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Reviews have not been
broken into any sub-divisions - they cover all forms of black music. From
African, reggae, hip-hop, R&B, garage, blues, jazz, rock, Afro-Latin,
to gospel. They're however listed in alphabetical order on artist
name. We’ve tried to highlight British acts
by using red text.
Most of the reviews have been used in Kwaku's African, and hip-hop
& R&B columns in Gargamel magazine
(‘The international word in reggae and urban music’). This mega
reviews feature contains mainly releases between Oct. 2004-2005.
Scroll down, or use
Find facility in your browser. Enjoy (and (re-)discover)!
29th
Chapter ‘Full Time’ (The 29th Chapter) With
contemporary groups like Raymond & Co, Siani and Four Kornerz now on
the block, British gospel R&B and hip-hop has gone up a notch or
two, particularly as they are in business terms competing with those in
the secular market. For a own label operation, the quality here, from
the press pack to the CD and content is impressive in its eye to detail
and quality. This is the gospel quartet’s sophomore set, and very
enjoyable and impressive it is. The beats should grab any hip-hop fan,
irrespective of faith. Whilst they’re upfront gospellers, they drop
their rhymes over mellow beats like the R&B-laced socio-conscious
‘Deeper Love’, the jiggy, dancefloor-primed ‘Get Back Up’, or
the head-nodder ‘Fellowship Of The King’, which features fellow
gospel hip-hoppers.
57th
Dynasty ‘Boro 6, Vol. 2’ (FasFwd) Finally got my hands on the finished stock! It’s curious looking at the
cover of the album, which reads ‘A dynasty truly like no other. Only
time will tell’. That last bit is telling since the group has since
fizzled, and their proper second album ‘DIY Ethic’ is in limbo.
Although it does have a Parental Advisory sticker, and I’m not down
with the gun bravado that is ‘Hooligans’, there are enough songs
that don’t warrant it, plus this is one rap group saying stuff that
hip-hop heads and youth on the road ought to hear. Producer Charlie
Parker’s chorus singing on the socio-tipped ‘Estates’ gives it an
interesting folky, poppy feel. Also features rhymes by MCD. ‘Brethren
& Sistren’ is a positive, beautiful sung cut, with R&B/reggae
backing. Another positive track, which brought me into personal contact
with the group is the Estelle-blessed ‘Break Free’. Intelligent,
hard, dark, mellow, sweet, upbeat, this album covers it all. A useful
British hip-hop document. Look out for rapper Paradise’s new act The
Good Samaritan Project, who will soon drop their conscious ‘The
Forgotten Curriculum LP’.
Abram
Wilson ‘Jazz Warrior’ (Dune) Harrow
based Dune Records has quietly been doing its thing – getting jazz
musos like Soweto Kinch, Jazz Jamaica, Denys Baptiste, and Gary Cosby
out there, where their albums have been garnering award nominations, and
occasion bagging the gongs! Trumpeter/vocalist Wilson first establishes
his muso credentials by opening with ‘Pedal Herlin’. A slow-building
instrumental that gradually revels Wilson’s trumpet sound. This is
followed by a vocal rendition of Wonder’s ‘Golden Lady’.
Wilson’s soul-jazz version takes the song deeper into quite-storm
territory. Wilson blows a storm on the delightful ‘ Monk’, and adds
rap on ‘Jazz Warrior’ and the very accessible soul-tinged ‘Groove
So Heavy’. ‘Tango’ may not have a tango rhythm, but that abd
‘Supernatural’ are definitely two of the best compositions on here.
‘Take It Forward’ is an obvious candidate for dance-floor action.
Wilson successfully straddles between serious and accessible, straight
up and eclectic jazz.
Aesop
Rock ‘Fast Cars, Danger, Fire & Knives’ (Definitive Jux) Kicks
off with the Blockhead-produced funk-based grooves over which Aesop
drops his lyrical rhymes, aided by Metro. No gangster stuff here, just
straight up hip hop with a rapper that must have a lot of fans among
those that enjoy listening to real rhymesters. It really doesn’t
matter what he’s on, Aesop has a nice, listenable delivery. Case in
point is ‘Holly Smokes’. What’s he on about? Who cares, it just
sounds interesting. Actually the mellow, moody, jazzy backed grooves is
a reflection on the Christian religion. On Aesop’s produced jiggy
beats for ‘Rickety Rackety’, he and Camu Toa & El-P talk about
the street scene without going negative and gangster.
Afro-Celt
Sound System ‘POD’ (Real World) If you’ve seen the ACSS live then you’ll know
that their genre, Western and African, modern and traditional
instrument, merging style’s essentially dance music. Thankfully this
package comes with a DVD in which one can see them in concert, where
kora, violins, dhols, djembes, flutes and haunting Celtic singing and
Wolof rapping mix intoxicatingly. The audio CD contains remixes of
previous tracks, though the housey and garagey trips are not out of
place, because of the dance oriented style of the group. A useful sort
of best-off package worth checking out.
Akon
‘Trouble’ (SRC/Island) I have to confess a liking of Akon’s
sing-rap vocal style, which is best demonstrated on his hit single and
opener ‘Locked Up’. This track, which doesn’t glamorise being
locked up, comes with two extra remixes, one featuring UK’s Taz. The
song about staying with probation rules, ‘Trouble Nobody’, could
well be the follow up single, especially as it has a strong sing-along
chorus. Ditto: ‘Bananza (Belly
Dancer)’, and the uplifting ‘Ghetto’.
is another with crossover potential.
‘Show Out’ is a club-banger. Akon passes as a singer on the
‘Lonely’ nu-man track and ‘Don’t Let Up’. Akon rides a Dave
Kelly-produced dancehall rhythm with ‘Gunshot’.
Al
Jarreau ‘Accentuate The Positive’ (Verve) The vocalist stylist shows
he moves with the times, whilst still keeping the essence of what’s
kept his career going for so long. He kicks off with the jazz work out
‘Cold Duck’, which has lots of adlibbing and skatting, plus a
gorgeous tenor sax that draws one in immediately. You expect those
ballads, so Jarreau obliges with smokey, bluesy, soulful gems like Hoagy
Carmichael’s ‘The Nearness Of You’ and ‘My Foolish Heart’. He
picks up the pace with Duke Ellington’s ‘I’m The Beginning To See
The Light’, the playful title track, and ‘Groovin’ High’, over
which he drops some vocal gymnastics. He certainly accentuates his vocal
positives, particularly on the jazz-funky ‘Scootcha-Booty’.
Alexander
O’Neal ‘Greatest Hits’ (Tabu) What more can one say than if
you’re in the ‘80s, then you already know that O’Neal was one of
the big draws. The big Jam & Lewis produced hits are here. Like
‘Never Knew Love Like This’, ‘Fake’, ‘Hearsay’, ‘A Broken
Heart Can Mend’, ‘What Is This Thing Called Love?’,
‘Criticize’ and his Cherrelle duet ‘Saturday Love’.
Ali
Farka Touré & Toumani Diabaté ‘In The Heart Of The Moon’
(World Circuit) This is certainly one of the most soul-satisfying roots
music around. Touré & Diabaté’s guitar and kora performances,
and songs, are bound to take you on a spiritual journey to a place you
can be at peace and relaxed. This is essentially about two talented
musicians using the strings of their instruments to communicate with
your heart. ‘Kala’, ‘Hawa Dolo’ and ‘Monsieur Le Maine De
Niafunké’ best show off the elements of composition, performance, and
mood. A glorious mood album. Go discover
Ali
Farka Toure ‘Red & Green’ (World Circuit) The ‘80s music that
launched AFT’s career in the West – ‘Red’ was initially release
in 1984, and ‘Green’ 1988. Quite frankly, I can’t tell the
progression. Suffice to say AFT shows himself to be a fine roots, bluesy
artist, particularly with his guitar playing. If you like his stuff,
then get these newly remastered tracks to experience AFT set squarely
within an enjoyable, rootsy context.
Alias
1 ‘The Time Is Now’ (Nifty Productions) Alias
1 has some serious speed rapping talent, which he ably demonstrates on
‘Welcome To Alias 1’, which has a female R&B singer sultrily
countering by telling Alias to stop his seduction, as she has a man.
Since Alias has a hard MC-fyping vocal style as demonstrated on the
club-banger ‘Roadblock’, I can not believe he’s the smooth R&B
singer on the mellow, you’ve-been-checking-me ballad ‘Tell Me
Babe’. That’s definitely the standout from this EP, which lacks
focus, and begs the question is Alias a rapper, MC, singer, R&Ber or
hip-hopper?
Aman Hayer ‘Groundshaker’ (Genie) Brit-Asian
bhangra producer/DJ and a posse of featured artists show the different
fusions incorporated within today’s bhangra. Yes, most of us may not
understand the Punjabi lyrics, and some of us may, like ragga, think
some of the rhythms monotonous. However, there are reference points for
those of us not in the bhangra scene to hook on to. For example, the
lead in track and scne hit ‘Tharti Hilde’ may be a bumping bhangra,
but it has English rap and hip-hop sensibilities. Ditto: Heer Ranjha’,
and ‘Jaan’. There’s also unadulterated bhangra cuts, like ‘Seetee’,
Apne Begane’ and ‘It Kut’, whilst ‘Dil Tor Diva’ is a
beats-based ballad dominated by strong female vocals, sweet strings and
punching beats.
Alphabeat
‘Hours To flowers’ (Prolifica) A left-field jazz and electronica influenced offering
over which singers Nina Miranda of Smoke City and Da Lata, and Diane
Charlemagne of Goldie’s ‘Inner City Life’ fame, add a warm human
touch. ‘Mosquitos, is a cool, straight-up big beats jazzy,
instrumental dance track. ‘Opium & Orange’ is a tenor sax
featured dubby track. The Diane featured ‘Real Thing’ is a great
jazz-funkster, that gives much space to the exciting musical.
Angá Díaz
‘Echu Mingua’ (World Circuit) Cuban congo player gets his time
to shine. But as co-producer, he concentrates on putting together a
great musical album. Hence it’s not a conga or percussion fest. A
track like the jazzy ‘Gandinga’, does break down to allow the conga
to shine. But perhaps the track that most people will check out is ‘A
Love Supreme’. Díaz’s
impressive cover of John Coltrane’s composition takes it into a Latin
jazz mood, replete with turntablism, muted trumpet, swirling strings and
Yoruba chants! Malian singer-guitarist offers his haunting ‘Tumé Tumé’,
which has some turntablism, earthy flute lines, and atmospheric sounds.
These Afro-Cuban stars just keep on coming
Angela
Johnson ‘Got To Let It Go’ (Dome) The Cooly Box singer-keyboardist
drops an enjoyable sophomore solo set. It’s refreshing to see a sister
write, produce, sing, and play almost all the instruments. And she does
it well. Although the arrangements are augmented by brass or violin, the
mostly rhythm-focused music allow Johnson’s lead and charming backing
vocals to find space to shine. Like the Jeremy James-featured ballad
‘Let’s Get Together’, or ‘I’ll Always’, a sweet sounding
song which doesn’t bring the jilted beau down softly, despite the
“I’ll always love you” declaration.
Anita
Baker ‘My Everything’ (Blue Note) I’ve noticed that some of our
vintage artists embarrass themselves by trying to sound modern by either
using young producers or hip-hop flavours. Not Anita, she’s back,
strong, and she sounds like she always has been – real classy soulful
singing and fine songs. Whilst it’s unnecessary to highlight
particular tracks, because there are no fillers, cuts like ‘Serious’
and the Babyface-duetted ‘Like You Used To Do’ show her in seriously
pained, romantic mood. Gorgeous soul music.
Anthony
Hamilton ‘Soulife’ (Atlantic) This new release actually pre-dates
Anthony’s Arista debut ‘Comin'
From Where I'm From’. What an impressive R&B/soulster album it is.
There’s no need to say much. Whilst many people are likely to jump to
‘Love And war’ because it features Macy Gray, and perhaps ‘Last
Night’ because it features Sunshine Anderson, quite frankly this is
the type of alobum you can leave to play from the delicious, telling
soulster ‘I Used To Love Someone’, to the rough, R&B-soul closer
‘Exclusively’. This should appeal to young and adult soul and
R&B fans, alike.
Antonio
& Ed Cortes Pinto ‘City Of Angels’ (Milan/East West) This
film soundtrack embodies cocking Latin-funk of the highest order. From
the opener, the atmospheric, percussion-driven and brass-interjected
instrumental ‘Meu
Nome E Ze’, the duo set the tone for this funk fest. Follow up track
‘Vida de Otario’, with its ‘Funky Drummer’ type beats maintains
the funk quotient. With a title like ‘Funk De Virada’, not much
needs to be said. The moody ‘Estoria Da Boca’ adds a jazzy vibe.
Artists like Hykdon and Raul Seixas bring down the tempo and also some
vocals. Ends with DJ Camillo & DJ Yah’s garage-house remix of ‘Batacuda’.
Ashanti
‘Can’t Stop’ (TEAM/Unique) An album of earlier material, it’s
more R&B/soul, than the R&B/hip-hop she’s better known for
now. The title track has R&B elements that’s closer to her more
recent work. The soulful, downlow songs include ‘You Don’t Have 2
Love Me’, ‘Believe’, ‘It’s
About Time’, and the quiet storm ballad ‘By My Side’. However,
very interestingly, there’s also club-primed housey disco: ‘Baby
Baby’, which also ends the set with a ‘Red Rhythm Radio Edit’. So
it seems the younger Ashanti was initially directed into dance, rather
than R&B! The vocals are alright but do not have the confidence and
sassiness of The Inc-signed Ashanti.
Ashanti
‘Concrete Rose’ (The Inc) Ashanti impresses here. Think of her
as a lighter kind of Mary J. She certainly does the hip-hop/soul thing
on cuts such as ‘Still Down’, featuring TI. ‘Only You’ is
obviously one of the roughest, funkiest cuts around. She funks with cuts
like ‘Focus’ and the Ja Rule-featured ‘Turn It Up’, and coos on
the downtempo with ‘Don’t Let Them’ and ‘Love’. Includes
flirty and sexual cuts like ‘take Me Tonight’ and UK bonus cut
‘Touch My Body’. Includes Ja Rule and R Kelly featured
‘Wonderful’.
Asher
D. Street Sibling (Indepediente) So
Solid’s MC is definitely going to surprise a lot of people with this
debut album. His rhyming style’s cool and his rhymes aren’t bad. He
employs funk-based grooves and R&B collabos, which extend his
fanbase well beyond garage and hip-hop. He keeps the underground sorted
with tracks like ‘Solid Roc’, which is a rap collabo with the Roc-A-Fella
crew. Crossover-wise, there’s ‘Give It Up’, which is built on a
firm funk bed and has a soulful contributions from a Sugababe; and
‘There For You’, which is one of the strongest tracks. Musically,
it’s blessed with soulful tones, whilst the babyfather lyrics are
inspirational. Another conscious jam is Timbaland-like grooved ‘The
Message’. Thankfully, his rhymes aren’t all about his time in prison
Atmosofear
‘En Trance’ (Discotheque/Sanctuary) Most of those who know this
Brit-funk group, probably know their one, crossover hit ‘Dancing In
Outer Space’, which is a bonus track, along with preceded the release
of this, their debut album. If you think they were just good for funk
and disco, the mid-tempo ‘Duende’ and ‘Return Of LB’ show their
musicianship off very well. ‘Interplay’ is a very, very funky tune
that jazz-funk heads must be aware of. Ditto: ‘Funk The Rock’. They
were never good singers, but they certainly knew how to funk! Check out
the atmospheric rejig known as ‘Outer Space’!
Augustus
Pablo ‘Dub, Reggae and Roots from the Melodica King’ (Manteca)
This mid-priced twenty-one track set is a good buy, as it provides
a useful retrospective of the reggae melodica-player/producer. Kicks
off, naturally, which one of Pablo’s best known tunes: ‘Cassava
Piece’, immediately followed by the Jacob Miller-sung vocal version
‘Night And Day’. Then we get more into dub territory with the
‘555’ tracks. How you enjoy this album is up to you. There are vocal
cuts, like ‘Young Generation’, and dub cuts, like ‘Rockers
Rock’. Enjoy!
Augustus
Pablo ‘Dub, Reggae and Roots from the Melodica King’ (Manteca) This
mid-priced twenty-one track set is a good buy, as it provides a useful
retrospective of the reggae melodica-player/producer. Kicks off,
naturally, which one of Pablo’s best known tunes: ‘Cassava Piece’,
immediately followed by the Jacob Miller-sung vocal version ‘Night And
Day’. Then we get more into dub territory with the ‘555’ tracks.
How you enjpy this album is up to you. There are vocal cuts like
‘Young Generation’, and dub cuts like ‘Rockers Rock’. Enjoy!
Avani
‘The Real Thing’ (Dome) It’s
taken me several listenings to finally be impressed. Indeed, initially
when I got the sampler, I thought it was a case of good voice with too
much mediocre material. But I have warmed to the full album. She’s
quite a good singer who does well covering the young, R&B scene with
groovy, uplifting cuts like ‘Don’t U Worry’ and the bumpy Don-e
produced ‘Heads Up’. Older heads may appreciate slower, soulful cuts
like ‘Teardrops’ and ‘Lover’s Theme’. Includes the rocking
‘Watching You’, featuring Rahsaan Patterson and Carl McIntosh, which
is screaming to be a single!
Baka
Beyond With The Baka Forest People
‘Rhythm Tree’ (March Hare Music) It
is a testament to British roots-fusionist group Baka Beyond’s interest
in the Baka people, that not only do they get a billing on an album on
which they provide vocals and instrumentation, but also portion of
profits from their previous collaborations has gone into building the
Baka Music House Project right in the rainforest for the Cameroonian
indigenous people’s community. This is a delicious and
organic-sounding roots album, despite use of electric equipment. Celtic
influences on ‘Shimma’ mix with that of the Baka, particularly on
the dance tracks ‘The Rhythm Tree’, and ‘Kobo’, which features
several Baka guitarists.
BamJimBa
‘I Love’ (BamJimBa Music) Preston-based
reggae musician/producer Jim Bamber a.k.a Bamjimba put this 7 track EP
out as a tribute to his late friend Papa Wade McKinney, and also as a
fund-raiser for Sickle Cell Society charity. His effort has raised a few
thousands of pounds. This is essentially an instrumental dub offering,
which is both atmospheric and quite musical. It’s dominated by brass
sounds, heavy b-lines, and huge echo-drenched beats. ‘Love Your
Blues’ is one such typical track. Soothing soprano sax lines waft over
modern rockers type beats and a solid b-line. Rocking, but yet, restful
music. Available from several internet outlets or via
www.prostudio.co.uk.
Bembeya
Jazz National ‘The Syliphone Years’ (Stern’s) Not much music has
made its way out of the Guinea, the tiny west African country. However,
this group, which spanned the early ‘60s to ‘70s, produced an
irresistible blend of jazz, Congolese inspired rumba, mixed indigenous
styles, that it travelled. Particularly during the optimistic ‘60s. A
double album that should be played uninterrupted on a lazy Sunday in
order for the gorgeous vocals, huge brass and riffing guitars to work
their charm. The seven minute ‘Mossougbe’, and ‘Sou’ best
exemplify said elements. So old school, and charming. Includes lavish
sleevenotes.
Beverley
Knight ‘Affirmation’ (Parlophone) Our Bev’s dropped another fine album. You know that the
songs are going to be strong, with some depth, and that she doesn’t
hold back those vocals, if she doesn’t have to. The surprise though is
that she’s come back riding a rock-ish tune, ‘Come As You Are’.
The guitars even sound like it’s provided by the Stones’ Keith
Richards! But fear not, Bev’s not gone totally rocky.
‘Not Too Late For Love’, ‘No One Ever Loves In Vain’, and
‘Salvador’ are some of the cuts to please soul heads. She bops on
the funky ‘Supersonic’, which has a rhythmic style that seems like
it came from Prince’s song book. Love it.
Big
Advice ‘Love Shines’ (Electric Monkey) Musos who’ve played inn Ben
Harper and Frankie Beverley’s bands along with Brit muso Matt Cooper
produce a fine blend of ‘70s sounding R&B and funk. Real live
musicality but with today’s production sheen. No well-known names
here, but the singers and sound are top-grade for any retro head to
check out.
Billy
Larkin & The Delegates ‘Organ Grooves And Soul Brothers: The Best
Of’ (Stateside) Oh yes, it was just Jimmy Smith who produced
groovy organ-led music music. Just check out the awesome bossa nova jazz
instrumental ‘Pigmy (Part One)’. It’s potency is such that it can
still rock a club today! Their first single and still one of their best
efforts, certainly in its crossover appeal. It’s so good us a ‘Part
two’, which is a tad bit less exciting than the first. They take us
into a cool, quiet place with the atmospheric downtempo ‘Cristo
Redentor’. The drums, guitar and organ is occasionally augmented by
Clifford Scott’s tenor sax. The funky ‘The Cooker’ is probably the
most democratic track, because it’s not just the organist that hogs
the limelight - the drummer, saxophonist and guitarist also get to show
off their chops! The sax features well on their cover of Sam &
Dave’s ‘Hold On I’m Comin’’, and the drums rock on the cover
of ‘Ode To Billy Joe’. It’s re-issues of great music like this
that need to be discovered by new fans, which make re-issues worthwhile.
Blak
Twang ‘The Cotton Cotton’ (Bad Magic) We’re all invited to the London
rhymer’s club, where it’s all fun and bling, but no violence. The
title track is destined to be a club-jammer. ‘Beef Stop’ is a
cautionary tale. ‘GCSE’ provides sex education for the ‘ghetto
children’. The R&B-laced ‘Lady’ is for the ladies to enjoy,
and has big crossover potential. The well-travelled rhymer gives us a
rundown of his experiences, with a Barrington Levi sample coming in and
out.of ‘Travellin’’. ‘Roadback’, the most hip-hoppy cut here,
is a rocking on road commentary. Highlights include the emotive
‘Prayer For The Dying’, and the encouraging ‘Carry On’.
Bobby
Womack ‘The Womack Live/Safety’ (EMI) EMI has simultaneously
released several of Womack’s old recordings. Whilst many of us know
the songs like ‘Harry Hippie’ on ‘Understanding/Communication’,
few of us may have experienced Womack live, which is why the value of
this album. It’s interesting to hear the man joking and flirting with
the audience, or his soulful trademark vocals re-inventing pop songs
like ‘California Dreamin’’ and George Harrison’s
‘Something’, or simply performing the blues.
Boyz
II Men ‘Throwback’ (MSM/Unique) Putting their cover of the funky
‘Let It Whip’ seems a curious choice at best., as it’s not your
typical BIIM. It turns out this is actually a covers album. Whilst the
arrangement may be modern, they don’t add much vocally to ‘Let’s
Stay Together’ or ‘Close The Door’. They however do shine on
‘For the Love Of You’, ‘Sara Smile’, and most definitely on
‘You Make Me Feel Brand New’ and ‘What You Won’t Do For Love’.
A bit into the album, hearing the g-funked ‘Cutie Pie’ doesn’t
sound incongruous.
Brand
New Heavies ‘Allaboutthefunk’ (OneTwo/Enterprise) Hmmm,
‘Boogie’ is just an irresistible funk cut. I dare anyone to resist
moving their body when it’s playing. Look out for the soulful music
industry critique ‘Need Some More’. The funk/rare groove merchants
are back with brand new grooves, like ‘Waste My Time’, ‘How Do You
Think’, ‘Every Time We turn It Up’, ‘How Do We Do This’ and
‘Surrender’, plus yet another new female singer. Nicole Russo holds
her on. She stretches vocally on the ‘Slippin’ Into
Darkness’-echoing funkster ‘What Do You Take Me For’, and they
rinse ‘Many Rivers To Cross’, turning it into their own churchy
tune.
Brand
Nubian ‘Fire In The Hole’ (Babygrande) I may not appreciate some of
their language, but it must be said that this old group are back strong
and bound to make a mark in the hip-hop world. The production and beats
should attract new, young fans, whilst holding their old fans. In
between the raw rhymes, they drop science for young heads, like ‘Young
Son’, and show a sweet side with their soulful ode to ‘Momma’.
Starr also adds his soulful singing to a couple of tracks.
Breis
‘Your Favourite MC Mix CD’ (bambreis.net) The title track has Breis reminiscing in rhyme about
some of the old and new school rhymesters, interspersed with vox pops of
people running down their favourite MCs and rappers. A very cool hip hop
track it is. Breis recounts biographical snippets, from being picked on
in school because he was African, holding off the call to becoming a
rapper by first going to uni to sort out a degree on the funk-based ‘
Here For You’. He overstates his Africanness on ‘African Necklace’
and ‘Expensive Style’ by flowing over Afro-beat grooves. Breis gets
jazzy as he urges us to ‘Think Big’. A maverick talent worth
checking out.
Brenda
Russell. Between The Sun And The Moon (Dome) Recorded in California, and
in London with the likes of producers Bluey, VRS and Simon Law, it’s a
rather patchy affair. Too many ordinary songs and different styles and
moods, plus her cover of ‘Tracks Of My Tears’ probably shouldn’t
have been added this album, unlike the delicious soul-jazzer ‘It’s A
Jazz Day’, which is from her last album. The sparse Latin and African
tinged title track sits incongruously between the fuller tracks. The
strong tracks are the soulful mid-tempo ‘I Know You By Heart’,
‘Ain’t No Smoke’, and the dancey R&Ber ‘You Know Our Day
Will Come’.
Brigette
‘Starlite Lounge’ (Expansion) Exquisite soul and jazzy music for
mature tastes. Brigette has an accessible style, without sacrificing
quality in terms of vocals, songs and musicianship. She covers a few
music styles, which work well within the context of this album. Like the
fine, soul-jazz quiet-stormer title track, the jazzy, soulful lilting
bossa nova-ish ‘Aqua De Bebeer’ and ‘Much Too Much’. Ditto: the
acoustic-guitar featured ‘Take Me’, which also has a housey remix,
which closes the set. Another big quite-stormer is the beguiling, sexy,
soulster ‘Is It Love’. An album that one can listen to repeatedly.
Lovely.
Bugz In The Attic ‘Life:Styles’ (Harmless) London
act/production team have their chance to put together their compilation
in this on-going series. On the whole, they elect for some soul and
R&B crate-digging. Teena Marie’s opener ‘Square Biz’, and
Paris’ closer ‘I Chose You’, are perhaps the most commercial
tracks here. Marvin Gaye represents with ‘Heavy Love Affair’, Will
Downing with ‘In My Dreams’, Jermaine Jackson with ‘Come To Me’,
and Herbie Hancock with ‘Sun Touch’. There’s also Rufus feat.
Chaka Khan’s ‘Stop On By’, and Leon Haywood’s disco-ey ‘I
Wanna Do Something freaky To You’. Slum Village sneak in with the
cool, atmospheric rap cut ‘Get Dis Money’.
Cam’ron
‘Purple Haze’ (Roc-A-Fella) No sooner had Jay-Z’s label helped him
get a hit album, and he’s out of his deal because he apparently
can’t take Jay-Z as the Def Jam head honcho. The beats are banging,
the rhymes dark, sexist, questionable lyrics about pimping, but then
many find cuts like ‘More Gangsta Music’ as purely entertainment. He
contrasts those hard tracks with ‘Get Down’ which has a very
radio-friendly, crossover riff. But what’s the lyrics saying: get
money at any cost, it matters not who has to be blown away to protect
one’s lot. It’s ironic - he criticises R&B singers overa backing
that uses what sounds like children singing a hook. He uses a sung hook
of ‘Girls Just Wanna Have Fun’, whilst R&B singer Jaheim
features on ‘More Reasons’. I’m not sure if the drug-themed
‘Welcome To Purple Haze’ skit is ironic or humourous. Ceryainly not
keen on his ghetto-centric lyrics.
Carleen
Anderson ‘Up To Now: The Best Of’ (EMI) A fine collection of Carleen’s recorded work, starting with her solo
version of her Young Disciples hit ‘Apparently Nothing’ and ending
with her wonderful remake of Oasis’ ‘Don’t Look Back In Anger’.
A gifted singer and songwriter, includes ‘True Spirit’, Guru
featured ‘Mr Businessman’ and Full Flava featured ‘Stories’.
Carleen
Anderson ‘Up To Now: The Best Of’ (EMI) A fine collection of Carleen’s
recorded work, starting with her solo version of her Young Disciples hit
‘Apparently Nothing’ and ending with her wonderful remake of
Oasis’ ‘Don’t Look Back In Anger’. A gifted singer and
songwriter, includes ‘True Spirit’, Guru featured ‘Mr
Businessman’ and Full Flava featured ‘Stories’.
Cassidy ‘I’m
A Hustla’ (J) Cassidy establishes his thug credentials early on with
the title track that chronicles his different hustles – the album
closes with a club-banging remix featuring Mary J. Pity such rhyming and
lyrical talent is wasted on sorry bragging and thugs and hustlers big-up
cuts like the strings-washed ‘On The Grind’, or advocating the
‘Crack’ business. He goes for some old school, b-boy beats, but the
lyricism still pimps the thug stance. Some may see ‘AM To PM’ as
over the top, cartoonish, but I don’t think singing songs about
spraying people with bullets from morning to night, is one worth
encouraging. The language on the electro-driven club cut ‘C-Bionic’
warrants the extra sleeve warning: “Strong language: Sexual &
Violent Content”. The orchestral strings-backed, reflective ‘Can’t
Fade Me’, gives us some glimpse into Cassidy’s life and mentally.
Like the lack of hope has him smoking volumes, and selling drugs, etc.
Mario collaborates on the funk-based club joint ‘Kick It Wit You’.
The positive stuff here is the exhortations spoken by Dr Benjamin Chavis
Muhammad which precedes the pointed socio-conscious ‘The Message’.
Sadly the artist is in jail awaiting a real-life murder rap.
Cherrelle
‘Fragile’/‘High Priority’ (Tabu) ‘Fragile’ was an
upbeat drums and bass driven affair that mostly appealed to the feet.
‘ I Didn’t Mean To Turn You On’, and the ballads, including the
very soulful ‘I Will Wait For You’ and ‘Who’s It Gonna Be’
were the better of the average stuff here. It’s nice for a woman to
rate his man a high priority, but the title track, as with many of the
cuts from Cherrelle’s sophomore set are perfunctory and formulaic. It
takes a cut like ‘Saturday Midnight’, the duet with Alexander
O’Neal, and the funkatastic ‘You Look Good To Me’, to rise above
the ordinary stuff.
Chevelle Franklyn ‘His Way’ (NOW) This must certainly
be one of the best gospel reggae records to ever come out of Jamaica.
The production is phat, the beats bumping. It matches, and indeed
surpasses many of the secular stuff meant for the dancehall. However,
where Chevelle has the edge, is that whilst her lyrics are unadulterated
gospel, her vocals and underlying music touches more bases, than just
dancehall. Her soulful vocals show on the DJ Nicholas featured ‘Would
You Go’, ‘Love Can’, ‘Come’, ‘Before You’, ‘Jesus I Love
You’, and the dramatic ‘What Can I Say’, on which she definitely
blow those vocal cords. ‘Kill My Flesh’ is a fine reggae cut.
Recommended.
Chingy
‘Powerballin’’ (EMI) The money, girls, sex and flossing
lyrics gets a bit boring after a while. So it’s the skits, like the
‘Haters 101’ intro and guest featured cuts such as the R Kelly
featured ‘Leave Wit Me’, the Janet Jackson featured ‘Don’t
Worry’, the Lil Flip featured ‘Balla Baby Remix’, that stand out.
Of course if you just want to dance to bumping beats irrespective of
lyrical content, then there’s lots here. Like the closer ‘Don’t
Really Care’.
Circle
Research ‘Mulligan Stew’ (Do Right) 16 head-nodding, underground
hip-hop head-pleasing cuts from Canada. Love the rap delivery and jazzy
hip-hop beats that rock ‘Psy’d’ featuring PSY. Ditto: ‘I’m
Not’, which adds some cool whistling and scratching, and which budding
rappers better listen to decide what kind of rappers they are. Then
listen to ‘Substance’ to see what kind of rapper you could end up
in, if you don’t have head screwed on correctly. ‘Bridging The Gap
is a cool, jazz backed cut featuring a Bahamadia-sounding Tara Chase and
Japanese rapper Yushin.
