There's no doubting Bill Laswell's sincere love of dub (the reggae subgenre that anticipated remix culture by about 20 years). As one of the finest and most tasteful bass players on the planet, Laswell's grounding in reggae is evident in every note he plays, and his mystical, experimental production style has always been heavily influenced by such dubmasters as King Tubby, Scientist, and Lee "Scratch" Perry. But for all of the experimentalism (and sometimes downright abrasiveness) of many of his projects, he has been fairly criticized in the past for getting mushy when he gets into an explicitly dubwise context. Most notoriously, he managed to squander a great opportunity when he turned an entire album's worth of classic Bob Marley material into soupy multi-culti muzak. But the third volume in his Sacred System trilogy (called, confusingly, Dub Chamber 3) is more muscular than some of his other dubwise excursions, and although there's not much here to challenge the mind, the dreamy flavor of this music is consistently fortified by sturdy beats and Laswell's inimitably tasty basslines. The album consists of four long tracks; on all of them, he's joined by guitarist Nicky Skopelitis, and two of them also feature the playing of Norwegian trumpeter Nils Petter Molvaer, whose treated trumpet gives everything a beautiful, eerie sheen. Other guests include bassist Jah Wobble, percussionist Karsh Kale, and pianist Craig Taborn. Recommended.
Few American record labels have done more to further the cause of modern dub than New York's ROIR imprint, which has not only reissued classic dub recordings, but also actively encouraged contemporary artists to reinterpret the tradition according to their own vision. And since bassist and producer Bill Laswell is among the most prolific and original modern exponents of dub, it was inevitable that the two would find their way to each other. Laswell has recorded four albums of progressive dub under his own name for ROIR, and this retrospective collection brings together one track from each of them to make a more-or-less full-length compilation. At just over 46 minutes, the program is a bit skimpy, but it does sell at budget price, and there's certainly no arguing with the quality of the content. The first track, which comes from the least interesting of his four Dub Chamber albums, is the most ambient and the least compelling, though it is very pretty. "Thunupa" livens things up considerably by incorporating the ethereal cornet sounds of Graham Haynes, the drumming of reggae legend Style Scott, and the tabla playing of Bill Buchen. "Cybotron" is a collaboration with fellow bass master Jah Wobble, guitarist Nicky Skopelitis and others, and is simultaneously spacier and funkier. "Ethiopia/The Lower Ground," featuring vocals by the Ethiopian singer Ejigayehu "GiGi" Shibabaw, is one of the most rapturous, lovely compositions in the Laswell catalog. This album would make a fine introduction to Laswell's work for ROIR, but you really need to own all four albums (or at least the last three). (AllMusic)
The Avalanches - 2000 - Since I Left You (20th Anniversary Deluxe Edition 2021) @320
20 years is an eternity in pop culture, and perhaps even more so in electronic music. Just think of how far we've come in terms of production technology, how many sub-genres and trends have come and gone. Yet The Avalanches' 2000 album,Since I Left You, is still considered a supernatural feat of sampling. The title track alone uses records from at least three continents spread across three different decades. Armed with a Yamaha ProMix 01, an Akai S2000 and crates of records, four Australian schoolmates attempted one of the most laborious feats in recent music history, chopping up the most samples ever used on a record (around 3000). They forged a blend of hip-hop, dance, pop, psychedelia and soul, reaping the fruits of their labor with a masterwork that now finds itself near the top of many "best albums of all time" lists.
For this 20th anniversary edition, The Avalanches have invited contemporaries and younger producers—like Sinkane, the late MF DOOM, Leon Vynehall and the aforementioned Prince Paul—to remix the LP. The original album is so perfect to me that I was struggling to imagine these remixes as anything other than blasphemy. But most of the reworks, from the likes of Leon Vynehall and Carl Craig, feel like love letters to the original material. Stereolab's version "Since I Left You" is a prime example, adding a dreamy gloss that combines the two acts' best qualities.
