Here we are presented with an odd thing... an aimed-for-the-club stomper that
clocks at about 74 BPM. Sure enough, that is one fat beat and the live
instruments are competant enough. DJs on the slow soulful tip will surely enjoy.
song fail to explore the different dimensions that remixes are usually supposed
to do. The "LP Mix" is plenty satisfying with terrific vocals by Lorraine
Chambers and a sweet vibe break in the middle. But the instrumental alternate
sax mixes sound too much like relaxed elevator jazz with a hip hop beat. The
remixes should have concentrated more on this group's best feature, Ms.
Chamber's soulful vocals, and less on the average playing of the musicians.
-Michael Donaldson
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Spiritual Vibes
'Newly' alternative tracks LP
Belissima! Records
From the opening dub-laden echoes of the Silent Poets remix of 'Hazy
Moon,' Nobukazu Takemura and company weave a vibrant tapestry that encompass
every facet of Acid Jazz. Two mixes of 'ripple' pay homage to the legacies left
by Miles, Parker, and Gillespie. Kenny Dope wrenches every last ounce of funk
out of his mix of 'Hiding Place' guaranteed to please head-nodders and
floor-shakers alike. 'Forbidden fruit' finds Pal Joey blending abstract beats
with Kiku's nonsense vocal hooks and Kazumi Totaka's vibes for a bit of
tongue-in-cheek playtime. Takemura's own rearranging of 'Scheme Supreme' pushes
the instruments and voice into the distant background giving the illusion that a
club band is improvising with some breakbeat leaking through the walls from
beyond - brilliant.
But the shining star of this sonic wonderland is undoubtedly 'Pupa.'
Jazzy Nice welds the total rawness of hip-hop to Spiritual Vibes' graceful
melodies with a torch so hot it burns the needle into the groove and takes no
prisoners on the floor.
Posess this.
-Pimp Daddy Nash
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TRICKY - Maxinquaye LP, Ponderosa 12", Overcome 12" (Island Records)
Much is made of Tricky's appearances with the Massive Attack sound system. His
grumbled raps introduced an element of the surreal into the soulful mix, and
usually countered the sculptured beauty that Massive produced. A Tricky album
has always been an interesting concept... the dark rhymes and atmosphere of this
enigma unaltered by lovely production (like that of Nelee Hopper) would be a
change in the world of light and bright English soul music.
LIke the amazing Aftermath 12" before it, "Ponderosa" sets the stage and
explains the concept. The roles are reversed... where Massive Attack created
beauty and Tricky was the dark, un-beautiful element, Tricky now creates a
disturbingly dark soundscape interrupted only by Martine's beautiful female
voice. "Ponderosa" is a magnificent achievement. Trudging music reminiscent of
'Frank's'-era Tom Waits is given a soulful treatment care of Martine and subtle
hip hop stylings.
The Overcome 12" ups the ante still. "Overcome" itself is a curious and
startling piece of work. Coming off the heels of Massive's Protection LP,
"Overcome" reuses the lyrics to Tricky's "Karmacoma" rap on that album and puts
them in the voice of Martine. She ends up singing an infectious interpretation
that is delightfully spooky in atmosphere. Obligatory jungle mixes are
disposable, and another LP track called "Abbaon Fat Tracks" is a lazy stab at
the Tricky sound, pretty average considering the material Tricky has released
before it. This track is pretty representative of the Tricky album.
As I understand it, Tricky would like to be seen as a rapper. I never
fully got this in perspective until I heard the Maxinquaye album. To me, rap is
a singles format. The twelve inch singles in rap are often brilliant and
self-explanatory. However, these singles hardly ever translate to the album
format and brilliant singles often get lost. Rap albums are usually incohesive
and jumbled with the few great singles attempting to make it work. Maxinquaye is
a lot like that.
Maxinquaye in one sitting sounds like a bunch a great ideas, a handful of
amazing songs, and filler as the glue trying to hold it together. I can't say
whether or not Tricky was trying too hard or if he is relying on Martine (and
other guest vocalists) too much. These may be some of the flaws, but other ideas
just do not work.
The cover of Public Enemy's "Black Steel" is the most distressing. Again, this
falls into a rap trap, that of "rappers who attempt rock". Like Body Count
before, the production is thin and the emphasis on lyrics kill an effort to
"rock out". Martine handles the vocals, sleepily singing what was rapped before,
and sounding admittedly out of her element. Only in the short break where Tricky
himself speaks is a bright point reached.
There are many highlights to this album, but as before, they get lost.
"Pumpkin" is the most fascinating non-single track. It is a slow foray into
Tricky's sound with Martine giving one of her best performances and an exciting
musical backdrop. Smashing Pumpkins are listed as a sample credit, but the
source is used too cleverly to be recognized.
As a producer and musician of original ideas, Tricky shows incredible
promise. However, there seems to be so much in the man's head that the album
becomes unfocused and unsatisfying. I believe this album is but an experiment.
In the future, hopefully Tricky will focus his vision to a masterwork, and
perhaps treat us to more of his grumbled wordplay and less of guest vocalists.
Regardless, Tricky is a talent that I'll continue to listen to, even though his
first full length is not flawless.
-Michael Donaldson
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VARIOUS ARTISTS - Undertones Volume 2 (One Movement, Australia)
The reports I've seen from Australia say they've got a slammin' scene
going on down under. Unlike the American scene, I gather the Aussies have a good
number of live jazzy bands carrying the scene into the next frontier. This is
the second compilation in a series that tries to prove that. Much of the
Australian jazz scene must prosper on the funk of new jazz rather than the
beats. Many of these cuts contain scratchy guitar, blowing hornplay, and laid
back female vocals. The beats are often on the backburner, thin and soft in the
mix. But the good tunes still shine through such as the hippie funk of Flapjak's
"When", U.T.E.'s strange rap (to Yank ears!) cut, Dale Barlow's club infected
"Kick Back", and the total ghetto funk vibe of Renee Geyer's "Sweet Love".
Nothing hits you right over the head as exceptional, but there is enough
interesting talent here to grow into a shining scene to keep an eye and ear on.
-Q-Burn
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