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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 i |