Clare
Teal ‘Don’t Talk’ (Sony Jazz) The
problem I find is that the styles here are too eclectic. There’s no
musical focus. She starts off with ‘Messin’ With Fire’, which is
an impressive big band jazz. Next minute, it’s loungecore jazz like
something from the Rat Pack, the next it’s poppy, MOR-ish, then
we’re wafting on samba, or a New Orleans tip. Still, there are quite a
few lovely ballads here.
Cocoa
Tea ’20 Tracks Of’ (Virgin) Love ‘Sweet Cocoa Tea’ on which he
bigs himself up, singing about how sexy he is, and how great his lyrics
are on the dancehall. ‘Wonderful Angel’, like many of the tracks
here, is sweet lovers rock over a heavy dancehall-friendly rhythm.
Whilst his dulcet tones are suited for singing lovers rock, he is just
adept at singing roots and culture songs, like ‘Reggae Music’, the
socio-tipped ‘Too Much’, or Rastafarian music, like ‘If Jah Is For
Us’.
Conga
Doss ‘Just Because’ (Dome) Dome just keeps those soulful
female releases coming! Conga’s another Yankee singer likely to
impress the UK soul/R&B scene with this, which is actually her
sophomore set. Mature and engaging singing abounds. This is set to blow
up on the scene in 2005, for sure. Not much needs to be said, except,
soul heads should check it out, because from the title track opener, it
rocks, and doesn’t let go. The only downside perhaps is the s-word
used in the soul/R&Ber ‘Here we Go Again’!
Cooly’s
Hot Box ‘Don’t Be Afraid, Get On’ (Dome) Another enjoyable album
from a band that plies a ‘70s-vibed soul and funk trade. Kicking off
with ‘Don’t Be Afraid’, funk and disco heads can vibe off the
pumping bassline, whilst soul fans appreciate keyboardist Angela
Johnson’s glorious singing. Normally Johnson’s vocal cuts overshadow
keyboardist Christian ‘Cooly’ Urich’s vocal cuts. However, his
vocals impresses on the funky ‘Get On’ and soulful ballad
‘Maybe’, as does Johnson on ‘Wait 4 U’.
Craig
David ‘The Story Goes…’ (Warner Brothers)
No matter what Brits we involved here, it feels like the American bosses
of his new label issued an ultimatum: “We need an American R&B
style to sell him in America. Whilst you’re at it, why don’t we have
more of the sexual thing – see how R Kelly sells.” Smooth, as can be
expected. However this could well be some American R&B artist’s
record. Lyrically, it’s very much focused on sex and love. Like
‘Don’t Love You No More (I’m Sorry)’, ‘Take ‘Em Off’, and
‘My Love Don’t Stop’. Well set up with ‘All The Way’, there
are lots more singles to keep this album on the charts for yonks. Pity,
some may regret the way Craig seems to have abandoned the obvious
British influences.
Daby
Touré ‘Diam’ (Realworld) It takes a few listens for this Senegalese
modern roots singer-songwriter and musician’s music to show its full
potential. But when it does, it’s a joy. He uses different vocal and
musical styles, including
what sounded like throat-singing (on ‘Kelimanta’), acoustic guitars.
His focus of his music, which has a lot of contrasting shades in its
arrangements, is reflective and folky-bluesy, whilst the female backing
vocals on ‘Mansa’ add a touch of soulfulness. Bits of English also
make it most accessible. Touré’s vocals are sweetest on the mellow
‘Hammadi’. The addition of a harmonica on the closer, ‘Fabe’
echoes of his compatriot Ismael Lo.
Daryl
Hall & John Oates ‘Our
Kind Of Soul’ (U Watch) I loved this acts stuff during their heyday on
RCA. Hall went on a solo trip, showing his soul inclinations,
particularly on his re-working of Marvin Gaye’s ‘Stop Loving Me’.
This album featuring mostly Motown covers is patchy. How can you here
‘I’ll Be There’ and not think of The Spinners, or ‘Love TKO’,
and not think of Teddy P. The attempt to modernise ‘She Used To Be My
Girl’ with hip beats doesn’t sit comfortably. This works best on
their few originals, like ‘Soul Violin’ and ‘Let Love Take
Control’. This is a homage that will have you mostly wishing for the
originals. However they do a good job of a couple, especially ‘After
The Dance’, which is another from Gaye songbook.
Dawn
Baaba Arthur ‘Wani Nda Awurade So’ (Depite Music) Recorded in London by the
lady popularly known as Babs, who has a shop in Harlesden, North-West
London, this is released in Ghana. Although it does fit into the secular
highlife market, its main focus however in the highlife-gospel market.
Although it’s mostly sung in the Akan language, there are some
English-sung cuts. Like the reggae-vibed ‘Wonderful Jesus’, and
‘Adoration’, which is literary a rap praising the Lord and his
blessings. Sincere, and heart-felt, this is nevertheless likely to
appeal mostly to a Ghanaian audience.
De
La Soul ‘De La Mix Tape’ (Tommy Boy/Rhino) Certainly one for the DLS
hardcore fan, it contains remixes, like ‘Stakes Is High (Remix)’ and
Badmarsh & Shri’s Indo-drum & bass remix of ‘Me, Myself
& I’; rarities, like the jazzy ‘Trouble In The Water’,
featuring DJ Honda, and the ‘Piles And Piles Of Demo Tapes Bi-Da
Miles’ medley; and classics like ‘The Magic Number’.
Deep ‘Treading Water’ (GDM) UK rapper likely to make some noise. After the
foul-mouthed, comic ‘Intro’, it goes into the hard, head-banging
club track ‘Down To Business’. Pity he he advocates making money
anyway, and doesn’t “even care if it’s bloody”. ‘The UK Needs
Me’ is a mellow, but yet another head-banging cut. This UK-enthusing
track could easily blow up as a UK hip-hop anthem. That Deep has great
flow is not in doubt, though I’m not down with some of the negative,
ghetto-centric lyricism. On the Latin-tinged ‘Groupie’, at least
he’s honest when he admits he started rapping to get groupies. The
R&B-laced ‘Living Life’ has much crossover potential. Stand out
tracks include the thought-provoking jazz-funk based ‘Whoa’, the
emotive, reminiscising biographical ‘Mamma Don’t Cry’, the roots
reggae-backed biographical and socio-tipped ‘Rain On Me’, and the
head-nodding title track, which is lyrically strong and heads had better
check it out.
Dennis
Taylor ‘Smile: The Very Best’ (Jazz FM) Dome’s artist gets a
compo of his best bits. Starts off with the funky soul/R&Ber
‘Smile’. Track present and correct include: ‘Enough Is Enough’,
‘In The Mood’, Full Crew’s remix of ‘Bad As You Wanna Be’, the
soulful ‘Don’t Wanna Give Up’ and ‘Feelin’ Good’, plus
‘Could Be You’, his duet with Beverlei Knight.
Dieneba
Seck ‘The Truth’ (Stern’s) Comparisons with Malian star Oumou
Sangare are inevitable on account of Seck’s vocals, arrangements and
style. The good news is that she’s just as good an artist. With
Ibrahim Sylla in the executive producer chair, you can expect the
production to be top notch. Greatly musical, and rhythmic, cuts like ‘Oudiobila’,
and ‘Niteke Nela’, whose female chorus echoes of the Wassolou sound
made famous by the likes of Sangare, should attract Sangare and
contemporary Malian music fans. However the ace here is the surprising,
mellow, orchestrated ballad ‘Tigné (The Truth)’.
Dinah
Washington ‘Jazz`Masters’ (EMI Jazz) Oh dear, after that aural and
spiritual assault by Ja rule, I needed something mellow, breezy, and
soothing, which I find on this album. The luxuriously orchestrated
ballad ‘For All We Know’ just does the trick. It’s enough to get
me charged up to enjoy other jazz stands, like ‘You’re Nobody ‘Til
Somebody Loves You’. Dinah was one of the great soulful jazz greats,
and this twenty track amply provides the evidence. Cool, enjoyable,
smooth jazz. Includes the bluesy ‘Nobody Knows The Way I Feel This
Morning’.
Dinuba
‘Que Se Yo’ (Blanco)
What a leap for Robin Taylor-Frith, from being the head honcho behind
chart-topping Olive to producing, this multi-genre blending Cuban tinged
album. Cuts include the dub and hip-hop propelled ‘Maria’ and
‘’Estoy Loco’; the real trumpets on ‘Eight’ accentuate the
Latin feel, whilst the flute-dominated instrumental ‘Fluty Loops’ is
a slow grower. ‘Québate Conmigo’ is a funk-based Latin dancer,
replete with a huge chorus and brass lines. Definitely for the musically
adventurous, and Latin fusion fans.
Diplo
‘Floroda’ (Big Dada) This
producer really does have the grooves. Strictly for hip-hop heads who
love their beats with left-field soundscapes. It’s mostly
instrumentals incorporating a multitude of sounds and styles. Martina
Topley-Bird adds haunting vocals to the atmospheric ‘Into The Sun’.
Diplo gets very funky on ‘Diplo Rhythm’, featuring singjay Sandra
Melody and Vybz Kartel.
DJ
Dolores ‘Aparelhagem’ (Ziriguiboom/Crammed) With Brazil having the
highest population of African descendants in the diaspora, it’s not
surprising that there’s lots of African influences within Brazilian
music. One of the country’s leading DJ/producers brings a selections
of some of these style to the attention of a wider audience. Kicks off
with ‘De Dar Do’, a style called embolada, a rap style used by the
youths to tell stories and jokes on the buses. DJ Dolores underpins it
with hip-hoppy beats and jazzy melodies. It’s a very charming and
humorous track. ‘Salvo (The Preacher)’ may deal with spiritual
matters, however for most, it’s the hip-hop/house/samba rhythm which
drives which will get most people going. Whilst DJ Dolores explores
different styles, the results are always danceable and musically
interesting, as typified by the glorious ‘Sanidade’.
DJ
Format ‘If You Can’t Beat Them… Join ‘Em’ (Genuine/PIAS) For
lovers of turntablism and old school hip-hop lovers, there’s much here
to be admired. DJ Format cooks some real funky and jazzy cuts, like
‘The Turning Point’, and the atmospheric ‘Black Gold’. However
the likes of Abdominal, D-Sisve, Charli 2na & Akil add rhymes on
most of the tracks. The Abdominal featured ‘Rap Machine’ is an
irresistible head-nodder!
DJ
Krush ‘Jaku’ (Sony) The Japanese producer/turntablist offers a
sumptuous offering of atmospheric soundscapes and rocking beats. Like
the ‘Still Island’, which has lilting drum & bass rhythms
underneath huge strings. There are a couple of rapped tracks, although
the instrumental mostly hold sway. Like the big beats ‘The
Beginning’, and moody, ambient and jazzy piano featured ‘Stormy
Clouds’.
DJ
Spooky ‘That Subliminal Kid’ (Thirsty Ear) A double CD, which gives
you a choice of his remixes on one, and a continuous mix on the other,
it’s best to let both play uninterrupted in order to best appreciate
DJ Spooky’s sonic magic. Weird mellow sounds mix with various kinds of
hip-hop and turntablist noises. And if you want some rap, look out for
the jazz-backed ‘Lingua Ex Machina’, although the language can be
fruity. Or Saul Williams’ haunting and powerful, politico-tipped
anti-(Iraq) war song ‘Not In Our Name’!
DJ
Zeph ‘Sunset Scavenger’ (Wide Hive) DJ Zeph drops a very enjoyable
producer/turntablist album, full of excitement as he weaves atmospheric
soundscapes, break breaks, jazz vibes, funk, scratching, plus rap by the
likes of Lyrics Born. From the opener, ‘Unsubtractable’, which
features scratching by DJ Quest, it doesn’t let up. Top class
head-nodding offering.
Doc
Brown ‘The Document’ (Janomi)
This
is a record primed to rock the dancefloor, but also has a good story
which one hopes young heads will pay heed to. This doc has the potential
through his accomplished music to put his North-west manor on the map,
just like sister Zadie Smith has with her literary exploits. The British rapper has some key producers in his courner,
like C swing, and Nutty P. Has a cool, party vibe. ‘Survival (The
Music Game)’ has a tight, funky groove with some nice scratching.
‘Family Time’ has some accessible R&B vibes provided by Antoine
Stone’s vocals. ‘Stomp (Oh My Days)’ is a head-nodder, whilst the
dancehall/hip-hopper ‘Feel Me’ an unadulterated dance-floor-jammer!
The C Swing-produced ‘Do It’, with its London hustling storyline and
the optimistic ‘Never Coming Down’, should get hip-hop heads
bopping. ‘Alone’, ‘Came This Far’, and ‘Love Me The Right
Way’, with its lilting socio-tip lyricism, plus gentle, mellow
rhythms, not to mention the charming female backing vocals, offer the
most feel-good and stand out tracks here.
This doc is set to put
Willesden, north-west London on the map on account of dropping a really
cool British rap album. He’s got eight million stories to say, of
which he reminisces about quite a few on the pumping, funky, uplifting
‘Do It’. This is a record primed to rock the dancefloor, but also
has a good story which one hopes young heads will pay heed to. This doc
has the potential through his accomplished music to put his manor on the
map, just like sister Zadie Smith has with her literary exploits. Go
discover this rocking and accessible offering!
Don
Ricardo ‘Introducing…’ (Charm/Jetstar) I first came across Don when I saw him perform at last
year’s Black Music History Award. He mightily impressed me with his
upbeat, conscious blend of reggae. This album shows a versatile,
conscious and charming singer. Whether it’s lovers like opener ‘So
In Love With You’, a dancehall combination like ‘Used To Be My
Girl’ featuring Jucxi D, admonishing the badman crew on ‘Bet You
Don’t Know’, or popular soulful tracks like ‘Love Is The Staff Of
Life’ or ‘She’s Having Your Baby’, the vocals are always
impressive, the lyrics intelligent.
Surely, Don Ricardo must be one of Britain’s brightest hopes in
a long time!
Don-E
‘Back Again’ EP (Atomic Dred) Twice
before, the title track’s been promo-ed, and I’ve raved about it.
Simply because it’s one of the funkiest and engaging R&B cuts
ever! This new version has a rap by Blak Twang. Don-e cruises on ‘My
One’, whilst he shows his vocal chops as a jazz-tinged R&B/soulster
with ‘Lonely’, ‘Bus Stop’ and ‘Unbreakable 2’. Those who
accused Don-e of being a pop act during his Island tenure, better check
out his enjoyable re-working of the latter old fave. It’s simply a
gorgeous mid-tempo soul gem. If you've got this, then hold on to it.
Because 'Back Again' is not on Don-e's new album 'Try This'.
Donny
Hathaway ‘These Songs For You, Live’ (Atlantic) What a joy to hear
this long departed singer-songwriter perform his songs, and re-interpret
other’s. He funks on his previously unreleased track ‘Valdez In The
Country’, and mellows on the idealistic ‘Someday We’ll All Be
Free’. He also rinses standards, such as ‘You’ve Got A Friend’,
‘What’s Goin’ On’, ‘Yesterday’,
and particularly Stevie Wonder’s ‘Superwoman’. Ends with a
wonderful version of his classic ‘The Ghetto’!
Dr
Alimantado ‘Born For A Purpose’ (Greensleeves) Kicks off in splendid
form with the uplifting ‘Born For A Purpose/Reason For Living’- a
rockers song that ought to be play for those that don’t value their
lives and seek to interfere with others living their lives. He touches
on a myriad of subjects, From ‘Chant To Jah’ to the ode ‘Return Of
Muhammad Ali’, to the lamenting of the ‘Oil Crisis’. The toasting
‘Dreadlocks Dread’ is driven by flying cymbals rockers rhythms of
the period.
Dynamite
MC ‘World Of Dynamite’ (Strong) I
have to admit it was listening to this MC’s collabo with Beverley
Knight on Roni Size's 'No More' which pricked my ears for this.
Dynamite is a good rhymer who competently rides different rhythms and
delivery styles. Language notwithstanding, he flows in three different
styles on ‘Mar-Val-Luss’ - from hardcore hip-hopper to dancehall DJ.
He rides hip-hop beats, uses some fine samples, like the haunting
‘Visions’, and naturally Size weaves some rocking drum & bass
over which Dynamite delivers some fast-rapping such as the d&s
underground story ‘The Scene’. Go discover.
Earth
Wind & Fire ‘Illumination’ (Sanctuary) Yes, they are back, but
not as the all-conquering band they once were. Like the recent album by
fellow veteran group Kool & Gang, EWF are made to have relevance to
the modern market place through collaborations. Like the Raphael
Saadiq’s featured Grammy-nominated mid-tempo soulster ‘Show Me The
Way’ and the punchy, brass club-banger ‘Love Together’, the firing
funkster ‘This Is How I Feel’, featuring Kelly Rowland, the Floetry
rap-laced hip-hop head-nodding, uplifting joint ‘Elevated’, and the
mellow, soulful ‘Autumn’, featuring the charming vocalist Musiq
Soulchild. Certainly a welcome return.
Ecstacy,
Passion And Pain ‘Ecstacy, Passion And Pain’ (Stateside) From the
first track, ’Ask Me’, which finds lead singer Barbara Roy in her
element, the disco groove echoes very much of Philadelphia International
MFSB sound. But then it’s not surprising as Philly arranger was part
of the EP&P’s sound. It’s not all disco and funky, they can turn
their hand and voices at many sweet, luxurious soul music too, like
‘Let’s Move’ and ‘I’ll Take The Blame’. Includes bonus
tracks, like the Philly soulster ‘Dance the Night away’, and the
12-inch of the Salsoul-sounding disco shouter ‘Touch And Go’.
Eek-A-Mouse
‘Mouseketeer’ (Greensleeves) One of Greensleeves’ special priced
classic reggae releases, this album comes with two bonus tracks
featuring 12-inch mixes of ‘Teacher’ and ‘Anarexol’. When you
want some fun, easy reggae music, Eek is one to check. He seems to have
a variety of voices to push along a song, as typified on tracks like
‘Star, Daily News Or Gleaner’ or ‘Anarexol’! The more serious
tracks include uplifting ‘Palaving’, which rides a heavy Junjo Lawes-produced
rhythm.
Elmore
James ‘Dust My Broom’ (Gold Box) A value for money budget priced
double CD, which kicks off with the legendary slide guitar playing
bluesman’s classic title track. Includes that song’s progenitor ‘I
Believe’. His vocals on ‘The Sky Is Crying’ reminds me of James
Brown in his mellow, soulful singing mood, whilst ‘Sunnyland Train’
and ‘Baby Please Set A Date’, echoes of Brown in shouting,
giving-it-some singing mood. ‘It Hurts Me Too’ and ‘Something
Inside Of Me’ epitomise the typical ‘my baby gone left me’ kind of
blues. ‘Everyday I Have The Blues’ just about sums up blues music.
James finds time to turn his hand at writing a jump jazzy rock n roller
‘Take Me Where Yiu Go’. The rock n roller ‘Shake Your Money
Maker’ inspired Black Crowes’ debut album title. Worth getting, if
interested in blues and the genesis of rock n roll and R&B.
El-p
‘High Water’ (Thirsty Ear) Opens with the mellow, soprano sax and
piano featured instrumental ‘Please Stay’, which under three
minutes, ends to quickly! Thankfully saxes and piano delight of the ten
minute plus jazz workout ‘Sunrise Over Bklyn’. Fans of 4-Hero’s
jazz-fused drum & bass may want to check out the furious ‘Get
Modal’! Left-field yet accessible nu-jazz worth discovering.
Eric
Benet ‘Hurricane’ (Reprise) You can not listen to this album without
thinking about the private life of the singer. The singer is the
estranged husband of Hollywood actress and star Halle Berry. His alleged
addiction to sex has been played out in the press. However, as much as
one can use such background knowledge to read into the songs, after a
few repeated plays, there’s no doubt this is a fine soul album that
deserves to stand by its impressive musical merits. Eric weaves
delicious soulful cuts like ‘My Prayer’. However, he touches on a
folky, country-ish tip with opener ‘Be Myself Again’, and a
sumptuous orchestrated jazz standard-sounding ‘The Last Time’. The
title track’s a pop radio-friendly David Foster-produced cut. You can
read into the other songs, like the questioning ‘Where Does Love
Go’, to the confidence to commit to faithful life-time vows on ‘I
Wanna Be Love’. An offering of introspective, painful, and reflective
biographical songs by an artist, whose vocals occasionally hints of
Stevie Wonder.
Ernest
Ranglin & The African Jazz Pioneers ‘Alextown’ (Palm Pictures)
From the moment the first track, ‘Trenchtown music’, kicks in, you
know you’re in for a very interesting listening journey. This track
seamlessly fuses dancehall, hip-hop, and African music sensibilities
with Ranglin’s guitar giving an occasional jazzy lick. Recorded mainly
in South Africa, Ranglin is joined by South African musicians for this
mixture of straight up jazz like ‘Pictures Of Jozy’, township jive
‘Ezi Myama’, and the hip-hop, dubby jazz instrumental title track.
South African collaborators include the Mahotella Queens. ‘Just Guitar
Magic’ is one of the coolest Afro-jazz collaborations on her
Estelle
‘The 18th Day…’ (V2) It’s
been long-coming, but finally one of Britain’s much love
rapper-singers drops a debut albums. She establishes herself firmly with
her reminiscing single ‘1980’ and holds it down across the album.
She keeps rap heads happy with cuts like ‘Change Is Coming’. Her
singing fans will love the jazzy ‘I Wanna Love You’. And she parties
on the funky ‘Dance Bitch’ and the Motown-imbued ‘Go Gone’.
Ethix
‘Freedom Of Speech’ (Undersound) With the likes of Fusion, Alon
Adiri and Harry Love in the production chair, the production’s banging
on this Brit rapper’s debut. Like Alon’s head-banging rhythm behind
‘Explicit’, on which Ethix admits he’s explicit and if it offends
then it’s intended! Alon also weaves another irresistible
club-friendly groove under the city-big up ‘London’. So that’s why
despite the language and theme here, there’s no Parental Advisory
warning sticker on the cover. Over mellow melodies Ethnix delivers an
unfolding tale of the dark sides of UK with ‘My Rhymes’, which
features MC D. The slow-mo socio-commentary ‘Insomnia’ is great on
the beats, vocals, and lyrical tip. Stephanie Marianne adds sweet tones
to the relational abuse song with a twist ‘Leave Him’, and ‘Only
U’. The socio-tipped ‘Road Life’ and ‘Conspiracy Theory’ are
worth checking out.
Faithless
‘Forever: The Greatest Hits’ (Sony BMG) We haven’t been great fans of
this band, which we thought were rather ravey.
However, ‘Muhammad Ali’ was one of the funkiest socio-tipped
reminisces ever, whilst ‘Miss U Less, See You More’ was a rather
clever lyrical spin on romantic songs. It’s taken this compilation,
and closer listening via headphones to get into the punchy ravey tunes,
like ‘Salva Mea’, and new tune ‘I Want More’, which features a
Nina Simone sample, and to discover what a brilliant lyricist rapper
Maxi Jazz is. It seems the music on cuts like ‘Insomnia’ and ‘God
Is A DJ’ overshadow his clever lyricism. Estelle features in singing
mood on the dancer ‘Why Go?’. Maxi drops some JA dialect over the
heavy reggae tune ‘Fatty Boo’. We’re a bit more of a fan after
listening to this compo!
Femi
Kuti ‘Africa Shrine’ (UWE/MK2} Whilst he’s a voice of his own,
there is no denying the influence of Fela Kuti can be heard in his
son’s music. Recorded live, it shows the power of Femi and his band.
Whilst Femi’s socio- and political stance may not be as abrasive as
his father’s, his Afro-beat musical style does have punch,
particularly the opener ‘Dem Bobo’. A couple of the stand out
Afro-beat tracks is the seven minute-plus rocking and telling, politico
‘If Them Want To Hear’, and the bass-driven ‘Can’t Buy Me’.
Ends with his cover of Fela’s ‘Water Get No Enemy’. Quality
Afro-beat offering.
Foxy
‘Let’s Be Bad Tonight: The Best Of Foxy’ (TK/Stateside) I don’t
seem to remember much of this ‘70s disco band except for their hit
‘Get Off’. However, this compo shows they had more material. Whilst
‘Hot Number’ may be derivative of ‘Get Off’, and it seems their
lyrical bent was just getting into bed – which is underscored by the
album title – cuts like the jazzy, funky ‘Let’s Love’ shows they
rich musicality. That’s a marked contrast to many of today’s
musicians who seem loop-driven. ‘People Fall In Love (While
Dancing)’ shows disco wasn’t just about the dancefloor, there was
much musicianship imbedded within the grooves. They even try their hand
at reggae with ‘Lady Of The Streets’!
Frankie
Paul ’20 Massive Hits’ (Virgin) Choc-a-bloc with some of Frankie’s
reggae hits. Like ‘Curfew In The Dance’, ‘Thu Shun Peng’,
‘Don’t Sniff Cocaine’, ‘Hooligan’, ‘Alesha’, ‘Kick Up
rumpus’, etc.
Fred
Wilson ‘Words Of Wisdom’ (BlackGuyMusic) Rocking,
yet cool, and accessible may be the best way to describe this
little-known, dreadlocked Brit jazz artist. The musicianship is
excellent, and Wisdom adds his flavour to the jazz vocal canon sings.
The samba ‘You’ picks up the tempo, whilst the socio-tipped ‘Black
Guy’ is underpinned by a lilting reggae groove. The bluesy, jazzy
‘Copyright On Pain’ is delightful, but I’m not down with ‘Voodoo
Powers’! Check this link for more and feedback: www.bbc.co.uk/music/jazz/reviews/wisdom_words.shtml.
Freetown
‘Easy Street’ (Freetown) Nevermind reggaetron, the sound to be checking is ska.
Perhaps we could be due another 2-Tone/ska revival? This London band
really has got it going. Whether it’s the surprising cover of T
Rex’s ‘Hot Love’, or their own irresistible dancing gems like
‘Ziggy Shuffle’ or ska covers like ‘Confucius’. Includes some
live recordings, which amply demonstrate the power and humour as a live
act, such as their cover ‘Dancing Mood’.
Fried
‘Fried’ (London) Fried.
What a nondescript name. However, the chances are you’re going to
remember this act, made up of former Fine Young Cannibals/Beats muso
David Steele and a very impressive New Orleans singer called Jonte
Short. Fusing old school sounds with modern, blues with hip-hop and
R&B, Jonte is given full reign to show off her vocals. Beautiful.
Expect this to end up on many a pundit’s top 10 list.
Fros-T.
‘Fros-T
Me vs. Myself’ (4th Man) Sampler shows a talented, hard
rapper with strong street-friendly rhymes and beats, except he’s doing
his thing for God with unadulterated gospel lyricism such as ‘Being
Me’, ‘Left Behind’ and ‘How We Do’. But he also has time to
get romantic with the soulful ‘Coming Home’. Just imagine if Eminem
was a gospel rapper – he would most likely sound like Fros-T!
FYA
‘For Your Attention’ (Def Jam UK) I
had this threesome from High Wycombe are a dancehall-hip-hop act,
based on their earlier tracks like ‘Boops’. However on the evidence
here, they more into dancehall. Their bumping recent hit, ‘Must Be
Love’, just jumps. It’s just beckons one to move! ’10 Out Of
10’, is a girl-tipped song which also craves for attention. ‘Shack
it Out’ adds a bit of singing before the girls getting into their
MCing. The girls can really sing, as they ably demonstrate on the
R&B-dancehall combination.
Gaby
Lita Bembo & Stukas D Zaire ‘Kita Mata ABC’ (RetroAfric) At a
time when almost all new music from Zaire seems to be dominated by
monotonous programmed rhythms, it’s refreshing to rewind to the sound
of a ‘70s act. What you get here is great ‘70s and ‘80s soukous,
riffing guitars, exciting singing, and a sense of exciting, live
musicianship. ‘Idee Kano’ has some great guitars, and ‘Toto
Seya’, some joyful group voca
Gary
Bartz ‘Anthology’ (Soul Brother) I must admit the only track I
remember is the opener – the jazz-funker ‘Celestial Blues’.
Saxophonist Bartz has a very accessible jazz fusion style that jazz and
nonjazz heads can easily appreciate. He shows his Africanistleanings
with titles like ‘Uhuru Sasa’ and ‘Juju Man’, and for those that
have heard covers by the likes of Courtney Pine, you can hear the real
smokey jazz original of ‘I’ve Known River’. Syreeta adds her
soulful tones to ‘Music Is My Sanctuary’ and the awesome vocal and
sax cover of ‘My Funny Valentine’. Recommended.
Gary
G Jenkins ‘The Other Side’ (Expansion) Definitely a ‘new name’
to look out for. Jenkins’ style often echoes of classic-soul dons like
D’Angelo and Maxwell. Be prepared to be seduced by his vocals and
music. His luxurious cover of ‘A Change’s Gonna Come’ certainly
does it, as does the funky ‘Goes & Comes’, and the downtempo
‘Make The Sound’. Incidentally, this multi-instrumentalist happens
to be the former lead singer of Silk. Enough said.
Genesis
Elijah ‘Deh Pon Road’ (Broken Soul) I’m not down with the foul
language, or “colourful language”, as he refers to it, though I can
stand the aggression coming from this angry UK rapper, who lets rip on
the title track. The beats are quite strong, like the Ahmos-featured,
piano melody underpinned inner-city underground story. Ditto: the
Klashnekoff featured lilting reggae- interspersed
‘Jah Bless’. He questions the credibility of some of the
American rappers on ‘So Hip-Hop’. He turns his venom on record
company bods that now wanna be familiar. Klash, Kyza, Skriblah and
Wordsmith join Genesis to give their take issues behind gun culture on
the anti-gun ‘Gun Talk’. ‘Stay Strong’ offers a hopeful nod to
heads, as with the accessible, Sabrina Roberts R&B-laced ‘More To
Life’, which is tacked almost at the end.
George
Benson ‘Irreplaceable’ (GRP) I feel this album would well place
George at the same place when hits like ‘Give Me The Night’ had him
appealing to the jazz, soul and disco market. George equally appeals to
all those demographics with the material here. From the kicker. ‘Six
Play’,George’s sings as well as makes this guitar sing too. The
grooves of ‘Whole Man’, for example, should appeal to a younger
R&B audience. Ditto ‘Cell Phone’. ‘Reason For Breathing’ is
one of the stand outs here.
George
Nook ‘Reggae Max’ (Jet Star) Veteran
reggae singer kicks off his ‘Reggae Max’ compo with his most recent
reggae hit record, his sweet cover of Simon & Garfunkel’s
‘Bridge Over Troubled Waters’. It’s immediately followed by the
bumping, uplifting ‘God Is Standing By’. Other religious tracks
include ‘No Power On Earth’, ‘God Is Always There For Me’,
‘Guide Me’, and ‘How Great Thou Art’. However, all these songs,
including the last, which is actually a Christian hymn, are sung in a
way that sits well within the secular environment. There’s the
idealist ode ‘Perfect World’, plus lovers like ‘Flowers’,
‘Come On Over’, ‘Crying At Night’, and ‘I Don’t Wanna Lose
You’. Nooks is a fine but under-recognised singer worth discovering.
Hopefully this mid-priced compo will make an accessible introduction.
Gerald
Levert ‘Do I Speak For The World’ (Atlantic) Sometimes veteran
artist seem out of place employing modern sounds and styles. But
not Levert. The breakbeats which drive the Intro work well, as does the
thick slab of funk, which drives ‘Speak For The World’. Levert’s
vocals are solid. Secondly, although Levert reverts to his usual romance
and things of the flesh, it’s still refreshing to see that he’s
willing to try a bit of socio-commentary here and there. A strong
soul/R&B effort from a veteran. The soul just oozes out of his
voice, as on ‘Crucify Me’. Romantics can get their dose with
mid-tempos soulsters like ‘Lay U Down’. Competent, as expected.
