Album Reviews: July 2005

 

Chris Whitley – Soft Dangerous Shores (Cooking Vinyl) 25/07/2005

“The blues sound different in different places”, says Whitley, “but on a lonely, rainy night – whether you’re in New Orleans or New York, Dresden, Germany or Ghent, Belgium – they feel the same”.

The funny thing about this statement is that, generally, I wouldn’t say this album evoked thoughts of “the blues” at all. It’s certainly innovative, and the first thought that sprung to my mind is that these songs would work perfectly with a small, low budget indie film – particularly the “wet night at the station” beats of the title track or the capital city jazz café musings of “Her Furious Angels”. Elsewhere, the closest we get to “blues” is the Weller-esque “As Day Is Long” or “End Game Holiday”, which sounds frighteningly like Michael McDonald.

It’s blatantly obvious when you play this album that Whitley is an elder, more refined gentleman, as his music just oozes that confident “mature” sound that seems to hit just about all solo artists once they’ve turned 40. I must confess though, the Michael McDonald thing put me off a bit! 6/10

Tone E

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Bob Mould – Body of Song (Cooking Vinyl) 25/07/2005

Everyone’s heard of Bob Mould. Stop any stranger in the street and ask them if they have and, if they’re interested in music, they’ll reply “Of course I have – he was the frontman and founder member of Husker Du and Sugar”. But even if your victim is NOT a melodial connoisseur (ooh I LIKE that phrase!), they will at the very least be scratching their head saying “Now then…I’ve heard the name…I’m not sure where but I’ve definitely heard it”. This is because, chartwise, Mould has made little impression thus far and indeed remains unlikely to improve upon the lower ranks of the top 40 he made with 1993’s Sugar single, “If I Can’t Change Your Mind”. The latter band, however, DID manage to worm their way into the nation’s subconscious with a trio of top ten albums just over a decade ago, and the man has been greatly influential and touted by many of today’s artists.

Mould’s latest solo offering falls somewhere between his two former outfits. Songs like “Paralyzed” and “Always Tomorrow” mix the thumping bass and crunchy, heavily effect enhanced guitars of Husker Du with the commercial pop splendour of Sugar. Bob has also opted here to add a touch of cracked electronica to his vocal here and there, but unlike Cher’s 1997 smash hit “Believe”, it never becomes over saturated or embarrassing.

Some great lyrics and music alike can be found on “Body of Song”, often getting very emotional and uplifting, though I’m a little confused as to whether he actually really IS singing “Fart on the methane, fart on the beeswax” during one of the album’s strongest tracks – “Underneath Days”!

Well worth your hard earned cash; Bob is rather like a favourite uncle who always brings fascinating stories and interesting gifts back from his latest holiday. So, Bob’s your uncle then. 8/10

Tone E

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Clor - Clor (Regal) 25/07/2005

T: I'll protect you from the hooded clor, Nick. I shall take this home with me, so as not to disturb you any further.

N: I'm on first name terms with the hooded, just tell us about the band...

T: Well, as you know, they're great - they sound like Clinic after each of them's had a sampler or a stylophone stuffed up their arse. Gloriously quirky, a bit like a cute little green alien's crash landed in your back garden and then gone round zapping the neighbours for fun.

N: Not totally unique, both carrying an enigma and hearing of the group from their name alone I was certain these were a rock group. Instead, on venturing further inside their sound, I find a quirky and quite cuddly beast. Green, but surely furry?

T: More than likely, and entering a pogo stick competition at the local school fete with the B-52s.

N: Now there's a thought. 8/10

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Leo Abrahams - Honeytrap (Just Music) 25/07/2005

T: An instrumental album from an artist who has previously worked in the illustrious company of Brian Eno, Ed Harcourt and David Holmes amongst others. Really it plays like a film score - sometimes painting images of atmospheric landscapes and at other times standing a cardboard cutout of a heavily ponchoed Clint Eastwood in front of you. Nice stuff.

