Webster Lewis Quintet - Webster Lewis in Norway: The Club7 Live Tapes

Year of Release: 2007

Label: Plastic Strip

Genre: Jazz ---> Funk ---> Soul ---> Gospel

Music: 4.5

Sound: 4

Format Reviewed:LP


Good evening ladies and gentlemen to Club7 -  bringing you the finest in Jazz, Funk and Soul in all of Norway and indeed Scandinavia.  Tonight we have something very special for you...Webster Lewis and the Post-pop, space-rock, be-bop, gospel tabernacle chorus and orchestra Baby!!

An audacious name to live up to, but it very appropriately describes the fusing of genres and sound this wonderful album brings.


Also known as the more conventional Webster Lewis Quintet, they recorded this album over a Friday and Saturday night in a club in Oslo, Norway 1971.  It was mixed and cut over the next few days by Webster Lewis and Jan-Erik before the band left on the Tuesday.

The result is nothing short of spectacular.  Every track on the record (although I have to go buy the CD now as I recently found out there's more material on it) is jazz of the highest caliber.  But  it's only the first track - Do You Believe alt. Version that lives up to their name -  Webster Lewis and the Post-pop, space-rock, be-bop, gospel tabernacle chorus and ochestrata Baby!!

Do You Believe alt. Version moves and sounds like nothing I've heard;  It opens with the soft organ stabs of Webster's Hammond, followed promptly by the beat of the incomparable Jimmy Hopps.  Out from the darkness comes the ever-soulful voice of Judd Watkins crooning with the question "Do You Believe?".  It's only 1 minute into a 17 minute track and Brother Watkins, I believe! It's essentially as Gospel track, rooted in Jazz, but is Jazz allowed to be so damn funky?  The quintet is rounded out by two saxophonists, Stan Strickland on Tenor and Bobby Green on Alto.  This track builds and builds, featuring great solos by all but is ushered through the highs and lows by Judd Watkins.  However, the highlight is undoubtedly Jimmy Hopps on drums and percussion, indeed for me, he is the standout on the entire LP with his beats ringing out so clearly, with both delicacy and strength.

 Dudes - every one of them

 Before this album, I didn't know much about any of the band members and it would appear that time as a quintet was brief although bright, particularly in the Scandinavian Jazz scene.  They were invited to play at the Molde and Kongsberg Jazz Festival in 1972 where they outshone amongst others, Chick Corea and the Weather Report; after listening to the opening track, I'm not at all surprised.  What does surprise me, is that individuals of such immense talent can be relatively unknown by the public (although they are highly respected in the scene).  Check out Jimmy Hopps profile at Jazz.com - he's not your ordinary drummer and sheds some light on the brilliance of his breaks; find me a drummer that has studied classical piano, clarinet, Negro Spiritual music, Chinese oriental medicine and is invited to play in apartheid South Africa, Hugh Hefner's birthday and cold war USSR, amongst other things.


The tracks that follow Do You Believe alt. Version don't stand out for me, but that's mostly due to the genius of that opening song.  For the next 4 tracks, we've given a feast of hard-bop-funk-fusion jazz.  On the final side of the double-LP a sweet epic ballad, For Arne, opens with a beautiful 4 minute sax solo, at which point the funky beats make their entrance.  I should note here that on the whole album there's some wonderful flute work, but I'm not exactly sure who it is; particularly elegant is the solo on this track at around 4m30s.  Closing the LP is a previously unreleased track, Silent Lights another hushed track for those wee-hours of the morning.


It's curious that a decision was made to include an additional 8 tracks on the CD version and I can only assume that the best tracks made it to the double-LP.  It's certainly sequenced appropriately - winding up with the stellar opening, peaking with some hard jazz and coming down on Side D.  I'm guessing commercial constraints prevented this being released as a quadruple-LP, which is a shame as the sound and packaging is great, with the gateway featuring decent notes and some wonderful session photographs not widely available, on a cardboard with a satin-matte finish.

Highly recommended, even if for just the opening track, which I find myself listening to over and over again and compels me to dance around my living room.

Check out some samples at My Space.

DJ Spooky that Subliminal Kid - Sound Unbound: Audio Companion; Excerpts and Allegories from the Sub Rosa Archives

Year of Release: 2008

Label: Sub Rosa

Genre: Electronica -> Experimental -> Avant-Garde

Music: 4

Sound: 4

Format Reviewed:CD

A lot of people will discount an artist when their performance name starts with 'DJ'.  Growing up on Hip Hop and Electronica I'm obviously not one of those people, but DJ Spooky has always been a little more than a regular DJ.

I didn't get into DJ Spooky until quite late when I picked up his 1998 Riddim Warfare which I quite enjoyed, being a mix of trip hop with some rappers Kool Keith and Killah Priest from Wu-Tang Clan.  Throw into the mix Thurston Moore of Sonic Youth some live guitar, drums, brass (sax and trumpet), drums, interesting vocal artists and it is quite a varied and diverse album.  Interesting but I wasn't compelled to buy his disography.

A few years pass.  The next I hear of DJ Spooky is when I'm browsing through the 2008 Melbourne International Arts Festival of all things.  Along with a DJ set, he's performing a multimedia display as DJ/VJ for a film he made in Antartica with the accompanying soundtrack, which is also his first symphonic work.  The piece is called TERRA NOVA: Sinfonia Antarctica and if you check out the video I think it gives you an idea of where he's currently at artistically.  If you drop by his website you can see that he has a lot going on beyond music.

I saw this CD on sale for $10 and  I figured I'd just buy it, as I couldn't go too wrong - famous last words, I know.

The CD comes with a large chart of the Acoustic Wave Spectrum.  When I was folding this thing out (below) I started to get a horrible feeling that this would be some sort of  inaccessible-intellectual-bourgeois recording - thankfully it's not.