Gil
Scott-Heron And Brian Jackson ‘Anthology: Messages’ (Soul Brother)
He may be regarded as one of the founding fathers of rap, but it’s
more singing than rap here. Also, there’s much musicality on here,
which can be over-shadowed because people tend to look at Gil as a
wordsmith and rhymer. Indeed, on this compo, which culls most of his key
‘70s material, Gil joins partner Brian on the musical front, by
providing rhythm piano. Opener ‘The Bottle’ is not only one of his
best crossover cuts, the theme of issues with drugs runs through other
cuts, particularly the impressive 12 minute-plus live version of ‘Home
Is where The Hatred Is’. Enjoy the fine jazzy musicality which
underpins that social commentary. It’s a shame that the demons exposed
have haunted Gil into jail. Whilst this may not have his seminal
‘The Television Will Not Be Televised’, there are lots to
compensate. Like the pointed socio-political ‘Johannesburg’, and we
‘Almost Lost Detroit’. Recommended primer.
Goapele
‘Even Closer’ (Skyblaze) Another female soul/R&B artist worth
discovering. The album’s so strong, it’s not surprising Sony picked
it up after the artist self-released it Stateside. Goapele has a
charming voice, which rides mostly heavy, beats-driven cuts. Her voice
dominates, no matter how heavy the rhythm beneath. Like the cool
‘Romantic’, which starts off with a Wailers-echoing sound, or the
marvellous ‘Catch 22’. Hip-hoppers and head-nodders will love the
funky, rap-laced ‘The Daze’.
Gregory
Isaacs ‘Masterclass’ (Greensleeves) Greogory may not ever revisit
his ‘Night Nurse’ glory days. But hearing him live a while back on
what must have been an off-day, I’m glad to see his voice is back to
form. Pensive as ever, it sits comfortably on cuts like ‘Lonely
Street’. He pays respect to lovers rock, by covering one of the
genre’s earliest classic, ‘Caught You In A lie’, and does a great
job with his version. If you’re into lovers or Gregory, this will
certainly be up your street. Includes the dubby ‘False Evidence’.
Guerilla
Black ‘Geurilla City’ (Virgin) A very Biggie sounding rapper, he
starts off well with ‘Hearts Of Fire’, which uses Wailers’ ‘No
More Trouble’. The title track of ghetto rhymes rides a very funky,
head-nodding beat. This time the rhyming styles echoes slightly of Ice
Cube. The Biggie connection comes back on the Mario Winans featured
‘Compton’. Featured artists, such as Beenie Man and Nate Dogg,
should help extend interest
Gwen
McCrae ‘I’m Not Worried’ (Lewmar) Gwen drops her first gospel
album since leaving the secular world to become an evangelist. The voice
is still recognisable and powerful. The only difference now is that she
doing it for Jesus. ‘Back To Church’ says it all. Producer Haran
Griffin, who wrote the bulk of the songs here, has provided Gwen
with some strong songs to rock or mellow over. Whether it’s
‘Waiting On You Lord’ or ‘I’m Not Worried’, it’s not only
uplifting, it’s contemporary and should find some space among many of
her secular fans.
Gwen
McCrae ‘Let’s Straighten It Out’/‘Melody Of Life’/’Rockin
Chair’/’Something So Right’ (Stateside) Gwen’s four 70s TK
albums have been simultaneously released on as two double albums. What
can we say, except that Gwen was a working singer, who had a mature
soulful voice to cut records in what style was necessary.
‘Let’s…’ has he declaring she loves ‘Early Morning Love’,
and covers ‘Starting All Over Again’ and ‘Signed Sealed
Delivered’. ‘Melody…’ include clubland favourite ‘All This
Love That I’m Giving’, the mellow, soul cut ‘Ease The Pain’ and
the disco ‘Melody Of Life’. The rocking title track of ‘Rockin
Chair’ gave Gwen an R&B chart-topper. It includes the funky
‘Move Me Baby’, and another dancefloor favourite: ‘90% Of Me Is
You’, plus the bluesy, soulful ‘It Keeps On Raining’. The
‘Something…’ title track is a fine, soulful ballad. She stays in
the mellow mood for more ballads, like ‘Tears on My Pillow’ and
‘Love Without Sex’. She gets the dancefloor moving with the funky
‘Damn Right It’s Good’!
Gwen
McCrae ‘The Best Of’ (EMI) If Gwen had not been ill on that fateful
day, instead of hubby George, she would have recorded ‘Rock Your
Baby’, which probably would have opened this compo instead of
‘Rockin’ Chair’. Still, she’s left some R&B from her TK
days. Like ‘90% Of Me Is You’, ‘All This Loving I’m Giving’,
etc. uts like ‘For You Love’ show off an impassioned soul, not
disco, singer.
Gwendolyn
Joy ‘Love Is…’ (Expansion) This is a new name that Expansion has
picked up from the American independent soul scene. She has a beautiful
soul-jazz feel underpinned by contemporary beats. She just occasionally
echoes of Rachelle Ferrelle and Nina Simone. It shouldn’t be long
before several soul heads declare to themselves ‘I Surrender’ to
Gwendolyn’s charms.
Hampton
Hawkes ‘Northern Windows Plus’ (ZYX) Dubbed ‘the funkiest jazz
pianist based on the West Coast’, his electric piano led jazz-funk
music, culled from his ‘70s live and studio albums, are certainly a
worthwhile exercise as it allows new heads like moi to discover quite an
accessible jazz muso. If you love soloing pianists, then should be a
treat. Whilst the funky instrumentals somehow have a soothing vibe, this
is accentuated on the downtempo cuts, such as ‘Stella By Night’ and
‘De De’. Carol Kaye’s bassline holds down the very funky and bass
augmented ‘Go Down Moses’ and ‘Web’. Go discover!
HKB
Finn ‘Acoustic Afro Hip-Hop’ (Savage Music) A veteran of the UK hip-hop scene – remember Katch-22? -
Finn presents a very British offering, which extends the hip-hop
envelope musically, and lyrically covers more the narrow and
stereotypical themes favoured by American rappers and the British
copyists. Actually,
Finn’s delivery is more a sing-rap style. With kora player and
multi-instrumentalist Tunde Jegede taking care of production, it’s not
surprising that live instrumentation has pride of place. The kora
features prominently on ‘Rhythm Is Our Methods’, underpinning
Finn’s mellow delivery. ‘Confessions (I Am)’ has a cool, jazz-vibed
backing. ‘Finnterlude Mode One’, which is driven by a sort of
reggae-vibed rhythm, is one of the immediate songs. On account of Finn
being in lyrical rapping mode, contrasted by a funny chorus line.
‘Miss A Rebel’ has a strong dancehall rhythm and a delivery
reminiscent of vintage London Posse. The pop tune here, is
‘Lifesaver’, with Finn almost in conversation with listener about
the desire to be saved. Acoustic guitar lines and gorgeous female vocals
of Maya Jobarteh add an irresistible touch. Finn asks a lot of
mind-provoking questions on ‘What If?’, which thankfully is driven
by a funky, R&B groove.
Homer
Banks ‘Hooked By Love: The Best Of’ (Minit/Stateside) Homer is
better known as a songwriter – his catalogue includes hits for the
likes of Shirley Brown, and other Stax artists such as Staple Singers
and Sam & Dave. However, on here, it’s his talent as a singer, and
occasionally a writer, that’s on show. Some of the key tracks were
written by the Stax writer-producer Hayes-Porter team. Such as the
ballad ‘Lady Of Stone’, Homer’s first solo single, the funk/R&Ber
’60 Minutes Of Your Love’, and the ‘Let’s Spend The Night
Together’-echoing ‘Hooked On Love’. Homer’s own original ‘A
Lot Of Love’ seems to have been bitten by Spencer Davis Group’s
‘Gimme Some Loving’! That’s one track on which Homer gives it
some, vocally speaking. For southern soul and ‘60s Stax fans. Includes
useful liner notes.
Hot
Chocolate ‘The Essential Collection’ (EMI Gold) OK, there’s nothing new here. You already know the hits,
but if you want a handy package, then this double-CD should suffice.
It’s all here, like ‘You Sexy Thing’, ‘Brother Louie’, ‘It
started With A Kiss’, ‘You Could Have Been A Lady’, ‘Disco
Queen’, etc, etc.
Houston
‘It’s Already Written’ (Capitol) He’s already established
himself with the big, rocking R&B hit ‘I Like That’. So
there’s more of that on here. He is a good singer, who stamps his
vocal authority on cuts like ‘Twista’, and the R Kelly echoing
bedroom-tipped mid-tempo ‘Ain’t Nothing Wrong’ and the ballads
‘What You Say’ and ‘Love You Down’. Don Yute adds some dancehall
MCing flavour.
Hue
& Cry ‘The River Sessions Vol. 1’ (River) I came by this recording
because there was a mis-manufacture, which meant this was on the CD,
although the sleeve and label pointed to another act. So it’s a bit of
a collector’s item and a pleasant revelation, as it turns out to be a
live set recorded in Glasgow. I’ve decided to review it nevertheless
because surprisingly for this ‘80s pop group, this live set has a
blue-eye soul quality. Such as opener ‘Love Is Master’. Whilst cuts
like ‘History City’, ‘Just One Word’, ‘Mad To Nuts’ has a
funk groove. Ditto the brass-punctuated version of their hit song
‘Labour Of Love’ and their cover of Prince’s ‘Kiss’, which is
worth discovering. It’s interspersed with some poppy ballads. Worth
investigating.
Hugh
Mundell ‘Mundell’ (Greensleeves) A life cut so short, the
consolation is that the young singer and producer left us with a good
body of work. Just relax and enjoy this album of Rasta-tipped and
uplifting tunes like ‘Jah Music’, ‘Tell I A Lie’ and rockers
like ‘Your Face Is
Familiar’ and ‘24 Hours A Day’. If you love singers like,
curiously, the also deceased Jacob Miller, you’re bound to love this.
Particularly tracks like ’24 Hours A Day’. Hugh gives serious issues
a break to charm the a-foreign girl ‘Jacqueline’.
IDMC.
Live And Phaat (IDMC) This
British gospel act, whose name stand for Individuals Dedicated to the
Ministry of Christ, recorded this CD/DVD package in my church – Ealing
Christian Centre. Seeing that I missed the concert to mark their tenth
year, I can now catch up. If it’s praise songs you want, they’ve got
it covered with songs like ‘Sacrifice Of Praise’ and ‘Victorius’,
on which the voices of the choir are allowed to shine. ‘It Will Be
Alright’ is a bumping mid-tempo R&B-flavoured tune, which exhorts
upliftment, no matter how bad the situations we find ourselves in.
Watchman joins on the reggae tune ‘Trust The Love’, which is blessed
with some delicious brass and choir.
Infinite
Livez ‘Bush Meat’ (Big Dada) British
rap has so much stacked against it. Infinite Livez seems to have
resolved to overcome the problems by highlighting, if not exaggerate,
his English accent. He also offers a big dose of humour to disengage
possible detractors. Think of the Streets, but only somewhat harder and
more black. So if you’ve got a sense of humour, this could very well
be up your street. What ‘UK Krap’ lacks in words is more than made
up for with the silly, but catchy, noises. They get serious with their
socio-tipped rhymes on ‘Tek Fi Jake’.
Intuit
‘Intuit’ (Compost) Intuit is a European act that ropes in those they
need to provide the right vibe. Hence, on the opener ‘Criaca Das Ondas’,
which is a modern samba/jazz fusion, it features vocalist Flora Purim
and percussionist Airto, who give it that Brazilian authenticity.
‘Western Sunrise’ is a bumping soul jazz featuring American vocalist
Andy Bey and cellist Muneer B Fennell. ‘A Hard Night’s Day’ is
another nice soul jazz cut. ‘Fenytola’ is a rocking jazz-funk
instrumental featuring organist Doug Carn, plus delicious brass blasts.
We re-visit Brazil on the Latin jazz/soulster ‘O Preguicoso’. Whilst
garage fans of skippy beats should appreciate ‘Wewa’, and Afro-beats
fans, ‘Peace Of Mind’. Got the picture?
Israel
And New Breed ‘Live From Another Level’ (Integrity) Israel and his
group really rock. They could well be the new Kirk Franklin & Nu
Nation. Their potency’s probably best captured with their live
performance, which although is spread across two CDs doesn’t let up.
Whilst this is upfront gospel, with the Lord’s name unashameably
praised, non-Christians can easily get into it simply because the music
is irresistibly catchy. Many of the cuts, like ‘I Hear The Sound’,
can hold down a secular dancefloor. Musical styles vary from funk,
through to dancehall and African jive. And if you want the Word to
minister, there are songs like ‘So Easy To You’, or
‘Spoken Word’.
Issa
Bagayogo ‘Tassoumakan: Voice Of Fire’ (Mali Music) The Malian
musician, who plays the traditional stringed instrument called an ngoni,
continues his traditional and modern fusion. Here, Malian singing, ngoni
melody lines sit above Western programme rhythms and beats. The female
singers on ‘Koroto’ and a soulful human touch to such fusions. Cuts
like ‘Numu’ has Bagayogo left to do a mostly acoustic thing, whereas
the bluesy electric guitar and electric piano underpinned ‘Kanou’ is
definitely the standout here.
Ja Rule
‘R.U.L.E. (The Inc) He may make pop hits, like ‘Wonderful’, but
he’s rooted in ghetto-centricism. From the opener, ‘The Intro’ and
the ‘New York’ song proper, Ja lays his position, talking about
semi-automatic that spits if you talk, female genitalia, etc, etc. I
guess that the ghetto gospel, and some might say the semi is a metaphor
for his mouth. Well, even so, it’s confusing when his cohorts are up
gun-related charges, etc. Is ‘Gun Talk’ metaphorical or ironical? I
doubt it. I find the lyrics, which glorify guns, violence and
humiliation, vile. The R&B-laced ‘Never Thought’, may well be a
hit after bleeping out the expletives, but it shouldn’t validate what
is a sad, misogynistic clap trap peddled as some high ‘real’ or
‘ghetto’ lyricism. I now find Ja Rule sad, and those that appreciate
this, even sadder.
Jaguar
Wright ‘Divorcing Neo 2 Marry Soul’ (Artemis/Ryko) Whilst she can
sing the ballads, like ‘My Place’, ‘Woman 2 Woman’, and
‘Flowers’, Wright sounds best fronting the tough rhythmed R&Bers
and soulsters that abound, like ‘Told Ya’, ‘So High’, and
‘Free’. Quite a powerful contemporary R&B/soul offering.
James
Brown ‘Greatest Breakbeats’ (Polydor) A useful attraction of this
double-CD is the details about who’s sampled each of the two dozen
tracks here. Of course there’s ‘Funky Drummer’, which has the
biggest list of samplers, followed by ‘Funky President’, ‘The
Payback’, and ‘Get Up, Get Into It, Get Involved’. Includes funk
gems like ‘Cold Sweat’, ‘Sex Machine’, ‘Papa Don’t Take No
Mess’, ‘Hot Pants’, etc.
Jamiroquai
‘Dynamite’ (Sony) It’s mainly a feel-good, disco-centred album with some hip-hoppy
and electronic noises to boot. The title track could well be a Crown
Heights affair disco affair. JK gets to seriously use his singing voice
on the funky ‘Seven Days In Sunny June’ Ditto: ‘Give Hate A
Chance’, another retro disco-er, complete with a galloping b-line.
It’s very much a grower.
Jay
Sean ‘Me Against Myself’ (Relentless) I’m
sure Jay would rather people look beyond the fact that he’s an Asian
doing R&B, a topic he handles on the one of the skits, the title
track, and the Stevie Wonder-sampled declaration ‘You Don’t Know
Me’, which sadly is not included on the commercial release possibly
because they couldn’t clear it. He fuses his Asian roots on cuts like
‘Meri Jaan’ and ‘’Man’s World (Ramta Jogi)’. His hip-hop
flavoured new single ‘Stolen’ is an impressive soulful, mid-tempo
destined to better than his first ‘Eyes On You’. Expect this to make
noise in 2004.
JD
AKA Dready ‘Da: Aaarrgghhh’ (Indepediente) Whilst fellow So Solider Asher D
has shown hip-hop is his focus, producer/artist JD shows that reggae
dancehall’s thing, as he toasts rather than rap. This is seriously
hardcore, and quite frankly, it not only doesn’t really make
compromises towards crossover, and can be hard-going for the
unconverted. I’m down with someone that calls himself a lion, but not
a nigger. Among the hardcore and blustering rhymes, hard hip-hop and
dancehall beats, the only relief is the Estelle-featured party track ‘Chillin’’
and humour on ‘Biography’ which sends up toffs speech and weaves a
strings section within the punchy dancehall grooves. That underpin
JD’s reminiscences.
Jean
Grae ‘This Week’ (Babygrande) Oh dear, here’s a female rapper with
one heck of a foul mouth on her. The fact’s that she has a good flow
but profanity at each turn gets tiring. Not to mention her unnecessary
macho stance, which is boring in male rappers, but worse in females. The
bearable tracks are the cool, R&B laced ones like ‘Supa Luv’ and
‘Watch Me’.
Jedi
Mind Tricks ‘Legacy Of Blood’ (Babygrande) From the strings refrain
of ‘Make It Easy On Yourself’, which is the ‘Intro’, this sounds
like it’s going to be in exciting trip. It turns out to be exciting,
but not one I particularly like. Give it to them, they have very tight,
and rocking beats, and some charming samples and hooks. A case in point
is the first proper song here, ‘The Age Of Sacred Terror’. It’s
got banging beats, accentuated with crisp scratches and furious hardcore
rapping. However this is offering gore, religious contradictions,
thuggery, gangsterism, mysticism, and gay-bashing as entertainment. One
wonders if Outrage! will be on their case for inciting violence against
gays!
Jem
‘Finally Woken’ (ATO/BMG) It’s
not only Joss Stone who’s making it Stateside – this Welsh
singer-songwriter/DJ has shifted a few units over there. This album will
get full commercial release in Feb. 2005. For now, it’s getting a soft
release in Nov. to help create a buzz. Certainly, the opening track,
‘They’, which is lifted as a single should cause a buzz.
Particularly as it is remixed by the likes of
Photek and Cut Chemist. Jem has been given free reign to express
herself. Hence break beats, and dance and hip-hop influences mix with
folky and rocky elements. Very singer-songwriter rather than DJ-producer
orientated. Very listenable.
Jill
Scott ‘Beautifully Human: Words And Sounds Vol. 2’ (Epic) It’s
taken her this long to come back with her second studio album, and what
a stunner it is. She covers the same bases –
soul, jazz and hip-hop. It probably doesn’t come together
better than on ‘Bedda At Home’. A powerful jazzy hip-hop groove over
which Ms Scott seems to be cooing about some Adonis, only to flip the
script and assert that she’s got something better at home. Her vocals
slowly builds into an arresting soul screamer. Well, if you’re good
man you too would like someone to scream with excitement at the thought
of you. ‘Golden’ is head-nodding hip-hop soulster, whilst her poetry
and storytelling is` charmingly reflected on the perceptive, slowly
unfolding, undulating ‘Family Reunion’. She’s still got it going
on.
Jody
Lei ‘Just The Music’ (Independiente) Though title track, which opens
this will rock the dancefloor, like many of the tracks here, it feels
like R&B by numbers. Instead of transporting this Brit to the States
to get that Yankee flavour, I think they ought to have invested more in
good songs, because Jody’s vocals are under-used. ‘Saltshaker’
stands out because of the dancehall rhythm. The girl can sing, as
demonstrated by cuts like ‘Just Because’ and her brilliant, mellow
voice and acoustic guitar version of ‘No Letting Go’.
John
Legend ‘Get Lifted’ (Columbia) If you’ve probably heard cuts such
a the title track or the funk-based ‘Used To Love U’, you’ll know
that neo- or classic nu soul’s back in the Noughties in the shape of
singer-songwriter and keyboardist John Legend. What’s interesting is
that Legend has eschewed the narrow, formulaic confines dominated by his
fellow American R&B and soul artists. His music style’s wider –
echoing of the ‘70s, but also incorporating sounds and styles of
today. Typical of these is ‘Number One’, which seems to take strings
from Curtis Mayfield’s ‘Let’s Do It Again’, adds rap-laced
soulful singing over hip-hoppy beats. The open arrangement of the ballad
‘Ordinary people’ allows Legend’s piano playing to come to the
fore. The r&b/soulsters ‘Stay With You’ and ‘Refuge (When
It’s Cold Outside)’, and the soul ballad ‘So High’, are some of
the standouts. Should make big noise on the R&B scene in 2005.
Joss
Stone ‘Mind, Body & Soul’ (Relentless) Having made a name for herself
covering a whole lot of old soul tunes, the teenaged singer swiftly
returns with a sophomore set which uses the key producers, but this time
Joss has co-written her material. Considering her age, you wonder if
she’s lived some of the situations she’s singing about, like ‘You
Had Me’. Suffice to say, she impresses vocally. She’s at her soulful
best on the closer ‘Sleep Like A Child’. The surprise here is the
upbeat lover’s rock ‘Less Or More’.
Julien
Jacob ‘Cotonou’ (Wrasse) A new name for most us, this Beninois
modern folk kinda singer-songwriter at times echoes of Ishmael Lo, but
without the harmonica. He’s said to have created his own language, so
one’s free his lyrics as one wishes! His music is often on a mellow,
reflective mood. although Rachid Taha collaborates on the upbeat ‘Yacob’.
This is an acquired taste – if you’re into rootsy, folksy or bluesy
stuff, then you’d appreciate this. It sometimes extends towards what
sounds like devotional songs. Look out for early 2005 release.
K.Ners
‘I Am K.Ners Mixtape 2005’ (Cristal City) Pronounced Kayners, don’t
confuse this rapper with Kano. Any this rhymster is from Bristol. This
mixtape, hosted by 1Xtra’s Neesha, shows that despite his bragging,
K.Ners is a talented rapper, and he has some rocking beats. A case in
point being, the irresistible beats that rock ‘One Thing’. The old
style R&B sample backed ‘This Is From Bristol’ is another strong
track. He has humour, some radio excerpts, and occasionally adds a bit
of reggae. The beats and production are strong and interesting, even if
they bite Akon’s ‘Lockdown’ for ‘Signed Now’. He offers a
head-nodding on the road view of the ‘Dutty Government’.
Kano ‘Home Sweet Home’ (679) The Parental Advisory sticker here is certainly warranted
because four letter words seem de rigeuer for this ‘Ghetto Kid’.
Which is curious, since his first single’s called ‘P’s &
Q’s’. It seems like no matter who produces the track, the sound’s
always bass-heavy! Head-nodders include the hip-hop/drum & bass-ey
‘Reload It’. We get some heavy rock guitar riffs under-pinning the
club-themed ‘Typical Me’. He gets grimey and self-depracating on the
bass-heavy ‘Mic Check’. His champion The Streets produces and drops
a line or two on the mellow, romantic, lullaby-ish ‘Nite Nite’.
‘Brown Eyes’ adds a soulful edge. ‘Remember Me’ adds a sort of
bossa nova rhythm. The ironic ‘Nobody Don’t Dance No More’ adds a
dark, UK garage groove, as Kano chides the stush youths who don’t
bother to make use of the dancefloor. ‘I Don’t Know Why’ is a rawk
geetar-laced hip-hop joint. He gets conscious with the dark,
socio-commentary ‘How We Livin’’, and uplifting with ‘Signs In
Life’. Currently the voice of UK underground.
Karl
Hinds ‘Have Patience’ (Ill Flava) Brit
rapper Hinds has a nice sound. Things looked up when he linked with
Virgin-backed Source label. But he’s back on his own indie label, and
ready to deliver his sophomore album. ‘Know The Complex’ is typical
of his songs, which concentrates on the problematic British music
industry, the domestic rap gain, and society’s issues. If you’re
into Brit-rap, then this is worth checking out. Skinny Man, Seanie T and
Roots Manuva add to the UK flavour here.
Kelli
Sae ‘Heroine’ (Kwurk/OGW) She should be a heroine on the
soul/R&b circuit, if only people can get hold of this indie-released
album. Sae can sing. She’s got a strong material, like the
soul/R&B head-nodder ‘Change’. Her style covers soul and R&B
bases with tinges of hip-hop and the occasional Latin influence.
‘Latina’ best exemplifies her special blend. She takes on Aretha
Franklin’s ‘Daydreamin’’, and delivers an impressive, mellow,
beats-based version. Excellent.
Kenny
Dope ‘Life:Styles’ (Harmless) What a combination this one half of
Masters Of Works weaves! He goes from
heavy rockers Black Sabbath, through to Ellen McIwaine’s
percussion-driven Latin dancer, the trippy Doris, to the jazz-funkster
James Marques, to funksters BT Express. However the real discovery here
is the mellow, and atmospheric Jackson Five quiet-stormer ‘I Am
Love’. It’s worth getting this just to hear the young Michael
Jackson singing so soulfull
Kevin
Mark Trail ‘Just Living’ (EMI) It’s refreshing to see someone one’s taught on a
music business actually gets a deal and on the verge of making it in the
business. Actually, considering he had his first taste of success
singing with The Streets, it’s not surprising that Kevin is capable of
creating idiosyncratic songs that make everyday things come out sounding
interesting. ‘Pespective’ has a brassy reggae backbeat over which
Kevin reminisces on his life, about first £2.50 an hour job, singing to
BoyzIIMen and Omar in the storeroom, and how music get him out his
shell. He tells of his dreams, which he’s on the way to realising.
Tells us more about himself and family in ‘Bread’. Just
remember when there’s a family problem, he’s prone to shout. A
charming maverick album dropping 2005.
Khaled
‘Ya-Rayi’ (Wrasse) The rai superstar keeps up the game of fusing
R&B/funk sensibilities, typified by the title track, which is driven
by breakbeats, whilst ‘Zine Zina’ is sweetened by female vocals,
horn blasts, and a funk groove. ‘El-H’Mam’ is more takes a more
traditional style that eschew the Western influences. Except that the
album closes with a remix version. Comes with a DVD that shows the
making of the album, and options to watch videos of Khaled classics
‘Didi’ and ‘Aicha’, etc.
Kiesha
White ‘Seventeen’ (Warner) This young British singer made a good impression with
the pundits when she dropped her debut solo single ‘Whatcha Gonna
Do’. Since then, she’s been working on her debut album. She’s has
since made some noise with her ‘Don’t Care Who Knows’ single,
featuring American rapper Cassidy. I may not be down with the theme –
at least Cassidy owns up to his philandering ways. I just love
Kiesha’s vocals on that. I also love the assured and charming vocals
on the mid-tempo ballad ‘The Weakness In Me’, which echoes of early
Whitney Houston. Look out for it, because it’s a blinder. Another
potential hit is the R&Ber ‘Don’t Fool A Woman In Love’, which
could easily become a women’s anthem. This girl should blow up in
2005.
Kokanko
Sata ‘Kokanko Sata’ (Honest Jons) A new female Malian singer
provides an acoustic and rootsy offering with this self-titled album.
She not only sings about love, the pain of parting, God, and social
issues, but unusually for a woman, she’s also a mjusician that backs
her singing by playing the stringed ngoni, and calabash. However, unlike
fellow singer Oumou
Sangare who also comes from the Wassoulou area in southern Mali, Kokanko
eschews use of those glorious Wassoulou massed female chorus.
Nevertheless, her voice, and the simple acoustic instruments beneath her
voice are enough to carry the songs and express enough emotion to engage
the listener.
Kool
& The Gang ‘The Hits: Reloaded’ (Virgin) The idea’s to get
contemporary artist to ride a Kool & The Gang track. Somehow
they’ve all pulled it off – it does work. The artists’ different
flavours add something to the classic orginals. Stand outs include
Ashanti’s ‘Cherish’, Beverley Knight attacks ‘Steppin’ Out’,
Youssou N’Dour and Lauryn Hill take ‘Summer Madness’ somewhere
else. Includes contributions from the likes of Big Brovaz, Sean Paul,
Jamiroquai, and Blackstreet wring out the soulful ballad ‘No Show’.
Worth investigating.
LA
Symphony ‘End Is Now’ (Gotee) From the lead in title track, they
don’t let up. Their sound is very fat, with thumping basslines and big
beats, and their delivery is as strong and enjoyable. A group that can
hold their own in religious circles and on the secular rap underground,
they lace their beats with fun, partying and spiritual themes. Check
‘187 On The Dancefloor, their take on gangster-themed rap, and the
groovy ‘Gonna Be Alright’. Investigate.
Ladysmith
Black Mambazo ‘The Very Best Of’ (Wrasse) If for some reason you
don’t have a copy of any of LBM’s various compilations, then this is
certainly the one to get. Over two CDs, it covers all their Western
hits, such as ‘Rain Rain Beautiful Rain’, ‘Inkanyesi Nezazi (Star
And The Wiseman), ‘Swing Low Swing Chariot’, ‘Diamonds In The
Soles Of Her Shoes’, and ‘Homeless’. They cover well-known South
African songs like ‘Nkosi Sikel’I Afrika’, and ‘Mbube (Wimoweh)’,
and Western songs like ‘Oh Happy Day’, ‘Amazing Grace’ and
‘Silent Night’. Interspersed within that are Zulu songs like
‘Abezizwa (Uniting Nations Together)’. Certainly a value-for-money
product.
Lateef
& The Chief ‘Maroons: Ambush’ (Quannum) A strong hip-hop album,
strong on rocking beats and something to say. Just check out the
socio-aware ‘If’, which through singing and rapping highlights
corrupt politicians, the Iraq war, racism, etc. The rock-ish guitar
backed ‘Matter Of Time’ and ‘Lester Haves’ are head-nodders.
Whilst ‘Don’t Stop’, which tells the story of a girl coming into
her own, and ‘Best Of Me’, are backed by a huge dollop of funk
beats.
Laurnea
‘I Remember’ (Dome) It kicks off with ‘Ain’t Nothing Wrong’, a
vibing track underpinned by an unusual drumming pattern. By the
following track,. ‘I Remember’, Laurnea’s in the stride mlost fans
expect – a strong, feel-good R&B/soulster dominated by her strong
vocals. The mid-tempo ‘Who I Am’ sounds like a more funky version of
an Erykah Badu track. Great vocals arrangements should make this a joy
for mature R&B fans. The hardest tracks here are the Angela
Johnson-produced ‘No Shame’, and bonus track ‘Free Your Mind
(Slipping)’.
Lemar
‘Time To Grow’ (Sony) Lemar
had time to grow long before he got his current major deal, which is why
he’s able to turn out such an impressive sophomore set fairly quickly.
This time, as the declarative ‘opener ‘Soulman’ underscores,
he’s focused more on the soul tip
with cuts like the mid-tempo ‘Better
Than This’ and the title track. He rocks on cuts like ‘I Don’t
Mind This’, and I just can’t get enough of the hit single ‘If
There’s Any Justice’. The soul underground should appreciate the
two-step soulster ‘All I Do/My Boo (Part II). The boy can sing!
Recommended.
Leroy
Hutson ‘Leroy Hutson’ (Soul Brother) Culled from his mid-70s Curtom
catalogue, this demonstrates the qualities some of today’s neo-soul
artists try to emulate. Let yourself get lost among the sumptuous string
sounds. However, you’re unlikely to doze off because despite what’s
happening on top, there’re usually some upbeats. You can however find
respite in the impressive, quiet-storm jazzy instrumental ‘Cool
Out’. This contains the original rare groove classic ‘Lucky
Fellow’, much popularised by McKoy.
Letta
Mbulu ‘Letta Mbulu Sings/Free Soul’ (Stateside) If you like what you
hear on Peterson’s compo, then there’s more here, like the
singularly, emotively sung ‘Mamani’, ‘Olu Ati Ayo’, or the
inspirational, dancey closer ‘Welele’.
A star in her native land, her profile has been building
internationally in recent times. She has a very charming and accessible
style – although patently very South African, it also has soul-jazz,
pop-R&B and MOR tinges, which has the potential to appeal to a very
wide market. Just listen to tracks like ‘Pula Yetia’,
‘Magwalanini’ or ‘Kukuchi’ - the voice alone will transport you
into a feel-good place. She’s equally impressive on English-sung songs
like ‘My Son’, ‘West Wind’ and ‘What More Could Be Right’.
Linton
Kwesi Johnson ‘Live In Paris’ (LKJ) The dub poet celebrates twenty-five
years as a performance poet with this live recording and an accompanying
DVD featuring many of his best known socio-political pieces. From the
first cut, ‘Di Eagle An Di Bear’, the Dennis Bovell Band lay down
some very funky grooves for LKJ to please his fans with his delivery.
Includes ‘Want Fi Goh Rave’, ‘Sony’s Lettah’ and ‘More
Time’. Impressive.
