Rock icon Mick Jagger releases his fourth solo album, Goddess in the Doorway, as an attempt to mark his place in the new century. Jagger, the Rolling Stones' frontman, last recorded a solo album in 1993. On Goddess in the Doorway, he experiments with pop production that has become commonplace since then.
To modernize the album, Mick Jagger first wrote drum beats to go along with his lyrics. He then enlisted the help of several proven songwriters and musicians to add their touches. These collaborators included Bono of U2, Rob Thomas of Matchbox 20, Pete Townshend, Joe Perry of Aerosmith, and Lenny Kravitz, who co-wrote "God Gave Me Everything," the album's first single.
The album starts out with "Paradise," a song that introduces Jagger's pop drum beats and bass parts that are prevalent throughout the album. The often calculated accompaniment reminds the listener of more structured acts such as Sting or Sugar Ray. A nice contrast shines through however, when Jagger's raw and aggressive vocals contrast the calculated beats and production.
The best songs on the album are those in which Mick Jagger is content to be himself. On "Joy," "Don't Call Me Up," and "Too Far Gone" he lets his songwriting take center stage and tones down the rigid beats.
The weaker cuts on the album are those that experiment with dance beats. The title track, "Goddess in the Doorway," "Everybody Getting High," and "Gun" are all hard to associate with Mick Jagger.
The best song on the album is "God Gave Me Everything." Written with Lenny Kravitz, it features a pounding bass line and fuzz guitar sound that make this the hardest-rocking song on the album. It was a wise choice for a radio single. "Dancing in the Starlight," set in an R&B style, and "Brand New Set of Rules," an acoustic-based ballad, are two more solid songs that round out the album.
Mick Jagger's "Goddess in the Doorway" is a non-spectacular meshing of two styles: dance pop experiments and tried-and-true rock ballads. Unfortunately, there are few faster rock songs to bridge the gap. The modern dance beats don't mesh well with Jagger, and many songs will disappoint his core fans. The more traditionally-flavored tracks are too stripped down and could use more interesting guitar hooks. Aside from Rolling Stones and Mick Jagger fans who will enjoy the handful of decent tracks, Goddess in the Doorway will not please.
2.5 tocks
Other coverage for this album
The Phantom Tollbooth March 2002Reviewed by Jeffrey OverstreetJagger the Pilgrim Mick Jagger's solo career has been a disappointing affair. I listened to 1985's She's the Boss, 1987's Primitive Cool, and 1993's Wandering Spirit, but it is telling that I can't remember a single song from any of them. Jagger's strengths have always been his stage presence, his compelling charisma and bizarre, extreme expressiveness. His vocals are all about attitude, his face…Similar sounding releases
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