There are almost as many remixes as there are tracks on the original, making for a long and (mostly) rewarding listen. "Radio"—with its warbling keys and driving groove—already felt like a Sinkane song, and his funky interpretation takes it to new heights. Prince Paul's soulful take on "Since I Left You" packs more of a percussive punch and adds layers of suspense. Along with Edan's version of "Tonight May Have To Last Me All My Life," these versions indicate The Avalanches could have been legendary even if they just focused on making hip-hop beats. MF Doom's "Tonight May Have to Last Me All My Life" remix probably shouldn't have been on here, though. It's lethargic and sounds unfinished.
From the hushed sensuality of "Tonight May Have to Last Me All My Life" to the sun-soaked "Extra Kings," Since I Left You feels like a broken radio with a mind of its own. The remixers were brave enough to step into the record's large shadow and illuminate it with some inspired reinterpretations. Still, the original's charm comes from its almost divine randomness, a spontaneity that can't be repeated or remade. 20 years later, this immortal record still shines brightly enough to remain the jewel in the crown of the plunderphonics era. This perfect storm of borderless sampling bottles the spontaneity and vim of youth and captures timeless feelings, making the record unbeholden to eras or trends. (Resident Adviser)
1990 - Steppin' Out The Very Best Of Joe Jackson @320
Ever since Joe Jackson's debut album, Look Sharp, yielded his first single in "Is She Really Going Out With Him?" in July of 1979, which peaked at number 21 on Billboard (the album hit number 20), his career has seen him investigate a multitude of musical styles with clean-cut charm and poise. Jackson has dabbled in everything from reggae, disco, and soul to power pop, jazz, and even big band. Stepping Out covers 15 of his biggest singles, including his highest chart-topper, "Stepping Out," which hit number six on Billboard's Top 40, from the suave sounding Night and Day album. The downhearted appeal of "Breaking Us in Two" appears here as well, along with the salsa- flavored "You Can't Get What You Want (Till You Know What You Want)," which reached number 15 and was the strongest track from 1984's Body and Soul album. Outside of his chart appearances, the rest of this hits collection holds up well. Jackson's voice is heard in wispy detail on "Fools in Love," while his humor and wit explode on "I'm the Man" from the album of the same name. The live release entitled Big World from 1986 is spoken for with both "Right and Wrong" and the candid allure of "Hometown." This quick overview of Joe Jackson's most lucrative singles not only bookmarks each of his experiments in different musical varieties, but also proves that few artists can accomplish such a feat with unblemished dexterity. (AllMusic)
With new John Lee Hooker songs, new versions of old Hooker songs, four duets with and a new song by Van Morrison, Don't Look Back continues the venerable bluesman's string of excellent albums in his '90s renaissance. Produced by Morrison, it also celebrates the 25th anniversary of their first recording together, as Morrison guested on Hooker's seminal Never Get Out of These Blues Alive in 1972. Don't Look Back hits the ground running with a rowdy, thumpin' remake of "Dimples" with Los Lobos; "Spellbound" pounds out more of Hooker's stylistic trademark -- throbbing, raw, hard-driving boogie. The Morrison tracks include the ruminative title cut and his haunting "The Healing Game." Hooker also gives Hendrix's classic blues "Red House" his own rough-hewn, distinctive treatment.(AllMusic)
Phaedra is one of the most important, artistic, and exciting works in the history of electronic music, a brilliant and compelling summation of Tangerine Dream's early avant-space direction balanced with the synthesizer/sequencer technology just beginning to gain a foothold in nonacademic circles. The result is best heard on the 15-minute title track, unparalleled before or since for its depth of sound and vision. Given focus by the arpeggiated trance that drifts in and out of the mix, the track progresses through several passages including a few surprisingly melodic keyboard lines and an assortment of eerie Moog and Mellotron effects, gaseous explosions, and windy sirens. Despite the impending chaos, the track sounds more like a carefully composed classical work than an unrestrained piece of noise. While the title track takes the cake, there are three other excellent tracks on Phaedra. "Mysterious Semblance at the Strand of Nightmares" is a solo Edgar Froese song that uses some surprisingly emotive and affecting synthesizer washes, and "Movements of a Visionary" is a more experimental piece, using treated voices and whispers to drive its hypnotic arpeggios. Perhaps even more powerful as a musical landmark now than when it was first recorded, Phaedra has proven the test of time. (AllMusic)
Irish producer and all-round sound boffin David Holmes has been soundtracking films since 1998, and making equally filmic solo records in the same span. He’s even dabbled in film production himself – so it’s no wonder his latest incarnation, with chanteuse Jade Vincent and composer Keefus Ciancia, feels resolutely cinematic.