N: Like a showcase for this remarkable guitarist's work, this 14 track album, although entirely original, has the air of the familiar about it. Phrases that conjure memories of past lives, like snapshots of classic movie moments, movies with attitude, this could seat pefectly in a montage of said work. Not forgetting Eastwood's poncho of course. 7/10

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Tiefschwarz - Eat Books (Fine) 18/07/2005

Not immediately the resounding revelation that this album was sold as, in fact as I played this in the space that was my car all but 'wow' were the remarks that were forthcoming. Brothers Ali and Basti Tiefschwarz, hip and cool remixers are at the core of this outfit and like a number of albums that have been forthcoming from DJ's of similar weight, my initial impression was one of 'don't give up the night job' guy's, as I turned the pages, I found nothing but tedious and repetitive, cold and stark. I felt the brothers may have gone to the Kraftwerk school of Techno, but like many admitted to attend the last day of school. They'd switched from punchy tech, to smooth pop and sublime mood, without necessarily explaining how all these fit.

As I travelled, this album did warm, In fact I glanced the ghost of Tracey Thorn as I heard the strains of the very Everything But The Girl number; Ghost. In fact it wasn't until I got back home and gave this album the benefit of my Sennheiser's did the jigsaw finally fit and the realisation that Tracey Thorn had indeed guested on the track; Ghost - doah!

So to best benefit from this album, do give it time to mature - the way they suggest we let our German beer time to live. Listen in an enclosed space, at volume - or if a warehouse isn't available listen with headphone's, German the better. And finally an understanding of Krafwerk and those that came after may be a benefit, note the similarity between the introduction of the opening track Warning Siren and Japan's - Gentlemen Take Polaroids.

All in all this album became a very interesting prospect, even taking in influences from The Killers and Duran Duran along the way. Any group who turn up the overdrive, reference Sylvian/Khan/Jansen and the best of German techno have got to get my vote. Although not always faultless, the speed with which this album grew from disdain to bobbing affection was warming. 7/10

Nick James

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Frank Black - Honeycomb (Cooking Vinyl) 18/07/2005

T: Frank Black's first "solo" effort since 1996's "The Cult of Ray", and to my knowledge, the erstwhile Pixies frontman has never released anything less than "quite good". Admittedly, these range between phenomenal ("Teenager of the Year", ALL the Pixies stuff and his relatively recent "Devil's Workshop" with The Catholics) and slightly better than average (the aforementioned album from nine years ago).
I'm pleased to say that the great man is still showing no signs of turning into a shrinking violet, though he does appear to be metamorphosing into his all time guitar hero, the legendary Neil Young. And let's face it, you could pick worse role models.
Frank has always flirted with Americana and alt.country, even back in the heady days of the Boston quartet's world domination, but here it all comes together perfectly to create an album that will keep the serious music fans happy, appeal to brand new audiences, and still probably won't even offend your granny.
Highlights include the much championed 6Music favourite "I Burn Today", the ever so slightly innebriated "Another Velvet Nightmare" and the tender Jimmy Cliff like cover of Dan Penn and Chips Moman's "Dark End of the Street".
There are many splendid, gorgeous sun-soaked pieces here, but at the same time Black keeps his playful edge that we've become so accustomed to over the years. Long may he continue making quality music like this to get us through our sad days and further enhance our good ones.

N: Frank's lyrical ability is simply effortless, and like you said, there's no change in quality here. Listening to this album is like sliding a knife through butter, and in response to your earlier comment, well engineered for radio play. 8/10

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Autolux - Future Perfect (Full Time Hobby) 18/07/2005

T: "You took the words right out of my mouth", said Mr. Loaf on a hot summer night whilst the beach was burning, and I must borrow this turn of phrase from the dubious rock legend. You see, I had already drawn up in my mind comparisons with Sonic Youth and My Bloody Valentine before I noticed that the press release that accompanied Autolux's debut CD had already said just that - along with the two even more noticeable influences of Can and Faust. Which I hadn't noticed. Hmmm...maybe I'm losing my touch.
That's stoilen my thunder somewhat, to be honest, as I can't really think of anything else that this is comparable to - except maybe for a snatch of Jarcrew and the tiniest hint of Chapterhouse.
I have a slight problem here though, as this sounds as though it's probably an album that rewards you handsomely the more often you hear it. Unfortunately, despite being sent this CD WAY before the release date, unforeseeable circumstances have dictated that I am only just now listening to it for the first time.
Now, it would be very pretentious of me to claim that I loved it the first time around, because it clearly is an intelligent record that demands repeat plays. As it is, on its initial play, some of the tracks grab you immediately, such as the lo-fi production of "Subzero Fun" and the Sparklehorse style lament that is "Great Days For the Passenger Element", but being forced into doing a Wham-Bam-Thank you Ma'am review like this, there aren't enough instantly likeable tracks here to make me want to fully embrace it and bless it with an Atomicduster lovechild. That said, listening to it again now, I have a sneaking suspicion that I like this album more than I think I do...

