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PINK MAGAZINE - SRRING, 2005
Scott Free's latest album is unabashadly political, unapologetic and pugilistic. On his punch list: queers who become rock stars and jump back into the closet; gay-bashers; preachers preaching hate against homos; Ronald Reagan and his blind eye towards AIDS; racist, torturing cops and the legal system that encourages them; warmongering politicians; and even the corporate music industry. Free, in his first full-length release in five years, uses rap, anthemic rock and even jazz ballads to make his points and hammer them home.
TIM MURPHY'S ZINE PONYBOYS#15 - WINTER/SRRING, 2005
Scott Free returns with his first album in five years, expanding on the themes and sounds of the last record, The Living Dead (1999), which was much poppier than the fierce Getting Off (1997).
The elements of more complex arrangements and hope that crept in between his first and second albums were occasioned by improvements in his health, I would speculate; in the case of this third album, the emergence of love and impending matrimony have doubtless contributed to its increased breadth and focused anger (I think it was Elvis Costello who said falling in love increases your determination to rail against evil and stupidity).
This explains why an album which includes such touching lyrics as are found in “Who Do I Thank?” also incorporates the appropriately biting “Ronald Reagan’s Funeral”and “Fair Trade”, and music which veers from the alternate history pop of “John Loved Paul” to the pounding “Gospel Singers” (right up there with Diamanda Galas’ “You Must Be Certain of the Devil” in terms of using the genre’s tools to expose its contradictions). In terms of the middle ground, there are such tracks as the catchily rocking “Muffin Song” and the hopeful rap of “Another Day of the Cruelty”, while “Mouthful” and “Battle Hymn of the Intolerant” manage to muster a bitter chuckle or two in their brutal satire, and “Disco Divas” as well as “When Queers Become Rock Stars” and “The Emperor’s New Song” lay boots to some of the sad ironies and realities of the music industry.
For what amounts to a one-man recording, with some guest spots, it sounds quite organic and just polished enough to lure you in.
Scott and Gene, long may you collaborate, cohabitate and fornicate, brothers. J
IN MAGAZINE LOS ANGELES - FEBRUARY, 2005
They Call Me Mr. Free
Leather Western
A tireless and fearlessly queer icon in the Chicago music scene, Scott Free drops his latest disc, a collection of completely unabashed, in-your-face lyrics and experimental tunes. The man tackles just about every controversial topic that most will only either whisper about (or not touch with a 10-foot pole)— the closet, the war, the music biz, coming out, gay pride, bathhouse sex, oral copulation, watersports, and general man on man love. If you think that’s a mouthful, well—he even has a track with that title! With the blink of an eye, Free gets practically schizophrenic in his roles as a blistering rapper, a muckraking songsmith, a social commentator, or a touching balladeer.
You’ve gotta hear how this very butch white guy spits out rap-speak skills akin to Eminem— the reference is no mistake—on scathing tracks like “Another Day Of Cruelty” (school = hell) and “When Queers Become Rock Stars” (about how closeted cowards “spit in our faces and we swallow it”). And for everyone who shed zero tears when Ronald Reagan finally dropped dead, “Ronald Reagan’s Funeral” is essential listening for venting rage over that idiot’s duplicity and denial in the face of the AIDS crisis. Yet for what might sound like an abrasive experience (and mind you, parts are), Free’s musical muscle and grasp of melody is sturdy and even very pleasant. Think Rufus Wainwright with a Mohawk or Cole Porter wearing an ACT-UP t-shirt.
PAUL V.
ADVOCATE MAGAZINE - FEBRUARY, 2005
They Call Me Mr. Free • Leather/Western Records •
Chicago-based Free has a lot to say and a deep musical vocabulary with which to say it. Favoring hard-edged growls and rough new wave settings, Free targets music icons (“When Queers Become Rock Stars,” “Disco Divas”), warmongers (“Never Again and Again”), and cops (“Fair Trade”). Aping Eminem’s style, Free offers empowerment to bullied queer kids (“Another Day of the Cruelty”). But when he switches to a sweet, jazzy love song (“Who Do I Thank?”), you believe he means it.
MARK DAVIS
OUT MAGAZINE - FEBRUARY, 2005
They Call Me Mr. Free •
LEATHER/WESTERN RECORDS •
If you long to hear a bear growl after an extended hibernation, check out the latest from Scott Free. On his first CD in five years, the openly gay Chicago-based rapper and singer-songwriter proves to be a master soapboxer, ranting audaciously over lo-fi Intellivision-style backbeats about everything from tired divas at Pride to golden showers. Free’s at his bold best on “Ronald Reagan’s Funeral,” which finally gives voice to our collective sentiment about the late former president, and “When Queers Become Rock Stars,” which takes a mighty stab at ambiguous icons who capitalize on our gay dollars with one foot firmly planted in the closet.
RONNI RADNER
STONEWALL SOCIETY - 2005
"They Call Me Mr. Free" Review by: Len Rogers Humor, social angst, activism, and progression all would describe "They Call Me Mr. Free". However, there is an established simpler and most extraordinary phrase available. That being: Scott Free. Known for social commentary and music with thought and opinion, Scott misses no targets. He does add some lively humor and a few new sounds to his mix. Like the packaging, "They Call Me Mr. Free" delivers punch and example of
the "Free" humor. Make no mistake, the bite is there and in full everlovin' Scott Free style and grit. Generous with his community and fans, Free supplies sixteen new tracks plus two bonus cuts on "They Call Me Mr. Free". An eclectically blended mix of theme, style, genre, and emotion bring this experience to consistent thrills. Beginning with, "The Muffin Song", a steady rocking beat, "Free" lyrics, combined with the talents of Robert Urban (lead guitar & mixed by) and Anthony Maulella on drums make for a strong opening. Continuing in strength and depth with rap style "Another Day Of The Cruelty" Scott does not lighten the pace. The bite is back indeed as Free deals a rap on high school cruelty. The standard is set, and all of "They Call me Mr. Free" is high standard indeed.
The Scott Free classic style is well represented as well by power anthems; "When Queers Become Rocks Stars", "Ronald Reagan's Funeral" and especially for this Free-fan, "Battle Hymn Of The Intolerant". Closing the first sixteen tracks with "The Emperor's New Song" and "Who Do I Thank?" is the cap to a perfect "Free" experience. Always leaving you wanting more, Scott again brings musical light while opening the door to the next. Bonus tracks include "Dead Guys" and "Zombies", which have a new life of their own in the queer horror film genre. Always surprising and fulfilling, Scott Free's latest, "They Call Me Mr. Free" is no exception. A growth empowered strong "Free" brings his message to the front with clever flair. A must for all "Free-fans" and enlightened queer music collectors.
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