the lesser examples of mediocrity out of the way first, before I rip this album a new asshole. One of the originals here, "Passive," is excellent. It would have accompanied Thirteenth Step very well, if by chance it actually was a track that was left on the cutting room floor from that album. The only two cover songs that work well here are a respectable cover of Devo's "Freedom Of Choice" and a haunting a cappella version of Joni Mitchell's "Fiddle And The Drum" -but that's it. Everything else here is a joke and a complete waste of time.
Versions of Black Flag's "Gimmie Gimmie Gimmie," Depeche Mode's "People Are People" and Fear's "Let's Have A War," are just plain embarrassing, to say the least. If you don't laugh at these covers halfway through them or skip right over them to begin with, there's something very wrong with you. Versions of John Lennon's "Imagine," Marvin Gaye's "What's Going On" and Elvis Costello's "Peace Love And Understanding" are mundane and dull at best. When I was at Lollapolooza last year, Chris Cornell and Maynard did a rousing version of "Peace Love And Understanding" on acoustic guitars that was very powerful. This new re-imagining is just a gothic, industrial, drawn-out mess.
It's very sad indeed to watch a great band like this drag prevalent political songs of the past through the mud and fuck them up this badly. For an album so obsessed with delivering a message of peace, how ironic it is that it's turned out to be such a gigantic bomb.
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