But behind all the sweeping strings, Seeds-esque chord progressions and girl group coos, there’s a black heart, one damaged by love but still on a quest. This persona comes entirely from Vincent; her voice sultry and wise, yet often revealing a narrator still naïve enough to get hurt where matters of the heart are concerned. Song structures follow one of two paths – shimmering tom drum heavy ones such as the title track, or the slower, near-spoken word intonations that hold up Cry Baby Cry and Silvery Moon.
Behind the tape loops, the tight musicianship, the vintage studios and a long influence list, Guilty Of Love stands up in its own right, basically because it’s an album of and from the heart. Real emotions get overlooked sometimes in music, obscured by the lengthy process of creation, or through being overworked. Here the pain remains intact. (Record Collector)
The Highlife Allstars have once again captured the essence of Ghanaian highlife music with their latest album, Sankofa. This highly anticipated release showcases the band's signature blend of traditional and modern highlife sounds, creating a truly authentic and soulful listening experience. Each track on the album is a tribute to the rich culture and heritage of Ghana, with bright and lively instrumentals and powerful vocals that will transport you to the vibrant streets of Accra. With Sankofa, The Highlife Allstars continue to solidify their position as one of the leading ambassadors of highlife music, making this album a must-have for any world music enthusiast. (Matrix Music)
Over the course of its three discs and 60 songs, EMI compilation Massive Hits! Alternative makes good on the promise of its name, offering up a sprawling collection of pop hits from the last couple of decades. Featuring songs from alt-pop stalwarts like Radiohead, LCD Soundsystem, the Dandy Warhols, Hot Chip, Fountains of Wayne, and a host of others, this collection puts a wealth of singles at the listener's fingertips, and should have something to satisfy most any music fan. (AllMusic)
This double CD combines all three of John Cale's mid-'70s Island albums (Fear, Slow Dazzle, and Helen of Troy) into one package, with the addition of some interesting bonus tracks: outtakes from Slow Dazzle and Helen of Troy, the B-side "Sylvia Said," "Leaving It up to You" (which only appeared on early copies of Helen of Troy before "Coral Moon" took its place), and "Mary Lou" (from the 1977 Guts compilation). This was undeniably one of Cale's most fertile periods. There is also no other body of work from the mid-'70s with such a confluence of listenable FM radio-ready tunes and sneaky, at times subversive experimentation, its eclecticism encompassing art rock, macabre recitations, and Beach Boy pastiches. (AllMusic)
Steely Dan - 1975 - Katy Lied (2025 Remaster) (Flac)
Building from the jazz fusion foundation of Pretzel Logic, Steely Dan created an alluringly sophisticated album of jazzy pop with Katy Lied. With this record, Walter Becker and Donald Fagen began relying solely on studio musicians, which is evident from the immaculate sound of the album. Usually, such a studied recording method would drain the life out of each song, but that's not the case with Katy Lied, which actually benefits from the duo's perfectionist tendencies. Each song is given a glossy sheen, one that accentuates not only the stronger pop hooks, but also the precise technical skill of the professional musicians drafted to play the solos. Essentially, Katy Lied is a smoother version of Pretzel Logic, featuring the same cross-section of jazz-pop and blues-rock. The lack of innovations doesn't hurt the record, since the songs are uniformly brilliant. Less overtly cynical than previous Dan albums, the album still has its share of lyrical stingers, but what's really notable are the melodies, from the seductive jazzy soul of "Doctor Wu" and the lazy blues of "Chain Lightning" to the terse "Black Friday" and mock calypso of "Everyone's Gone to the Movies." It's another excellent record in one of the most distinguished rock & roll catalogs of the '70s. (AllMusic)
Stevie Wonder - 1976 - Songs In The Key Of Life (Flac)
