Reviews

The latest and long-awaited Stevie Wonder album is finally unleashed and duly delivers - as his fans have come to expect - a feast of classic Stevie from beginning to end. The project features a stellar a list of guests and on initial listening, sounds like it’s been worth the wait. There are all of the classic Stevie trademarks of honest and dynamic vocal expression, meaningful lyrics and full horn section.

No Stevie album would be complete without the obligatory big ballads, a requirement duly  fulfilled by the presence of

beautiful yet insightful and message-laden songs like ‘Passionate Raindrops’, ‘True Love’, ‘Shelter In The Rain’ and the politically charged title track ‘A Time To Love’. There’s something here for all Stevie Wonder fans everywhere and, as ever, he sounds like he’s having fun throughout this project, displaying some vocal acrobatics on a selection of songs and especially on the jazzy, playful ‘Moon Blue’.

The funk is ever-present via the infectious 70’s groove of the first single, ‘What The Fuss’ and the interesting and dance-floor friendly ‘Please Don’t Hurt My Baby’ – with its full horn section and lush backing vocals, all guaranteed to burn up dance-floors the world over! The somewhat paradoxical message here is: “Please don’t hurt my baby…by telling her that I’ve been fooling around with you behind her back!” How kind.

Other favourites include groovy, mid-tempo steppers like ‘My Love Is On Fire’, ‘The Sweetest Somebody I Know’ and ‘Tell Your Heart I Love You’. The entire project flows well and is well balanced. Now, while this may not be the seminal or most important record Stevie has ever recorded, it certainly ranks up there with some of the best soul music released in recent years. Highly recommended.

Krasno on guitar. The added horns give the album's title track “Break Out” some spontaneity which is scarce on the CD, particularly for those of us who have seen the band perform live. Then their is always Khan whose voice sounds fabulous on the swinging “Back Again.” Overall. this album is a successful departure from previously slightly jazzier affairs and works well in a small group setting. Think Prince without attitude and with some extra jazz-funk thrown in for a good time.

head-nodding sax-led groove. Also impressive is “Brother,” by multi-instrumentalist Ian Martin, featuring Gavin Christopher on vocals (look out for Martin's  new album on Expansion soon). There's a great track, too, by erstwhile Incognito vocalist, Maysa Leak. “Dangerous Summer Night,” a euphoric, brassy dancer is taken from a hard-to-find Japanese CD. It's great too, to see Peggi Blu featured, with a remix of “Can't Go Back.” Other gems that appear here come from the Avila Brothers, Denise Tichenor, Brenda Vaughn, Funky Boudoir, Ane', Inner Voices and Dessi Di Lauro featuring Ric'key Pageot. Unfamiliar names to most, perhaps, but after this compilation hit the streets, soul lovers will be seeking out their material. Another impeccable, high quality soul package from Expansion. But then you wouldn't have expected otherwise.

exceptional “All Over Now” which has one of the funkiest flute solos that you will want to listen to over and over again. Shortly to try her hand at some gigs stateside Russell's confidence in her natural talent appears to be growing and as she approaches 30, this can be viewed as not before time! An exceptional album from the lady from Suffolk and one that if it was released anywhere else than in the UK would have the real recognition that it deserves.

example the LP’s big tune, “Brother”. The song’s a beauty driven along by strings and a Sanborn-era sax courtesy of Andre Delano, while guest vocalist Gavin Christopher hits it just right. The cut wouldn’t have been out of place on Maxwell’s “Urban Hang Suite” - another album, of course, with a real soul pedigree. But it’s unfair to make comparisons. Martin’s crafted his own masterpiece here. “Brother” is just one of many fine cuts.

“Release”, for instance, is a gentle stepper featuring the vocal of Sy Smith, while “It’s Your Nite” is a much lighter confection destined to fill modern room floors. “Le Chemin” offers some retrospection, while the knee-trembling “Let Me Give You More” is one helluva of a big ballad made by the chemistry of vocalists Tim Owens and Jill Zadeh. Elsewhere “Family” has a pleasing Latin feeling, while Jam & Lewis’s “Tell Me If You Care” is given a very sophisticated (but not bland) lite jazz makeover adding real variety to a very satisfying set and one, which I have to say, was played right through time after time. It’s a while since a brand new album has worked that kind of magic on jaded ol’ me. (BB)

beautiful melodies, full orchestration and flugelhorn are all there, Bacharach chooses to drive himself forward with some of music's cutting-edge stars. Elvis Costello guests on “Who Are The People” which questions the motives of the world leaders and is one of the album's standout tracks.