Living
Souls ‘Ambient Africa’ (Nascente) This mid-priced compilation brings
together apartheid era Zulu music that’s been fused with modern beats
and sounds by France-based Cameroonian musician FJ. This is not ambient
music, as most people understand it, as there are many beats driven cuts
here. Such as the opener, which features White Mambazo, who are sons of
Ladysmith Black Mambazo. Attaza’s impressive vocals waft across a
locked-down disco groove. The interesting modern dance rhythms fusion
includes the drum & bass backed ‘Ngikhlela’. It’s Mmakosa’s
mellow ‘Khumwana’, with sounds of bird noises and outdoor atmosphere
which fits the ambient tag. Ditto: Fea Durban Sings’ closer, which
include a sample of Martin Luther King’s ‘I Have A Dream’ speech.
LL Cool
J ‘The DEFinition’ (Def Jam) He did his bit to define rap, and
he’s still rolling with his eleventh album. He’s not sitting on his
laurels expecting respect and appreciation, LL drops rhymes as if he’s
some new young rhymer on the block. Keeps heads occupied with rough cuts
like ‘Rub My Back’ and the Timbaland-produced ‘Headsprung’,
whilst R Kelly laces an R&B vibe over the bumping ‘I’m About To
Get Her’.
London
Urban Collective ‘London Urban Collective’ (Freeport) A
chance to showcase some of London’s undiscovered artists. It contains
the good, the not so good, and the indifferent. JR and Yazmin’s sung
and rapped enquiry as to why there’s no peace ‘Ghetto Tale’, is
certainly one of the stand outs. Ditto: Sonul Bodiani’s impressive
voice and piano dominated ballad ‘Be The Man’, and Nyokia
Kung’u’s country-ish ‘Get Over You’, which is awash with
delicious piano and acoustic guitar lines. Spitting a line from ’99
Problems’, the rap on Screwface City’s ‘By Your Side’ comes
across as some hard, underground stuff, except the female vocalist add a
sweet, soft vibe. The male and female singers provide a very ‘60s
retro feel to the soul-jazzy ‘Temptation’. Skinnynman, Shystie and
Gemma Fox lend support as featured guest artists, such as the uplifting
rap-laced beats-based drum & bass/soulster ‘Rested’, featuring
Fox and Yazmin. Jeeday Jaws sounds like a Dizzee Rascal copyist. James
Pyke, unadorned by any music, provides an interesting autobiographical
delivery with ‘Personal’. Ends with a taking it back to the
motherland track, ‘Awisani’, featuring sweet African language vocals
and driven by pure percussion.
Luciano
‘Reggae Max Part II’ (Jet Star) The Messenger’s only the second
artist to graduate to a second ‘Reggae Max’ compo. Taken across his
back catalogue, varying from London-produced, such as the lovers and
spiritual vibed ‘Empress Love’, to Xterminator cuts featuring Sly
& Robbie: ‘When Man On Earth’ and ‘Ulterior Motive’. Luciano,
one of the revivalists of roots & culture reggae, has a warm voice,
whether singing lovers, social or spiritual songs. There are twenty to
feast on here, including the rocking ‘Step Right In’, ‘Visions’,
‘Be Of Good Courage’, ‘Come Away’, ‘Can’t Blame The
Youths’, ‘There’s Got To Be A Change’, ‘Call On Yahweh’,
‘God Is Greater Than Man’, ‘Jah Will Always See Me Through’,
‘Serve Jah’, plus a rocking closing medley of Bob Marley covers.
Ludacris
‘Red Light District’ (Def Jam South) There’s no excusing the
fruity language here. That said, Luda has an engaging rap style. And
although he sounds hard and dangerous, unlike many of his peers,
there’s something about him that doesn’t sound as menacing. He
certainly has more to say than most of his peers. I’m not necessarily
referring to ‘Large Amounts’, which comments on the problems of
being rich and which is underscored by a humorous English soundbite
sample. The funky, R&B-laced socio-commentary ‘Child Of The
Night’, featuring Nate Dogg, asks why does everything so bad feel so
good? That’s something we all need to think about and deal with.
‘Hopeless’ is a powerful, thought-provoking socio-commentary built
over a cool, soul groove. ‘Put Your Money’ has an interesting
gambling theme. Includes the huge club-banger ‘Get Back’.
Lura
‘Di Korpu Ku Alma’ (Lusafrica) She comes from that tiny island off
the west coast of Africa called Cape Verde. She gives props to the grand
dame of Cape Verdean music Cesaria Evora on the accompanying DVD –
yes, it’s a great CD/DVD package. But that’s where the similarities
end. Lura is young, beautiful, and she doesn’t sing mournful mourna.
Her songs are upbeat, and fuses African with Afro-Latin influences. So
sounds echoing of talking drums mix with son-like songs like ‘Na Ri
Na’. Great fusion, even if some of the songs sound samey. Watching
Lura on the DVd, she exudes presence, and she doesn’t go bare-foot!
Lynden
David Hall ‘In Between Jobs’ (Random) After two impressive albums on
EMI, Brit soul singer-songwriter DLH releases an album on his own label.
It’s is a very accomplished set. Cuts like ‘Stay Faithful’ cater
for older soul heads, and ‘Pimps, Players And Hustlers’ for younger
R&B/hip-hop fans. There are several strong songs, one of which, the
cool R&B/soulster ‘Day Off’ has been lifted for the first
single. The track, which vocally echoes in parts of Al Green, should set
up this album well. All that needs to be said is that LDH, who recently
revealed he’s suffering from cancer, needs a respite in order to
promote and support this superb album. The long wait surely has been
worth it.
Macy
Gray ‘The Very Best Of’ (Sony) Does this signal the demise of her
meteoric rise? If it is, then she’s left us some gems to remember her
by. Like the radio-friendly ‘I Try’, the Erykah Badu-featured
‘Sweet Baby’ and ‘Still’, the hip-hop soulsters ‘Do
Something’, ‘I’ve
Committed Murder’, and the Slick Rick-featured ‘Hey Young world Part
2’. Includes collabos with Mos Def, Pharoache Monch, plus several
bonus tracks.
Manu
Dibango ‘Rough Guide To’ (World Music Network) Whilst there’s no
‘Soul Makossa’ here – this ends with the hip-hop/electro
‘Makossa Blow’ spin-off – this compo, culled from the Cameroonian
icon’s catalogue going back to the ‘60s, shows his more rootsy and
jazzier side. For example, whilst the xylophone’s the featured
instrument on ‘Miango Ma Tumba’, this composition could well be out
of the book of jazz musos like Herbie Hancock. His baritone sax makes
his cover of ‘Nature Boy’ his own. His sax playing and compositional
talents are best displayed on the rocking, mellow ‘Mi Niya’ and
funky ‘Negropolitaines’. For dancing, the soukous/soca inspired
‘Miss Cavacha’ and funk-driven ‘Mouna Pola’ are irresistible.
Manuel
Guajiro Mirabal ‘Buena Vista Social Club’ (World Circuit) The
trumpet player of the BV social club gets his solo album out, and what
an enjoyable Afro-Latin experience he weaves. Actually, Guajiro covers
the songs of the late black Cuban composer Arsenio Rodriguez, said to
have helped introduce African elements into Cuban music.
There’s son to keep you dancing, and boleros to smooch to.
Great musicianship all round.
Mari
Wilson ‘Dolled Up’ (Beehive) The Beehive Queen from Neasden, north-west London from
where this is bei8ng written, brings out what must surely be her most
satisfying album, seeing that it’s on her own label, and that she
co-produced and co-wrote much of the songs here. There’s the pop-soul
opener ‘The Love Thing’, a very radio-friemdly track on which Mari
at times sounds like Lulu. ‘Love At Last’ is a mellow soul-jazzer.
Ditto: ‘Amazing’ and ‘Look Out For You’. There are a couple of
covers here which we love. Todd Rungren’d ‘I Saw The Light’, and
the Bee Gees’ ‘How Can You Mend A Broken Heart’. Al Green did such
a great job with his cover, one can’t help comparing anybody else’s
version to his. ‘Getting There’ is a big ole radio-friendly MOR-ish
ballad awash with huge orchestral strings.
Mario
‘Turning Point’ (J) The US chart-topping ‘Let Me Love You’,
which opens this album, with a hip-hop remix featuring Jadakiss and TI
on the remix dominates this album. That single amply shows the boy can
sing. Ditto: ‘Couldn’t Say No’ and ‘How Could You’. However,
the street-edged R&Ber ‘18’, featuring Cassidy, is also in the
running for ear-pricking cuts. The rocking juvenile-rapped R&Ber
‘Boom’ bites a bit of Usher’s ‘Yeah’ sound. Cham joins on the
bumping dancehall/R&Ber ‘Girl I Need’. The rock guitar riff
featured ‘Here I Go Again’ could well be a single. It has an
immediate, charming vibe. Females will mostly likely go for the ballad
‘Like Me Real Hard’.
Mario
Winans ‘Hurt No More’ (Bad Boy) Despite his pedigree, Winans isn’t
as good a singer as he is a producer. Many of the songs are pedestrian.
Some of those that jump out do so because they interpolate or sample
well known sounds. Like is Enya-vibed massive single ‘I Don’t Wanna
Know’ and ‘Never Really Was’, which uses Madonna’s ‘Papa
Don’t Preach’ string section. I guess the charm here is that Mario
is happy to play the vulnerable male.
Mark De
Clive Lowe ‘Tide’s Rising’ (Antipodean) His Universal Jazz debut
did bode well. However, one can see why the producer/keyboadist is now
on his own indie label – at the time when Universal Jazz is shifting
units by the likes of Jamie Callum and Clare Teal, one does not expect
them to have patience with the potential to cross over but rather
decides to take his sound deeper underground. Cuts like ‘Slide’,
‘Traveling’ and ‘State Of The Mental’ mine broken beats and
garagey vibes. Whilst the vocals of Bembé Segué add some soul.
‘Quintessential’ has an air of vintage Roy Ayers soul about it.
Mark De
Clive Lowe ‘Tide’s Rising’ (Antipodean) On his first indie release
since leaving Universal Jazz, Lowe’s
decided to take his sound deeper underground. Cuts like ‘Slide’,
‘Traveling’ and ‘State Of The Mental’ mine broken beats and
garagey vibes, whilst the vocals of Bembé Segué add some sweet soulful
tones. ‘Quintessential’ has an air of vintage Roy Ayers soul about
it.
Mark
Morrison ‘Innocent Man’ (Mona) I
don’t think old Mack is being given a fair shake. I heard my nephew
dissing him without having heard the album. He accused Mark of living on
past glory. However, if the title track was by a new artist, it may have
fared better, because it’s quite a nice soul/R&B record. Mark
sounds good, and DMX blesses it with some thought-provoking rhymes. The
hi-hop flavoured, somewhat autobiographical ditties of Mack’s problems
with people and society, continues on the jiggy Daz Dillinger featured
‘Backstabbers’. Mack gets into bogling mode with the Elephant Man
featured romantic ‘Lately’. ‘Friday’ is a weak song. However
strong songs includes the soulful, revealing ‘Just A Man’, ‘Damn
Damn Damn’ (featuring Adina Howard), his cover of ‘Wanna Be Your
Man’, and the awesome ‘Journeys’, featuring Mica Paris’ and the
Alexander O’Neal featured version of ‘Just A Man’. Please give
this album a chance, you may just get to like it!
Marlon
Saunders. Enter My Mind (Soul Brother) Hmm, I love it.. Although new, it
has that old school independent soul vibe. Saunders has a voice that
ought to charm anyone. Listening to the funky ‘Keep Doin’ What You
Do’ he sounds like a cross between D’Angelo and Mehelle Ndegeocello!
The ladies are going to love mellow cuts like ‘Coolin’’ This is an
underground soul album worth discoverin
Martin
Luther ‘Rebel Soul Music’ (Rebel Soul) Kicking off with ‘Daily
Breadf’, singer/muso ML sounds retro R&B, at the same time very
much of now. ‘Home’ comes on a bluesy-funk tip with a rocky drum
& bass break-down section. ML’s vocals comes to the fore on the
soulful ‘Rise’, ‘NYCG’, and ‘Ms America’. ‘Street
Walking’ is a heavy rock guitar-peppered funkster that really rocks.
Ditto: ‘Rebel Soul Music’, which is underpinned by a rough,
minimalist, percussion-driven groove. Omega Rae adds some sweet female
vocals to the bluesy-funkster ‘Liquid Sunshine’, standout feel-good
track.
Mary
Mary ‘Mary Mary’ (Sony BMG) This is a blinder of an album. Perhaps
their strongest yet. It works superbly on many levels. The secular heads
who got into ‘Praise Him’, will be rocking to the funky, banging
R&Ber ‘Heaven’. Great, unadulterated gospel that should appeal
to the streets!. Ditto: the churchy ‘The Real Party’, and the R&Ber
‘Love You That Much’. Street soulsters come in the form of
‘Believer’, ‘Stand Still’, and ‘What Is This’, whilst the
sisters try their hands at old style jazz with ‘Biggest, greatest
Thing’. Baby Dubb races ‘Save Me’ with some rap. They mellow down
with the jazzy, soulful ‘Yesterday’. The Latin and strings-washed
‘And I’ features raps by Kirk Franklin. Love it! No filler here!
Mase
‘Welcome Back’ (Bad Boy) There must be a lot of love for Mase
judging by the fact that he’s cover featured artists on several
American magazines, including Vibe. What’s the (ex?) pastor on about?
OK, his album does not warrant a Parental Advisory sticker, which is
like really unusual for American hip-hop. That said, except for tipping
his hat to Jesus on ‘Gotta Survive’, it’s like Mase never went
away. Because it’s mostly the bling-bling lingo about money, cars, and
other stuff that he owns. Titles like ‘Money Comes And Goes’ say it
all. The plus is that except for the single ‘Breathe, Stretch,
Shake’, which features P Diddy, he has not featured any other well
artist. Whilst his singing, I presume it’s him singing, is off on
‘My Harlem Lullaby’, there’s lots f cool female singing on tracks
like ‘I Wanna Do’ and ‘The Love You Need’. Breezy inoffensive
bubblegum, which makes a change, particularly as Will Smith has for the
time being hung up his mic!
Mavis
Staples ‘Have A Little Faith’ (Alligator) The voice that powered The
Staple Singers into the mainstream in the ‘70s is still charming,
although this bluesy and old school R&B offering is really going to
appeal to her old, hardcore fans. Thumping beats behind the funky ode to
her late father, ‘Pops Recipe’, don’t change things. She shows her
gospel roots and evokes Staple Singers vibe with the soulful, bluesy
‘Step Into The Light’, the blues gospel ‘A Dying Man’s Plea’,
and the emotive, mellow, soulful, upfront gospeller ‘God Is Not
Sleeping’.
Maxi
Priest ‘Rise To The Occasion’ (Relentless) One of Britain’s best exponents of lovers rock returns after a long
sabbatical to show that whilst he can handle, like ‘Like I Do’,
‘Full Hundred’, and the Shaggy collabo ‘Believe In Love’; he’s
also capable of handling other styles, like soul. Check out his cover of
Omar’s ‘There’s Nothing Like This’. He turns his cover of
Sting’s pop song into a smooth soulful cut. He even touches on
conscious themes with the uplifting, rootical ‘Cry For The
Children’. Ends with another cover of ‘Wild World’, this time
it’s in a mellow, acoustic style featuring Wyclef. A very listenable
album.
Maze
Featuring Frankie Beverley ‘Greatest Hits’ (Capitol) You can expect
among the 18 tracks here, ‘Joy & Pain’, ‘Before I Let Go’,
‘Southern Girl’, ‘I Wanna Thank You’, ‘Too Many Games’, the
awesome ‘Runnin’ Away’, and a live version of ‘Happy Feelin’s’.
Pity club hit instrumental ‘Twilight’ is not included.
MCD
‘After Dark’ (Knew Eclipse) Another
album I bought directly on the streets. I remember the MC also known as
Silent Eclipse from his one and only Island album ‘Psychological
Enslavement’. My memory of that hard to find mid-90s album was a fiery
MC with incendiary, socio-political rhymes. Probably a bit for a major
release by a Brit MCs. So I’m rather surprised that much of this
self-produced album seems to be about sex, love and the usual dissing of
the weak competitors. This is contrasted by the very romantic,
R&B-laced ‘I’m In Love’ and the bitter-love song ‘Deep
Inside’, both featuring the sweet voiced Nadine Charles. Rosita Lynch
and Doc Brown join on the mellow-vibed, uplifting, socio-tipped ‘Hear
Me’, and The Bury Crew end with the bouncy, party-vibed ‘Silent
Burial Part One’.
MDV
‘Style One’ (TMP&Q) A
British roots reggae band, they have a nice, warm sound. Whilst the lead
in track, ‘Don’t You Care’, has a wall of sound sonic attack,
it’s the huge vocals on tracks like ‘Wake Up’ and ‘Down Ism
Capitalism’, which demand the listener’s attention. They occur
vintage rootsers like the
Congos. ‘Keep It Real’. ‘Keep It Real’ blends dubby vibes with
soulful, rootsy vocals. This is ‘So Good’, it deserves wider
appreciation.
Miami
‘Funk It Up: The Best Of Miami’ (Stateside) Miami was the TK Records
house band, who also cut some albums on the side. However, whilst the
label’s hit run was being built on disco, Miami kept to funk and
jazz-funk. ‘Funk It up’ not only has a funk groove, but is also
topped by seriously soulful voice. The band paid notice of the biggest
sound around by tagging the word disco to the funk work out ‘Disco
Weekend’. It didn’t stop there – there was also the ‘Kung Fu
Feak’! They mellow things down with an ace cover of ‘I’ve Been
Loving You Too Long’. Worth checking out.
Missy
Elliott ‘The Cookbook’ (Atlantic) The cookbook consists of a mixture
of humour, innocuous party and hardcore, sex-centred rhymes, rapping and
soulful singing, Latin and Jamaican lingo, R&B, rap, hip-hop,
electro, and collabos from long-time producer Timbaland, Slick Rick,
Ciara and Fat Man Scoop, American Idol winner Fantasia, Vybz Kartel, UK
rhymstress M.I.A. Mary J and Grand Puba. Producers Scott Storch and the
Neptunes drop some tight beats, such as the sexcentric ‘Meltdown’,
and the rocky, turntablist hip-hop ‘On & On’, respectively.
Missy does a bit more singing on this album, with the R&B/soulster
‘Teary Eyed’ being the most obvious and accessible. Extra content
via computer playback include exclusive interview, photo gallery, etc.
Misty
Oldland ‘Forest Soul’ (Mistic Discs) Having experienced major label dealings as part of the Oldland Montano
duo and as a solo artist in the ‘90s, Misty resurrects her solo career
with this self-produced and released album. It’s eclectic and quite
personal. ‘U Came’ is a cool R&Ber, which features a very
soulful Andrew Roachford. I’m convinced it samples some strings and
grooves from a Curtis Mayfield track.
Last year’s single ‘Orange Fox’ is an unusual, but sweet,
wispy, pop-folky song. Built on a mellow funk groove ‘Hit Record’
seems like an autographical recounting of Misty music business
experiences leading up to the release of her latest record. A green
issues supporter, Misty deals with the issue of oil spills on ‘Cracked
ship’. ‘Woman In Me’ is a haunting, dark, atmospheric ballad.
Probably the most immediate cut after the Roachford collabo is the
R&B/soulster ‘Thank You’, and the hip-hop soulster ‘Angel’,
which is wrapped around some sweet, yet moody, orchestral strings. Tunde
Jegede’s kora adds to atmospheric closer ‘Tunde’s Forest Link’.
Mory
Kanté ‘Sabou’ (Riverboat/WMN) The West African kora player and
singer returns with a very upbeat and engaging album that uses only
human voices, including some delicious female chorus, and acoustic
instruments. It’s sometimes hard to believe there is no electronic
sound here. If you’re into Senegambian traditional music, then
you’ll love this offering from the Guinean superstar. This is an album
of songs and performances of depth and quality.
The vocals really do connect. You have to get on your feet when
you hear a track like the kora and balaphon-charged
‘Mama’ or Désolé’.
Motif
‘Bitten By The Bug’ (Motif) Honestly, just looking at the
cover photo and without any biog, I had assumed this was a Northern
African artist. What surprise it was to discover a very impressive
R&B/soul artist. At times Motif’s tones echo of Gerald Levert.
This is no ‘Wannabe’. Motif should charm you with ‘Hugs And
Kisses’. His lead and
backing vocals impress on ‘When I Remember’ and mid-tempos like
‘Rain On Me’, and ‘Shoulda, Coulda, Woulda’. The latter isn’t
Beverley Knight’s song. This self-released artist is worth checking
out.
Ms
Dynamite: Judgement Days (Polydor) See
Ms Dynamite review feature
Murs
3:16 ‘The 9th Edition’ (Definitive Jux) On
‘3:16’, Murs goes on about people with nothing to say. Well, his 9th
Wonder-produced beats may be crisp, and he may have a good enough
rhyming style. But he ain’t saying much. Just blowing mostly hot air,
methinks. The heist story of ‘Trevor An’ Them’ is cinematic and
has some humour. Funnily enough, one of the tracks that prick up the
ears is the very sexist ‘Bad Man!’, which is underpinned by a reggae
rhythm.
N.A.T.
‘The Few That Hear Me’ (Sunshinekid.com) NAT is a London-based
rapper-producer of Ghanaian parentage with a strong pan-Africanist
stance. He’s a good enough rapper and his rhymes drop as sincere.
Although he style often echoes of 2Pac, he makes no pretence of crossing
over. However, despite the pro-black and conscious lyricism, I don’t
care for the profanities nor the wanton use of the word ‘nigger’,
like on ‘Niggativity’. I don’t see how a conscious rapper who
decries major record company signed acts for their negativity towards
black people can justify use of profanities, nigger, or calling himself
a Devil’s Angel! Independent artists like him are supposed to have no
puppet master. Go figure. On the positive note, he gives props to the
R&B-laced ‘Black Queen’, and the ‘Intro’ skit uses obvious
African characters. ‘Thank God’ is cool, and props need to be given
to Mama Sol for adding smooth, soulful backing vocals.
Nat
King Cole ‘The World Of Nat King’ (EMI) If you are not down with the
cool, mellow jazzy and MOR hits on here, then consider getting it for
your parents or very adult relations. They’ll love you more. Because
this is full of Cole’s best known tunes. We’re talking ‘When I
Fall in Love’, ‘Mona Lisa’, ‘Nature Boy’, ‘Autumn Leaves’,
etc. Includes ‘Let’s Face The Music And Dance’, which should be
best known among the younger generation because it’s been used in a TV
commercial for a British building society; and ‘Unforgettable’,
which comes in the original, and the duet version made by daughter
Natalie.
Natski
‘Rare’ (GDM) It’s
nice to see the UK R&B scene can produce some quality stuff even if
the label’s a small London indie. The sampler of this R&B
singing/rapping collabo album has both club-primed and some conscious
focus. It’s encouraging to see the inderground can come come up with
the goods. Like ‘Shall We Go’, featuring Sherona Knight, which has
nice female vocals over tight ‘80s kinda funk grooves, which contrasts
a Nelly style of rapping. Some rawk geetars can be heard on the funky
R&B/rap fusion called ‘Stop Drop & Roll (Da Re-fix)’. They
add a dancehall groove to their palette with the bumping ‘Serious’,
and big beats to the mellow guitar-laced ‘Fly Away’. Nice vibe’s assured.
Nelly
‘Sweat/Suit’ (Universal) Unlike Outkast’s last album,
Nelly’s is not a double album. They are two simultaneously released
album. The interesting thing will be which sells better. ‘Sweat’
seems more focused as a posse offering. Like the opener, ‘Heart Of A
Champion’, which features Lincoln University Vocal Ensemble, and the
Curtis Mayfield-sampling funky ‘Tilt Ya Head Back’, featuring
Christina Aguilera. Stephen Marley & Murphy Lee feature on the
bubbling reggae-rhythmed ‘River Don’t Runnn’. Missy Elliott is one
of the side’s collaborators. Although ‘Suit’ has the hit track
‘My Place’, featuring Jaheim and the equally R&B-laced ‘Nobody
Knows’, featuring Anthony Hamilton; Ron Isley, Mase, a cool Spandau
Ballet-sampling track, and the very funky So So Def remix of
‘Dilemma’, I feel overall, it has more of the weak songs.
Neon
Heights ‘A Hot Trip To Heaven’ (Shiva) Oh dear, I’ve listened to this album repeatedly and just can’t get
hold on an angle. There’s nothing astounding about it, except of
course if you commends them for their left of centre take on Jam’s
‘That’s Entertainment’ cover. Essentially pop, it tries to weave
in hip-hoppy beats and sensibilities here and there. ‘Freedom
Fighter’ tries to be hip and rootsy with a repeated vocal sample of a
South African saying ‘everyone of us is a freedom fighter’ over an
atmospheric, dubby background. The female singer’s alright. Quite
innocuous with a few musically interesting passages.
Nublues
‘Dreams Of A Blues Man’ (Tekni) From
the first track ‘Swamp Thang’, this Brit group shows off its
blues-fusion style. Can you imagine country blues mixed with scratching?
‘Mississippi Rising’ mixes dancey, hip-hop beats, and a bit a
rapping, slide guitar, funk bass and harmonica. ‘Blues Man On The
Run’ is essentially blues-rock/hip-hop with a bit of a fugitive
storyline. Probably the standout track here is ‘Contradiction’.
It’s appeal’s immediate, and it mixes all of the said styles and
instrumentations. Ends with the mellow, steel guitar and vox ‘Hold
Over Me’. On reflection, it’s amazing that despite their
fusion, Nublues has been embraced by the blues music media. They’ve
also been signed in America to Chris Thomas King’s 21st Century Blues
label.
Omar
‘Omar EP’ (The One/Omar Music) Whilst
we wait for album number six, Omar drops this welcome EP. ‘It’s
So’ is an upbeat, Latin-flavoured dance track. ‘I Want It’ is a
nice, soul ballad, which should please his old fans. Omar collaborates
on the dancey ‘No Reason’, whilst the best by far is left till last:
‘Tell Me’ is a big beats-based ballad that’s irresistibly
charming.
Omarion
‘Omarion’ (Epic) The ex-B2K singer drops a solo album, which should
appeal mainly to his youthful fans, though they probably need to watch
the language on the dancefloor-primed ‘Take It Off’. He’s not a
particularly exceptional singer, and many of the songs here are rather
perfunctory R&B. The ballads aren’t great either. However, he does
shine on the mid-tempos ‘O’ and ‘I’m Goin’ Change’.
Orishas
‘El Kilo’ (Capitol) This may well be the most accessible
offering from this act, which mixes Afo-Cuban music with hip-hop
sensibilities. Whilst most of us may not understand Spanish, we can
nevertheless groove to the rap-laced mid-tempos ‘Distino’ and
‘Stress’, the radio-friendly title track and the sumptuous ‘Reina
De La Calle’, or the salsa-fused ‘Elegante’, or the funk-based ‘Bombo’.
Outlandish
‘Beats, Rhymes & Life’ (Outcaste) The Scandinavian
multi-racial hip-hop trio drop a mix album, which opens with the Rishi
Rich R&B and desi-laced remix of Outlandish’s last single ‘Walou’.
Also includes the mellow, minimalistic Proper Pak remix of the group’s
beautiful ode to the object of their desire ‘Aicha’. The musical
trip takes in the Refugees Hip-Hip remix of
Fugees’ ‘Vocab’, the R&B-laced French rap of Alliance
Ethnik, the oh, so cool son ‘Chan Chan’ by the late Cuban muso
Compay Segundo, some
bum;ping rai from Rashid
Taha, bhangra from Juggy D, hip-hop from DJ Jazzy Jeff and Goodie Mob,
some Eupean rap from Petter Alexis, plus an impressive soulful offering
by Cuban singer Mercedes Sosa. What a trip?!
Owen
Gray ‘Shook, Shimmy & Shake: The Anthology’ (Trojan) A
singer of the old school, obviously influenced by American R&B and
jazz, as demonstated by many of the tracks here, including ‘Please
Don’t Let Me go’, ‘Jenny Lee’, etc. Ska tunes like ‘I feel
Go’ are obvious attempts of making American R&B. Whilst tracks
like ‘Gonna Work Out Fine’ show the influence of soul music, whilst
‘You Don’t Know Like I Know’ nods to Stax soul. Reggae is
represented by cuts like the delicious ‘Too Experienced’, ‘No
More’, ‘Give The Children Food’, etc.
Ozomalti
‘Street Sign’ (Real World)
The album opens with a studio version of the huge strings-backed funk
and rapped ‘Believe’, and ends with a live version, which has a high
quotient of energy. ‘(Who Discovered) America?’ and ‘Street
Sign’ shows a fusion of funk, Latin, and hip-hop sensibilities, whilst
cuts like ‘Te Estoy Buscando’ and ‘Como Me Duele’ shows off more
of their Latin roots.
It’s
interesting to see this American Latin-fusion band has moved from a
major deal to a leading world music label. I think they are a tight band
that successfully straddle the genre divide.
Para:Diso
‘Paradise II Paranoia’ (Dome) This album, first released in Japan finally gets a UK
release. Join father Bluey of soul/jazz-funk group Incognito and a hip-hoppy,
garagey producer son Daniel a.k.a. DJ Vernon, and what do you get? A bit
of typical Incognito soulful jazz ‘Waiting 4 The Sun 2 Shine’ and
‘Right Is Right, sung respectively by Valerie Etienne and Niki King.
Some soulful garagey stuff, like the Tommy Blaize-featured ‘Let
Yourself Go’. Some cool, jazzy, piano-led instrumentals like ‘Snowblind’,
plus some rough, atmospheric, workouts like ‘Connexion’.
Patti
Boulaye ‘Patti Boulaye’s Sun Dance’ (Boulaye Productions) Whilst touching on Africa, there’s a lot of Western
pop references on this musical soundtrack, it may not be ‘authentic’
enough for purist, except for the percussion-driven ‘Language Of The
Drums’ and ‘When War Is Over’.
‘Wedding Day’, like ‘Be Happy’, are township jive
numbers, whilst ‘Celebrate Good News’ is a mellow penny-whistle
featured tune. ‘In My Memory’ is almost like a lullaby, whilst
‘The Lord reigns’ is a spiritual.
Pete
Rock ‘The Surviving Elements From Soul Survivor II Sessions’ (BBE/Rapster)
Hip-hop producer puts together this almost instrumental album made up of
some of the beats that were meant for the ‘Soul Survivor II’. It’s
an almost instrumental on account of the opening track ‘You Remind
Me’ being built around an Al Green sample, which also features his
ad-libbing voice, whilst others like ‘Standard’ include slight vocal
snatches. ‘Marching On’, ‘Midnight And You’ and ‘Placebo’
are some of the cool, mellow feel-good cuts here. For purely
heading-nodding action for hip-hop heads, check out the funky, jazzy
‘Hop, Skip & Jump’, the Curtis Mayfield-sampling ‘(Pimp)
Strut’, and ‘Smoking Room Only’. Does drag a bit towards the end:
certainly ffor fans of the producer and rapper who need some R&B and
jazzy laced beats.
Peter
Brown ‘Get Funky With Me’ (TK) I don’t know where I was, but
Brown’s disco-er ‘Do You Wanna Get Funnky With Me’, which is
reputed to be the first 12-inch million-seller, seems to have passed me
by. It’s not as immediate as Brown’s title track nor TK hits like
Foxy’s ‘Get Off’. Brown’s said two tracks also get mid-90s
club-primed remixes. Else, apart from a couple of mellow cuts, it’s
mainly bog-standard disco cuts like ‘Can’t Be Love’.
Phoebe
One ‘Sweet Thing’ (Sweet Harmony) For
many of her fans, this would be a disappointment as it’s rooted in
reggae, lover’s rock, and the odd soul. She’s in her singing mood,
and the only thing near to a rap is the intro to ‘Knocking On
Heaven’s Door’, an uncredited cover of Bob Dylan’s song, and the
refrain on ‘Love Yourself’, a tune that looks at spousal abuse and
sour relationships. R&B and soul tinged tunes include the soulful
‘Broken Soul’ and ‘My Angels’, the funky ‘Just Fine’ and
‘Wherever I Lay My Hat’. The latter’s a Motown tune that’s also
uncredited. I make these points because the inner-sleeve highlights
Sweet Harmony as a community enterprise that teaches about music
business structure. That should surely include clearing and properly
crediting covered songs.