Songs in the Key of Life was Stevie Wonder's longest, most ambitious collection of songs, a two-LP (plus accompanying EP) set that -- just as the title promised -- touched on nearly every issue under the sun, and did it all with ambitious (even for him), wide-ranging arrangements and some of the best performances of Wonder's career. The opening "Love's in Need of Love Today" and "Have a Talk with God" are curiously subdued, but Stevie soon kicks into gear with "Village Ghetto Land," a fierce exposé of ghetto neglect set to a satirical Baroque synthesizer. Hot on its heels comes the torrid fusion jam "Contusion," a big, brassy hit tribute to the recently departed Duke Ellington in "Sir Duke," and (another hit, this one a Grammy winner as well) the bumping poem to his childhood, "I Wish." Though they didn't necessarily appear in order, Songs in the Key of Life contains nearly a full album on love and relationships, along with another full album on issues social and spiritual. Fans of the love album Talking Book can marvel that he sets the bar even higher here, with brilliant material like the tenderly cathartic and gloriously redemptive "Joy Inside My Tears," the two-part, smooth-and-rough "Ordinary Pain," the bitterly ironic "All Day Sucker," or another classic heartbreaker, "Summer Soft." Those inclined toward Stevie Wonder the social-issues artist had quite a few songs to focus on as well: "Black Man" was a Bicentennial school lesson on remembering the vastly different people who helped build America; "Pastime Paradise" examined the plight of those who live in the past and have little hope for the future; "Village Ghetto Land" brought listeners to a nightmare of urban wasteland; and "Saturn" found Stevie questioning his kinship with the rest of humanity and amusingly imagining paradise as a residency on a distant planet. If all this sounds overwhelming, it is; Stevie Wonder had talent to spare during the mid-'70s, and instead of letting the reserve trickle out during the rest of the decade, he let it all go with one massive burst. (AllMusic)
Multi-faceted Jamaican artist Kerida Johnson, in reggae circles known as Hempress Sativa, made a powerful impression with her debut album Unconquerebel. About six years after the release of this well received and highly acclaimed album, she finally releases her sophomore album, Charka, continuing to showcase her music works in a bold and fierce manner. This release has been highly anticipated by fans who will discover that the long wait has been rewarding. Similar to the debut set, the creation of Charka involved a partnership with producer Chris Lion from Conquering Lion Records, who has his roots in the renowned Conquering Lion Sound from the Parish of Manchester in west-central Jamaica.
The Opening Part
Hempress Sativa, known and admired for her soulful vocals and thought-provoking lyrics, delivers an album that reflects her journey and encounters in various stages of life, delving into subjects such as love & affection, self-awareness, and social justice. Charka consists of 12 tracks, showcasing her distinctive blend of roots reggae infused with traces of dub and dancehall sounds. Right from the start, the powerful Freedom, with its slowed-down instrumental, establishes its commanding presence, immediately making clear that this roots songstress won’t take no prisoners. This opening track captivates listeners from start to end, and its captivating sensation carries over to the following track, the previously released single Sound The Trumpet, which has been produced by JahLanzo. As the dub elements come into play during the latter half of the track, the whole listener’s experience becomes a profound meditative journey. Next comes the wonderful sounding song Give Me Loving on which she is joined by her father, Albert “Ilawi” Johnson (veteran singer, musician, and selector of Jah Love Sound System). Further down on this album, there are several other combination tunes included, which feature female artists Kelissa, Keida, Sister Carol, and Sister Nancy. Hempress Sativa sounds absolutely amazing during the moving Ghetto Life, a huge song that reflects on her upbringing in the ghettos of Mona Common, St Andrew.