Bacharach himself takes to the mic  on the poignant “Where Did It Go?” and whilst his voice is certainly not one of the best, his vocal vulnerability adds to the feel of overall sadness of the passing of time and the uncertainties of the future for our children. “At This Time” is a themed album presenting the listener with an often cynical overview of life. But with Bacharach there is always the beauty of his music and as he  himself says in the album's closing track “I know that love is never far away. Always taking aim.”

Every metropolis has a place where deco and music combine to create a vibe that attracts those in search of something cool, sophisticated and non bland. London is no exception and Notting Hill's Trailer Happiness bar is the place. This compilation initially surfaced as a free give-away for it's members, and the response was such that compilers Jonathan Downey and Charlie Leach decided to unleash these rare monster grooves to a wider audience.

Named  after a cocktail served  at the bar the compilation 

features music recorded between 1964-1979 and mixes jazz fusion, brazilian soul, afrofunk, and bossa chill to form an eclectic collection of rare and in the case of Belgium's “Open Sky Unit” much sought after tracks that can normally only be obtained by those very serious music collectors.

Maybe not every track will be to your liking but there's enough on here to satisfy the most discerning palate. From the extremely rare cool laid back bossa of “Tropical” to the rthymnic full of life “Isto E Samba” from 1964 the tunes conjure up a mood of “inside sunshine”. If you do not feel adventurous enough to buy the album, then check out first the 12" vinyl Ep for a taster. On this evidence Trailer 1 will soon become Trailer 2 and it would be a real shame to miss the grooves a second time around. Essential for lovers of good music everywhere.

demonstrates. Tracks like “My Sista”, “Look Whachu Done To Me”, and ‘Whoaa’ kick off proceedings and are clearly reminiscent of previous releases, featuring that lolling, lazy, rumbunctuous “Minneapolis Funk” sound that has become a band staple over the years.

In the interim, the group has been reduced to five members with the departure of long-time vocalist/keyboardist Keri Lewis, but the remaining members carry the torch to full effect and the group’s trademark live instrumentation, world music drumming patterns, rock-guitar influences and dexterous infusion of melodic rhythms is present throughout. On power-ballads like the first single “I’m Ready” and “Love Your Tears Away”, you are presented with the now familiar multi-textured and prodigious lead singing of Stokely, as ever leading the way with confidence, with the rest of the band following in soulful unison. Although those songs are not quite on a par with classics like “What Kind of Man”, “You Don’t Have To Cry No More” and “This Day, This Minute Right Now” from previous projects, they are equally as spirited.
 

rock-tinged “It’s Hard”, which again demonstrates the band’s musical versatility - as it’s a song which typifies the entire set and one on which the two divergent genres of Rock and Hip Hop clearly meet. Nothing new there I guess, just Mint Condition doing their musical thang.

The entire album is, as expected, straight out of “The Mint Factory” and proudly carries forward the torch of Minneapolis funk, variously aided by the respective sounds of soul, rock and world music. It is without a doubt the most rock-influenced of the group’s albums yet, however Mint Condition is a soul group that vibes in the purest traditions of their craft and one that commands natural respect among their peers, soul music aficionados and the more discerning lovers of music out there. In that context, they clearly do not disappoint and in that particular sense, neither will the more open-minded listener be disappointed.

It has to be said that at 18 tracks long and with the greater emphasis on their rock sensibilities, the project runs the risk of being too long and losing the listener along the way, however this bunch of seasoned musicians are able to pull it off by also infusing Hip Hop, Latin as well as Jazz sensibilities throughout the record, with closing songs like “What Happened”, “Sad Girl” and “Doormat” retaining that overall organic quality with which the project began. For this writer, it is not perhaps the strongest or most focused of all the Mint Condition releases, but take nothing away from the band – this is without a doubt one of the more unique and musically proficient albums out there on the soul music scene. ENJOY!

