DONNY HATHAWAY: Come Back Charleston Blue OST (Label: Rhino)

Thursday, 01 November 2007 14:54 Bill Buckley E-mailPrintPDF

DONNY HATHAWAY: Come Back Charleston Blue OST

I guess if you're reading this, then you need no introductory ramble about Donny Hathaway. Equally, I assume you'll be delighted to know that the great man's 1972 soundtrack album to the movie 'Come Back Charleston Blue' is now available on CD for the first time - and its been remastered and boosted by the inclusion of a couple of previously unreleased tracks. The 'Charleston Blue' movie came out at the peak of the blaxploitation era and didn't do too much box office-wise. Its release coincided with personal problems in Donny's life and for those, and other reasons, the soundtrack was overlooked…overlook it now at your peril. The album, you see, shows Donny Hathaway as the consummate musical artist with the ability to switch genres and styles with ease but, at the same time, injecting each of those styles with a deep passion that better writers than me would call soul. The album's flavours go from ragtime and Cotton Club-style jazz through to classy Latin American and onto classic blaxploitation via wonderful Basie pastiches. You also get the occasional vocal interjection, but the two big vocals are the title song - an inspiring duet between Donny and Margie Joseph and, of course, 'Little Ghetto Boy' - and it's two further versions of that song (one alternate cut and one live) that form the two bonuses. Working with Quincy Jones, here Hathaway has crafted one of the 70s best blaxploitation soundtracks. Like I said, miss it at your peril.
(BB) 5/5


ERIC ROBERSON: The Collection (Label: Dome)

Thursday, 01 November 2007 14:52 Bill Buckley E-mailPrintPDF

ERIC ROBERSON: The Collection

New Jersey's Eric Roberson (Erro, to his fans) was in the vanguard of the whole indie/neo/nu soul thing. But the man himself refuses to be categorized. He's always seen himself as a soul singer with stories to tell and emotions to stir via his music and it's for that reason that he steadfastly refused to sign deals with major labels who might have wanted to pigeon-hole him. So, Erro's stuff came out on his own label, while he would also occasionally guest on other artists' work if he felt his integrity wasn't being compromised. Latterly Eric signed a deal with Dome (a label sympathetic to his ideas) and the result was the acclaimed '…Left' album. Now, still with Dome, he's agreed to make available some of the best cuts from his first four albums so that UK soul fans can catch up on the man's back pages. What they'll discover is a mature soul music a thousand miles away from the trite, teen R&B often peddled as soul Stateside. Signature sounds are the Jazzy Jeff collaboration 'Rock With You' and the loose, languid 'Find The Way' but it's on the ballads that Eric's real soul sensitivities are most apparent. 'Just A Dream' is an almost perfect quiet storm moment, while the autobiographical 'Couldn't Hear Me' encapsulates the maturity we've just discussed. As a bonus there's one brand new cut - 'Head To Toe', another superb, svelte ballad. So, if you've missed Erro over the past few years here's a great opportunity to catch up on what you've missed.
(BB) 4/5


RAUL MIDON: A World Within A World (Label: Manhattan)