N: The references ARE somewhat apparent in their sound, Dinosaur jr being another and even Stereolab(!); sounds of the underground in a very overground light. Lost in this sound, it's like wrapping yourself in the warmth of your duvet. Sharp sounds but never hard. This is wholly like the music of fifteen years previously and I adore it. And I WILL bear its children! 8/10

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Undercut - Something To Die For (Distiller Records) 11/07/2005

T: I've been scrambling furiously in the dark, murky depths of my musical history brain files (whatever they are) to find a suitable reference point to level at Undercut, to explain exactly how they sound. It was pretty fruitless for a while, the closest being the Foo Fighters / Coldplay comparison I brought up in my recent review of their "To Die For" single. Then - Eureka! A bolt of lightning flashed and turned the previously grey matter to gold - deep, searing guitars, heavily reverberating vocals and big, anthemic choruses scream at you wildly and it all points strongly at one band - Power of Dreams.
That was one vastly underrated band that never really made the enormous strides I expected them to and I hope the same fate doesn't befall Undercut, because this album is full of elegant, absorbing melodies that deserve to make Johnny Benn and co household names.
"Soul Food Mother" is the one that is most reminiscent of the aforementioned Irish outfit, but it's there for all to see throughout the whole album really. Other publications and webzines have compared the band with U2 and REM, and whilst the latter can be picked out on some of the slower numbers, I have to wonder what drugs people were taking when they thought they could hear Bono's boys in any shape or form!
Anyway, it's a sparkling debut album from the Bristol quintet that would lead you to believe they were in their early thirties rather than the not-long-out-of-short-trousers ages they actually are. Expect big things from Undercut. And how great they'll sound on your long haul flight this summer!

N: Well put, but why are there some simply fantastically brilliant bands this month, because these have it all - a polished presentation, and atmospheric artwork to boot. Vocalist Johnny possesses the perfect low and growling tones that fits the music like a glove. Songs are well paced and certainly move, never looking back, although in the lines of "Delight" that ask "I need to know where I'm going to", he may well suggest this. But then we're on to "Soul Food Mother" (which reminds me, I've not had lunch yet). I don't know whether it's just me, but Undercut always seem to be in "cruise mode". Just floor it guys, and let the heart rip.

T: An album with great big throbbing elephant balls. 8/10

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Joseph Arthur - Our Shadows Will Remain (Vector) 11/07/2005

T: Sounds a little bit like David Byrne's more sensible, straight laced brother. It's quintessentially American and would be a perfect accompaniment through the mountains and prairies of the US. Very much a road movie in twelve tasty bites.

N: Described to me as simply "bloody amazing" before I'd even heard it, this came with a heavy weight on its shoulders, but certainly lived up to all the hype. Describing this as "a road movie" is a wonderful way to look at this album; a platter with all the twists and turns of a mountain trail at dusk. Scrumptious. 9/10

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Jeff Klein - The Hustler (One Little Indian) 11/07/2005

T: Little Jeff returns with his third album, the follow up to the quietly startling beauty of "Everybody Loves a Winner", and I'm beginning to think that Nick Drake must have been mightily pissed when he died. I mean, he's already possessed poor Johnathan Rice, but now he seems to have assumed control of Klein's human form as well.
Ok, I admit it's not quite as obvious here as it was on Rice's debut; in fact it's probably more reminiscent of The Eels in some places, with a bit of Weezer chucked in here and there and a double helping of Ryan Adams sprinkled on top.
Anyway, I'm halfway through reviewing the album and, although I've quite enjoyed it, the missus is in a particularly maungy mood and has been moaning at me for playing music for far too long, so I'll have to attempt to review the rest of the album without listening to it...er....oh look! Here comes Nick!

N: Ultimately a very listenable album. Doesn't strike me as anything particularly new, although I suspect Jeff would be a tad miffed at that, as this is after all his latest recording. But like Johnathan, I think this album too just begs to be going somewhere. 7/10

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Electric Eel Shock - Beat Me (Demolition) 04/07/2005

T: Electric Eel Shock's song titles evoke schoolboy sniggers aplenty, with names like "I Can Hear the Sex Noise", "I Love Fish But Fish Hate Me" and "Don't Say Fuck". I just wish their tunes were as pleasing as their amusingly immature titles...