Photo Credit courtesy of Mint Condition.

 
The likes of the Roy Ayers groove “Sweet Tears” by Nuyorican Soul sits easily with Galliano's “Prince of Peace”, whilst collectors will be glad to see Roni Size's “Share the Fall” back in stock. For those vinyl junkies whose scratched copies of Incognito and Omar classics have seen their better days then their more accessible tracks are also reissued. For me though the stand out in this collection has to be the anthemnic “Les Fleur” from 4 Hero. Hopefully, this series will continue with the likes of K-Creative, U.F.O., Tammy Payne and yes even Mariah “I want a mike stand” Carey ready to come out of the vaults and onto our turntables again. Timeless music that encompasses the diversity of dance music should not be missed. Either buy for the first time or renew again, it's that good!

“Darkside”, the UK's Nina Provencal and the class Monet's cut “If”. The 16 tracker does not fail on any cut.

Moving easily between the different forms of the music that we love each track has the ability to go in the direction of soul or jazz and no where is that better portrayed than on Marlon Saunder's “Love Serenade” With the rhythm of an underlying groove, Marlon resists the temptation to cut loose preferring instead to contain the music to a level that is so understated that you feel like getting hold of the score yourself and with a shout of ' Bring it on' unleashing the monster of the groove that lurks beneath the melody.

But that is a small criticism; this is a well resourced compilation, rich in Nu Soul music with just a hint of jazz flavours and smooth funk to add to the mix. Perfect for your music centre at any time of the year, but perhaps more so when the sun shines.

on the realm of hero-worship. However, since I’m also firmly of the belief in giving credit where credit is due, the final thought that comes to mind is that it would be ok to gush unapologetically where such gushing praise is required and….well….not do very much else, really! Plus, I would not be the first to tread that particular path.

There are two other poignant issues at hand at the time of writing this piece, which also add to the sense of occasion, for this writer at least. The first of those is that for all the influence and love that Luther has generated throughout his immense career, this is his first ever live album release. The second, which ties in with the first somewhat, is that he is currently on the road to recovery from an illness, a decapitating stroke suffered in 2003, following which his record label and family saw fit to put together this project for posterity and to commemorate his gradual recovery. In many respects, for this writer, there is that sense of companionship inherent in every listen, at once as if Luther never fell ill, but also as if he has given this project to his fans and to the world, to keep them fulfilled until he returns to full fitness and performs once again.

OK, let the gushing praise commence! Where does one start exactly? The beginning would probably be a good place. The project kicks off with the evergreen “Never Too Much”, a song on which you’re made to feel welcome, as if listening to a friend and not just any old song! Luther is welcoming you to the party! You’re made to feel nothing is ‘ever too much’ to do for you. This is followed by oh-so-melodic “Here And Now”. Majestic is the word that comes to mind on the first and every subsequent listen – from Luther himself to his seasoned backing vocalists. The tone is set and you know you’re in for the ride of your life. The trend continues on “Take You Out” – what I deem to be the perfect Valentine’s song, lyrically and in tone. Something else strikes you at this point. There are not the usual ‘live album’ gimmicks here, no shortened tracks to quicken the pace and get through the set with minimal damage done. What you get are the songs themselves and in extended format. Cue his immaculate rendition of “Love Won’t Let Me Wait”, immediately followed by “Superstar”, all 13 minutes+ of it and one of many crowd-favourites, featuring an inspired mid-session piano solo by long-time musical director Nat Adderley Jr.

Everyone’s on fire on this project and there’s no let up in pace and quality! “Stop To Love” is followed by the beautiful “If Only For One Night”. Stevie’s evergreen “Creepin” is at once memorable for his backing singers’ 19-straight mentions of the word ‘creep’. They pass every test Luther throws at them in flying colours! Nothing seems ‘ever too much’ for this classy bunch of performers. On almost every song, you get the impression of an artist at the height of his powers – the Michelangelo of ‘Sophistisoul’. Truly a timeless artist with a timeless sound and a timeless voice. One of the most influential of his generation. The list goes on. I’m sure you get the picture. Nothing you haven’t heard before.

