One of the most exciting albums released during a decade of artifice and extravagance, in a mere ten songs and 35 minutes the Fine Young Cannibals created a masterpiece. Admittedly the trio had some help -- backing singers, guest musicians (including former Squeeze piano man Jools Holland and Talking Head's Jerry Harrison) -- but that doesn't take away the band's own accomplishment. Remaining true to the FYC's vision of tying past and present musical styles together into artful new pop packages, The Raw & the Cooked features a shopping list of genres. Mod, funk, Motown, British beat, R&B, punk, rock, and even disco are embedded within the songs, while the rhythms, many synthetically created, are equally diverse. In less delicate hands this would be nothing more than an everything including the kitchen sink motley mess, but FYC manage this mix with subtly and elan. Two-thirds of the record were released as U.K. singles, all were hits, and each one proudly boasted a distinctly different blend of styles. "Good Thing," for example, was the trio's tribute to the legendary all-night Northern soul parties of the '60s, but is much more than a mere meld of mod and Motown. It's actually built round a slinky R&B riff, fueled by a boogie-woogie piano, and slammed home with a cracking beat. "I'm Not the Man I Used to Be" is a torrid torch song, but fired by a futuristic jungle beat and an almost housey production. Then, of course, there's "She Drives Me Crazy," which features the most unique, and instantly identifiable, beat
iff combination of the decade. Even the four tracks that didn't make the singles cut could have, if MCA had the audacity to keep releasing them. "Tell Me What" perfectly re-creates the Tamla sound, with only the synth giving it a modern touch, but on the rest, FYC delve deeper into funk, disco, soul, and lovingly coax them into the modern era. Every one of Raw's tracks simmers with creativity, as the hooks, sharp melodies, and irrepressible beats are caressed by nuanced arrangements and sparkling production. Never has music's past, present, and future been more exceptionally combined.