Phyllis
Dillion ‘Love Is All I Had’ (Trojan) She may have done her best work
within the rocksteady and reggae idioms, but the late Dillon was a
soulful singer. The music covered here comes from R&B, country and
in between. Opens strongly with ‘Don’t Stay Away’, before the
bubbling rocksteady rhythm segues into a calm country offering called
‘(This Is) A Lovely Way To Spend An Evening’. When your
mother-in-law remembers several of the originals, then you know this is
definitely big people’s music for sure. So, there, you’ve got the
elder’s presents sorted out. ‘It’s Rocking Time’ is a mild
rocksteady, whilst ‘Perfida’ and ‘Love Is All I Had’ really
rock. Includes the Queen Of Jamaican Soul’s versions of ‘Love
Letters’ and ‘Love The One You’re With’.
Phyllis
Hyman ‘In Between The Heartbreaks: The Soul Of A Diva’ (Expansion)
If you’re into this late R&B and soul-jazz singer, then
you’re bound to like this. First of all, there are five pleasant
previously unreleased tracks, including the gorgeous R&B/soulster
‘Hottest Love Around’ and a phat b-lined, disco-ey version of
‘Don’t Tell Me, Tell Her’. Groover Washington’s sax blesses the
mid-tempo ‘Sacred Kind Of Love’. Collaborations with McCoy Tyner,
Jon Lucien, Pharoah Saunders and Norman Connors, add jazzy elements to
this impressive singer’s soul.
Planet
Asia ‘The Grand Opening’ (Avatar) One half of Cali’s Agents,
this rapper seems like he’s got his head in the underground, rather
than in the pop area. His rap style is on point and easily decipherable.
His rhymes are ghetto-centric and he has bumping grooves. One of the
most bumping grooves is ‘It’s A Big’, which sounds like something
from the Neptunes’ sound lab. Cedric Davis adds some cool R&B
vocals to ‘Hypnotized’, and he adds dancehall reggae to the hard
‘Swallow Them Whole’.
Quintessence
‘Talk Less Listen More’ (whatmusic.com) Hmmm, what a lovely mood
album. If you’re into the female featured Sweetback tracks, then
you’re bound to love this album. Singer Emma’s vocals have a sweet,
charming quality, whether fronting jazz-funkers like ‘1st
Impressions’, mellow mid-tempos like ‘Skywalker’, or the wonderful
jazz-soulful ‘Ballad In 6/8’. To get a better idea of this offering,
just think of Amiel Lerrieux or Jill Scott. Go discover!
R Kelly
‘Happy People/U Saved Me’ (Jive) That Kelly is a very talented
singer and songwriter, there’s no doubt. That he’s multi-dimension,
and also affected by his on-going court case, is evident here. The
‘Happy People’ CD covers the usual carnal R&B stuff like ‘The
Greatest Show On Earth’. The ‘U Saved Me’ CD solicits more
investigation. From the first cut, ‘3 Way Phone Call’, featuring
Kelly Price and Kim Burrell, Kelly literally bares his soul and focus on
God. Although it’s almost like a gospel offering, he still keeps it
real, saying things on say, ‘I Surrender’, that those struggling can
relate to.
Rachid
Taha ‘Tekitoi?’ (Wrasse) I once saw a Taha show and it was
most electrifying and electic. However, he’s almost indescribable in
his musical style, as his influences are quite wide. ‘Rock En Casbah’
is a rock and rai over breakbeats cover of the Clash’s song ‘Rock
The Csashbar’. ‘Safi’ starts off fairly mellow, awash with
orchestral strings, then it goes into a heavy, rock refrain! Those
strings work a charm on the mellow rai ‘Winta’, featuring Kaha Beri.
From the accompanying DVD one finds him saying his music is rock n roll.
That helps one understand his need for the kind of fusions and
eclecticism displayed here.
Radio
Zumbido ‘Los Ultimos Dias Del AM’ (Palm Pictures) The photo on the
cover had such an old fashion feel, I was expecting a more rootsy Latin
American offering. Instead, it turns out that the brains behind the
project is down with hip-hoppy sensibilities and using rough drum &
bass grooves. These are mixed with the occasional Latin horns or
percussion. This is a modern dance record. One of the standouts is
‘Radio Sololá’, which very slowly builds into a wild drum &
basser! Love it!
Raghav
‘Storyteller’ (V2) This
Canadian Asian singer has had much success in the UK. The album opens
with his rocking Indian-flavoured R&B hit single ‘Let’s Work It
Out’, featuring London rapper Jahziel. He shows what a fine singer he
is on the mid-tempo soul/R&Bers like
‘No. I’ and ‘C’Mon’. He also uses jazzy and bhangra
flavours, plus dancehall, as per ‘So Confused’ and ‘Angel Eyes’.
Quite good.
Rahsaan
Patterson. ‘After Hours’ (Dome) Now on an indie, the vocals
and music are just as charming, and should please his fans. Though
he’s got some good song, the charmer her is really Rahsaan’s vocals
and arrangements. This is an enjoyable soul/r&ber. Though he tends
to stay on the downlow tempo, he can rock it. Like the rightly titled
‘So Hot’, that’s a right old funky offering. Enjoyable
Rai
2Ban ‘Who Am I?’ (2Ban) This Ugandan-born UK-based refugee is four albums deep
into a career that’s very underground, although it deserves a wider
appreciation. Particularly for those tired of rap’s ghetto-centric
rhymes, this chap has African-centric socio-tipped rhymes. The beats are
sparse but work. There’s variety, like the female cooing, and piano
flourishes on the ‘Non-Sequito’, and ‘Trade 2001’. His issues
cover pre-colonial, colonial and neo-colonialism, and the mind state of
black people, and white imperialism upon the black psyche. Occasionally,
a laugh or a line he says, echoes of 2Pac. Though
he may not have cleared Keni Burke’s ‘Risin’ To The Top’ sample
used on the thought-provoking ‘Western Thinking’, the potency of
that track can not be overlooked. He probably calls upon his hallowing
experience in writing ‘Child Soldier’. Worth discovering via
2ban.co.uk.
Ranking
Joe ‘Weakheart Fadeaway’ (Greensleeves) Oh gosh, from the
first lines of the dubby, rockers ‘Dub Sister Dub II’, if you’re a
reggae or dancehall fan, you will be bopping your head to it. What a
tough track, mixing toasting and singing over one strong! The good thing
about these Greensleeves re-issues is that one can (re-)discover
artists, such as Rankling joe. Joe Hookim’s dubby productions, such as
‘A Dread Earthquake’ and Joe’s take on the title track, are very
on point, and the toaster rides them with consummate ease. His style is
more controlled, compared to veteran toasters like U or I Roy.
Rappin’
Hood ‘Sujeito Homem 2’ (Trama) An impressive Afro-Brazilian rapper.
We’re assured his Portuguese raps are clean, though it doesn’t stop
him highlighting social issues, and encouragement to those struggling in
the hoods. He raps over straight-up, funky hip-hop beats, like ‘Us
Guerreiro’, jazzy breaks, like ‘Ex-157’, although the coolest is
‘A Minha Favela’, which mixes hip-hop
turntablism with samba. Quite a strong offering.
Ray
Charles ‘Genuis Loves Company’ (Concord) Though this
posthumous release is set to be Charles’ biggest album, and not
withstanding Charles’ predilection for eclecticism, some of the
collabos seems contrived for mass appeal. A case in point being his
effort with James Taylor. It sounds dreary. The collabo with Elton
John’s marginally better and John steals the spot too. Indeed it feels
like many of the collaborators are carrying Charles, who makes his mark
on the Bonnie Raitt and BB King bluesy tracks. The likes of Norah Jones
and Diana Krall should help broaden the Charles’ appeal.
Real
‘Give Me A Reason…’ (Smooch) If you’re into ‘70s jazz-funk, then you may want
to check out this Brit male-female duo made up of Louise Pollock and
Winston Rollins. It opens with the jazz-funky ‘In The Sky’, followed
by the title track, which is driven by a ‘70s disco groove, as is
‘Message’. ‘Beautiful Sunshine’ is a sweet, mellow romantic cut.
Ditto: ‘Stay’ and ‘I Forgot To Ask’. ‘Lovechild’ and ‘What
You Got’ are phat funk cuts. Not too deep on the lyrical front, and
the vocals are alright, however it’s top notch on the live musical
tip. Not surprising brass features a lot here, as multi-musician Winston
has played brass with the likes of Brand New Heavies, Incognito,
Jamiroquai, and Courtney Pine.
Rhian
Benson ‘Gold Coast’ (DKG) It’s
taken quite a while for this to finally get a UK release. But the wait
has been worth it. By the time you read this, her single ‘Say How I
Feel’, especially the Slum Vilage hip-hop remix, should be a big hit.
This Ghanaian/Brit recorded this Stateside, where she’s had quite a
bit of success. And one can see why, because this is a classy
soul/R&B offering with fine vocals, songs and production. Like the
smokey soul-jazz ballad ‘Soul Boy’. Certainly a must-have album from
a star in waiting.
Rocky
Dawuni ‘Book Of Changes’ (Aquarian) The title track, which opens the
set, is a great departure. Dawuni is singing in a higher register.
It’s built more on a funk groove, than his usual reggae. And there’s
turntablism and kora in the mix. The other departure is obvious
Africanness into his music. Dawuni takes on a Bob Marley tone for
‘Wake Up The Town’, a glorious, brass-puntuated sound, which fuses
Afrobeat and reggae. ‘Afroroots Vibration’ uses the same fusion, and
pigeon-English, which underscores the African problems on ‘Africa For
Learn’, which is blessed with sweet, jazzy trumpet and females chorus.
‘Ewurade’ is a reggae socio-commentary sung in Twi.
Roll
Deep ‘In At the Deep End’ (Relentless) Producer Wilely’s collective of
singers, rappers, MCs and DJs finally drop their debut album.. For those
wanting a change from Yankie stories, Dizzee Rascal’s former posse
offer a London thing in
regards to stories, lingo, and rhymes. Like ‘Bus Stop’, ‘Be
Careful’, which features Alex Cartana; and the R&B-laced
‘Remember The Day’. For crossover action, the obvious track is the
upcoming single ‘Heartache’, cleverly built upon the Motown-esque
‘Heartbreak Hotel’.
Roots
Manuva ‘Awfully Deep’ (Big Dada/Banana Klan) “I’m in a class of my
own” sing-raps Roots on opener ‘Mind 2 Motion’, and one has to
accept that he stand apart from the rest with his unique and
idiosyncratic sing-rap style, penchant for riding different musical
styles from hip-hop to reggae, exotic to dark grooves. I don’t know
how well ‘Too Cold’ did as a single, but it’s got a big, charming
and pop-friendly chorus! The dubby reggae-backed ‘Thinking’ is one
of the coolest cuts. Unlike some of his peers, few will fail to see the
irony of the murder advocated on ‘The Falling’. Includes a bonus CD
with demo version of ‘Too Cold’ and ‘The Falling’, plus a rough,
atmospheric mix of ‘Chin High’.
Roy
Ayers ‘Mahogany Vibe’ (BBE/Rapster) You know what to expect: soulful
vocals, jazzy vibes, and funk grooves. Ayers re-interprets
‘Searching’, which features Erykah Badu, and adds a hard, modern
rhythm beneath ‘Everybody Loves The Sunshine’: one version featuring
rapper MC Sakoni, and the other, Badu. Cuts like ‘Unity’ and the
Betty Wright-featured ‘Pretty Brown Skin’ are dance-orientated,
whilst the title track provides mellow vibes.
Roy
Ayers ‘Virgin Ubiquity II’ (BBE/Rapster) The second instalment of
Ayers’ unreleased recordings from 1978-81, kicks off with the cool
jazz-funkster ‘Holiday’, which features Ayers’ soloing vibes plus
a delicious female singer pushing for a Martin Luther King public
holiday, which since come to fruition. Funk is best represented by the
percussive instrumental ‘Funk In The House’, the clavinet-featured
‘Liquid Love’, the disco-ey ‘Tarzan’. Includes an impressive
demo version of Ayers’ soul-jazz classic ‘Sunshine’.
Roy
Davis Jr ‘Water For Thirsty Children’ (Nice + Smooth) Roy Davis,
known outside the club scene for his crossover hit ‘Gabrielle’,
delivers an enjoyable jazzy-vibed album. The title track, blessed with a
riffing soprano sax, is a mellow mid-tempo with some pointed
socio-tipped rhymes. Though predominantly a mellow mood album, ‘How
Will You Know’ and ‘Soldiers Listen’ are house tracks built on
thumping rhythms.
Rupee
‘1 On 1’ (Atlantic) This Bajan singer is the latest to popularise
the soca/dancehall sound. He kicks off with the optimistic
‘Victory’, and the bubbly sounds continues. Tracks like the
dancefloor-friendly ‘If I Can’t’ and ‘Helpless’ show Rupee has
enough potential hits to sustain interest. The latter, with its catchy,
sing-along chorus, seems like a more obvious single, rather than
dancehall-primed ‘Tempted To Touch’. Whilst ‘Jump’ is an obvious
jumpy-jumpy- track, it’s magnificently contrasted by the mellow,
acoustic, soulfully sung female ode ‘Woman’.
Salif
Keita & Kante Manfila ‘The Lost Album’ (Cantos) Thank goodness
someone re-discovered this ‘lost’ album! Before Keita became a
global star, he worked with guitarist and band leader Manfila. This
acoustic album is probably one of the most refreshing new releases
around. Keita’s vocals are powerful and enchanting as ever, the
children’s chorus on tracks like ‘Toura Makan’, charming, whilst
Manfila’s guitar sound is augmented in places by kora, brass, and
percussion. One of the standouts is the mid-tempo ‘Djigui’, where
guitar and trumpet are given space to shine long before Keita’s
dominating vocals come in. ‘Wara’ captures the sound of ‘60s
rumba. Another highly recommended roots music.
Sandy
Nelson ‘The Beat Goes On’ (Stateside) If you want to lose yourself
in some fun ‘60s music, then this compo should do the trick. Re-live
or enjoy the ‘groovy ‘60s’ sounds with this drummer’s
instrumental-fuelled tracks. If it’s not rocking on a Tamla-Motown
kinda rhythm, like ‘Nothing’s Too Good For My Baby’, it could well
be Booker T & The MG’s on the organ and guitar driven
‘Gloria’!
SAS
‘Who Dares win’ (sasdiplomats.com) British brothers who relocated to
New York to take up a university scholarship on account of their six
foot-plus height. During their Stateside stay, they’ve almost become
Yankies, as they ply a hardcore brand of rap, glamorising guns and
gangsta stances, and crass sex references. They may have skills, some
humour, and he fact that they can flow one time like Yankies and talk
like Brits, has its charm. They run with Cam’ron’s Diplomats, and at
one time were reputed to be signed to Damon Dash’s Roc-A-Fella label.
Anyway, current boss Jay-Z features ‘Cru Love’. Juelz Santana
features on a couple of tracks, as does the Mary J-echoing Nicole Wray,
who blesses ‘Love Don’t Live Here’ and ‘Back Up Against Da
Wall’ with fine R&B tones.
Scratch
‘The Upsetter Again’ (Trojan) How things have changed – this
CD reproduces the 1970 original cover with its 14 shillings and 6 pence
price tag. That’s about 75 pence in today’s money! There are no
crossover hits here. The majority of the tracks
have more of a rocksteady tempo. This is more for aficionados and
big people’s music. Among the instrumentals and dubs can be found Dave
Barker & The Upsetters’ vocal version of ‘Will You Still Love
Me’, and the toasting Count Prince’s humorous ‘Mule Train’.
Seal
‘Best 1991-2004’ (Warner Bros) Funny
enough, Seal doesn’t seem to have that many big hit singles. There’s
‘Crazy’, ‘Killer’, ‘Fly Like An eagle’, ‘Future Love
Paradise’, ‘Prayer For The Dying’, and the big international
radio-loved hit ‘Kiss From A Rose’. What makes this compo useful is
CD2., called the ‘acoustic album’. Here Seal, re-interprets some of
his hit songs, such as the cool ‘Crazy’ and ‘Get It Together’,
plus less well-known ones, like ‘Don’t Cry’, ‘Colour’ and
‘Touch’. Evidence of a confident and fine singer-songwriter.
Senor
Soul ‘What It Is, Y’All: The Best Of Senor Soul’ (BGP) A new
name to moi. The funky ‘Don’t Lay Your Funky Trip On Me’ was so
evocative of War, I was not surprised to find this act was an early
version of War. If you’re into ‘60s/’70s funk and jazz-funk, or
Booker T & The MG’s, you love this!. Includes instrumental covers
of ‘Pata Pata’, ‘Uptight (Everything’s Alright)’ and ‘I
Heard It Through The Grapevine’. It’s oh so damn funky – cuts like
‘It’s Your Thing’, are a breakbeat fan’s delight.
Sherwin
Gardner ‘Who I Am’ (UB1) Being a little islander like Kevin
Lyttle, Sherwin is more than a reggae artist. He is soul singer, and a
sing-jay who can one minute ride a roots reggae rhythm, the next a funk
or soulful tune, and the next it’s a soca or dancehall rhythm. But
above all, he’s upfront and infectious with his enthusiasm for the
Lord which flows from his vocal cords. Very few artists outside of the
Rasta faith can sing about their faith in such an infectious manner as
Sherwin. ‘Thank You’ and the soul-laced ‘Hiding Place’ are
certainly examples of the irresistible cuts I’m talking about. If
you’re looking for the Christian equivalent of the Sizzlas and
Capletons, you had better check out Gardner. An impress, musically
accomplished and varied set. Go discover!
Shirley
J Thompson/Royal Philharmonic Orchestra ‘New Nation Rising: 21st
Century Symphony (RPO) You
don’t have to understand classical music to appreciate this. Whilst
there’s lots of strings and moods to absorb one, Shirley brings some
of her black background to bear on her symphonic compositions. ‘New
Nation Rising’ incorporates rap, for example, and it’s got a funky
rhythm!
Shiyani
Ngcobo ‘Introducing’ (World Music Network) Ngcobo is a
purveyor of the Zulu folk music style called maskanda. He has an emotive
vocal is demonstrated on pensive songs like ‘Udadewetha’, whilst the
speed singing style can be found on the opener ‘Yekanini’. His folky,
acoustic guitar and traditional string instruments ably accompanies all
his songs. This will most definitely be a treat for most roots music
lovers.
Shortman
‘One 4 Man’ (First Love/Cocobutta) One of the leading lights on the London performance poetry circuit, with
a self-descript name, the spelling of which he emphasises on ‘shortMAN
Is Spelt’, you know
there’s going to be some humour here. Unbelievably for a British
artist within a niche market, shortMan has the luxury of a double album
over which he lets his creativity run free. ‘African Wildlife’ has
shortMAN MCing over some rough drum & bass beats, with some jungle
atmospheric noises. He drops rhymes over some old school R&B and
makes humorous references to Tracy Chapman, and adds a snippet of her
‘Fast Car’ in the mix. ‘When The Music Stops’ should get
hip-hoppers head-nodding continuously. He chats and drops poetry on
‘Hot Soup’ and ‘Eat Popcorn’, which are more than about food,
before a live audience. The mood-changing ‘shortHAUL’ has him
rapping over jazz beats and reflecting before an enthusiastic live
audience. The socio-commentary about the dark-side of black British
life, ‘Thin Justice’, is certainly the most immediate tracks here.
The sweet, mellow female backing vocals and jazzy, hip-hoppy beats.
Ditto: ‘Like’, which is more like a love song. Eclectic and
left-field, for open-minded heads.
Shyne
‘Godfather Buried Alive’ (Gangland) Though incarcerated on account
of his involvement in that palaver that embroiled Puffy and J-Lo, that
hasn’t stopped him recording an album. The first interesting thing is
that he uses reggae, Marley’s ‘No More Trouble’, as the bed for
‘Quasi OG’. The second interesting thing is despite being
incarcerated, he continues to sell a gangster stance. Though he has a
good, albeit profanity-strewn, flow, his reality rhymes offer no hope,
as he advocates doing whatever.
Shystie
‘Diamond In The Dirt’ (Polydor) British female rapper Shystie has been given scope to
show her raw, on the road, style, as she drops rhymes of dark, grimey
urban tales of difficulties. If there’s ‘One Wish’ she can have,
it’s for God to shed some light on that dark life. Although this is
raw hip-hop, particularly for a major label release, has a couple of
tracks tipped to garage (‘Step Bac’), Miami bounce (‘Woman’s
World’), dancehall (‘Bank Robbery’), R&B – sweet
R&B-laced singalong girl’s anthem ‘Somedayz’ and the obvious
next single - ‘Make It Easy’. She’s got the underground covered,
and no doubt, despite her hardcore lyricism, can crossover.
Siani
‘Love Is’ (Kyra Melodies) These
girls are definitely one of Britain’s happening contemporary gospel
acts. The title track is one of the funkiest R&B tracks around.
Ditto: ‘Love Ya’ and the Jahziel-laced ‘My Saviour’, which are
unadulterated gospel songs. The mellow a bit with cuts like the two-step
paced ‘Coming Home’ and ‘Get Up On The Floor’. Discover this
Linslee-produced album.
Siji
‘God-Given’ (BBE) If you’re looking to discover a neo-soul artist
or if you’re feeling withdrawal symptoms while you wait for new
material from D’Angelo or Maxwell, then Siji is capable of filling the
gap. He has an impressive soulful voice, sometimes echoing of Al Green.
His music is now, but has old school sensibilities. The songs are quite
strong and varied in style. It’s the type of album you can leave to
play all the way through and still enjoy it. Though I must say the
mellow ‘Bittersweet’ is quite a fave, as is the uptempo ‘Running
Away’. Siji draws on his Nigerian roots, by using elements like the
talking drum. He used to be based in Blighty, but is now based in New
York
Silhouette
Brown ‘Silhouette Brown’ (Ether) Great pedigree does not guarantee a great album. However the
diverse talents behind this album have created a great, vibey listening,
and danceable album. The guys behind this project are 4 Hero’s Dego
and Bugz In The Attic’s Kaidi Tatham, who handle the music and
production, plus sweet vocals from Deborah Jordan (the mellow, soulful
broken beats ‘Pain’), and Bembe Segue (atmospheric jazz-funkster
‘Whose (sic) In Charge’). This is a collaborative effort where the
component parts add up to create something edgey and delightful. You
want cool beats, nice melodies, delightful vocals? You’ve got them. A
feel-good album! An impressive album, a definite must-buy!
Silk
‘The Best Of’ (WSM) They had some fine vocals – check ‘Lose
Control’ for evidence - and grooves, including some bumping, hip-hop
laced tracks. But could their career have stalled because their material
hardly progressed outside the freaking subject matter. Includes ‘Freak
Me’ plus a remix, ‘Happy Days’ featuring their mentor Keith Sweat.
My favourite’s the two-step soulster ‘Hooked On You’.
Sizzla
‘Life’ (Greensleeves) The sing-jay has taken full creative control
of his career by producing this album for his own Kalonji label. It
kicks off well with the conscious ‘Things Will Be Better’, and the
bubbling ‘Mortal Man’ featuring Thriller U. However, I’m surprised
at the use of profanity in his ‘Marijuana’ espousing song, and
elsewhere. Spiritual Rasta themed-songs abound in tracks such as ‘Jah
Love’ and ‘Jah Works’, and he touches on the romantic with the
gorgeous ‘Perfect Lover’ and ‘One In My Life’. Lay off the
profanity, and I’ll have no serious issues.
Slim
Dutty ‘The Story So Far’ (Trinity) I
may not like the four-letter utterances, but that said, I’m down with
Slim because he’s not just bigging up Harlesden on record. He’s
supported our Welcome To Harlesbridge community event from day one.
Considering the image of Harlesden, it’s nice to see someone proud to
be associated with the London area. He’s seen the dark side and he
raps against the negativity on cuts like ‘Against The Clock’ and
‘Blood Publes’. ‘Believe Me’, it’s refreshing to hear someone
who’s really keeping it real and preaches positivity in the midst
negativity. He also parties, as on his singles ‘2 Good 4 Your Own
Good’ and ‘Party Wid Me’. ‘Finer Things’ is an R&B-laced
reflection on high maintenance women.
Smith
& Mighty ‘Retrospective’ (K7) The
Mighty Bristolian production, responsible for putting big beats, dub
grooves, and breakbeats behind soulful covers, finally get a
retrospective out. Which in some ways makes up for their Loondon album
which was pulled at the last moment. This is a useful document which
includes influential tracks such as Fresh 4’s rocking cover of
‘Wishing On A Star’, S&M’s sparsely backed cover of ‘Walk On
By’ and ‘Anyone’, plus a couple of cuts featuring Tammy Payne,
which include the gorgeous closer ‘Same’. S&M’s love of dub
and reggae can be found on tracks like ‘Down In Rwanda’. Worth
investigating.
SOS
Band ‘Greatest Hits’ (Tabu) Yes, there’s ‘Just Be Good To Me’,
‘The Finest’, ‘SOS’, ‘Weekend Girl’, ‘Sands Of Time’,
‘No Lies’, and the superb ‘Tell Me If You Still Care’. All
memorable songs. Also, their thumping ‘80s Jam & Lewis produced
sound has aged well.
SOS
Band ’S.O.S’/‘Too’ (Tabu) Tabu’s re-issue programme includes
the label’s premier group’s two album. The first includes the phat,
funk driven cuts like ‘SOS (Dit Dit Dit…)’ and ‘Take Your
Time’. ‘Too’ treads
the same funk, party tunes of the early ‘80s. Includes the disco track
‘Do It Now’ and the jazz-funk instrumental ‘For The Brothers That
Ain’t Here’. Being a self-contained band, which included a brass
section, their forte was a big, organic funk sound with Mary Davis’
vocals giving it a smooth touch. However, they were equally capable of
producing ballads like the soulful ‘What’s Wrong With Our Love
Affair?’ and ‘Open Letter’ on ‘S.O.S’, and on ‘Too’: the
radio-friendly ‘Stay’ and jazzy ‘Do You Know Where Your Children
Are?’.
Soulnaturals
‘Sweet Communication’ (Fighting Chance) A little known Brit soul band with a lot of talent that
deserve better recognition. You only have to listen to the first track,
‘Lead Me To the Water’ – oh, the beauty of the rich strings and
the adorable female singer – one listen and you out to be hooked! The
track that follows funks up the elements just a little bit more. The
songs benefit from the adept fusion of programmed with live
musicianship. ‘Building On A Bad Foundation’ makes a solid comment,
and it’s also primed to rock any dancefloor.
Sugababes
‘Taller In More Ways’ (Island) The trio are back with an album fashioned to maintain
their place in popdom. Sugababes do not pretend to be interested in
saving the world, or even their community. It’s all about subjects
closer to home – to self. So you have an album full of girlie songs
about love, relationships, flirting, female charms, sexual politics, and
a world in which women pull the strings without the testosterone-driven
men even being aware! They are a good pop group, who will no doubt hit
with new single ‘Push The Button’. The Dallas Austin-produced
‘Gotta Be You’ should find favour particularly on the more
commercial R&B club. The slo-mo ‘Follow Me Home’, awash with
huge orchestral strings and lilting hip-hoppy beats and scratching is a
very radio-friendly mid-tempo track no doubt primed for a Yuletide
release. The garagey/rock fusion ‘Red Dress’ is a bopping track,
which with lines like “A man’s world, but boy can’t you see
we’re pulling the strings, we’re taking the lead”, should become a
female anthem. Sugababes’ attempt at being deep, or more meaningful,
is the acoustic guitar-driven ‘Ugly’. It’s a seemingly
autobiographical offering talking about growing up issues like
differences in eye shapes, height, etc. Irrespective of those
differences, we’re all the same they declare. If only those hurtful
youngsters would take heed. They go rocky with cuts like their cover of
‘Obsession’. Soundtrack
for people who think there’s nothing much to worry about in life than
to have a good time.
Sugar
Minott ‘Good Thing Going On: The Best Of Sugar Minott’ (Trojan) OK,
so it’s got the big crossover hit ‘Good Thing Going’. But then
there are twenty more tracks to get through. It has further lovers rock
cuts like ‘Never Too Young’, and his sweet cover of ‘It’s All
The Game’. Plus roots and culture tracks like ‘Africa Is The Black
Man’s Home’ and ‘Save The Children’. Minott has a fine singing
voice, as demonstrated on cuts such as ‘We’re Going’ and ‘Never
Gonna Give Jah Up’.
Suriate
Kur ‘Untold Story’ (Diligent Music) First I must declare an interest in the fact that I’m tight with the
owner of the London-based indie label. That said, I slept on this album
for months, not realising its charm until recently. Now I can
confidently say this is one of the best jazz-soul albums ever. OK, so
it’s soft, on the quiet-storm tip, more commercial than underground.
However, real musicianship comes across and the singer’s vocals are
just as beguiling as her songs, which are all originals bar
Carpenters’ ‘Close To You’. This deserve mainstream recognition.
Check it out at diligentmusic.com. Love it!
Sway
‘This Is My Promo Vol. 1’ (Dcypha) The rapper formerly known as
Swaydasafo drops the promo to his ‘This Is My Demo’ album. After the
Ghanaian skit demonstrated on the ‘Intro’, Sway kicks in with the
cool, rolling title track. Perhaps his club-banger ‘Pepsi’ may
attract a sponsorship deal with the soft drink maker, or the sample
interlude may attract a bank or credit card company! ‘Thief’s Theme
Freestyle’ exudes much humour over a phat groove. It’s unlikely the
Usher featuring Sway track ‘Caught Up’ will see commercial release,
nor the Philadelphia International-sampling ‘Month In Summer’.
Tajai
‘Power Movement’ (promo) The Oakland, Calif rhymester formally of
Souls Of Michief, drops a straight up rap album which most heads ought
to get into. The production’s clean and mostly uncluttered. Tajai
seems capable of rhyming over different grooves, like the bumping
warning ‘Do Not Touch’. He drops pure science on ‘Scientifically
Speaking’ in a tone evocative of Gary ‘The Crown’ Byrd.
‘Quality, Equality’ is the surefire head-nodder, but
‘Dedication’ is a critique and the most hip-hoppiest and
funkiest cut here. A female chorus adds nicely
Talib
Kweli ‘The Beautiful Struggle’ (Rawkus) Opens with ‘Going Hard’,
which references the conditions of the third world garment workers that
clothe the rich West. Certainly a tune for the anti-WTO campaigners.
Probably that’s reason for this being one of the few rap albums to
reproduce its lyrics in the sleeve booklet. The likes of Hi Tek, Kanye
West and Neptunes weave the head-banging beats. For non-hip-hop fans,
the obvious track is the R&B-laced, uplifting love song ’We
Know’, which has some delicious flavour from Faith Evans.
West’s beats on ‘I Try’ rock. Whilst Mary J Blige’s
vocals gives it a crossover appeal.
Ditto the conscious John Legend featured ‘Around My Way’.
Still the R&B fusion continues with the Common & Anthony
Hamilton featured ‘Ghetto Show’. A surprise groove is ‘We Got The
Beat’, which mixes rocky guitars with electro beats.
Tamia
‘More’ (Elektra) Tamia finally gets her ghetto pass with this album.
She’s rolling on one of the funkiest R&B tracks around: the
Trackmasters-produced ‘On My Way’ featuring rapper Red Café. Sems
like she’s trying for the younger R&B niche covered by the likes
of Ashanti. Although vocally she has the capability and the music to
compete with rap-laced R&B cuts like the title cut and the Fabolous-rapped
‘Into You’, I think she ought to be looking towards attracting the
more mature audience with her soulful cuts like the duet with Gerald
Levert’, or the impressive ‘Whispers’, ‘Officially Missing
You’ and ‘Smile’.