The Remaining Part
The following two tracks lead the listener towards a different musical path. The Best, which incorporates spoken words from Hempress Sativa’s mother Doris Ricketts, is supported by a contemporary-style riddim that ultimately lacks a strong impact. Similarly, the Afrobeat-infused riddim utilized in the collaboration with Kelissa titled Take Me Home falls somewhat short of leaving a lasting impression. It’s the lyrics and vocals, in particular, that nevertheless make these songs worth listening to. The inclusion of a song like Ganja Hustling comes as no surprise and fulfills all expectations, showcasing a return to the artist’s signature style. Hempress Sativa takes veterans Sister Nancy and Sister Carol on board for a well-done interpretation of Althea & Donna’s 1978 hit tune Uptown Top Ranking called Top Rank Queens. Across a Roots Radics style dancehall riddim, the three songbirds elevate the tune to a whole new dimension. Lyrically and musically, Strictly Roots continues to refer to the sound created between the end of the ’70s and the beginning of the ’80s as the riddim comes in rub a dub style. Next up is the incredibly profound Wisdom (is better than silver & gold), a song about artists in the music industry who sacrifice their integrity for the allure of fame and fortune. Its lyrics and memorable riddim is bound to linger in your mind. Finally, we reach the conclusion of the album with two exceptional deep roots tracks that reinforce Hempress Sativa’s undeniable talent. The songstress’ vocals shine brilliantly over the underlying riddim of Time Has Come, while None But Jah, a tribute to the Most High, brings the album to a triumphant close.
Overall, Hempress Sativa’s album, Charka, is truly exceptional and should not be overlooked! (Reggae Vibes)
2018 - Scientist Meets Hempress Sativa in Dub (FLAC)
The 10-track dub companion to Hempress Sativa’s Unconquerebel LP features all but one track mixed by Scientist at his Majestic Studio in Burbank, CA, utilizing an analog console to tweak the riddims. Over four decades since his rise to prominence in the early ’80s, Scientist demonstrates he remains a master in creating exceptional dub music. This release shines through its impressive blend of classic and modern dub, featuring instrumentals that deliver an intense bass presence. Vocal parts of the melodic singer and lyrically skilled Hempress Sativa are integrated into the dub versions, enhancing the overall appeal of the collection. It’s a treat to enjoy vocal cuts such as Revolution, Rock It Ina Dance, Skin Teeth and Heathen Wage in their dub-enhanced form. The sole track not mixed by Scientist, the A-side closer Boom Wah Da Da Deng Dub, is skillfully handled by Italian dub genius Paolo Baldini Dubfiles. On the B-side, the final offering, Natty Dread Dubwise, presents an electrifying remixed deejay cut by Ranking Joe that is bound to delight sound system fans.
In all, the listener is treated to classic Jamaican grooves, captivating sounds, thrilling dub mixing, and superb sound quality. (Reggae Vibes)
After Jah9 and Xana Romeo, another powerful female artiste puts her release on the international agenda: Kerida Johnson aka Hempress Sativa presents her debut album called Unconquerebel. With thirteen tracks, the lioness roars at us from the den of Conquering Lion Records, with executive producer Christopher Mattis pon di controls and additional mane-shaking by DubRobot (We All) and Paolo Baldini (Wah Da Da Deng).
Release date and cover are laden with symbolism: while the former falls on the celebration of Ethiopian Christmas, the latter displays an unignorable homage to the high culture of Egypt and, of course, to the cultured high of Cannabis. This conscious construction of meaning is reflected in the lyrics as well. Among the issues touched, we have anti-war slogans in No Peace ("There will be no peace, if peace is wrought by war!"), spiritual musings in Jah Will be There, Made I Whole or Heathen Wage and the rebellious outcries such as Revolution or Fight For Your Rights that gave the album its title.
Except for the only feature of the release, the skanky Natty Dread which brings veteran MC Ranking Joe to the fore, the release is held in a deeply meditative, instrumental Dub style. It's actually a pity that none of the songs has a Dub version, as it would have been a pleasure to listen to the pure melodies enfolding under the cunning hands of masters like Errol "Flabba" Holt, Earl "Chinna" Smith, Kirk Bennett, Devon Bradshaw, Robbie Lyn or Stingwray.
Twisted Sheets, the most melodious track on a wonderful Roots Reggae beat, is actually the only one about the weed that gave the singer her name, and with the bedroom-tune Black Skin King, she boldly elaborates on the "sheets" metaphor.
The ultimate strength of the album, however, is the radical appreciation of Jamaica's rich soundsystem culture. With Rock It Ina Dance, the Hempress takes us back to a time where the success of a singer was so directly linked to his or her ability to ride any riddim and find the right words to make the audience listen that studio recordings were secondary in importance. These Dub School vibes are continued in Boom, during which Sativa welcomes us to the J.O.E. Yaad in Vineyard Town and grants us a glimpse of what it might be like to experience this artiste live.