Have I started gushing yet? If so, there’s only one reason for it. That’s because I am witnessing a celebration. Luther himself leads that celebration and that is what makes the experience unique. Masterful performances, song after song and that’s the order of the night. It is a pure celebration of the human voice and it’s one that goes beyond lyrics. I hear that celebration within every note. The impression is that he not only knows the notes and utters them, but that he also respects them, cares for them and hopes that you do the same in hearing and experiencing the different pictures and landscapes he paints with them. A true artist in his element.

And still more quality to come. “I’d Rather” features more vocal acrobatics and outstanding harmonies in background singing that just leaves you speechless! It’s followed closely by another crowd-favourite “A House Is Not A Home” on which Luther again excels with another rousing performance. What’s new? The album closes out with a joyous version of the original Change hit “The Glow Of Love”, a song on which the listener can actually hear the happiness in the singers’ voices and you want to get up and start dancing. It’s a joyous farewell of “till we meet again” proportions and it’s obvious that the audience share that sentiment. As the song comes to an end and the audience joins in, you can’t help feeling they’re “…enraptured in the glow of loooove”. And how true.

I once read somewhere about Frankie Beverly of Maze falling badly ill after a seminal performance in London many years ago. You get that impression on this project too – as if Luther will probably need a holiday afterwards, such is his total input into every song, every note, right to the very last note of every song! You find yourself at once smiling and shaking your head in wonderful amazement – as if an angel had taken on flesh and started to sing! Then you begin to understand those who insist that for them, listening to music is a spiritual, life-affirming experience! At moments like these, you come close to understanding what they mean exactly. And that will be one of Luther’s legacies to soul music and to the world. In truth, an album every man, woman and child on the planet should own and undoubtedly worthy of a place in every music collection.

Now, what are you waiting for?  SEEK!!!

With this, the fourth set of her illustrious singing career, Faith Evans has defied the critics and come back strong with what is a very pleasant album. Eminently listenable from beginning to end, she has put together a combination of poignant lyrics and catchy hooks, along with her trademark melodic funk grooves, the most prominent of which is ‘Mesmerized’. The first single from the album “Again” addresses her recent unfortunate encounter with the law – a bold move from an artist unafraid to re-visit what many might prefer to leave in the safe haven of the past.

There are too many hits to list as you work your way nicely through the album, until you come to ‘Until You Came’  - a definite contender for love-song-of-the-year in my honest opinion. It’s the ultimate soulful ballad, right from the first note to the last. The lyrics, melody, arrangement, production, everything makes you want to reach for the repeat button for just one more listen every time! Aretha Franklin would be proud. Another firm favourite is the groovy ‘Lucky Day’, which appears to be her fine dedication to Disc Jockeys the world over - and rightly so.

With this album, Faith is most definitely back on the block. The beauty of her return however, is that you get the picture of a confident woman in her prime, with the warm, light-hearted expressions of her feelings about issues that relate to her life - all without the self-promoting hand-wringing and introspection into which such a comeback album could easily have descended. The album weaves seamlessly between gentle soulful balladry and funky party hardy R&B jams – a fine combination for which the vivacious Ms. Evans is already well renowned. A first lady indeed! Definitely a worthy addition to your collection.

Legend has it that Manchester, England has more reports of U.F.O sightings than anywhere else in the world. The fact that nearly all of them turn out to be the 'Sun' says something for the area's notorious grey climes. Equally, surprising then is that an album full of eclectic latin sunshine vibes should emanate from the city.

Surfacing originally in 1999, Mettle Music is the brainchild of producers-DJ's Nic Conef and Mark Wadsworth. This is their first foray into compilations and they will find it hard to better the standard chosen for this set. Latin flavoured

Nu Jazz, broken beats and downtempo lounge all mix stylishingly together to form a cool, chilled but funky album for those with cosmopolitan tastes. Check out gorgeous laid back grooves such as 'Deep Solution' with it's subtle jazz flavours and the unrelenting piano-led 'Rio Orchestra'. The stand out track is without doubt 'Reel People' as it gradually builds in a complex rhythmic pattern over soulful vocals to its climatic scat ending.

There is no doubt that compilations of this nature are on the increase and sell well to a hip market of music lovers that like to be ahead of the game. Mettle music are maturing to become leaders in the field and with this standard very few will come close to matching their musical pedigree.