Tavares
‘Anthology’ (EMI) Quite frankly I remember this group only for
‘Heaven Must Be Missing An Angel’. Which is why I was surprised they
warranted a double-CD retrospective. However, this compo allows many of
us to re-adjust our impression. They show they’re a good vocal group,
particularly on the soulful ballads, like ‘Check It Out’;
‘(Goodnight My Love) Pleasant Dreams’ and ‘Strangers In Dark
Corners’. They also have a good cover of Hall & Oates’
‘She’s Gone’. The disco tracks include ‘Whodunit’, ‘It Only
Takes A Minute’, and ‘More Than A Woman’. A useful reminder of
what a good act Tavares actually were
Terri
Quaye ‘An Evening To
Remember’ (www.jazzcocktail.com)
Could this be one of the best undiscovered smooth jazz or soul jazz
albums around? How else are you going to discover this self-released
collection of superbly performed standards such as ‘Night &
Day’, ‘It Ain’t Necessarily So’, or ‘At Last’, if you
don’t happen to have heard her at her residency at the Terrace
Restaurant in the Le Meridien Hotel at 21 Piccadilly?
Terri’s an accomplished singer-pianist who’s ably supported by
double bassist Dave Silk and kit drummer Guy Silk. It may
be ‘big people music’, but boy, it sure is enjoyable and relaxing!
The perfect antidote to stressful urban living! Go discover via website,
or else go get a cocktail at the Terrace Restaurant and catch her for
‘free’. By the way, Terri’s father is a distant relative – the
late jazz singer Cab Quaye. Her brother Caleb, now a
pastor in America, used to be the guitarist in the Elton John Band,
and her half-brother’s Finley.
Terri
Walker ‘L.O.V.E.’ (Mercury) Compared to her first album, from the first track,
‘This Is My Time’, there’s focus, punch, and Walker sounds savvy
and believable when she declares this is her time. It’s followed by
another strong R&Ber, ‘L.O.V.E.’. There’s
another potential hit track, the sassy hip-hop/soulster ‘Whoopie
Daisy’. And she can do the soul thing too, as on the ballad ‘The
Woman You Want’, not to mention a bit of reggae, as evidenced by the
skanking ‘Slow It Up’!
The
411 ‘The 411’ (Sony) This
Brit girl R&B group look certain to blow up because they’ve simply
got all bases well covered. ‘On My Knees’ is simply one of the
finest R&B tracks around. A perfect blend of old school soul with
modern, hip-hop tipped R&B. Thankfully, they’ve got other
happening cuts to sustain their career. They are sassy and pull it.
Their lyrics are more than fluff. The girls are going to love the
soul/R&Ber ‘No Excuses’, which features Lemar. Ditto ‘My
Friend’, a rocking tune highlighting domestic violence. These girls
are comparable to any of the best Yankie girl groups.
The
Chosen Few ‘In Miami’ (Trojan) What
do you know, this reggae band made it to Miami, where this was recorded
with musicians from the KC & The Sunshine Band. It must have been an
attempt to crack the national charts. Because pop and soulful
sensibilities abound. ‘I Am A Man’ could have been by any American
soulful, vocal group. ‘Funky Buttercup’ could have been by any
‘70s American funk band. Great breakbeats, but it may not be enough
for more reggae fans. They competently handle their version of ‘Drift
Away’. Comes with several bonus tracks, one of which – ‘Black Foxy
Woman’, ought to be discovered by rare groove, jazz-funk and boogie
music fans!
The
Dre Allen Project ‘L.Y.F.E.’ (nicetunes) Thankfully it kicks off
with ‘Fly’, which I’ve been buzzing off ever since I received the
promo single. It’s a great mellow fusion of pop, rock, with soulful
vocals by Dre and his wife, ex-En Vogue singer, Dawn Robinson. It’s a
bubbly, dreamy stuff. Think of Lenny Kravitz for some kind of reference.
Sadly, hereafter, Dre covers too many styles, with some songs grabbing
more, and others, no so much. Of interest is the rocky,
turntable-featured ‘Programming’ over-scored by sassy vocals by Dre
and Dawn. ‘2 Inches Of Water’ is a nice soft rock song with some
thought-provoking lyricis. Ditto: the guitar-wrapped mellow
‘Pathetic’ (plus the cool, acoustic live closer) and ‘Don’t Take
The Love’. Discover!
The Game ‘The
Documentary’ (Aftermath/G Unit) The Game has obviously been on the
streets running his game, and on the first proper song ‘Westside
Story’ he let’s us know he’s a gangster, well before he got into
adulthood. He’s certainly proud of it, and having one of those
crossover grooves from his mentors Dr Dre and 50 Cent, people will be
nodding to and consuming this track without giving much thought to the
lyrics Ditto: ‘Hate It Or Love It’ and the R&B-laced ‘Don’t
Need Your Love’. It may be America, but it’s said the language used
by the kids in the skit that precedes the title track. The Game has a
nice flow, it’s a pity he uses it in selling dark ‘Dreams’ and
gangster tales. He’s got irresistible beats and singalong choruses
that’s going to see him crossover, just like his mentors, for sure.
The
Herbaliser ‘Take London’ (Ninja Tune) What a glorious vibey, atmospheric
album, where turntablism, MCing, breakbeats and live instruments,
including a brass section, drop funky, jazzy, hip-hoppy gems, like the
gorgeous ‘Song For Mary’ and the dark ‘Kittynapper’. ‘Gadget
Funk’ has a go-go-ish funkiness. Roots Manuva helms the slow-rolling
‘Lord Lord’.
The
Mighty Zulu Nation ‘Abantu: IN Coalition With Aki Nawaz’ (Nation)
For a group that started off as a fiery rap act, lately, Aki Nawaz has
turned his group Fun-da-mental more into sonic agitators. His latest
sonic explorations has led to this world music fusion of electronic
dance musics fused with Zulu singing and chants. Just imagine the rich
and varied vocal expression of Ladysmith Black Mambazo plus female
vocals over electronic beats, and you won’t be far wrong. Exciting,
and for the musically adventurous. Devoid of vocal samples, this is a
natural collaboration between the two acts. Standout is the less
frenetic ‘Uthando Lwakho’, which females a female led kind of vocal
call and response. The MZN have been on the European festival trail with
Fun-da-mental this summer.
The
Mitchell Brothers ‘A Breath Of Fresh Attire’ (The Beats) Following
on from Kano, this is the second release to come out of The Streets’
label. Kicking off with the foul-mouthed tirade that’s ‘F—k Me?
F—k You!’, which some might find humorous, but I find so,
unnecessary, it’s interesting to hear the rapping brothers criticising
someone for swearing a lot on ‘Excuse My Brother’. That said, they
provide a very London-centric and on the road sensibilities, like their
take on police search, ‘Routine Check’; talking about benefit fraud
on ‘GORGIE’, on which we find £88 every week doesn’t go a long
way; not to mention criminality, like the slightly tongue in cheek
‘Don’t Try This At Home’, which is under-pinned by a nice, mellow,
soulful music. For on road heads, and those living on the edges of the
law, and people who get picked on or get suspicious looks because of the
colour or how they look.
The
Pharcyde ‘Humboldt Beginnings’ (Chapter One) Yes, they’re back.
They introduce themselves over African drumming, and they’re still
trying to sing! By the time they get to ‘The Uh-Uh’, the kick with a
strong production and get back to rapping. The quality maintains
throughout, plus their fans will love this because of the many skits.
The Imagination-underpinned ‘Illusions’ has a familiarity factor.
The
Pharcyde ‘Humboldt Beginnings’ (Chapter One) Yes, they’re back.
They introduce themselves over African drumming, and they’re still
trying to sing! By the time they get to ‘The Uh-Uh’, the kick with a
strong production and get back to rapping. The quality maintains
throughout, plus their fans will love this because of the many skits.
The Imagination-underpinned ‘Illusions’ has a familiarity factor.
The
Quantic Soul Orchestra ‘Push On’ (Tru Thoughts) Ever heard of an R&B,
breakbeats, hip-hop orchestra? Just take a listen to the frenetically
charged opener, ‘Introducing…’, and ‘Get a Move On’ and
you’ll get a clear idea. A very interesting fusion of samples and
real, live musicianship, underpinned by funk and the odd Latin
sensibilities. The title track could be an R&B screamer from the
‘60s. Stand outs include the orchestral strings-back, breakbeats-driven,
and delicious female vocals-led ‘Feel Good’.
The
Roots ‘The Tipping Point’ (Geffen)
I respect Black Thought’s flow and I know he has a lot to say,
like telling the young and clueless to get some reality check on cuts
like ‘Star/Pointro’ and ‘Don’t Say Nuthin’’. However, what
I’m feeling most is the backing music. It’s real and very tight. The
slow-rolling beats under the socio-tipped ‘Why (What’s Going On?)
and the funky, jazzy beats of the
‘Melting Point’ instrumental are cases in point.
The Souljah Clique ‘RaggaMics 2’ (Phatt Lab) I ain’t
gonna front. This mix CD from the Bristol crew has a lot of
head-pleasing hip-hop and a smattering of ragga. However, I’m not down
with some of the coarse language or the negativity that some of the MCs
big up. Clique producer Trz and rhymster Kelz rope in the cream of UK
hip-hop underground and tracks by the likes of Klasnekoff, Scorzayzee,
Late, Oshin, Out Da Ville, and UK DMC 2003 champion DJ Quest. If this is
up your street, then it’s best left to run through, rather than to dip
in and out. Highlights include Scorzayzee’s ‘Picasso’.
The
Streets ‘A Grand Don’t Come For Free’ (679) Voted the best album by one mag, this is certainly a wry, urban English
offering. Mike Skinner aka The Street talks more than rap. His language
is so-called street, full of profanities, but I guess very real for his
multitude of fans. His material definitely is quite attractive, as
there’s no attempt to be poetic or creative, it’s immediate because
he talks about stuff most ordinary British lads can relate to. The music
complements his lyrical style by not following any particular style or
sound. I guess, he articulates the type of things most young lads talk
about: girls, DVDs, crap mobile phone reception, TV, booze, legging it
from a cab, and other angsty stuff. A very idiosyncratic offering,
although the orchestrated ‘Dry Your Eyes’ stands out as akin to a
love pop song.
The X-Ecutioners
‘Revolutions’ (Epic) The X continue to uphold turntablism and the
spirit of hip-hop. The Dead Prez, one of the featured artists, hype up
on their track ‘Sucka Think’. The X display some cool scratching on
the ‘The Truth’, featuring Fat Joe. The likes of Ghostface Killah,
Black Thought help maintain the old hip-hop vibe going.
Thievery
Corporation ‘The Outernational Sound’ (Eighteenth Street Lounge) For
a DJ set, this album makes makes for a fabulous listening experience
because these DJ/producers have a great, eclectic style that works
together absolutely well, So whenyou put this o the deck, sit back and
enjoy a ride through jazz, African, dance, Bollywood, right through to
Thievery Corporation’s rocking reggae cut ‘Richest Man In Babylon’
and Delroy Wilson’s ‘Better Must Come’, which end this great
musical trip! Recommended!
Today’s
Mathematics ‘Today’s Mathematics’ (First Word) A very interesting group from Leeds consisting of two male
singers/rappers and a female singer. Their style takes in hip-hop, soul,
pop, folk and jazz. Their lyrics cover social to religious issues.
‘Butterfly’ grows slowly from a mellow jazzy groove with rapping
into to a full-on soulful refrain, they have a charmingly. Those
delicious female vocals also excel on the soulful ‘Let It Go’.
‘Open Your Heart’ is reminiscent of a blissful, dubified, Congos
reggae offering. Blissful cuts include ‘Home Coming’. Rapping and
singing sit together well on the atmospheric ‘True Or False’. The
closer ‘Jesus Loves You’ sounds like some pop-soul created in the
‘60s. Not any easily describable feel-good band.
Today’s
Mathematics ‘Today’s Mathematics’ (First Word) A very interesting group
from Leeds consisting of two male singers/rappers and a female singer.
Their style takes in hip-hop, soul, pop, folk and jazz. Their lyrics
cover social to religious issues. ‘Butterfly’ grows slowly from a
mellow jazzy groove with rapping into to a full-on soulful refrain, they
have a charmingly. Those delicious female vocals also excel on the
soulful ‘Let It Go’. ‘Open Your Heart’ is reminiscent of a
blissful, dubified, Congos reggae offering. Blissful cuts include
‘Home Coming’. Rapping and singing sit together well on the
atmospheric ‘True Or False’. The closer ‘Jesus Loves You’ sounds
like some pop-soul created in the ‘60s. Not any easily describable
feel-good band.
Totonho
E Os Cabra ‘Sabolador De Satelite’ (Trama) What’s this Brazilian
on? The bleeps on the beats dominated ‘Rita Leea De Itamaraca’
indicates it’s something to do with satellites and space, as displayed
on the cover art. ‘Jaspion Do Pandeiro’ is a danceable track driven
by handclaps and underpinned by a heavy bassline. The same kind of heavy
bassline drive the funky ‘O Homem’. ‘Argemira’ is a
percussion-driven batucada. Definitely something for lovers of leftfield music.
Trojan
Sound System ‘Trojan Sound System’ Trojan) The London-based sound
system have been busy on the club and festival circuit this summer. This
selection, with the selectors Earl Gateshead and Daddy Ad, is so tough,
you will bopping to the tracks as if you were in a club! Especially as
there’s some DJ talkover the records, just like in a dancehall. How
can you resist Johnny Clarke’s ‘Enter His Gates’, or Admiral
Bailey’s ‘Sling Ting’-driven ‘No Wey No Better Than Yard’.
Includes cuts by Richie Spice, John Holt, Ken Boothe and Garnett Silk,
plus two superb mellow closers: Gentleman’s
‘Intoxication’ and Ras Triumphant’s ‘Ras In Her Life’.
Tuggstar
‘The Africa EP: From Here To There And Home Again’ (Tuggstar) This
east London rhymer is at heart more of a performance artist, as opposed
to a rapper. Perhaps that’s reason why the backing music, and indeed
the female backing vocals, seem not to be that important. Tuggstar
covers the British black multi-personality issues, like the confusion of
identity, the hiding of African names, the African and Caribbean
tensions and prejudice. A pro-black rhymer, he uses samples of the likes
of Louis Farakhan to accentuate his Africanist stance. Corrine blesses a
couple of tracks with under-stated R&B vocals. Tuggstar has too much
socio-political exhortations to make, and thus concentrates more on the
words. Includes the uplifting African percussion-driven ‘ Home Sweet
Home’, which includes the admonishment of the superiority some
European-born Africans feel over their continent.
Tuggstar
‘The Africa EP: From Here To There And Home Again’ (Tuggstar)
This east London rhymer is at heart more of a performance artist, as
opposed to a rapper. Perhaps that’s reason why the backing music, and
indeed the female backing vocals, seem not to be that important.
Tuggstar covers the multi-personality issues of British black – the
confusion of identity, the hiding of African names, the African and
Caribbean tensions and prejudice. A pro-black rhymer, he uses samples of
the likes of Louis Farakhan, to accentuate his Africanist stance.
Corrine blesses a couple of tracks with under-stated R&B vocals.
Tuggstar’s has too much socio-political exhortations to make, and
concentrates more on the words. Includes the uplifting
African percussion-driven ‘ Home Sweet Home’, which includes
the admonishment of the superiority some European-born Africans feel
over their continent.
Tunde
‘Tunde’ (RCA) The
voice behind the now defunct Lighthouse Family (LF) drops a debut, that
strangely, considering the amazing commercial success of LF, hasn’t
made much noise. And it’s certainly nothing to do with the quality. On
the whole, it consists of lush orchestral backed pop-laced music.
Coffee-table music. Stuff that sits well with pop and MOR radio. Like
the ballads ‘Anaesthetic’ and UK bonus track ‘Long Way Home’,
and the more familiar LF type mid-tempo cuts like ‘Great Romantic’,
‘Letting Me Down Gently’ and ‘Passing The Hours’. The harder,
more dancey, beats behind ‘Our History’, seem out of place.
Tweet
‘It’s Me Again’ (Atlantic) Quite frankly Tweet doesn’t need her
mentor Missy Elliott hyping on her record. Mentor Missy Elliott’s all
over the banging, rap-laced R&B-soulster ‘Turn Da Lights Off’
and the funky ‘Things I Don’t Mean’. However, Sweet’s an
accomplished soul singer, who can hold her own. As demonstrated on the
mellow, one-drop soulster ‘Iceberg’, the ballads ‘Taxi’,
‘You’ and ‘I’m Done’, and the bonus track ‘When I Need A
Man’.
US3
‘Questions’ (US3) One of the pioneers of hip-hop/jazz fusion are back, and they
sound strong! Hip-hop, jazz and soul sensibilities sit well here. Like
the Mpho-sung soulful ‘Whatcha Gonna Do?’ and jazzy ‘Get It
Together’, which also features rap by Amad-Jamal Washington. Includes
a rocking bossa nova and a soul/funk remake of their first hit
‘Cantaloop 2004’, featuring rapper Reggi Wyns.
Vakoka
‘Introducing’ (World Music Network) A collective of Malagasy
musicians brought together to recreate the different native styles. The
guitar or its local version features in different forms. Flutes dominate
‘Lazao’, whilst the acoustic guitar picking on ‘Faly Sy Ravo’
gives it a folky vibe. Violins, and accordions are some of the
instruments that add to the tradition ones to fuse the new Malagasy
sound.
Van
Hunt. Van Hunt (Capitol) From the first blast of the lead off track,
‘Dust’ with lilting funk-rock sensibilities, Hunt impresses with his
neo-soul style. It has an irresistible groove and Hunt’s voice charms
without even though it’s quite well within the mix. ‘Sounds Of
Please’ is a sensuous, soulful ballad on which Hunt’s mellow vocals
echoes of Maxwell and Mayfield. This could be a staple of connoisseur
soul sets. However, the radio-friendly ballad ‘What Can I Say (For
Millicent)’ jumps out, and is destined to be a pop hit, should it be
released. The funkster ‘Highlights’ has similar potential. With
other tunes covering the quiet-storm and that Stevie-echoing funkster
‘Her December’, Van Hunt’s a name to look out for in 2004.
Various
‘Slum Dunk Presents Funk Carioca’ (Mr Bongo) A compo of Brazilian
funk. Although it’s new material, for those not on the scene, it
sounds like they got caught in a ‘80s electro time warp! Series,
whether singing or sing-rapping, the beats are full-on ‘80s electro
– if you’ve got the energy, then let the seamlessly mixed tracks by
the Tetine crew keep following, because it doesn’t let up on the pace
for even a little breather. For
electro fans, this, mostly 808 drum-charged tracks, will make a change,
as it’s topped with Portuguese chants and singing.
Various
Artists (Half Tooth) The names – Kenn Starr, J-Live, Oddisee, Dash,
etc may not be well known on these short, but that shouldn’t detract
from the fact that they drop solid hip-hop. With UK distributors Units
and Studio in place, hopefully this should start creating a bit of buzz.
Language excepted, all the joints have the power to interest most
heads.. Oddisee’s ‘Brother’ uses a cool, funk groove to deliver
its brotherly singalong rhymes.
Love the simple, but effective rhythms too,
Various
Artists ‘100% Reggaeton’ (Virgin) This Latin take on dancehall music
is being touted as the next big thing. Well, this fusion of Spanish
singing over dancehall and hip hop beats may well support a club scene
and offer the odd crossover, but for now it seems more destined for the
clubs, partly because of the language barrier. The only English featured
track is Cavalucci’s ‘Guess Who’s Back’, which has the potential
to feature on both the dancehall and hip-hop scene. Benny G’s
dancehaller ‘Pegate’ is quite accessible. Ditto MC Duty’s firing
dancehaller ‘Rompe Cintura’.
Various
Artists ‘Africa Raps’ (Trikont) If for some reason you think African
rap is weak productions and raps, this compo should definitely set you
straight. Yes, we may not understand what they’re on about, but the
production on here is tight and just as rocking as some of the respected
hip-hop beats that come out of America and Europe. If you are a hip-hop
fan desirous of a wider experience, you’d do yourself a favour be
grabbing a copy of this album, which features a few of the reputed
hundreds of rap crews in Senegal, Mali and Gambia. Because whether
it’s Gokh-Bi System or Abass Abass fusing koras and traditional sounds
with hip-hop, Bibson dropping strictly hip-hop beats with a snatch of a
soukous sample, or V.A. with a ting of soul-jazz-tinged, there’s no
letting up. The better known names here are Djoloff, Pee Froiss, Da
Fugitivz and Positive Black Soul, who close with the Cuban son backed
‘Boul Ma Mine’.
Various
Artists ‘African Dope Soundsystem’ (Dubwise/African Dope) It’s
scary listen to this South African compilation. Hearing SA artists so
seeped in reggae, that the patois, lingo, music and sounds could well be
from Jamaica is crazy. Sadly, it seems it’s the hardcore and so-called
reality artists that have influenced them, so it’s dancehall in the
main. No roots and culture, lovers or seriously conscious stuff here.
Instead, we had odes to the weed, and an incongruous song about ‘Black
Repatriation’. Teba featuring Crosby & Red Lion and Chronic Clan
at least introduce their local language into the mix, whilst Juan Thyme
featuring Crosby drop one of the rockiest drum & bass cuts about!
Various
Artists ‘African Spirits’ (Soul Brother) Culled mostly from jazzy
records with African connections. Starts of powerfully and funkingly
with Pharoah Sanders’ ‘Our Roots Began In Africa’. Sathema B.
Benjamin offers an impassioned soul-jazz ode to the continent:
‘Africa’. Carlos Garnett’s saxophone featured and diva sung
‘Banks Of The Nile’, provides an irresistible, upbeat cut. UK’s
J-Life add the cool, soul-jazz cover of ‘Afro Blue’. Ends with the
rocking, conscious ‘Children’, featuring Nation/African Liberation
Arts Ensemble which journeys through different styles in its ten
minutes, including some wise raps and charming scatting.
Various
Artists ‘Afrique C’est Chic Vol. 2 (Slip N Slide) African-tinged club-primed house music from D’Jaimin
featuring Oulé Oulé Family’s ‘Esengo’ to Louie Vega’s
‘Africa/Brasil’. It’s literally hands in the air grooves with
African chants or rhythms. A few tracks feature African artists, such as
Frederic Galliano And The African Diva’s ‘Melou Melou’, and
Africanism featuring Ladysmith Black Mambazo’s ‘Steel Storm’,
which is one of the stand outs here. Although African music can funky, in order to mix it
successfully on Western house-orientated clubs, we’re presented with
Afro-dance fusions that don’t let up on the dancefloor. Congolese
rhumba style wailing guitars, big blow horns reminiscent of Manu Dibango,
female choruses echoing of the Wassoullou chants abound. Fela Kuti
presents his Afro-beat sound strongly with ‘Traitors Of Africa’. A
Hundred Birds provide a rocking version of Angelique Kidjo’s ‘Batonga’,
whilst Salif Keita features on Martin Solveig’s remodelled ‘Madan’.
Various
Artists ‘Afro Baby: The Evolution Of The Afro Sound In Nigeria 1970-79
(Soundway) This compo shows that although Fela Kuti – who represents
here with the powerful near 9-minutes of the 1972 local hit ‘Fogo Fogo’
may have been the pioneer of Afro-beat, the style had been picked up by
several of his contemporaries. Such as The Sahara All Stars’ funky
opener ‘Alikali Adajo’ or Orlando Julius & His Afro Sounders’
‘Musa Sise’. The Afro tag here represents the deliberate move by
urban Nigerian musicians to add an obvious African vibe to various
imported styles. Be it funk, such as Fred Fisher’s Aso-So’ or the
soul/R&B such as Bola Johnson’s ‘Lagos Sisi’, one of the
outstanding tracks here, which highlights the dark influences of the
city upon a young girl.
Various
Artists ‘Afrobeat Sessions’ (Sessions/Union Square) The Fela and
Afro-beat scene has been growing, both live-wise and club-wise,
especially in places such as London. So it’s not surprising that
there’s a growing number of afro-beat records coming out. The
double-CD sleeve declares on there’s ‘over 2 hours of the funkiest
music ever made’ here. And it’s not all centred on Fela or Nigeria.
Although both CDs kick off
with a Kuti – Femi’s ‘Beng Beng’ on CD1 and Fela’s ‘Water
Get No Enemy’ on CD2, it’s very eclectic in displaying the Afro-beat
influence. Hence the likes of DJ Food, New York housers Dennis Ferrer
and Masters At Work, rappers Ty and Common, and JJC & The 419 Squad
rub shoulders with Sir Victor Owaifo, Manu Dibango, Peter King, ET
Mensah and the Uhuru Dance Bandand. Ethiopian chanteuse Gigi is a
surprise and delight, whilst Antibalas’ ‘Che Che Cole’ uses rhymes
we used to sing in Ghana. Since it’s been used by Latinos like Willie
Colon, one wonders whether it came to Ghana from Latin America, or
whether it got to Latin America via the slave trade.
Various
Artists ‘Amandla! A Revolution In Four-Part Harmony’ (ATO) The
soundtrack to one of the most powerful filmed explorations of music’s
potency within socio- and political context. The only downside to this
twenty-nine track compilation is that Abdullah Ibrahim’s ‘Mannenberg’,
the creation of which the composer-pianist explains in the film, is but
a few seconds long. That said, there are songs that spoke up during
apartheid, and post-apartheid, of which Mbongeni Ngema’s
‘Lizobuya’ is uplifting whilst it demands freedom for all now. Nancy
Jacobs And Sisters’ offering sounds like something from Miriam
Makeba’s jazz-tinged Skylarks days. The Original Cast Of King Kong
provide a melocholic offering befitting of the title: ‘Sad Times, Bad
Times’. Vusi Mahlasela’s vocal offerings are just as
heart-wrenching. Hugh Masekela’s ‘Stimela’ is even more powerful
when seen behind the images of migrant worked packed on the trains.
Although Joe Nina’s ‘S’bali’ is an upbeat, modern dance track,
it has a pointed socio message. A powerful, emotive album. Includes
useful liner notes.
Various
Artists ‘Bad Boy’s 10th Anniversary … The Hits’ (Bad
Boy) This is not choc-a-bloc with the obvious hits. Maybe for
contractual reasons Puffy couldn’t represent more of his hits here.
Biggie saves this with compo – he features on six of the sixteen
tracks. These include ’Hypnotize’. There’s however, ‘I’ll Be
Missing You’, ‘Flava In Ya Ear’, ‘I Need A Girl’, and a remix
of 112’s massive ‘Only You’, featuring Mase and Biggie. A fair
commemorative offering, which warrants its Parental Advisory sticker.
Various
Artists ‘Best OF TK’ (Stateside) Simply some of ‘70s disco’s
memorable club and crossover hits, from George McCrae’s ‘Rock Your
Baby, KC & The Sunshine’s ‘That’s The Way I Like It’,
Foxy’s ‘Get Off’, to Bobby Caldwell’s soul classic and
oft-sampled ‘What You Want Do For Love’.
Various
Artists ‘Big People Music 11’ (Jet Star) The likes of Luciano,
Winston Reedy, Gregory Isaacs, Glen Washington, Ruddy Thomas, Winston
Francis, Danny Ray, and Richie Stephens show that there’s still an
appreciation of music by veteran artists not necessarily appealing to
the youth and dancehall market.
Various
Artists ‘Big People Music 11’ (Jet Star) The likes of Luciano,
Winston Reedy, Gregory Isaacs, Glen Washington, Ruddy Thomas, Winston
Francis, Danny Ray, and Richie Stephens show that there’s still an
appreciation of music by veteran artists not necessarily appealing to
the youth and dancehall market.
Various
Artists ‘Black Queen’ (Sunshinekid.com) I
bought this compilation on the streets from its compiler rapper N.A.T.
Excusing the odd profanity, the brushing aside the fact that some of our
brothers and sisters are on lockdown because of choices they made, and
not because of the system – hey, I think we should send them love
letters, but let’s not pretend some of our own didn’t get there
because of their own making – that said, for those looking for
conscious, black and sister bigging up music, then this should fit the
bill. There are some good rappers, poets and singers on here, all with
something for the head, and the feet too. The title track his a new
version of N.A.T.’s track, this time laced with some R&B singing
by Emanuel who drops an impressive contribution with ‘Afri-Queen’.
Standouts include Nii Parkes’ ‘Princess’ and posse cuts ‘Sista
Comrade’ and ‘Umbilical Cord’. Worth investigating.
Various
Artists ‘Blaze: Found Love’ (Slip N Slide) First off, let me admit
my ignorance. I sat in the DJ booth of New York’s Shelter Club waiting
to interview Louie Vega, and I did not realise that his DJing partner
was Kevin Hedge, one half of the Blaze act and production team. Anyway
for those that know, Blaze create uplifting house and garage, which
abounds here. Like Ritmo De Rua’s gorgeous intrumental ‘Universal
Love’, Louie Vega featuring Blaze’s uplifting ‘Brand New Day’,
or Ambrosia’s ‘That’s How Much I Love You’.This must be left to
play continuously to work its magic.
Various
Artists ‘Boogaloo’ (World Music Network) Sitting here in Ghana
reviewing this record, I’m reminded of the late ‘60s when my elder
relations were clubbing to the boogaloo, then the in Latin dance music.
West Africa has always been into Afro-Cuban and Latin sounds, so it’s
not surprising that this American influenced Cuban sound caught on here.
Veteran Latin musician Tito Puente Y Su Orchestra’s humorous big band
dance cut ‘Fat Mama’ is a delight.
Charlie Palmiera offers the brassy, jazzy ‘Boogaloo Mama’.
Ditto: Ralph Robles’ ‘Soul Nitty Gritty’ and The Lebron Brothers
Orchestra’s ‘Boogaloo Lebron’. Includes offerings from Celia Cruz,
Willie Colon, Ray Barreto, and Fania All Stars, who helped propel the
next development in the 70s: salsa.
Various
Artists ‘Breathe Sunshine Vol. 2’ (Amabala) Sub-titled ‘chilled
electronic beats from Cape Town To Johannesburg’, there’s hardly any
tracks that have mellow, atmospheric sounds through out. The nearest is
to such an expectation is ‘Yoda.com’. What you have are atmospheric,
ambient sounds over beats-based production. RSL feat. Ladysmith
Black Mambazo’s ‘Elungelo’, stands out on account of the
use of LBM. So if you’re looking for something a bit exotic, you may
wish to check this out. You can lose yourself in Goldfish’s dreamy
‘Dream’. Comes with a DVD of containing the video component.
Various
Artists ‘British Hustle’ (Soul Jazz) The mid-‘70s was when British black music began to really come into its
own. Particularly with the Brit-funk sound. If you lived it, or you’re
a fan, then this compo serves a veritable treat. Because many of the
essential tracks are here. This is a mixture of club and chart hits.
Opens with Hi-Tension’s ‘British Hustle’, there’s Atmosfear’s
‘Dancing In Outer Space’, Beggars & Co.’s ‘Somebody Help Me
Out’, Freeze’s ‘Southern Comfort’ and Light Of The World’s
magnificent ‘London Town’ Essential buts by the likes of FBI,
Gozalez, Heatwaveand Olympic Runners are also represented. We need a
volume two to cover stuff like Linx’s ‘You’re Lying’!
Various
Artists ‘Cali Soul’ (Unisex) Subtitled ‘the new wave of soul from
the west coast’, one has to say that Unisex’s US geographical themed
releases really are do a good job bringing together some good stuff. The
good thing is not just well-known cuts, like Lucy Pearl’s rocking
‘Don’t Mess With My Man’, but also fine, but less known cuts, like
Goapele’s ‘Childhood Drama’, Will I Am’s gorgeous ‘Lay Me
Down’, and The Rebirth’s jazz-funky ‘This Journey In’.
Various
Artists ‘Caribbean Playground’ (Putumayo) ‘A joyous celebration of
Caribbean music and culture that will delight children and adults’
proclaims the bumf. Certainly America roots star Taj Mahal’s folk-ska
tinged opener ‘Great Big Boat’ has humour which will appeal to
children, whilst Desmond Dekker’s ska version of the old chestnut
‘Jamaica Farewell’ will appeal to adults who remember versions by
the likes of Harry Belafonte. American Keith Frank gives us a rocking
Cajun-infused reggae version of Marley’s ‘Three Little Birds’.
Whilst the French/Jamaican collaboration of Karl Zero & The Wailers
provide an oddball cover of ‘Coconut Woman’, which is certainly for
the children. Ditto: Trinidad’s Asheba re-telling of African iconic
folklore ‘Little Anancy’. Puerto Rican José González’s ‘Bomba
Te Traigo Yo’ with it great guitar lines, evocative of classic
Congolese rhumba, upbeat vocals and percussion, makes it the stand out
here.
