It was this album's good fortune to arrive on a miserable rainy afternoon. At other times my first impressions might be a bit harsher about its comfortable, retro dad-grooves and easily flowing sax solos, but instead I let it wrap me like a blanket, and by three tracks in it was absolutely impossible to dislike it.
One of the more interesting developments of this decade is a blurring around the edges of modern soul music: almost a complete dissolution, in fact, of the boundaries of R&B. From the hyper-mainstream – Drake, The Weeknd, Future – via Solange, Frank Ocean, Blood Orange and Sampha, to fringe experimentalists like Atlanta's Awful Records, international Afro-diasporic collective NON and UK one-off Dean Blunt, R&B is being remade as dark, unpredictable and unsettling.
We are living, I think it’s fair to say, in troubled times. That is, if we’re living at all by the time of publication. Putting aside, for a second, the sabre-rattling of two monstrous egos, there is a need, in such dark days, of some light. Thankfully, Hard Lines, the third album from British pop act Lucky Soul shines with the force and intensity of the Sun – admittedly still not as hot as an exploding thermonuclear warhead, but let’s work with what we have.
Between them, Marylebone Beat Girls and Milk of the Tree cover the years 1964 to 1973. Each collects tracks recorded by female singers: whether credited as solo acts, fronting a band or singer-songwriters performing self-penned material. That the two compilations dovetail is coincidental – they were released by different labels on the same day – but they embrace the period when the singer-songwriter was codified and when, as the liner notes of Milk of the Tree put it, “female voices began to be widely heard in the [music] industry.”
In media coverage of Woodstock, Santana always seems to be overshadowed by the oft-mentioned cultural significance of Hendrix’s “Star-Spangled Banner”. However, go check their performances, side by side, for pure visceral thrills, and it’s Santana’s amped Latin explosion that comes up trumps. If he hadn’t spent the better part of the Seventies and Eighties turning out tedious jazz-fusion (as Hendrix might well have done, had he lived), Santana would be on many more 21st century posters and T-shirts.
1999’s collaborative Supernatural album famously rehabilitated him as a commercial entity and last year’s Santana IV, his fieriest effort in aeons, showed there’s still petrol in the tank. However, Power of Peace sounds like it was more fun to make than it is to listen to. Carlos Santana and his percussive powerhouse of a wife, Cindy Blackman, join Ronnie and Ernie Isley and their spouses, Kandy and Tracey (who sing backing vocals) for a church-scented family jam. They cover a range of classic soul, the predominant style an uninspired, often insipid wander in the footsteps of Marvin Gaye’s early Seventies output (“Mercy Mercy Me (The Ecology)” is even covered).
The Isley Brothers are themselves no slouches in the guitar department, and even once had a young Hendrix in their band, but things seldom catch alight, despite much fret-wrangling. The opening tracks get things off to a decent start. A version of “Are You Ready”, originally by psychedelic Sixties soul dudes The Chambers’ Brothers, bodes well, working up a groove, even if a rap section for Stevie Wonder’s “Higher Ground” doesn’t bear close inspection (“Crossing the River Jordan/Like spending time with Michael Jordan”). Unfortunately, after the passable opening trio, things slump into a bland string of slowies, including the only original song, “I Remember”.
There are other passable moments, such as a feisty take on Muddy Waters’ “I Just Want to Make Love to You”, and an impeccable pure jazz version of Leon Thomas’s “Let the Rain Fall on Me” – the album’s best number – but Power of Peace is certainly not going to end up among the essential back catalogue of any of those involved.
Overleaf: listen to The Isley Brothers & Santana "Are You Ready"
Clifford Price – Goldie – has long cut an imposing, and complicated, figure in the music industry. Part larger-than-life entertainer, part monster (as satirised in music industry grotesque Kill Your Friends), part irrepressible raver, part grandiose conceptualist. But there's another side to him too: the massive, Pat Metheny-idolising, jazz smoothie.
His breakthrough 1994 track “Inner City Life” was partly high-tech drum'n'bass ferocity, but it was completely merged with jazz-soul sophistication and of course the soaring voice of the sadly recently-deceased Dianne Charlegmane (who would work with Goldie on many projects through the years). And his preposterous, almost career-ending, 1998 quadruple album Saturnz Returns was packed with jazz noodling.
All that and more is here. He's still very clearly not shy of excess: of 16 tracks here, only one is under five minutes, and the centrepiece “Redemption” runs to nearly 19. The whole thing is full of virtuoso playing from The Heritage Orchestra as well as plenty of electronic studio technique, and there are six featured vocalists. In the publicity for the record, Goldie compares himself to Stanley Kubrick and Paul Thomas Anderson.
Incredibly, though, it is a fully-functioning, highly listenable album – and that is because “smooth jazz Goldie” is running the show here. Much like how his one-time collaborators 4 Hero evolved from rave and drum'n'bass into sophisticated soul merchants, this is as much a neo-soul record as a drum'n'bass one. There are tracks, like “This is not a Love Song” (not a PiL cover!), which barely have electronics at all – and even the sprawling “Redemption”, which runs from drum'n'bass to deep houseand back, is a coherent, lush listening experience because it follows its own unfolding jazz logic. By letting one side of his contradictory personality lead, against the odds, Goldie has made a rather gorgeous record.
Overleaf: watch the video for "I Adore You"
Compilations of Sixties girl group or girl-pop sides are innumerable but Honeybeat: Groovy 60s Girl-Pop is promoted on the basis of the rarity of what’s collected. The 19 tracks include The Pussaycats “The Rider”, the A-side of a 1965 single: originals sell for upwards of £100. The track has been reissued before though, on the 1990s grey-area album Girls in the Garage Volume 7. Until now, it’s never been legitimately comped.
Mary J Blige has a voice that was built to age gracefully. Gutsy, churchy, sometimes rough, it was miles away from the over-trained melismatics of the Mariah Carey and Whitney Houston imitators of the Nineties, or the velvet-toned ingenues that Aaliyah ushered in – and 25 years on from her debut album it certainly stands apart from the mannered Rihanna imitators of the current young generation.
As 1967 ended, The Beatles’ “Hello Goodbye” sat at the top of the British singles chart and Billboard’s Hot 100 in America. Musically trite – “blandly catchy”, declared the writer Ian MacDonald – the single’s banal lyrics pitched opposites against each other: yes, no; stop, go; goodbye, hello. Although Paul McCartney was saying little with the song, he was playing a game with inversion.
