"We've all got our voice. And if I have this gift to play music, then I'm gonna talk about love," Lenny Kravitz says in a YouTube promo for his eighth studio album. Understood. Got it. The fact, though, is that Kravitz could be singing about old tires or bowling shoes in these songs and it wouldn't much matter, because in the basest and most primal way possible, they rock. Opener "Love Revolution" busts out a vibe that lingers, with Lenny barking a credo--clearly in his old-school element as drums pound and guitars get abused--and loving it. Breaks come in the form of quieter songs like the Beatles-esque chill-pill "Good Morning" and the vintage Queen-like "A Long and Sad Goodbye," but the mission of Love Revolution is mostly to move the masses. And that it shall: fists will pump, feet will stomp, and attitudes will be copped. As listeners flip through the track list and discern influences as far-flung as James Brown, the Black Crowes, and Jimi Hendrix, they will feel not disdain for the lack of ingenuity but appreciation for the good sense Kravitz shows in following those artists' leads. In jumbling them up and making them his own, he proves that love revolutions need not be tame. They can be fierce. The best evidence arrives two tracks in: though "Bring It On" features the soothing sitar of Anishka Shankar, it bashes its way through the speakers as though fueled by kryptonite. It is bad-ass, in a word. And so is this album. --Tammy La Gorce [ more ] »

On Baptism, his seventh album, Lenny Kravitz writes, arranges, performs, and produces every track. The trouble with working alone is that there's little quality control; some of the songs here really could have benefited from a bit of that. Not to say that Baptism is a complete dud of an album, indeed, the worst thing about it is its awful cover. "California" has a catchy, power-pop bounce that's actually reminiscent of Fountains of Wayne, with its fuzzy guitars and handclaps, as well as its un-Kravitz-like short running time (just over two-and-a-half minutes). But then "Sistamamalover" veers deep into Prince territory, with a groove that's too contrived, too dull, and too long. And there's some of the self-indulgence of a satisfied, middle-aged rocker apparent on "Minister of Rock & Roll" and "I Don't Want to Be a Star" (it's easy to sing about wanting only "a Chevy and an old guitar" when you're living in a massive mansion). The best tracks are the most straightforward, fun ones: the aforementioned "California," the ZZ Top-inspired "Where Are We Runnin'?" and the Stones-sounding "Flash." Kravitz should loosen up more and leave the angst to the teenagers. --Robert Burrow [ more ] »

Lenny Kravitz is known for proudly wearing his influences on his sleeve, but on his sixth album it's clear Kravitz has at last honed a sound he can call his own. Mixing hard rock and ballads, Lenny kicks in with the blistering "Battlefield of Love," a solid rocker with a funk groove. The retro "If I Could Fall in Love" displays a touch of psychedelia, while the Lennonesque "God Save Us All" is bluesy and uplifting. The success of "Again," the smash single from his 2000 hits package, appears to have registered with Kravitz, who surfaces a new crop of midtempo ballads here--all far stronger than "Again." "Yesterday Is Gone (My Dear Kay)" is a finely crafted tune on it's own, yet Kravitz experiments with atypical sounds. The soulful "Stillness of Heart" builds with acoustic guitars and layered harmonies, concluding with a lovely string arrangement. And "You Were in My Heart" mixes synth loops over solid rhythms and a haunting melody. Lenny may seem like an oddly nondescript title, but it's apt; these 12 songs simply sound like the work of Lenny Kravitz. --Gail Flug [ more ] »

More prolific than D'Angelo and Terence Trent D'Arby combined, one-man rock & soul revivalist Lenny Kravitz kept traditional pop values alive through much of the '90s. From the Motown-perfect "It Ain't Over Til It's Over" to the Beatlesesque "Let Love Rule," Kravitz has always inhabited his influences with a genuine spirit that transcends imitation. The 15 tracks found here provide a surprisingly coherent reminder of just how much the artist has accomplished in a relatively short time. And even if his biggest hit, "Are You Gonna Go My Way," falls short of its Hendrix target, Kravitz's cover of the Guess Who's "American Woman" still rocks in a pleasingly Neanderthal way. An infectious new cut, "Again," fits neatly alongside sturdy Kravitz originals such as "Fly Away," "Mr. Cab Driver," and "Black Velveteen," showcasing a talent whose postmodern pop should play well into the new century. --Bill Forman [ more ] »

Musician Lenny Kravitz and photographer Mark Seliger, chief photographer for Rolling Stone, have been good friends for many years. With access only close friendship allows, Seliger here captures Kravitz on the road, with his family, performing, in posed settings, with friends, and in the outrageous fashions that have become his signature style. Because of his emotional proximity to his subject, Seliger is able to create a truly intimate portrait of the rock performer from multiple angles. By teasing out Kravitz's considerable charisma, prodigious energy, and undeniable sex appeal, Seliger produces dazzling pictures of this musician who enjoys immense popularity among fans of all ages. [ more ] »