N: Really, this is a collection of thoughts that managed to become fully fledged songs. The fact that on the first track he asks "Scream for me (baby)" is something that really should be kept in private, The fact that these guys hail from Germany posesses a naivety of someone coming to grips with the English language, but lashings of fuzz, a healthy dose of wah-wah pedal, not to mention the two dozen crates of Export, may be considered to make a lazy Sunday...but an album?!

T: Personally, I prefer Chas and Dave. 4/10

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Deadman - Our Eternal Ghosts (One Little Indian) 04/07/2005

T: I'd been feeling really, really, REALLY tired today and I'd only just perked up before I played this album. Now though, due to the lazy Southern American sound of Deadman's new album, I feel completely knackered and lethargic again - thanks a bunch guys! There's a hefty nod towards Robbie Robertson showcased on most of the tracks from "Our Eternal Ghosts", but the duo also tip their hats to the songwriting prowess of Ted Leo and the Psychiatrists ("Werewolves"), Bob Dylan circa "Desire" ("The Monsters of Goya") and Joe Cocker ("Absalom! Absalom!") along the way.
Next time you're faced with an evil, heavily armed, sharp clawed monster that's baying for your blood, simply pull a copy of Deadman's new album out of your pocket and quickly stick your MP3 player or walkman around the ferociously flapping ears of your assailant. Before you know it, the beast will be walking daintily on tiptoes, putting its arm around your shoulder and waxing lyrical to you about how "it's all about love". Then you'd best leg it before the end of the last track...

N: I like the artwork and the groups name, and the music bears shades of a less rock "Joshua Tree", but the fact Sherilyn Collins offers up vocals precludes outright references to U2. Uncluttered musical arrangements with the low drawl of Steve Collins, but the reference to U2 becomes clear when you learn the production credit here is from Mark Howard. 7/10

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Brakes - Give Blood (Rough Trade) 04/07/2005

N: A sub-30 minute album comprising sixteen tracks, only two of which exceed three minutes...and the shortest is just ten seconds. Described as "a huge rollercoaster ride of an album", this does certainly capture the full essence of their sound, from the quirky "Pick Up the Phone" to the current single "All Night Disco Party".

T: It sounds to me like The Brakes have taken the best bits from the best bands of the last thirty years and bundled them together on their debut album - Violent Femmes, Clinic, Crazy Horse, Television, The White Stripes, Air, New York Dolls and even Plastic Bertrand (!) make their presence felt between these short, sharp tracks. And who cares if the album is shorter than an episode of "The Flumps". It's quality, not quantity that you want, after all. And this is a GREAT album. I can see why Steve Lamacq rates them so highly.

N: An album that certainly leaves you no time to tire of any of the tunes, this really is an odd affair. A home made offering in which four musicians serve up a rehearsal tape to the world in the guise of a finished album. A recording that possesses the refreshing air of something simply different. 9/10

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Johnathan Rice - Trouble Is Real (One Little Indian) 04/07/2005

T: Although this album starts with "Short Song For Strings", an instrumental classical piece that does just what it says on the tin, when the first track proper begins it's Nick Drake who leaps out at you. Not literally of course - that would just be TOO weird.
Anyway, Rice has a relaxed songwriting style and a distinctive voice that could be described as a Joe Strummer or a Shane MacGowan on a bright sunny day after a great big whopping weight had been lifted off their shoulders.
"Kiss Me Goodbye" is a wonderfully breezy "windows down shades on" kind of track reminiscent of Paddy McAloon in his heyday and really that sets the standard for the remainder of the album. Full of positive, feelgood summer tunes that are sometimes as delicate as they are carefree. Those acoustic moments are where the Drake references abound. Sometimes they're ultra catchy pop songs, and it all makes for quite an impressive debut album.
"Lady Memphis" sounds like Mungo Jerry, rather frighteningly, and "My Mother's Son" is like a Broadway show tune as produced by Nile Rodgers (probably due to that whole heavy string thing).
The only thing that "Trouble Is Real" suffers from is a lack of diversity - I'm not saying he should make an album that mixes death metal, techno and country, but the fact is that, at present, his songs are either fairly fast, snappy pop tunes or a downbeat (but positive) ballad. There is no happy medium. Still, as debuts go, this one does hold a lot of merit, but I had to knock a point off for spelling his first name in a stupid way.