"When the lioness roar, no dog bark!" (Reggaeville)
Little Feat - 1974 - Feats Don't Fail Me Now (Deluxe Edition) (2024) @320
Little Feat's Deluxe Edition of Feats Don't Fail Me Now celebrates the 50th anniversary of the iconic group's fourth studio album. Released on a triple CD set, this edition features newly remastered studio recordings alongside rare alternate versions and outtakes from the album sessions. Included in the collection is an exclusive unreleased live recording from Little Feat's 1975 performance in Paris, showcasing the band's dynamic energy on stage. Despite the challenges posed by the loss of session tapes from Blue Seas Recording Studio, where the album was originally recorded, this Deluxe Edition offers a treasure trove of previously unheard material. Feats Don't Fail Me Now highlights the classic lineup's talents, with standout tracks like Rock & Roll Doctor and Oh Atlanta, complemented by the funk-infused sounds of Tower of Power's horn section. Originally released in 1974, the album garnered critical acclaim for its funky grooves and reached gold status, marking a significant milestone in Little Feat's career as it climbed to #36 on the Billboard Top 200.With its wealth of unreleased content and enhanced audio quality, this Deluxe Edition promises to delight both longtime fans and newcomers to Little Feat's timeless music. (Juno)
R.L. Burnside - 2000 - Wish I Was in Heaven Sitting Down @ 320
Like jazz, the blues has its share of late bloomers -- artists who didn't start recording or didn't become well-known until they were well into their 50s or 60s. R.L. Burnside is very much a late bloomer; the Mississippi bluesman was born in 1926, but it wasn't until the 1990s that he started to enjoy the publicity he deserved. Recorded in 2000, Wish I Was in Heaven Sitting Down finds the veteran singer continuing to be fairly unpredictable at 73. Essentially, this CD falls into the Mississippi blues category -- Burnside maintains the earthy, down-home rawness that people expect from Mississippi country-blues. But Burnside certainly isn't without urban influences, and this CD illustrates his appreciation of John Lee Hooker and early Muddy Waters as well as the Texas blues of Lightnin' Hopkins. Burnside has also been influenced by R&B; one of the few tracks that he didn't write or co-write is a cover of Aretha Franklin's 1960s smash "Chain of Fools." The producers (who include Andy Kaulkin, John Porter, and Brad Cook) try to make that track and others relevant to hip-hop by adding sampling and scratching -- and when they do, it sounds forced and unnatural. Some of the producing is simply too high-tech for an artist as raw as Burnside, but that doesn't make his vocals any less impressive. Despite its imperfections, Wish I Was in Heaven Sitting Down is a generally appealing document of Burnside at 73. (AllMusic)
This version of the Lightning Seeds' greatest hits arrived in the summer of 2006, replacing both The Life of Riley from 2003 and Like You Do...Best of the Lightning Seeds from 1997. What do you put on a collection of Lightning Seeds hits? When one looks at their list of hit singles, it is not that impressive: only 13 hits, only one of which reached the Top Ten, and that was one of their lesser-remembered tracks, "You Showed Me." There's a handful of ultra-commercial, highly melodic songs that very nearly made the big time -- "Pure," "Change," "Perfect," "Lucky You," "Ready or Not," "What If," and "Sugar Coated Iceberg" all hit the Top 20 and most were given constant rotation on MOR-friendly radio stations, as a sort of sweetness-and-light version of New Order. They also had several minor hit albums, with Like You Do the pinnacle of their achievements (originally hitting number five) aside from one inspired piece of genius, and that was the music written and sung by Ian Broudie with lyrics by the comedians Baddiel & Skinner: "Three Lions" topped the charts originally in 1996, perfectly capturing the moment of the England Football Team at Euro 96. It was a football-related song that even the Germans fell in love with and it hit number one, played incessantly on the radio in 20-minute versions that included the highlights from the previous match's commentary. And the song hasn't gone away since; it was even re-released with updated lyrics for the 1998 World Cup, and it topped the charts again and has since re-charted in both 2002 and 2006 for the subsequent World Cups. It was a song much bigger than the Lightning Seeds could ever have been themselves, and maybe that's why the band's compilations tend to perform worse than expected -- a lot of memorable singles, even if they're not necessarily big sellers, and the one hit that goes on and on (it's possibly the ultimate feel-good football song and destined to become a hit all over again in four-year cycles for decades to come). With 20 tracks and nearly 80 minutes of fun singalongs, this compilation could have been improved, sure. It did not need a pointless, lackluster version of "Be My Baby," and the final track was the 1998 version of "Three Lions," less than four minutes with a minimum of commentary from the final qualifying match against Italy. The collection should have included the original 1996 hit, complete with over the top patriotic commentary -- then, the album may have been a number one. (AllMusic)
Smoker’s Delight is the second album from Nightmares On Wax. It was released back in 1995 on Warp Records. Nightmares On Wax’s first album was A Word of Science The 1st and Final Chapter and was released on 1991. On that album George Evelyn worked with Kevin Harper, who subsequently left the band prior to the recording Smoker’s Delight.