Various
Artists ‘Channel U presents Underground Chapter 2’ (Long Lost
Brother) The compo kicks off with Lethal Bizzle’s massive underground
and crossover hit ‘Pow!’. It includes overground-aimed offerings by
Mark Morrison, Estelle, Jay Sean, Iceberg Slim and Zena, whilst the real
underground tipped cuts come from the likes of Slimm Dutty, Street
Politiks, Lady Sovereign, Kano, and Choong Family. Rap act Craze 24 wrap
warm, soulful strings around their reality rhyme ‘Young Guards’.
Various
Artists ‘Contemporary Roots Reggae’ (H2) At a time when artists such
as Sizzla, Capelton and Buju Banton are being described as
“anti-gay’, and reggae described as “murder music” by British
mainstream press due to the campaign by gay right group Outrage! against
a handful of reggae artists they deem homophobic, it’s interesting
that this compilation should come out to show another aspect of reggae,
which is positive and uplifting. Among the roots and culture offerings
are works by Outrage! targets Sizzla and Capleton, Luciano, Anthony B,
Morgan Heritage, plus impressive stuff from newer names such as singers
Warrior King and Chezidec. Very enjoyable.
Various
Artists ‘Disco Connections 2: Authentic Classic Disco 1974-1981’ (WSM)
The sub-title’s pretty on the money. Swirling strings, popping bass
grooves, huge brass sections, and rocking back beats that epitomise
disco can be found in opener Ashford & Simpson’s very funky
instrmemental ‘Bougie Bougie’. Flautist Herbie Mann rides an equally
irresistibly funky jazz-funk track ‘Hi-Jack’. Includes cuts from
Mass Production, Gino Soccio, Chaka Khan, and crossover hits by Chic,
Sister Sledge, and the Trammps. It’s the real deal
Various
Artists ‘Disco Divas And soulful Sista Flavas’ (Salsoul) The sisters
do a great job riding the disco rhythms. Loleatta Holloway opens
powerfully with ‘That’s What You Said’. I could have had
‘More’ of Carol Williams’ upbeat Philly-sounding dancer. Jocelyn
Brown’s vocals simply dominates Inner Life’s ‘Let’s Go another
Round’. It takes First Choice to bring down the tempo with ‘You
Can’t Take It With You’. Carol Williams adds a lvely soulful vibe on
‘My Time Of Me’,
Various
Artists ‘DJ Pogo Presents Pulp Fusion: Revival’ (Harmless) Its
‘tuff breaks, ‘80s boogie and get-down classics’ claim is more
than amply justified. Because besides well-known cuts like Cameo’s
‘Candy’, Roy Ayers’ ‘Love Will Bring Us Back Together’, David
Joseph’s ‘You Can’t Hide Your Love’, Parliament’s ‘much
sampled ‘Flashlight’ and Herbie Hancock’s jazz-funker ‘You Bet
Your Love’, there are rare groove faves like Marva Winey’s ‘It’s
My Thing’, and Fonda Rae’s electro-dancer ‘Touch Me’. Includes a
Pogo mega-mixed side.
Various
Artists ‘Dread Broadcasting Corporation: Rebel Radio’ (Trojan) A
double album to commemorate the twenty-fifth anniversary of the founding
of DBC, UK’s first black owned pirate station. It’s the station
which birthed the now BBC presenter Miss P, who’s compiled this with
her brother and founder of the station Lepke. Tunes of the station’s
heyday are mixed with station’s jingles. It’s refreshing that the
album begins properly with Aswad’s ‘Warrior Charge’, one of the
biggest reggae underground tunes by a British act. Saxon Sounds’
toaster Papa Levi’s ‘Mi God Mi King’, said to be the first Brit
reggae tune to top the Jamaican charts, is understandably present.
Nothing much has changed listening to Anthony Johnson’s wake-up call
‘Gunshot’. It’s full of classics by the likes of Burning Spear,
Prince Lincoln, Bunny Wailer, Junior Byles, Johnny Clarke, and Bob
Marley & The Wailers’ ‘Concrete Jungle’. And that’s just
CD1!
Various
Artists ‘Essential Afrobeat: The Very Best Of Afrobeat’ (Family
Recordings) This 3-CD compo, which includes a bonus ‘Afro Chill
Mix’. This covers various styles – from Afrobeat by the likes of
Fela Kuti who opens with ‘Eko Ile’, plus other featured tracks, son
Femi with ‘Truth Don Die’, to Peter King’s ‘Watusi’, Lekan
Babalola’s ‘Oya’, Tony Allen’s ‘Don’t Fight’, to Afro-beat
influenced music by the likes DJ Food, Hugh Masekela, Salif Keita,
Dennis Ferrer, MAW, and rather somewhat tenuous links from the likes` of
Booker T & The MG’s, Herbie Hancock, and Mory Kante’s ‘Yeke
Yeke’. Still, compiler Dele Sosimi, who played in Fela’s Egypt 80
band must have a wider view of the genre, than moi.
Various
Artists ‘Funk Drops 3’ (Atlantic) Sub-titled ‘Breaks, Nuggets And
Rarities’, one can’t argue as the funk quotient is amazingly high.
The posse noises, punchy brass and funky drummer rhythms of Freddie
& The Kinfolk’s ‘Mashed Potato Pop Corn’ add to James
Brown’s funkster. The Commodores have a couple of tracks here,
including ‘Rise Up’, showing their funk side to they gravitated
towards radio-friendly ballads. Bobby Byrd and Curtis Mayfield funk
respectively on ‘I’m On The Move’ and ‘Get Down’. Other well
known names are Rufus Thomas, Earth Wind & Fire, The Meters, and
Fred Wesley.
Various
Artists ‘Future Funk: On The Run’ (Ether) This double CD features an
eclectic mix of funky grooves. From Jah Screechie’s rocking
dancehaller ‘Walk And Skank’’, to samba-dance fusion, desi beats,
Latin house, soca, Latin ska, reggae, to mellow groves, like Bally
Sagoo’s sumptuous orchestral strings-backed ‘Kahin Deep Jale Kahin’.
Various Artists ‘George Phang Presents Powerhouse Vol.
1’ (Virgin) Twenty cuts from producer Phang’s stable. Includes Josey
Wales’ ‘Under Cover Lover’ and ‘Want No Aids’, Yellowman’s
‘Walking Jewellery Store’, Frankie Paul’s ‘Tidal wave’,
Freddie McGregor’s ‘Don’t Hurt My Feelings’, Barrington Levi’s
‘Money Move’, plus Half Pint’s massive dancehall classic
‘Greetings’!
Various
Artists ‘Ghana Soundz’ Vols. 1 & 2 (Soundway) The strapline ‘A
collection of ultra-rare and previously unreleased Afro-beat, funk and
fusion from ‘70s Ghana’ says it all. There is a very well written
liner notes giving history of the period and discographies of all the
tracks. It’s interesting listening to these tracks sitting in the heat
of Accra, Ghana because I wasn’t in the country when these records
were originally recorded or released. These are useful documents of
almost forgotten musical outputs. For example, an elder relation who was
swinging in ‘70s Accra, showed scant interest when I showed him the
track listing. Nevertheless, if you thought Afro-beat was just by Fela
Kuti, check out The Sweet Talks’ ‘Eyi Su Ngaangaa’, and if you
thought only the American produced the heaviest of jazz-funk, please
check out Marijata’s ‘Mother Africa’. Gyedu Blay Ambolley &
The Steneboofs produce a localised version of a typical James Brown funk
workout with ‘Simigwado’The first CD is worth it just for that
track. Although you’ll also find some heavy funk, like The African
Brothers’ ‘Self Reliance’, replete with gimmicky synth effects.
Oscar Sulley & The Uhuru Dance Band opens Vol. 2 with a sub-3 minute
Yoruba-sung Afro-beat entitled ‘Olufemi’, which is followed by the
near-9 minute Afro-funk ‘Africa Is Home’ by Joe Mensah. The African
Brothers offer a JB funk workout with ‘Sakatumbe’, The Ogyatanaa
Show Band offer the almost self-descript ‘Disco Africa’. Christie
Azumah offers the lone female voice here, K. Frimpong & Vis-à-vis a
modernised, funk-based highlife with some fine lead guitar lines, whilst
Marijata provides another scorching Afro-beat/funk fusion with the
cynical ‘No Condition Is Permanent’. Ends beautifully with the
brassy, Afro-jazz/highlife fusion ‘Tamfo Nyi Ekyir’ by The Apagya
Show Band.
Various
Artists ‘Giant Step Presents Simply Good Music’ (Giant Step) Raphael
Saadiq opens with classy soulster ‘I Know Shuggie Otis’. Among the
reggaeton, hip-hop jazz, it’s Fertile Ground’s bossa nova-ish
soulful, uplifting and blinding track ‘Live In The Light’. The
ColdFusion Mix of Lizz Fields’ ‘When I See Love’ is cool. Tiombe
sounds like Lina on the bluesy, jazzy ‘Mr Johnnie Walker’. Good to
hear Adriana Evans, Bebel Gilberto, and Roy Ayres’ vibes features on
Renovation Unlimited’s ‘Antanata’. Plantlife provide a huge slab
of funk with ‘Appreciate’.
Various
Artists ‘Gilles Peterson In Africa’ (Ether Music) The eclectic
British DJ’s double-CD has some of the hottest Afro funk and jazz
tracks around. It kicks off with Oscar Sulley’s Afro-jazzer ‘Bukom
Mashie’. Sung in Ga, it venerates one of Accra’s traditional and
deepest ghettos. Nice to see Ghana making a contribution to this top
compo. Fela’s represented with the cheeky ‘friendship’ Afro-beat
‘Ye Ye De Small’. Masters At Work accentuate the Afro-beat style
with their Fela tribute ‘MAW Expensive’. Peter King represents on
the very funky ‘Ajo’. However, it’s the American fusionists
Antibalas who rock the hardest with the noisy, jazzy, brass-led
‘Indictment’, which has a little politic dig among its ruckus.
Fequdu Amdé-Mesqet provide a mellow, jazzy vibe, as does Abdullah
Ibrahim on the instrumental piano piece ‘Did You Hear That Noise’.
The most glorious voice comes from Letta Mbulu’s jazzy
‘Mahlatela’. What a scorcher of an album
Various
Artists ‘Global Hip-Hop’ (Manteca) Sourced from artists from across
the globe, this shows how hip-hop is definitely an international medium.
Kicks off with a mariachi brass-filled Latino offering by Delinquent
Habits. Positive Black Soul sound like they could be from Cali, rather
than Senegal. Fellow Senegalese Daara J weave one of the best Latin-flavoured
hip-hop tracks, ‘Esperanza’, which features Cuban musician General
Garcia. This track alone is worth the price of the album! Except
there’s more, like a massively funk-driven offering by Brazilians
Cambio Negro. JJC & 499 Sqiad, Clotaire K, X Plastaz, and France’s 113 represent.
Various
Artists ‘Global Hip-Hop’ (Manteca) This compo shows how hip-hop is
definitely an international medium. Kicks off with a mariachi
brass-filled Latino offering by Delinquent Habits. Positive Black Soul
sound like they could be from Cali, rather than Senegal. Fellow
Senegalese Daara J weave one of the best Latin-flavoured hip-hop tracks,
‘Esperanza’, which features Cuban musician General Garcia. This
track alone is worth the price of the album! Except there’s more, like
a massive funk-driven offering by Brazilians Cambio Negro. Includes
tracks by JJC & 499 Squad and France-based 113.
Various
Artists ‘Global Hip-Hop’ (Manteca) This compo shows how hip-hop is
definitely an international medium. Kicks off with a mariachi
brass-filled Latino offering by Delinquent Habits. Positive Black Soul
sound like they could be from Cali, rather than Senegal. Fellow
Senegalese Daara J weave one of the best Latin-flavoured hip-hop tracks,
‘Esperanza’, which features Cuban musician General Garcia. This
track alone is worth the price of the album! Except there’s more, like
a massive funk-driven offering by Brazilians Cambio Negro. Includes
tracks by JJC & 499 Squad and France-based 113.
Various
Artists ‘Groove Lounge Vol. 3’ (EMI) Described as the ‘smooth
seductive beats for the essential pre-club experience’, the cuts here
are enough to rock all of one’s club experience, I would have thought.
That’s if you’re an oldies head, because it covers jazz from Buddy
Rich and Grant Green, jazz-funk by the likes of Incognito and Ronnie
Laws, soul and jazz flavoured rap by Guru, hip-hop from Dilated Peoples
and NWA, and R&B from the likes of Loose Ends, Rene & Angela,
and Maze.
Various
Artists ‘Harambe Dope Sessions’ (DIY/Dope) A South African
‘urban’ music compilation. It’s amazing to think the stuff here
are ‘the illest unsigned, unreleased Mzansi Hip-hop’, simply because
the quality is consistently so good, it’s amazing to think these acts
aren’t signed. OK, so they’re mostly biting America rap and R&B,
with the odd Jamaican dancehall influence, but then they seem on the
whole to carry it with some conviction. Crisis’ rap/R&b offering
could well be something from Stateside, whilst Blazin’ Spear’s
‘Womani’ kicks off with a bit of beat-boxing intro and uses a local
lingo.
Various
Artists ‘Hotel Rwanda: Music From The Film’ (Ryko/Commotion) I’ve
left this to the last, because this is no ordinary film soundtrack.
First of all, if you did not catch this movie in the cinema, then try
and get it on VHS or DVD. Africans particularly need to watch this well
made film to give them a wake up call regarding man’s inhumanity. And
if you think the Rwandan tragedy as ten years ago, then ask yourself
what’s currently happening in Darfur, Sudan? Preaching over. Deborah
Cox’s ‘Nobody Cares’ adds a soulfulness to a moving theme.
Wyclef’s ‘Million Voices’ highlights the genocide in pop palatable
manner. South African pop/disco diva Yvonne Chaka Chaka adds some
excitement with “Umqombothi”.
However the real
mood, which underscores the dark tones of the film, is provided by the
contributions by the likes of Dorothee
Munyaneza, Afro-Celts Sound System, and the mass children voices. The
music here has an added dimension if you’ve seen the film.
Various
Artists ‘Inside Scandinavia’ (Raw Fusion) Pining for some
contemporary jazz? Well this Scandinavian compo should help. There are
fine vocals, cool piano melodies, and groovy drums. There’s hip-hop,
jazz funk, bossa nova, electronica, and samba!
Various
Artists ‘Jazzy Cuba: A Beginner’s Guide To Cuba’ (Nascente) Short
of visiting Cuba to study the music, this three-CD set offers a more
affordable alternative. Over some thirty tracks, if you have not yet
developed your appreciation of Cuban music. Although apart from Compay
Segundo, Afro Cuban All Stars and Yula, majority of the names will be
unknown to those not deeply into Cuban music, that does not detract from
the quality of the material on offer. Whether you’re into big band,
tinkling piano runs, big horns, vocals, or percussion-driven material,
it’s all here. Bobby Carcasses evening provides an English-sung cover
of ‘Summertime’! And under a tenner, this is a marvellous bargain.
Various
Artists ‘Kingston 5 Presents The New Sounds Of Reggae’ (Kingston 5)
Now set to drop in January 2005, expect this compilation to make some
noise. Vybz Kartel kick it off with ‘So Fine’. Although it also it
contains offerings by respected artists such a Junior Reid, and Buju
Banton whose mellow, socio-tipped ‘Pen’ shows him singing very
passionately, the Brits made a good standing with Tubby T featuring Md
Dynamite and Lady Posh’s remix of ‘Ready She Ready’, which as an
ace dancehall smash. The Hites add hip-hop sensitivities, whilst Twyla,
Tami Chin, and Flava featuring Macka Diamond, bring impressive soulful
singing and R&B vibes to the table. Ditto the bonus track: Mile
High’s awesome cover of Marley’s ‘Johnny Was’, which mixes
soulful singing over reggae, funk and rock rhythms!
Various
Artists ‘Lethal And Destruction Present Weapons Of Mass Destruction’
(Bleak House) This must be one of the tightest British hip-hop mix CDs
out there. The beats are tight. Lethal & destruction, the hosts,
have their act really together. I don’t care too much for some of the
language and the macho and gangster stance of some. However, there are
some good flows including raptresses Tor and ‘Baby Blue, Karl Hinds,
and Skeme. Lethal’s autobiographic ‘The Journey freestyle’ is
worth a listen. The standout and surprise is an R&B track – a
supposedly freestyle by Paris. She’s a fine singer, and some label
better look at signing the singer and uplifting track! That’s if
it’s not a sample from somewhere!
Various
Artists ‘London Soul: Soulful Rhyme From The Capital (Unisex)
Perhaps it’s right that Nate James’ massive R&B breakout track
‘Set The Tone’ kicks things off. Although there’s Omar featuring
Angie Stone on their bumping cover of ‘Be Thankful’, the compiler
has given adequate space for both new artists, like Em-Cee (‘Negative
2 Positive’), Natalie Williams (‘Secret Garden’), NSM’s
(‘Don’t Say’), Alex Attias pres. Mustang feat. Colonel Me (‘Help
Me’), The Sunburst Band (‘Every Day’) and Terri Walker’s tight
R&Ber ‘L.O.V.E. – and less well-known but essential track by
well-known artists Don-E, Lewis Taylor, Romina Johnson and 4 Hero. An
unusual and soulful track worth checking is D’nell’s ‘This
Thing’. Of course this is just a minute sample of the soulful sounds
of the capital. Go discover!
Various Artists
‘Lounge Classics: A Decade Of Chill out Classics’ (Park Lane) OK, so
the opener, Royksopp’s ‘So Easy’, is typical chill out. But not
all chill out is so mellow and ambient. Koop’s ‘Summer Sun’ is a
cool female-sung, vibes-underscored beats-dominated jazz song. Moby’s
‘Porcelien’ uses breakbeats, as does Thievery Corporation’s
‘Lebanese Blonde’. Kinobe’s swish orchestral soundscapes are
underscored by strong beats. Ditto: The Karminsky Experience’s
Indian-tinged ‘Exploration’, and Francois K’s housey remix of
Bent’s ‘Swollen’. Includes two great soulful tunes: 4Hero’s
cover of Minnie Riperton’s ‘Les Fleurs’ and Rae &
Christian’s Veba-sung ‘Spellbound’!
Various
Artists ‘Masters Of Funk’ (Capitol) As a way of introducing the
‘Masters Of Funk’ series, EMI has dropped this compo to give a
flavour of the kind of stuff to expect. We’re talking ’70-‘80s
funk and disco, like Brass Construction’s ‘Movin’’, Mystic
Merlin’s ‘Mr Magic’, George Clinton’s ‘Atomic Dog’, KC’s
‘That’s The Way I Like It’, and Maze’s ‘Southern Girl’.
Various
Artists ‘MC Det Presents Knights Of The Mics Vol. 1’ (Times Two) Oh
my gosh, for those that had forgotten about jungle music, this compo
brings it back. It starts with the banging reggae toasting-flavoured
‘My Echo’ by Brockie & Ed Solo feat. Det. Certainly one of the
biggest tunes of the genre! On a more hip-hop MCing tip is Dynmite’s
declarative ‘My Name’. Alison David adds soulful tones to the rough
beats driving Shabba D & Det’s ‘Say What U Sayin’’. Det
& Ed Solo’s ‘Fire’ beats get rougher, whilst ‘Beats, Love
& Unity’ adds atmospheric sounds and some phat b-lines over which
ride Hype feat. Fats’. Ragga Twins & Sketch N Code’s ‘You
Don’t Know’ is an irresistible dance-floor crowd shaker, for sure.
Michelle Gayle is wasted trying to inject some weak sexy lines over Det
& Ed Solo’s ‘Feel Me’. End with two very heavy, rocking
tracks: Sylo & Probe feat. IC3’s ‘Dimme Some More’and Shabba
D, Det & Dotty’s ‘Roll Out (Sketch N Code Remix)’. Rough beats
for underground jungle heads!
Various
Artists ‘Middle East’ (Greensleeves) Number 62 of the
‘Greensleeves Rhythm’ series, Vybz Kartel, Sizzla, Buccaneer, Red
Rat, Mr Vegas, Looga Man, Elephant Man and Bounty Killer are some of the
DJ artists who ride ‘Middle East’ rhythm.
Various
Artists ‘Music From The Cocoa Lands’ (Putumayo) This compilation is
supposed to represent ‘unforgettable songs from countries where
chocolate originates’ and no contribution from Ghana? Come on, this is
not on. For those that don’t know, Ghana used to be a leading, and is
still an important, producer of those brown seeds! I guess the compilers
were either not aware of that fact, or just couldn’t find any
Latin-tinged stuff from that country. Instead we have a nice enough
contribution from India via Brit-based singer-songwriter Susheela Raman,
USA-based Ozomalti represent Mexico, Taffetas represent Switzerland and
Guinea-Bissau with the haunting vocals and kora driven ‘Yay Balma’.
Toto Bona Lokua represent Congo/Cameroon/Martinique with the beautiful
opening track ‘Lisanga’, which has some emotive vocals and chorus,
and cool acoustic guitars. Other countries represented include Ivory
Coast, Peru, Brazil and Cuba.
Various
Artists ‘New York Soul: A Bite Of Soul From The Big Apple’ (Unisex)
The regional compo covers the music from the Big Apple, which starts
well with the delicious Amel Larrieux’s funkister ‘All I Got 2’.
It’s simply a brilliant track. The equally adorable vocalist Angela
Johnson features with DJ Spinna and also her group Cooly’s Hot Box,
who bosaa nova-tipped ‘Over And Over’ is a delight, as is McKay’s
funkster ‘Thinking Of You’. There’s leftfield, jazzy, neo-soul,
and hip-hop by the likes of
Marlon Saunders, Angie Stone and Pete Rock. Includes ‘Take Me Home’
by the very soulful Sarah Devine. Worth checking out
Various
Artists ‘Norman Jay Presents Philadelphia’ (Harmless) A no-brainer
winner as the well-respected presents ‘underground anthems of
Philadelphia soul’ ranging from MFSB’s ‘Love Is The Message’ and
‘Let’s Party Down’, right through to cuts by the likes of The
O’Jays, The Trammps, Jean Carne, Teddy Pendergrass, and Billy Paul,
that are powerful tracks, rather than their crossover hits. An anorak
and Philly-phille delight, for sure.
Various
Artists ‘Nu Brazil 2’ (Manteca) Whilst the samba and bossa nova
still exists, Brazilians experiment with new styles. Vitor Ramil opens
with the jazzy, lilting drum & bass driven rhythm on ‘Náo é Céu’
over which he croons. The lovely vocals and brass interludes and solos
work a charm. Fernanda Porto, a confirmed dance & bass fan, sings
‘Só Tinha Que Ser Com Você’ over sparse, jazzy beats. Inácio Zatz
offers the funky, guitar riffing ‘O Santos Era Campeão’. Elsewhere
on the double CD, Paulo Padilha excites with the jazzy, vocal track
‘Certeza é Ilusão’. As
does Marcelinho Da Lua featuring Seu Jorge’s rocking drum & bassed
backed ‘Cotidiano’. Aleh
add turntablism, and a punchy brass to the very funky ‘Dona Da Banca’.
Various
Artists ‘Philly Soul Volume II’ (Unisex) Whilst Jill Scott’s not
here, her label mates Kindred The Soul Family solidly represent with the
‘Rhythm Of Life’ opener and the sumptuous Larry Gold arranged
strings-backed ballad ‘All That You Are’. The Roots, Jazzy Jeff,
Jazzfatnastees, Vivian Green, Lizz Fields represent, as does Bilal
featuring Mos Def & Common on the hip-hop/soulster ‘Reminisce’.
Various
Artists ‘Pure Spirit Of Relaxation’ (Angel Works) Oh the hustle and
bustle of modern life! We all need to cool down, relax and pamper or
minds and bodies. With many of chill-down music having beats, you need
this new age or true ambient, chill-down triple CD set, if you wanna
pamper yourself. ‘Enchanted Garden Of Peace’ is a long, acoustic
guitar featured composition with bird noises to help you drift away.
Unfortunately the Eastern-vibed ‘Calming Temple Of Clarity’ is too
full of heavy sounds to keep me calm. Should however be useful for those
that practice Eastern disciplines such as yoga. The cascading sound of
water in the ‘Soothing Sea Of Tranquility’ is more restful for moi.
Various
Artists ‘Putumayo Presents World Groove’ (Putumayo) A ‘global
groove party featuring cutting-edge world dance and electronica’. The
global dance fusion comes from the likes of Malian Issa Bagayogo’s
very funky ‘Nogo’, Congolese/Belgian Zap Mama’s English-sung
R&B-tinged ‘Miss Q In’, Algerian/French rai/rap fusion from Cheb
Mami/K-Mel, and the late South African Brenda Fassie’s township house
‘Ama-Gents’. Early pressings will include a bonus CD featuring cuts
from the label’s ‘Groove’ and ‘Lounge’, such Bagayogo
dancehall kind of rhythmed ‘Saye Mogo Bana’. Makes for an
interesting global musical tour.
Various
Artists ‘Reggae Hits 33’ (Jet Star) Twenty of fairly recent vintage
kicks off with the engaging Beres Hammond at his soulfullest best
opening with ‘There For You’. Freddir McGregor oicks up the mantle
and nices up the dance singing the lovers ‘Ask For Your Love’. Peter
and his Morgan Heritage siblings charmed with the reflective ‘She’s
Gone’. Includes Savana’s crossover hip-hoppy, funky track ‘Pretty
Lady’, plus Marvia Providence’s jumpy-jumpy gospel biggie ‘Hear My
Cry Oh Lord’ and Elephant Man’s take -
‘Bun Bad Mind’. The surprise however is Shola Ama, sounding
delicious doing theuplifting lovers ‘Step It’.
Various Artists ‘Reggae Songbirds’ (Jet Star) This
compo, featuring some of the major female reggae singer from JA and UK,
kicks off in fine style with the punchy, rocky, socio-tipped ‘No I
Won’t’ by Marcia Griffiths. What a joyous song – great vocals,
irresistible rhythm, and nice brass lines! Carlene Davis’ ‘Baby Be
True’ has a very sweet ‘60s pop-reggae feel. Sylvia Tella’s
soulful vocals floats over ‘Spell’, and sits within the mix of the
bitter-sweet lovers ‘Two People’. Queen Omega drops two roots &
culture cuts: ‘One Time’ and ‘Hypocrites & Parasites’. JC
Lodge rides the strong lovers ‘Sweet Dreams’. Donna Marie’s
‘Master Plan’ could well have been a lovers track, except it’s a
spiritual and socio-tipped song. Veteran British chanteuse Toyin
Adekalie offers the bubbly ‘To See You Smile’. Famous songs covered
include Pam Hall’s ‘I’ll Always Love You’ and ‘Never Say
Goodbye’, Marcia Friffith’s ‘Something Inside So Strong’, Nisha
K’s ‘I Don’t Know Why’, and Phoebe One’s ‘Knocking On
Heaven’s Door’.
Various
Artists ‘Riddim Rider Vol 18: Baby Love’ (Jet Star) Gadaffi’s
jumpy, jumpy dancehall ‘Baby Love’ rhythm gets ridden by various
DJs. Elephant Man’s ‘Cock It Up’, Capleton & Action K’s
combination ‘Attached To Me’, Sizzla’s title track, Richie
Spice’s uplifting, lovers ‘Girl I Love You’, and Angel’s ‘Fed
Up’, are the ones that stand out.
Various
Artists ‘Roots Of Dub Funk’ (Tanty) Kelvin
R and his Dub Funk Association collective have been delivering
funk-based, dub cuts for over ten years. This compilation has been
sourced from around the world. Like the very funky ‘African Satellite
Dub’ by The Interruptor of Switzerland, Italy’s Piano B’s ‘Dub
My Roots’, UK’s Jah Warrior’s horn-charged ‘Ridiculous Dub’,
Australia’s Peyote Sound System’s ‘Born African’, and USA’s
Cosmic Rocker & Zeb’s atmospheric ‘Sufferer Dub’. Absolutely
dubilicious!
Various
Artists ‘Run The Road’ (679) Having recently heard gun shots reeling off in a
London street, maybe all these dark vignettes of London life is not
fantasy anymore. This compo is certainly for hard heads on the road, who
know the runnings, survival wise and underground music wise. Terror
Danjah, kicks off the dark tales with ‘Cock Back V1.2’. Roll Deep,
Kano, Dizzee Rascal, The Streets, Shystie are some of the better known
names here. Although Wiley and Doae’o are also featured artists.
Durrty Goodz mix fast rapping and toasting in ‘Gimme Dat’. It’s
all dark, grimey, hardcore and very London underground.
Various
Artists ‘Run The Road’ (679) Having
recently heard real gun shots reeling off in a London street, maybe all
these dark vignettes of London life with cocking guns is not fantasy
anymore. This compo is certainly for hard heads on the road, who know
the runnings, survival and underground music wise. Terror Danjah, kicks
off the dark tales with ‘Cock Back V1.2’. Whilst Riko And Target’s
grimey ‘Chosen Few’ has sounds of dropping spent bullets, at least
it’s anti-violence, as they urge people to stay calm. Includes tracks
from some of London’s well-known and underground MCs and rappers, such
as Roll Deep, Kano, The Streets, Shystie, Lady Sovereign, and a
self-effacing Dizzee Rascal, plus Dizzee sound-alikes. Durrty Goodz’s
mix of fast rapping and toasting style on ‘Gimme Dat’ is one of the
standouts. It’s all dark, grimey, hardcore and very much on the London
underground.
Various Artists
‘Satisfaction: Covers & Cookies Of The Stones’ (Harmless) A
double CD compo, of which one side has a mix by 4 Hero’s Marc Mac. CD1
contains 15 covers of Rolling Stones covers. Perhaps the highest
accolade is starting off your group by covering blues music and naming
your band after one of blues icon Muddy Waters’ songs, then have Muddy
record one of your songs! Well, Muddy does just that with his blues-rock
cover of ‘Let’s Spend The Night Together’. Elsewhere, the likes of
Staples Singers try to give a gospelly vibe to ‘This May Be The Last
Time’, Rotary Connection and African offer a soulful rendition of
‘Ruby Tuesday’ and ‘Paint It Black’, respectively. Ruth Copeland
gives ‘Play With Fire’ and rocky/bluesy vibe reminiscent of Janis
Joplin. Actually the revealing thing about this album is how good a
lyricist Mick Jagger can be! Go discover!
Various
Artists ‘Ska: Down Jamaica Way Vol. Eight’ (WSM) Ska pioneer Roland
Alphonso opens with ‘Ska-Ra’Van’, and also offers the more big
band jazz-tinged ‘Determination’. Guess if you’re looking for ska,
then this ought to do it for you. What with Johnny Moore’s unrelenting
‘South China Sea’. Ferdie Nelson has three vocal cuts to contrast
the instrumentals, whilst The Avalons and Jackie Opel vocal offerings
are too mellow paced to be strictly ska.
Various
Artists ‘Slow Bounce’/‘Klymaxx!’ (Greensleeves) The Greensleeves
Rhythm Album continues with numbers 65 and 64. ‘Slow Bounce’,
produced by Michael ‘Liquid’ Brissett, kicks off with Vybz Kartel
trying to inject some social consciousness with ‘Big Man Thing’.
Tami adds a sweet, soulful female gloss to the rhythm with ‘Me Noh Wan
Dat’, and Ward 21 exhort some positivitism for the youths with their
fast-rapping ‘King Of The World’.
Beenie Man just can’t help telling us about ‘The Girl For
Me’ with whom he’s very satisfied. Sing-jay Mr Easy adds thug-soul
lyrics on ‘It’s Amazing’. Capleton’s raucous ‘Place Burn
Down’ gives the Shane Brown-produced ‘Klymaxx’ rhythm an upbeat
vibe. Chico rides the grooves highlighting ‘Long Time Badman’. Among
the sex-dominated tracks, Rik Rok adds soulful, sweet-boy singing with
‘Where Will You Run’. After hearing nineteen previous versions,
it’s a testament to Shane Brown & Christopher Birch’s original
‘Klymaxx’ instrumental, which closes the set, that it still sounds
fresh.
