Published on Feb 19, 2003
My first introduction to T.M. Stevens came when he was doing
some bass work with The Pretenders back in the mid-80s. He seemed
like a solid and very refined player. I continued to see his face
and name in connection with many acts over the years.
I was bit surprised and excited by the idea of T.M. Stevens solo
record. At first I thought it would be just another bass album,
showcasing his four-string ability. After just one listen, I
realized that was not the case. This is an album that has great
instrumentation, but that emphasizes individual songs.
Shocka Zooloo is very dynamic, funk-oriented and full of
rhythm. That shouldn’t be surprising since just about all of the
tracks were written by Stevens. So, they’re written from a very
rhythmic point of view. There is a lot of diversity in the overall
sound of these songs, as there are many different players appearing
on the individual tracks. It feels like everyone brought something
with them, which strengthens the whole album.
This is the first time I’ve heard T.M. Stevens singing; he
handles the vocals on all tracks and does a great job. The vocals
fit the music and complement the rhythm. There are also several
back-up singers helping Stevens make the best out of each song, and
adding more flavor.
The songs themselves vary in styles and structures, which makes
the album very enjoyable. Anyone into music with heart and rhythm
will find something they like. As for myself, I like listening to
it as a whole, because I like how the songs flow into each other.
It has that kind of ’70s feel, where the bands would focus on
making very good albums, as opposed to one or two standout tracks
and the rest fillers. On the other hand, Shocka Zooloo is a very
modern-sounding album. The production reflects the latest trends
and tricks, but here it serves the music’s purpose by making the
album vital and strong.
This is a very good album, a surprising one I might add. It’s a
music with good feel, well-written, well-executed, and still
maintains a lot of heart.