N: Like those cited as his early musical teachings - that of Neil Young, Gram Parsons and Joni Mitchell to name a few - it will first strike you that Johnathan is a strong songwriter with lyrical references jumping out at you as you play the album. The music offered is similarly powerful and the fact Peter Buck recently blagged a copy for the REM tour bus is where this album will come into its own - on a car hi-fi or walkman. It just begs to be going somewhere. 7/10

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The Church - El Momento Descuiado (Cooking Vinyl) 04/07/2005

It's always fascinating when bands release albums full of re-interpretations of their best known works. It worked for Frank Black last year when he re-invented old Pixies tunes on his Frankblackfrancis album, which was quite delightful. So I'm happy to report that it works extremely well for the distinguished Aussie dinosaurs as well.

"The Unguarded Moment", the bands first hit song, is given a new lease of life in its acoustic incarnation, and it's nice to see the band making an effort to rediscover - and indeed even rewrite - some of those tunes altogether.

One of the great things about hearing this album is that The Church seem to have stopped sounding like U2 and I almost PREFER them in their "au naturale" state (musically speaking that is of course!) because you feel like you're watching craftsmen at work, and watching previous favourites evolve and morph into entirely new creatures is just intriguing.

Equally impressive is the fact that the five new tracks included here are some of the finest moments of The Church's 23 year career to date. "November" is probably the pick of the bunch there, with its eerie poetic rumble and underlying hillbilly twang.

"Tristesse" now sounds more like a lost gem from Dylan's "Blood on the Tracks" album (yes, I nicked that bit from the press release but it's so true!) and the band's biggest hit, "Under the Milky Way", is barely recognisable through its new, rather downbeat Eagles-eyes (sic).

All in all, this is a vastly entertaining compilation of old tracks dressed up in their summer holiday clothes and given a new twist of life, with a few sharp suited new boys to back them up. 8/10

Tone E

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Le Peuple De L’Herbe – Cube (Superdope/Pias) 18/07/2005

Wow, talk about eclectic! Soo many different influences come through on this album that I will struggle to explain exactly where it fits in the wider scheme of things! There are elements of electro, rock, breaks, hip hop, drum and bass, techno and the list goes on and on.

This album really represents the direction I think mainstream music is heading whether it be rock, hip hop or dance. There are elemental parts of each genre creeping in to the conciousness of music fans so that that they are not shocked or disappointed when hearing a fresh blend of styles, but instead exhilarated and challenged.

‘Cube’ is both exhilarating and challenging. There are some great classic musical references, for example, the intro to ‘Adventure’, the vocal sample here has been around for yars and yars, me dear! Yet the track itself is original and fat, sounding bulbous and round!

‘Keep Rocking’ has a soundscape straight out of a Hollywood action film, starting with simple breaks and leading into full drum and bass with horns, strings and vocal samples lacing the whole thing together. Just superb to listen to and to dance to! And what a break down, horns a plenty with a creepy playground jingle, just dropping into a really cool and interesting drum and bass section. Wicked!

The rest of the album is flooded with this sort of dynamic flexibility and musical agility. I think this is the best way to explain this album, agile! These street cats have scavenged the musical world and threaded together a genuinely eclectic street album with major credibility!

Other tracks worthy of special mention are ‘El Paso’, ‘Down by Law’ and both ‘Cad?’ and ‘Gumzilla’.

A very rare….. 10/10

Nic Caesar

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Sugar Ray - The Best Of... (Atlantic/Rhino) 20/06/2005

Five pretty ordinary guys came together and following a collective interest in boxing, called their band after the boxer Sugar Ray Leonard and here we are at the end(?) Well I may elaborate, but be this or not, this collection certainly collates for the first time the best moments from the band's decade in music, with 15 songs both old and new.

Perhaps sounding a little dated now, the music is an interesting collection of styles, easy laid back sounds of the 'funk' variety compete with those that are most certainly 'metal'. The band's break-through tune was that of 'Fly', a sound that dates back to 1997, but it wasn't until 'Every Morning' that I finally identified the group as one I recalled. But where tracks 'Mean Machine', 'RPM' and possibly 'Psychedelic Bee' are concerned the clouds roll in and a completely different band emerges, with funk giving way to a harder sound reminiscent of earlier Faith No More.