George Evelyn describes his sounds as a mixture of soul and hip hop. That is apparent when you listen to the Smokers Delight . Also apparent, is Evelyn’s musical influences, which he states are soul music. He grew up listening to, and being influenced by, Curtis Mayfield and Quincy Jones. Maybe that is why there is a soulfulness is his work, especially in Smoker’s Delight and Carboot Soul. Carboot Soul is the follow up to Smoker’s Delight’, and was released in 1999. Evelyn, to some people, is perceived as being responsible for founding the trip hop genre, if so, he deserves our thanks, as many people, like myself, love this genre of music.
When you listen to a Nightmares On Wax, you may find that you recognize some of the tracks. Over the years, many of Nightmares On Wax’s tracks have featured on compilation albums, such as Serve Chilled and Winter Chill on the Hed Kandi label, Cafe Del Mar Volumen Tres and The Chillout Room 2. All of these albums are worth buying as the feature some wonderful downtempo music.
Smoker’s Delight in my opinion, is one of the best downtempo albums ever. I know that is a big statement to make, but if you listen to it, then I am sure that you will find yourself agreeing with me. There are sixteen tracks on Smokers Delight, and from the first track Nights Introlude, to the final track Gambia Via Vagatorbeach, this album is pure quality. You will find within Smoker’s Delight, sixteen tracks that feature, and are full of, atmospheric and soulful sounds and slow, spacey, drumbeats. What you will also hear on this album are gorgeous lush strings and quality rhythms that would not look out of place on a 70’s Philadelphia soul album.
Smokers Delight truly is an album that you will listen to time and time again. Certainly I have had it on heavy rotation since its release back in 1995, and I never tire of hearing this album. In fact, every time I listen to Smokers Delight I hear something new. I am forever hearing subtle nuances that I have never heard before on this album. Should you decide to buy Smokers Delight, it will take you on an interesting and enjoyable aural journey, where you will visit places you have never visited before. Like its follow up Carboot Soul, this is classic downtempo or chill-out album. Smokers Delight will help you relax, unwind, and forget the stresses and worries, of modern day life. Surely if it can do that for you so easily, then it is well worth buying Smokers Delight. In fact, while you are buying Smokers Delight, why not just buy a copy of Carboot Soul as well, and then you will be the proud owner of two of the greatest albums within the downtempo or chill-out genre. Standout Tacks: Nights Introlude, Pipes Honour, Stars, Waiting For A Jeepbeat and When I’m Feeling Good. (DericksMusicBlog)
Ian Dury & The Blockheads - 1977 - New Boots & Panties (40th Anniversary Edition) (2017) @320
If Carlsberg did 40th anniversary boxsets…
Actually no, bollocks to Carlsberg, for I’m pretty sure they couldn’t even BEGIN to come up with something as beautifully put together as this four CD, one vinyl set; it really is as close to perfection as you can feasibly get. And a majestically packaged boxset is no less than this absolute classic of an album deserves.