Various
Artists ‘Sock It To ‘Em Soul’ (WSM) Culled from the Stax and
Warner/Atlantic group of labels’ ‘60s catalogue, the tracks are top
heavy with club favourites, instead of crossover hits. Joe Tex rocks as
he asks to ‘Show Me’ a good woman. There’s Aretha Franklin’s
biggie ‘Save Me’. Oh what a tune and singer! Eddie Floyd’s
‘Things Get Better’ is still an engaging celebratory song. About the
R&B and soul cuts, is Miriam Makeba’s massive ‘Pata Pata’
Various
Artists ‘Son Cubano NYC’ (Honest Jons) Culled from the Cuban
sessions in New York between 1972-82, this is some of the hottest son or
salsa music you’re likely to hear. Nevermind the artist names not
being recognisable, the music here really rocks. Whatever the lead, be
it vocals, brass, piano, or guitar, the underlying music doesn’t let
up. If you’re into Latin music, you’re unlikely to go wrong with
this classy compo.
Various
Artists ‘Soul Function’ (V2) I’ve
never been a Northern Soul fan. I remember reading about the frenetic
paced soul records and dance moves up north of Watford at places like
the Wigan Casino in papers like Black Echoes and Black Music. This CD/DVD
combination is one of the most satisfactory because the DVD contains a
documentary that explains and draws you in, even if you’re not
particularly interested in the music. It features several of the revered
recording artists of the scene, including Geno Washington. Of the CD,
Kiki Dee and Doris Troy are the only artists with a reputation outside
of the scene. If you know Soft Cell’s cover, check out Judy Street’s
original of ‘What’. James Brown and Motown styles abound. Charles
Mann’s ‘Shonuff No Funny Stuff Love’ and Steve Mancha’s
‘Friday Night’ are soulful and funky.
However, the funkiest of the lot is Mojo’s disco-ey ‘Let’s
Get Ugly’!
Various
Artists ‘Soul Togetherness 2004 (Expansion) The ’15 modern soul boom
gems’ starts off with the recently departed Rick James’ saucy
funkster ‘Taste’. Includes a rare offering from Chante Moore,
British contemporary gospel R&Ber Nathan Prime, Trina Broussard, The
Sunburst Band’s awesome, current single ‘Everyday’, the tough 8AM
remix of Venus Tribe’s Dodge-produced masterpiece ‘Slow Down’.
It’s mid-priced, so should be a no-brainer decision to purchase.
Various
Artists ‘Sound Of The Shebeen’ (Virgin) This is certainly one of the
best reggae compilations around. The dulcet tones of Jacob Miller kicks
off with two cuts, ‘Keep On Knocking’ and the ‘Knocking
Version’. There’s Johnny Clarke’s version of lovers classic
‘I’m Still Waiting’, the harmonious Mighty Diamonds’ ‘Shame
& Pride’, Susan Cadogan’s crossover hit ‘Hurts So Good’,
Matumbi’s rockers ‘Music In The Air’, Paragon’s original ‘The
Tide’s High’ and U Roy’s version, and Peter Tosh’s tough
rock-edged warning: ‘Stepping Razor’.
Various
Artists ‘Spanish Fly’ (Greensleeves) The Greensleeves Rhythm album
number 60 has artists such a Vybz Kartel, Bounty Killer, Elephant Man,
Degree, riding on the The Ballah’s ‘Spanish Fly’ rhythm which is
accentuated by a trumpet refrain. It’s interesting how the same rhythm
inspires topics as varied as Daville’s ‘Banan’, which contrasts
Elephant Man’s ‘Caribbean Gangsta, as Kiprich’s romantic
‘Senorita’ contrasts Bling Dawg’s ‘Playa’!
Various
Artists ‘Testify II: 26 Hunk Of Funky Grooves’ (Stateside) Ooops,
someone’s made a mistake with the title because this has 22 tracks.
Anyway, respect to the compilers. Because whilst one can equate the
likes of Randy Brecker, The Three Degrees, Jimmy McGriff, The Ikettes
and Candido with funk, few people, apart from anoraks, could find tracks
by the likes Bobby Gentry, Donovan, Glen Campbell and Nancy Wilson which
justify being out on a funk compilation! The Three Degrees’
‘You’re The One’ has them pursuing a very funky trip, which is
miles from the MOR fare they settled on in later years.
Various
Artists ‘The Biggest Ragga Dancehall Anthems 2004’ (Greensleeves)
The title says it all. The 40 track double-CD contains all the big names
on the reggae scene, like Vybz Kartel, Elephant Man, Sean Paul, Cecile,
Bounty Killer, Wayne Marshall, Mad Cobra and Beenie Man. The tracks
include the Vybz Kartel remix of Nina Sky featuring Jabba’s crossover
hit ‘Move Your Body’, a remix of Paul’s ‘Back Off’, Beenie’s
‘Freakside’, and Kartel’s ‘It Tight’. Ends with Sizzla’
‘Wrath’.
Various
Artists ‘The Getaway Black Monday: Ninja Tune Remixes’ (Ninja Tune) Music
from a Playstation 2 soundtrack, which sees the Ninja Tune/Big Dada
tracks of Diplo, Amon Tobin, Lotek Hi-Fi and Blockhead remixed for
gamers. Most of the tracks
are atmospheric, whilst Lotek offer some London rhymes with their two
tracks ‘Russian Theme Remix’ and ‘2 Side (Russian Theme Remix No.
2)’. For heads who love atmospheric sounds and cinematic dialogue.
Blockhead’s offering, ‘Shoreditch Theme Remix’, is a gorgeous big
beats instrumental with an intriguing arrangement. Amon Tobin provides
very weird, atmospheric soundscapes. If you’re into his style, he’s
also got an album of his atmospheric scores of the video game ‘Tom
Clancy’s Splinter Cell: Chaos Theory’ coming soon.
Various
Artists ‘The Lovers Rock Story’ (Kickin) Lovers rock, that British fusion of soulful vocals and reggae rhythms was
pioneered by Dennis Harris’ Dip/Lovers Rock label with musicians
Dennis Bovell and John Kpiaye. Harris’ son Peter, boss of Kickin
Music, brings some of the gems to a wider public with this compilation.
Brown Sugar’s ‘Black Pride’, one of their three tracks here, shows
lover’s could also tackle socio-conscious themes. Cassandra’s
romantic ‘Love Me Sweeter’ is however typical of the genre. Bovell,
TT Ross and Carolyn Catlin are the other contributors to this useful
compo of British inventiveness. Kpiaye ends with a jazzy-reggae cover of
the ‘Albratross’ instrumental.
Various
Artists ‘The Marvel Of Marvin’ (Harmeless) Subtitled ‘the trouble
man’s collaborations, covers and cookies’, it’s a mixed bag. Pucho
& The Latin Soul Brothers open with a jazzy-funky version of
‘Let’s Get It On’, The Chi-Lites add fine male backing vocals to
their Motown-like cover of ‘I Heard It Through The Grapevine’. Otis
Redding & Carla Thomas have a go at ‘It Takes Two’, but it’s
just Redding’s fantastic voice that shines! Delroy Wilson and George
Faith offer rocking reggae covers. Great concept, but generally not so
great version compared to Marvin’s versions. One side contains a
4-Hero mega-mix.
Various
Artists ‘The Original Blues Album’ (EMI Gold) The title says it all.
The artists range from the American masters, such as Muddy Waters,
Lighnin’ Hopkins, Son House, through to latter day white American and
British acts, such as The Jeff Beck Group, Canned Heat, George Thorogood,
Johnny Winter, and Gary Moore. Include old classics like ‘Dust My
Broom’, and newer ones like ‘On The Road Again’, whilst the styles
cover country and modern blues, and jazzy blues by the likes of Amos
Milburn, and Dinah Washington’s ‘The Blues Ain’t Nothing But A
Woman Cryin’ For Her Man’. At least the Jeff Beck Group featuring
Rod Stewart’s cover of ‘You
Shook Me’ credit writer Willie Dixon, unlike Led Zep, who had to make
a belated settlement.
Various
Artists ‘The Ratpack: Boys Night Out’ (Capitol) The Ratpack were
essentially singer-actors Frank Sinatra, Dean Martin, and Sammy Davis
Jr. Along with them and the likes of Andy Williams, lounge-core music
has become cool, even among some young clubbers. Sammy Davis gives it
all on the big band arrangement of ‘(Love Is) The Tender Trap’, Dean
croons on cuts like ‘All In A Night’s Work’, whilst Sinatra even
makes the nursery rhyme ‘Ol Macdonald’ hip!
Various
Artists ‘The Rough Guide To The Music Of Kenya’ (World Music
Network) This compo covers different styles, from the old and
traditional, to modern and urban. Kicks of with the feisty sounding
Queen Jane, whose song is driven by vintage Congolese rhumba guitar
lines. D.O. Misiani & Shirati Jazz, Kakai Kilonzo, and Golden Sounds
Band, follow a similar musical style. Gidi Gidi Maji Maji rap over a
funk bed. Their flow and sound echoes of JJC & 491 Squad. Zuhuru
Swaleh & Mombassa Party have a traditional and rootsy sound, whilst
Yunasi adds modern beats. Possibly likely to appeal to those with some
prior knowledge of Keyan music.
Various
Artists ‘The Sisters Of Soul’ (Sanctuary) This compo is definitely
one especially for the ladies, as the songs by female artists cover
love, relationship problems and various levels of drama in between. The
compo has a few well known names here, but not theirs well-known hits.
Aretha Franklin opens and closes the set with her pre-Altantic material.
There are cuts by Candi Staton, Freda Payne, Kinda Jones, Shirley Brown,
Brenda Holloway, and PP Arnold. Laura Lee discovers ‘Her Picture
Matches Mine’. Thelma Jones has been shedding ‘Salty Tears’, and
Thelma Jones decides ‘I’d
Rather Leave While I’m In Love’. Hmmm.
Various
Artists ‘The Sound Of Club Brasil’ (Club Brasil-UK) If you’re into
Latin dance music, then the sampler I’ve heard, this compilation will
be something definitely up your street. Guida De Palma charmingly sings
and scats her way through the club-primed samba fusion ‘Casa Forte’.
Finn Peter’s flute blesses the jumpy instrumental ‘Aldeia de Ogum’,
which also includes some fine piano solo. Peter repeats the formula,
only dropping the tempo just a touch for ‘Femina’. Mariana Feo’s
big band take on ‘Take It Easy My Brother Charles’ works because of
the familiarity factor, being a cover song.
Various
Artists ‘The Sound Of Smoove’ (Ministry) Another double-CD. However,
this sets itself apart because its mixer Shortee Blitz has concentrated
on R&B and hip-hop on CD1 with tracks from R Kelly, Ashanti, Missy,
LL, Ty, Jay-Z, and Redman. CD2 contains track by Elephant Man, Wayne
wonder, Mr Vegas, TOK, Wayne Wonder, and Suncycle.
Various Artists ‘The Story Of Black Popular Music’
(Universal) This double-CD however does its best to cover the rock n
roll era with tracks by the likes of Louis Jordan, Joe Turner, and
Little Richard.. Apart from the likes of Sam Cooke, Sly & The Family
Stone, and the Isley Brothers’ blistering, churchy ‘Shout’, the
‘60s and ‘70s are represented by Motown hits, a smattering of James
Brown hits, including the still potent ‘Say It Loud, I’m Black and
Proud’. The latest track is Bobby Brown’s ‘80s hit ‘My
Prerogative’.
Various
Artists ‘The Very Best Of Latin Jazz’ (Nascente) I don’t confess
to know much of the tracks here. This is not full of crossover hits.
Even the well known tracks are not the better known versions. Like John
Santos’ cover of Miles Davis’ ‘So What’ and Bobby Matos’
enjoyable cover of Pharoah Saunders’ ‘The Creator Has A Masterplan’,
and Tito Puente’s original version of ‘Oye Como Va’, popularised
by Santana. Includes oldies by the likes of Ella Fitzgerald, and newer
stuff by the likes of Nuyorican Soul, and Snowboy. Provides rocking
percussion and brassy moments from the likes of Roy Hargrove’s Crisol.
Various
Artists ‘The Very Best Of North Africa’ (Nascente) I may know a few
of the artists, notably Khaled, Souad Massi, Cheb Mami, Kad Achouri and
Rachid Taha, but one is no way up on North African music, which fuses
African, Muslim, and Arabic influence. Hence this mid-priced double CD
offers a great opportunity to discover the charm and diversity. From
Western club primed tracks by the likes of Cheb Mami, the rock-fusion of
Rachid Taha, the funk of Hakim featuring the James Brown, to the more
traditional sounds of Souad Massi and El Hossaine Kili. And that’s
just CD1. There’s another exciting, exotic world to explore on CD2,
not the least being Khaled’s massive hit ‘Aicha’!
Various
Artists ‘The Wonder Of Stevie: Melody Man’ (Harmless) DJ Spinna
& Bobbito deliver a second compo of Steve Wonder covers. It’s a
strong concept with enjoyable offerings by the likes of The Spinners,
Minnie Riperton, Pointer
Sisters, Quincy Jones,
Four, etc. The Players Association’s ‘I Wish’ funk instrumental,
Jermaine Jackson only serious hit ‘Let’s Get Serious’ and BB
King’s To Know You Is To Love You’ do stand out.
Various
Artists ‘This Is Soul 2005’ (Soul Brother) Philadelphian Heston’s
impressive vocals on the opener ‘If’ stamps its authority and sets a
high standard for this compilation. Thankfully there are many not so
well-known names to continue. Trace Ellington’s rendition of
‘Remember The Love’, could well be a long-forgotten Stevie Wonder
track! There are decent offerings from a few better-known artists, like
Adriana Evans, Myron, Marlon Saunders, and Conya Bass. Geno Young
impresses, as does Yewande, not to mention the sweet and powerful voice
of Maya Azucena which dominates the glorious beats-based ballad ‘Like
No Other’.
Various
Artists ‘UK Runnings Vol. 3’ (UK Runnings) Wolverhampton-based Tricksta and
Late’s mix CD only contain independent British hip-hop tracks, many of
which are exclusives. Scorzayzee drops a funky and great
socio-politico-rap in ‘Great Britain’, a track crying out for wider
awareness. Some of the scene’s well-known names representing are
Skinnyman, Wolftown’s Jai Boo, Klahnekoff, Karl Hinds, Seanie T &
Roots Manuva. Creamo’s and Eastborn’s ‘Freestyle’ show two names
to look out for.
Various
Artists ‘UK Runnings Volume 2.5’ (UK Running) This undiluted ‘mix
tape’ contains some of the tracks that didn’t make ‘Volume 2’
and some new tracks, a mixture of snippets and full tracks from mostly
names hardly known outside the UK hip-hop and dancehall underground.
Like Wolftown Committee, Late, CRF & Noz, Fugazi Crew. One of the
funkiest tracks here, and it also socio-tipped, is the Hoodz Underground
& Klashnekoff ‘How Do You Feel’. Deserves to be massive.
Various
Artists ‘Umoja: The Spirit Of Togetherness’ (Red Pepper) A hit on
the London stage, there’s more to be gained watching this musical on a
DVD. Apart from the comfort of home viewing, there are extra features,
such as videos, discarded scenes, and interviews with the show’s
creators. Also, in addition to the song and dance on stage celebrating
South African life, there are inserts of scenes shot on location, which
add some contrasting realism. The sight of many of the bare chested men
and women certainly adds a high titillating factor!
Various
Artists ‘Union Black’ (Chewatribe)
The Chewatribe, Afreex, and Reluctants clique gather well seasoned and
new British R&b, hip-hop and garage acts together for this
collaborative effort. Friends, though some in the media had pitted them
against each other as rivals, Don-e and Omar sound fine on the R&Ber
‘No Reason’. Check out the vocals on this great slab of
funk-based R&B! Cassius Henry, Kele Le Roc & Swiss sound fine of
the R&B/soulster ‘Watching You From The Sky’. Ditto: Shola Ama,
Soulja and MD’s rap-tinged R&Ber ‘Love Story’. Judging by Sef
& Sharifa’s offering ‘I Do’, we can expect big, soulful things
from former Reelist Sef. There a rap by MDK and a UK street groove to
Rhian Benson’s delicious ‘Say How I Feel’. Terri Walker, along
with Pariz-1 and Knowledge mix R&B singing, rapping and MCing on the
bumpy, club-banger ‘Slow It Up’. Two dozen tracks from dozens of
artists, including Maxwell D, Asher D, Slim Dutty, Baby Blue and Baby
Phat. The plan is for this album to be offered free. The over-riding
idea’s to help push British black music forward. It can be downloaded
at www.union-black.co.uk.
Various
Artists ‘Urban Latin’ (Nascente) Alex Wilson’s R&B Latino’s
‘R&B Latino’ opens this set of contemporary Latin music and does
a fine job with its salsa styled music, replete with nice percussion
breakdown. Elsewhere rap, funk, Cajun fusions, and dancehall influences
abound. One of the standout tracks is Vico C & Tony Touch’s
Latin/rap fusion ‘Para Mi Barrio’. For familiarity factor, Rudy’s
soul English-sung, tin pans-backed cover of Bill Withers’ ‘Lovely
Day’ and Ricky Gonzalez’s rap and Latin-tinged cover of ‘What You
Won’t Do For Love’, really have it going on. Alex Wilson’s combo
also offer the soulful ‘Walk With Me’. The Nightmares On Wax remix
of Orishas’ ‘Orishas Llego’ makes it prime for hip-hop clubs.
Various
Artists ‘We Can Work It Out: Essential Covers & Cookies Of The
Beatles’ (Harmless) You’ve got to give it to these Harmless folks
– they do know how to come up with interesting compilation themes! The
title says it all, so what do we have here. Just when you think it could
be naff, The Deidre Wilson Tabac kicks it off with a powerful,
brass-charged jazz-funk version of ‘Get Back’! Harry Averne turns
‘I Feel Fine’ into a Latin-jazz instrumental. Ramsey Lewis and
Sergio Mendes & Brasil 68 ad more jazz vibes. Marshall Williams and
Byron Lee, add reggae. Al Green adds his dulcet tones to, and completely
re-works, ‘I Wanna Hold Your Hand’, and Stevie Wonder makes ‘We
Can Work It Out’ his own. The most interesting is The 5 Stairstairs,
who engagingly tackle the rock/pop song ‘Dear Prudence’.
Various
Artists ‘Westwood The Takeover’ (Def Jam) Thirty-one tracks on CD1
cover rap, dancehall and R&B such as 50 Cent ‘If I Can’t’, Lil’
Flip’s ‘Game Over Flip’, Vybz Kartel’s ‘Please’, Bounty
Killer’s ‘Yuh Gawn’, Smujji’s ‘KO’ and R Kelly’s
impressive, soulful ‘Step In The Name Of Love’. CD2 contains DVD
video of Westwood hook-ups in NYC, JA, and London.
Various
Artists ‘Wolfstrumentals’ (Wolftown) Five years in, the Wolverhampton-based hip-hop label’s bosses and
producers Late & Tricksta drop the instrumentals behind their
release. There are a few mellow, haunting tracks. But in the main,
they’re rocking cuts. Like ‘Away’, and the punchy basslined
‘Ghetto Diplomat’.
Various
Artists ‘Women Of Latin America’ (Puumayo) Except you’re seriously
into Latin music, the chances are Peru’s Susana Baca, who picks the
tempo up a touch with ‘Cars Lindas’, may be the best internationally
known artist here. That has
no bearing on the quality of female singers on here. Like Colombia’s
Marta Gomez, Mexico’s Lila Downs, or Mexico’s Lhasa, whose
strings-backed ballad ‘La Frontera’ is introduced by some nice
mariachi horns.
Various
Artists ‘Women Of Latin America’ (Puumayo) Except you’re seriously
into Latin music, the chances are Peru’s Susana Baca, who picks the
tempo up a touch with ‘Cars Lindas’, may be the best internationally
known artist here. That has no bearing on the quality of female singers
on here. Like Colombia’s Marta Gomez, Mexico’s Lila Downs, or
Mexico’s Lhasa, whose strings-backed ballad ‘La Frontera’ is
introduced by some nice mariachi horns.
Various
artists ’20 Super Hits – Volcano All Stars’ (Virgin) Twenty oldish
classics, ranging from Don Carlos’ ‘I’m Not getting Crazy’,
Wailing Souls’ ‘Sweetie Come Brush Me’, John Holt’s ‘Love I
Can Feel’, to Junior Murvin’s ‘Police And Thieves’. Plus
contributions from the likes of Frankie Paul, Yellowman, Cocoa Tea, and
Tony Tuff.
Various
Artists. ‘Higher Ground: Hip-hop Reformed & Reborn’ (Image)
Forget about their lyrics for a minute, and some sound dark and
menacing, just like any underground rap act. Check the lyrics and
you’ll hear, as in the case of Tik Tokk Of Gospel Gangstaz, a former
gangbanger pumping rhymes for Jesus. Jah Word featuring Gibraan provides
a very funky R&B laced uplifting rap ‘I Know’. Gibraan rides his
own funkster ‘Mockingbird Slang’. Includes Elle ROC’s gorgeous
hip-hop soulster ‘So Beautiful’. The devil definitely doesn’t have
all the best tunes!
Various
Artists. Black & Proud: The Soul Of The Black Panther Era Vol. 1
& Vol. 2 (Trikont) The songs here mainly reflect African-America’s
pain, injustice, hope, and resolve to rise above their
disadvantaged circumstances. The first volume opens with Sam Dee’s
very emotive ‘Heritage Of A Black Man’, which chronicles the sad lot
meted out to the African-American. Two of rap’s pioneers, Lost Poets
and Gil Scott-Heron, succinctly highlight on ‘Panther’ and the seminal ‘The Revolution
Will Not Be Televised’, respectively, social issues which few of
today’s rappers come close to. Miriam & Mbongi Makeba and the
Staple Singers uplift with their offering. The second volume opens with
Syl Johnson’s beautiful downtempo soul tune, which with its attractive
strings belie the serious lyrical topic of the tune: ‘I’m Talking’
Bout Freedom’. Scott-Heron lambastes the system on ‘Who’ll Pay
Reparations On My Soul?’. Marlena Shaw’s cover of I Wish I Knew (How
It Would Feel To Be Free)’ is upbeat, and almost celebratory with an
ironic twist. Last Poets featuring Chuck D provide an engaging and
self-empowering reflection on ‘Down To Now’, which youngs heads
ought to be hearing. Asian Dub Foundation have Tupac’s mum Assata
Shakur explaining her philosophy and dreams on the
hip-hop/drum&bass/dub joint ‘Reluctant Warrior’. The likes of
James Brown, Marvin Gaye and the Main Ingredient are joined by reggae
artists Derrick Harriott and Earl 16. Deserves wider hearing.
Various
Artists. Soul Anthology (EMI Gold) This is a curious compilation. CD1
contains real, old school soul. Several of the well-known names aren’t
singing their crossover tunes. Bobby Womack sets the standard with a
soulful opener. Tina & Ike Turner rock a Motown classic. Includes
Inez and Charlie Foxx’s hit ‘Mockingbird’. A big surprise is Labi
Siffre sounding amazingly groovy on ‘The Vulture’. Another Brit,
Maxine Nightingale, provides the only big crossover with ‘Love Hit
Me’. CD2 has more Brits and hits from the recent past. Eternal’s
‘Stay’ still sounds great. There’s stuff from David Grant &
Jaki Graham, Shara Nelson, Kenny Thomas, Soul II Soul, a blinder from
Mica Paris, plus D’Angelo, Maze and Freddie Jackson. The most charming
discovery is a soul blinder from pre-PIR Three Degrees
Vast
Aire ‘Look Mum … No Hands’ (Chocolate Ind) This promo version with
a ‘you’re listening to Vast Aire solo debut …’ audio spoiler
turns this into a sort of a mix CD. This rhymer has a good way of
turning out rhymes over the mostly, uncluttered jazzy grooves.
Madlib’s productions add some really jazzy soundscapes.
Vicki
Anderson: ‘Mother Popcorn: Anthology’ (Soul Brother) This I feel
will probably be one of Soul Brother’s best selling releases, because
there’s a dearth of releases by this James Brown cohort. Looking at
the cover picture, one see how much her daughter Carleen looks like mum.
Bang the CD in the player, and you also hear the similarity in their
vocals. As this is coming from a JB cohort, you know it’s going to be
downright funky, and it is. From the opener, the live and somewhat
female anthem ‘The Message From The Soul Sister (Parts 1 and 2), it
doesn’t let up. There’s obviously her biggest hit ‘Think’,
featuring JB, and a couple of JB answer records: ‘Super Good’ and
‘Answer To Mother Popcorn’. Her vocals soars on the idealistic
sophisti-soulster ‘I want To Be In The Land Of Milk And Honey’. This
compo should be up the streets of Vicki, Carleen and JB fans.
Vinx
‘Through The Colored Folks Eyes’ (Elephunk) “Blame
it on the black boy…” Sings Vinx repeatedly as he opens his new set
with the piano and tabla backed socio-tipped jazz-soulster ‘Black
Boy’. In addition to jazz, his rich vocals ride styles like funk,
reggae, samba, African chants, etc. Through the musical styles varied,
there’s an engaging, cohesive jazzy focus.
Vusi
Mahlasela ‘The Collection’ (BMG) This South African import album,
which should be available in European record shops that stock African
records, represents the first three albums of this impressive
singer-songwriter. Dubbed ‘the first three albums from the Voice Of
South Africa’, he certainly impressed me musically and by what he said
the ‘Amandla!’ documentary on the role of music and musicians in
apartheid South Africa. So I just could not wait to get to the roots of
his artistry. What you’ll discover is an artist who moves from pensive
folky songs – think of old school Paul Simon, for a reference point,
to township jive party songs. In addition to using his native tongue, he
sings in English, which makes him much more accessible. Of all the song,
perhaps the title track ‘Wisdom Of Forgiveness’ establishes where
Vusi stands with regards to building a new South Africa. The other
albums are ‘When You Come Back’ and ‘Silang Mabele’. A very
useful primer to an undeniably talented tunesmith. Investigate!
Westwood
‘The Big Dawg’ (Def Jam UK) Another
double mix CD from Westwood: ‘The World Famous DJ Blessed By God’,
‘The Big Dog Pit Bull’. Includes all the expletive-fuelled album
versions. Well, as Lloyd Banks says on ‘On Fire’, you can swear if
you sell records. This kicks off with one of the biggest club joints –
Terror Squad featuring Fat Joe’s and DJ Noodles NYC’s versions of
‘Lean Back. This slids into Kanye West’s ‘Jesus Walks’. Among
the 48 tracks of 2004 are offering from the usual suspects: Lloyd Banks,
Nelly, Mase, LL, Outkast, Buster, Tupac, etc. The unexpected suspects
include Vybz Kartel, Dizee Rascal, Sizzla, Usher, Joe, Skinnyman,
Klashnekoff. Includes oldies from Sugarhill Gang and Craig Mack.
Westwood
‘The Jump Off’ (Def Jam UK) This is a no-brainer. Because this
double-CD has many of the recent hip-hop hits, street-ruling cuts, and
specials from the likes of 50, Kayne West, Chingy, Fabolous, Ja Rule,
Ludacris, DMX, Iceberg Grimm and dancehall artists like General Degree,
Beenie Man, Babycham, Kevin Lyttle, and Mr Vegas
Westwood
‘The Takeover’/’’The Invasion’ (Def Jam) Albums seven and
eight for Radio 1’s hip-hop don. Thirty-one tracks on CD1 of ‘The
Takeover’ cover rap, dancehall and R&B such as 50 Cent ‘If I
Can’t’, Lil’ Flip’s ‘Game Over Flip’, Vybz Kartel’s
‘Please’, Bounty Killer’s ‘Yuh Gawn’, Smujji’s ‘KO’ and
R Kelly’s impressive, soulful ‘Step In The Name Of Love’. CD2
contains DVD video of Westwood hook-ups in NYC, JA, and London. The
Parental Advisory on these albums are definitely warranted, as the hardcore album
versions are used. CD1 of ‘The Invasion’ contains a lot of the
recent hip-hop crossover and underground hits by the likes of Jay-Z,Young
Bucks, Llyod Banks, Fabolous, Talib Kweli and Kanye West. Ashanti’s
the only R&B representative with a special Westwood shout out
version of her hot hit ‘Only U’. CD2 kicks off with five tracks
either featuring Snoop or Tupac. Among the oldie hip-hop by the likes of
Junior Mafia, Pete Rock & CL Smooth and Naughty By Nature, Assassin,
Baby Cham and Elephant and Nina Sky represent dancehall, whilst British
hip-hop and grime are represented by SAS, Kano, Lady Fury, and Lethal
Bizzle featuring Fire Camp’s raucous ‘No’. Lots of party tracks,
little uplifting tracks. The way some of these rappers carry on makes
one wonder if they aren’t modern-day house slaves.
Will
Downing ‘Emotions’ (GRP) This album ought to re-unite Will with many
of his lost fans. Simply because it’s a consummate offering, as if one
expected anything less, which however cleverly straddles between smooth
jazz and R&B/soul. It’s definitely an emotional album, which
starts with a gorgeous soulful ballad ‘A Million Ways’. It also has
some fine covers. Like ‘Hey There Lonely Girl’ and
‘Daydreaming’, which Will manages to make his own. Will cleverly
hasn’t tried to be too modern or youth orientated.
Yellowman
‘Nobody Move, Nobody Get Hurt’ (Greensleeves) A mid-priced, classic
reggae re-issue. A Junjo production, it Kicks off with .Nobody Move
Nobody Get Hurt’, followed by the dancehall mover ‘Body Move’. His
singing on ‘Good Loving’ is bad, compared to some off-key
atrocities! However ‘Watch Your Words’ should serve as a warning
regarding some of the slack lyrics here!
Yellowman
’20 Super Hits’ (Virgin) From slackness, religion to humour. It’s
all in from reggae’s famous albino toaster. Like ‘Mr Chin’, ‘Ram
Dance Master’, ‘I’m Getting Married’, ‘Good Will Always Follow
You’, ‘Going To The Chapel’, ‘Soldier Take over’, ‘Ram Jam
Master’, ‘Chat Politics Pon Sound’, and ‘Nobody Move’.
Ying Yang Twins ‘United States Of America’ (TVT)
Very much seeped in sexual and the usual ghetto-centric themes, the
Anthony Hamilton featured ‘Long Time’ is one the few cuts here
that’s accessible outside of YYT’s immediate fanbase. It features a
strong chorus and great, impassioned soulful vocals. The club banger
‘Ghetto Classics’, which features a sample of Art Of Noise’s
‘Beat Box’, at least advises the kids to stay in school to get an
education. Let’s hope we aren’t going to witness a succession of
whispering rap tracks after that mode pf rapping on the crass ‘Wait
(The Whisper Song), which comes with a remix featuring the likes of
Busta Rhymes, Missy Elliott, Free, etc.
Yogi
‘Bear Necessities’ (Ant) A
UK reality rapper who has the flow and whose music is underpinned by a
clean and bumping production. There’s a proliferation of samples,
which I doubt have been cleared, which could make commercial release
problematic. The samples are mostly used intelligently, whether
musically or lyrically. Curiously for a Brit rapper, they’re all
American R&B, bar a British ska.
It’s not surprising that for an artist whose 2001 debut album
was called ‘Jamaica Child’, reggae is also used, on a very
interesting biographical story. For underground hip-hop heads.
Young
Buck ‘Straight Outta Cashville’ (G Unit) The second to go solo from
50 Cent’s G-Unit clique, it’s frightening that in 2004, we still
have rappers glorifying the gun as the way of life. Opening track
‘I’m A Soldier’ says it all. No wonder some of our youth don’t
seem to value their lives. The Young Bucks show how useless it’s out
there, unless you can get yours at all costs. Sad, because rap has so
much power to elevate the hip-hop nation.
Zap
Mama ‘Ancestry In Progress’ (Luaka Bop) This is an album that grows
with repeated play. After repeated plays I can appreciate where Zap Mama
head honcho Marie Dauline is coming from. Having recorded this album in
Europe, and in Philly, the influences are huge. Cuts like the funk-based
‘Miss Q’N’ could well have been by some Stateside R&B artist,
whilst she cooly rides a drum & bass groove on ‘Ca Varie Varie’.
She sounds a bit like Erykah Badu in parts. Badu actually guests on the
mellow, jazz-funky ‘Bandy Bandy’. ‘Yelling Away’ has the same
kind of groove, with rap from Talib Kweli, Common, and ?uestlove. The
vocal choruses and interplay are enjoyable. Worth discovering.
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