So in conclusion, this is a band that are really hard to pin down. Perhaps due to an outfit of musicians with differing tastes, or a wide musical appreciation - this collection seems somewhat like a ramshackle basis for a group and might be better appreciated as stand-a-lone albums (of which their are 5). I think for my taste this band are better as a hard edged 'FnM' style band, than the dweeby sunshine rock that is so often heard. 4/10

Nick James

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Alexander O'Neal – Live album (Eminence) 06/06/2005

Now this is one truly for the fans! If you liked Alexander O’Neal back in the day you will be happy to know this live album is out there now, having been released on the 4th July.

However I can’t see the appeal elsewhere! The songs, some of them anyway, are classics but they are by definition dated and any new soul or R&B fans out there have a plethora of equally good and far more contemporary music to choose from.

Having said that there is no denying the voice and genius of the man. The delivery is superb and you know you are listening to a legend of the highest calibre, even if the music isn’t of today.

If you were a fan of even one of the classics, ‘Criticize’ or ‘Fake’ for example, I would recommend it, the live element is really good to experience, especially given that it was recorded earlier this year!!! 8/10

Nic Caesar

 
 

 

Foo Fighters – In Your Honour (Sony / BMG) 06/06/2005

“21 Songs on 2 CDs – one loud, one not so loud” – it’s not exactly the most innovative tagline ever, is it? Still, it’s an interesting concept; we all know that Grohl’s boys can ROCK and we’ve seen them put out some astonishing slowies over the years too, but can they pull it off with a double album?

Well yes and no, to be fair. The fact is that the “noisy” disc pisses all over the “not so noisy” one here. From the off, title track “In Your Honour” is belted out like a torrential thunderstorm and would be a perfect soundtrack to a day when the heavens opened to their most violent extreme. “No Way Back” is unashamedly and atypically Foo Fighters, and you already will know the contender for “Single of the Year” that is “Best Of You”.

Most obvious choice for the next single has to be the infectious “DOA”, and “Hell” confirms that the quartet must have been rummaging through their early seventies compilation albums recently!

More of the same makes up the first disc, being wonderfully energetic, dirty, riff driven stuff with huge choruses amd a distinctly unsummery feel. These boys rawk!

That’s not to say the second disc isn’t goos as well – it is. It’s just that some of these songs tend to get a bit stagnated after a while and go on a bit too long. “Still”, however, is a perfect comedown after the guts and glory of disc one’s closer, “The Sign”.

Picks of the bunch from the acoustic, stripped down disc are, without a shadow of a doubt, “Miracle”, which shimmers and glows like an inviting camp fire, and the almost jazz club-like “Virginia Moon”, which features the inimitable Norah Jones in a duet with the recently proclaimed “nicest guy in rock”, Dave Grohl.

I found “Another Road” a little disappointing, and “Friend of a Friend” is a hark back to Grohl’s Nirvana days with a “Something In the Way” vibe being projected, though in a rather lacklustre fashion. I regard those as minor blips though, and the rest of the tracks hold an appeal ranging between mild and extreme.

All in all, the ballsy, knock ‘em dead disc gets an impressive 9/10 whilst the more delicate one gets a “must try harder” score of 7/10.

I guess I’ll go somewhere in between for the overall score then! 8/10

Tone E

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Hed Kandi - Back To Love (Hed Kandi) 30/05/2005

Another compilation from the superb Hed Kandi collection, but I am not as impressed with this offering. Don’t get me wrong there are tons are great tracks on here!

Some of these tracks will be familiar in that they have spawned contemporary dance tracks. The originals will, however, be a strange kind of new to the current generation of music fans. So in that respect its great to educate!

As I was around when these originals were out, well some of them, it seems we’re going over old ground, force feeding the next generation the regurgitated digestions of our youth in order to make a buck!! But you wont know where you’re going if you don’t know where your from, eh!

I hear Hed Kandi management shouting ‘that’s the point you prick’!!! So I bow to the intention and say if you are broad minded music fans and you want to know where so many great dance tracks of the last ten years have come from and want to be introduced to some exciting and dynamic but older music, get this!!! It’s a journey, man!
Tracks to look out for are Sister Sledge’ Thinking of You’, Skipworth & Turner ‘Thinking about your love’ and Inner City ‘Big Fun’. 7/10

Nic Caesar

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