Victor Wooten is a joyful man. You can hear the joy in all his music. But run through this CD at least two or three times and listen to his amazing technical prowess so you get past all that, because he has. Just settle in for some very enjoyable performances. In Wooten's case
those chops are just a means to an end, and not an end it themselves.

2 Timers is an upbeat song that sounds like it could have come from Weather Report, and features some very fine harmonica work. It has a smooth transition where the bass part stays the same behind a very clever time change, from frenetic bounce to easygoing stroll and then
back again. Cambo has a vague vocal (indistinct lyrics, or maybe none at all) that sounds influenced by Middle Eastern laid over a strong foundation, but with a keyboard solo that unfortunately degrades into finger exercises. I Saw God is a happy-sounding tune with a lyric that gives a lighthearted but thoughtful and non-self-righteous view of religion ("I saw God the other day, she looked like you he looked like me," and "'You see, 'I'm not a religious type of person,' and he said, 'You don't have to be.'"). The Lesson is a bass solo feature with some percussive background that is influenced by Spanish music. Left, Right & Center is a selection with a touch of Brecker Brothers-style fusion-funk as multiple instruments double the same lines.

Sifu is an odd selection, starting out with somber strings and a voiceover from Wooten's martial arts instructor that says something that sounds like it was off-the-cuff but the song tries to put it on a pedestal: "A lot of times when martial arts teaches you a lot of techniques, you're taught to block a certain way, or to kick a certain way, it doesn't mean that guy is wrong, it just means you're the one doin' it, and it's no different, than, like, if you wore that shirt and I wore this shirt, it doesn't mean one of us is wrong." It breaks out of the adagio into a heavy fusion romp, occasionally re-sampling, "It doesn't mean one of us is wrong" as a percussion technique. It also gives the quote much more gravitas than it really deserves.

Miss U is a happy song with lyrics that suggest joyful mourning for a lost friend ("I know that I'll see you again, in other land, but until then, I'm going to miss you"). A running line through the song sounds like guitar but I suspect it's some sort of bass. Flex is yet another upbeat tune with a generous helping of bass runs, and reminds me a little of "(Used To Be A) Cha Cha" from Jaco Pastorius. The Gospel is very slow, loosely influenced by gospel forms and Dixieland, with a plaintive vocal of indeterminate lyrics. It finishes with the message, "Someday, maybe someday, we'll all be free" which might have had a definite message in 1865, another in 1940, but today I'm not quite sure what he's getting at. Song For My Father starts out as a typical energetic take on the jazz standard, but moves into some
interesting rhythmic and harmonic departures. Happy Song could have been done by Spyro Gyra, and is yet another joyful Wooten tune. You can almost see Snoopy dancing to this one (which might be. The album closes with Us 2, a slower tune that sounds like it could have been taken from the same Clapton songbook as Wonderful Tonight, though with sparse instrumentals, featuring the Dobro guitar sound.

This recording has some moments for hard-core musicians but is mostly a celebration of life and music without taking itself too seriously.

I've tried a few Victor Wooten albums in the past, but was never particularly hooked on any of them. But this one really works. There are a couple of songs that are just platforms for bass gymnastics that aren't very interesting--I've never been a fan of slap bass--and there are some cheesy solos here and there, but most of the cuts, especially the first four songs, are excellent for their ensemble playing, energy, and composition. As good as the bass playing is, the drumming is even better.

This album is great. Victor grooves it up in this album showing that he can out play anyone. Yep he's a freak on the bass. Also some great drumming on this album.

I bought this album with hi hopes from good reviews. Imagine my misery upon realising Victor merely succeeds in representing everything I hate about music.

I think this is Victor's most cohesive work to date in terms of putting forth an 'album' that caters to a wide range of musical tastes. I rate all his work 5 stars because it is what it is...fantastic bass playing. However, I think this particular album takes the whole musicality thing to a new level for him in terms of bridging the gap between a good 'song' and staggering bass playing. Eitherway, if you like Victor then you will be sure to like this one!!!