Thursday, 01 November 2007 12:27 Charles Waring E-mailPrintPDF

RAUL MIDON: A World Within A World

One of the last albums to receive production input by the late great Turkish-American music mogul, Arif Mardin, was Raul Midon's 2005 debut, 'State Of Mind.' Mardin, in fact, was responsible for signing Midon to EMI, having granted the blind New Mexico-born singer/songwriter a private audition. But despite Mardin's unimpeachable record as regards discovering and nurturing new talent, I have to confess I wasn't wholly convinced by the material and performances on Midon's debut. Judging, however, from the hyperbole and acclaim heaped on Midon from some of the broadsheets, my dissenting voice was a lone one crying in the wilderness. And so to Midon's sophomore opus, which retains the Mardin connection thanks to the input of the producer's son, Joe. Given my previous encounter with the Afro-Argentine soul man, I wasn't expecting my world to be set on fire or my mind to be blown. Indeed, as I anticipated, 'A World Within A World' still doesn't convince me that Raul Midon is the next big thing but the album does have many fine moments and certainly engages me much more than its predecessor. 'Pick Me Up' is a breezy opener driven by acoustic guitar featuring some Soul II Soul-style string parts. With its storytelling lyrics, it's reminiscent, perhaps, of Bill Withers (other commentators have even suggested Donny Hathaway and Stevie Wonder). The slower 'Save My Life' is more contemplative, while the upbeat but pensive 'All The Answers' - possibly the album's best cut - finds Midon musing about the cyber age glut of online information. The a capella 'Ain't Happened Yet' is an enjoyable, well-executed doo-wop inspired number that boasts some dense, Take 6-style harmonies while highlighting Midon's vocal versatility. With its subject matter ranging from declarations of love to world peace and moments of deeper metaphysical contemplation, 'A World Within A World' is definitely a cut above your average Noughties soul and R&B album. Well worth investigating then - but don't expect it to change your world.

(CW) 4/5


G. JOHN MARTIN: Black Ice (Label: Nitram Records)

Monday, 29 October 2007 15:21 Bill Buckley E-mailPrintPDF


Black Ice is the alter ego of US soul man Glynis John Martin, who these days, it seems, works most of the time out of Japan. I guess this 13 tracker might have been put together for the Japanese market but listening to it you'll discover that it's bob on the current US black music sound. That's to say, the music cleverly rides the cusp between old skool soul and contemporary R&B. In fact there's something for every kind of black music fan here. If you like to dance there's some more than pleasing rug cutters with the title cut and 'If Only You Knew' standing out in that department. 'Black Ice' is crisp and tight but the chorus seems to borrow rather a lot from the Bee Gees' 'Staying Alive'. In fact if I were a short-of-money-Bee-Gee, I'd get my copyright lawyers on the case right away. 'If Only You Knew' is better and vaguely reminiscent of something too (Next?) - but I can't quite put my finger on it. If you want ballads there's plenty on offer. 'Quiet Time' and 'Beg And Plead' are sweet but 'From the Heart' becomes a tad cloying with the addition of a child's voice. Elsewhere 'VIP' should please the R&B brigade - as too will the two-parter that is 'Rock Me Baby/In My World' - references a-plenty to booty spanking and Maseratis … you get the drift. Surprisingly for an indie album, production values are big and Mr. Martin coos as soulfully as many of our supposed big hitters. A decent album this - with that cut 'If Only You Knew' fast becoming a grower. Grab a trial listen on CD Baby.
(BB) 3/5


STEVIE WONDER: Number Ones (Label: Motown, Universal)

Monday, 29 October 2007 15:20 Bill Buckley E-mailPrintPDF


Look at the artist, the title and the track selection and it's clear that this album reviews itself. 20 Stevie Wonder number one hits - starting with 'Fingertips' and finishing with 'So What's The Fuss' - all quite excellent of course, but I'm at a loss to see the logic. Maybe with no new product from Stevie on the horizon the Universal execs needed something to keep the great man's name up there and in the process make a few bob for the company. But what a dull and uninspired idea! Yes, I know the album is part of Universal's 'Number Ones' series so the selectors were restrained by the statistics but it's still illogical. Stevie fans will have all the tunes (probably countless times over) and if you believe the gloomy CD sales figures, then casual buyers seem few and far between. Be that as it may, I've already said that the music is excellent (even 'Ebony And Ivory' and 'I Just Called To Say I Love You' have their charms) and when you hear stuff like 'Part Time Lover' and 'That Girl' again you realise how good stuff that was originally derided by some, really is. We don't get the beautiful 'Lately' of course, not a number one, but there's the almost-as-sublime 'Overjoyed' and we're also offered 'That's What Friends Are For' - a number one for Dionne Warwick if we're being pedantic. But with classics like these, there's no room for pedantry… great music, poor concept. The only innovation with the album is that it allows you internet access to tracks Stevie recorded at Abbey Road. My technology wouldn't allow me to investigate - nor was I interested in the dozens of Wonderous ring tones advertised on the sleeve. My five point score is for the music - not that concept.
(BB) 5/5


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