THE DIRTY DOZEN BRASS BAND — What's Going On (review)

THE DIRTY DOZEN BRASS BAND — What's Going On album cover Album · 2006 · RnB Buy this album from MMA partners
3/5 ·
dreadpirateroberts
I love albums that take chances. Recording, rearranging and extending a dazzling classic like Marvin Gaye's 'What's Going On' is a bold move and it pays off for me.

The Dirty Dozen Brass Band play it big on most of the songs, but still take the time to make sure the melodies remain intact. Opening with a bit of a booming drum sound that also carries a nice snap to its beat, perfect for Chuck D to rap over, it's probably the standout song. His accusatory tone suits the album so well and his updated lyrics also match its purpose, recorded and released as it was in response to the tragedy of Hurricane Katrina.

Aside from Chuck D's appearance, four more guest vocalists appear, leaving the beautiful 'Flying High in the Friendly Sky' mostly instrumental, save for a cry for help sung by the band in 'group' vocal style. It remains delicate and moving, even fleshed out as it is with (among others) guitar, sax, trombone, trumpet and organ added to the rhythm tracks.

Other songs are expanded, both in length and instrumentation. 'Save the Children' is dominated by a growling sax and 'God Is Love' is given a bit of groove, so much so that it becomes a happy gospel piece, sung by Ian Neville, whose voice is probably most comparable to Marvin's. That said, I'm still of two minds about the arrangement. The following song, 'Mercy Mercy Me' (with vocals by G Love) is another where altering of the mood of the piece doesn't quite work for me, though nothing is performed poorly by any stretch.

In contrast, shortening 'Right On' and 'Wholy Holy' is a stellar move, allowing for a tight groove and energetic soloing on 'Right On' especially. The closer, the seminal 'Inner City Blues' is similar to 'What's Going On' in that the melody is carried by the horns and the vocals are handled by a rapper, in this case Guru. It's not moving in the same way as Gaye's version, instead, it is, like much of the album, charged with anger and is an accusation rather than a cry for mercy that Marvin's original seems to be.

Fans of the original record will find this at least interesting, but do listen first as it's a very different album to Gaye's. Big band fans or fans of the New Orleans sound should love this. The band cooks and most of the vocals are effective (including Bettye LaVette who I nearly forgot to mention) even if the focus is on, unsurprisingly, the fine brass ensemble playing. I've given it three stars because it might not suit everyone's taste to hear a classic album reinterpreted, though personally I really enjoy it.
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