Disc one and the clear/white vinyl both comprise the original 1977 long player and showcase just what a poetic genius Ian Dury was. In times like these, where we look back on many periods with horror, especially in light of the number of shocking revelations made by a devastatingly high number of women during the powerful #metoo campaign, it is reassuring to realise, when listening carefully to the lyrics of, say, opening track ‘Wake Up And Make Love With Me‘, that Dury was already way ahead of his time. Where some songs/bands from the era have aged poorly and have quite rightly been contemptuously consigned to the wastebin of misogyny, the former Kilburn And The High Roads man was, instead, in a song that could potentially have fallen into the same trap, treating his partner with the greatest of respect – despite feeling frisky himself, he sings “I don’t want to make you / I’ll let the fancy take you.”
For an album that is held up as a beacon of the punk movement, it is perhaps somewhat surprising that the content within New Boots And Panties!! has little in common with the genre, at least musically. The Blockheads – not actually fully formed at this point, though they would soon take their name from one of the rowdiest (and best) tracks here – were highly skilled musicians who fuelled Dury’s brilliant witty prose with a funked up, soulful jazz groove. Elsewhere, we hit upon old time rock and roll with the vibrant and vital ‘Sweet Gene Vincent‘, the romantic pub rock of ‘I’m Partial To Your Abracadabra‘ and a wonderful introduction to all manner of dubious seedy characters like ‘Clever Trevor‘ or ‘Billericay Ricky‘ (“I bought a lot of brandy when I was dating Sandy / Took eight to make her randy / and all I had was shandy“), often leading us to both laugh and pity these protagonists at the same time. The only time you could really level the standard “punk” label at Dury here is on the album’s two closing tracks, ‘Plaistow Patricia‘, complte with its naughty, sweary introduction, and, especially, the urgent two minute wonder that is ‘Blackmail Man‘.
But you probably already knew all that, so what of the bonus material? Well, disc two is largely made up of B-sides, cuts from NME cassettes, and an almighty John Peel Session from December that year (check out the splendid version of ‘Clever Trevor‘ here, with the almost gospel like female backing vocals). It’s a delectable candy shop of goodies, with variety at the top of its agenda. So it is that you get songs about nicking porn mags (‘Razzle In My Pocket‘) in which the thrill is in the lift, not in the grubby handed thumbing of said glossy book, or the convincing reggae of ‘You’re More Than Fair‘ which, despite its overtly sexual prose, comes across more like a saucy seaside postcard kind of humour, like a Carry On film if it had starred Jimmy Cliff or something, and some quite enchanting between song banter, the like we’ve rarely seen since.
On CD three, we get seventeen demo versions of many of the album’s final cuts, sometimes in instrumental form, as well as a plethora of lesser known, hidden gems. Chief amongst these is probably ‘I Made Mary Cry‘, in which we discover that Dury has a hitherto neglected singing voice that could well have seen him carve a successful career in country music, let alone punk, funk-jazz or whatever else you want to call him!
The crowning glory though is the previously unreleased ‘Live At The Paris Theatre, London 01/07/1978‘ that makes up the entirety of disc four. It’s rare to find a live album that so accurately conveys the thrill of a band at the peak of its powers. The multi-talented Chas Jankell, of course, is the perfect musical foil to Dury’s intriguing, perhaps even sometimes slightly menacing, on stage persona. It’s exciting stuff, at the same time being gut wrenchingly funny and utterly charming.
With some superb, misty eyed sleeve notes penned by long time Stiff Records afficionado – Phill Jupitus, in which he describes himself as an awkward, introverted teenager bereft of cash and possessing a crushing shyness that meant he spent hours just staring at girls he liked the look of at nightclubs, with no idea how to talk to them (you weren’t the only one, Phill!). Ian Dury and The Blockheads were one of those bands who ‘saved’ him, along with The Clash, The Sex Pistols and, later, Madness. Truth is, we all know how much of a lift – or even a reprieve – great music can give us, and New Boots And Panties!! is the perfect example of how, within seconds, you’re in another world, Dury’s world, marvelling at its many colourful inhabitants, laughing with (or at) them, delighting in their many unusual predicaments, until you finally come back to earth where, whatever trials and tribulations you’re facing, somehow, none of it seems so bad anymore.
A quite staggering box set, that is, quite frankly, flawless.