Is this going to be on the test?

Released on the Sub Rosa label - specializing in the release of electronic music from it's inception - Sound Unbound is actually an audio companion to the book edited by Paul Miller aka DJ Spooky, that explores:

"the remix—how music, art, and literature have blurred the lines between what an artist can do and what a composer can"

The material is mostly drawn from the Sub Rosa archives and the resulting mix is exceptional both from a musical standpoint as well as academic.   Words can't really explain the 79 minute journey that spans 45 tracks.  For example, the album features contemporaries such as Aphex Twin, Bill Laswell, Rob Swift, Ryuichi Sakjamoto, Sonic Youth, Phillip Glass, Steve Reich but then moves to a host of long dead pioneers of electronic music most of which I don't even know.  

One of these pioneers includes John Cage, who is most famous for his composition 4'33" which is 4 minutes and 33 seconds of silence - controversial to say the least and downright crazy in 1952.  Thankfully, this piece this is not included in the selection but it does give some insight into avant-garde music movement back in the day.  Throw in some Allen Ginsberg and close with William S Burrows and Iggy Pop with Techno Animal (together) and I dare say this is the most diverse thing I've ever listened to.

Diverse.

Eclectic as the selection may be, the transition is seamless and the material is more often enjoyable than difficult;  DJ Spooky expertly mixes avant-garde, vocal samples and breaks, along with some very beautiful music.  The journey is strangely educational (moreso with the book I imagine) but I feel works as separate recording.  If you're looking to expand your horizons and buy something where you'll gain an increasing appreciation of with each listen, this is it.

V/A - Psych Funk 101

Year of Release: 2009

Label: World Psychedelic Funk Classics

Genre: Psych-Rock / Psych-Funk / Avant-Garde

Music: 4.5

Sound: 3.5

Format Reviewed:LP

There's something about the music of the late 60s and early 70s;  just bear witness to the volume of quality psychedelic music that is being unearthed and rereleased.

The title Psych Funk 101 might sound a bit cheesy, but this is easily one of the best compilations I own.  It's released on a small label - World Psychedelic Funk Classics - that has only 1 other release (Brazilian Guitar Fuzz Bananas and the forthcoming Psych Funk Sa-Re-Ga!).  All I know of them that is that they're located in Cayenne, Wyoming USA and have a great nose for sniffing out psych funk classics.  I can't find a website or anything but labels such as Honest Jons, Stone's Throw and Now Again Records feel compelled to promote their material , in spite of no association with World Psychedelic Funk Classics.

K Spark's Hip Hop 101 - Not Associated with Psych Funk 101

On the back of the LP we're given some 'course notes' that the music within covers 1967-1980 and has been drawn from across the globe.

It is presented in a beautiful gateway double LP (and with a substantial booklet on the CD) and inside is a little excerpt on each featured track that includes the country of origin, year of release and a picture of the original cover (or just a picture of the 45 where there is no cover).  Whilst not as thoroughly researched as a Numero release, the effort in which they've compiled this album is noteworthy especially considering the quality of the material.

Side A - featuring tracks from Turkey, Nigeria, Ethiopia and South Korea - eases us into the world of psychedelia, which can often be difficult and fraught with mediocrity but luckily for us each track is quality.  The opener from Turkey features a nice break beat and funky bass supported by a multitude of traditional folk instruments including the prominent heavy fuzz of an electrified Saz.  This is followed by a very mellow track from Nigeria featuring a bassline that's sure to get your head nodding.  On the subject of Nigerian music, there's no shortage of great music from this era and I high recommend you delve into the gold mine that is the late 60s and entire 1970s if you dig rock and blues tinged with psychedelia.  Next up we're served up a classic from the legendary Astatke Mulatu, who is currently touring and will be in Melbourne and Sydney in October this year - don't miss it!

The SAZ - electrify that shit

The 4th track to me is the highlight of the album Kim Sun: The Man Who Must Leave written by Shin Jung Hyun - a legend in Korea and hailed as the Godfather of Korean Rock 'n' Roll as Elvis is to the Western world.  If you're starting to think Blue Suede Shoes or something, stop now as Shin Jung Hyun's guitar work is more akin to Hendrix.  The stories goes that he was so talented that all the Korean record labels of the time wanted his skills and as long as he put something out for a female starlet, they'd let him do whatever the hell he wanted on the b-side - where this epic track is found.  This guy was so popular that the Korean president in the 70s asked him to write song to glorify him - he refused and instead offered to write a song to glorifying Korea.  This resulted in his records being banned and him being imprisoned for a few years.   Intriguing stuff.  I should also note that "The Man Who Must Leave" also has really beautiful vocals and a dude rocking it out organ Ray Manzarek style.

Side B is diverse as the first with gems from Green, Iran, Germany and Italy.  Where are these guys finding these records!?  The highlight is a heavy funk track from Iran with beautiful sweeping strings evoking their beautiful land in better times.

Lesson 1 of digging - covers can be deceiving.  Try song titles such as "All Men Shall be Brothers of Ludwig" by Staff Carpenborg and the Electric Corona for potential goodness.

From track 7 onwards (featured in the above image), it gets pretty hairy.  The folks at WPFC assume you're a quick learner and they proceed into some pretty heavy psychedelic tracks interspersed with some dance friendly tunes from Lebanon, Russia and Egypt.

All-in-all a pretty epic compilation and journey - not always easy but infinitely rewarding.  Sound can be bit iffy, which is understandable considering where some of these songs were recorded.
And what is a revolution without a soundtrack after all?

They seem to be out of stock online and in some record stores, so pick up a copy if you can.

10 Essential Jazz Albums

Jazz, unlike many other musical genres, manages to encompass the entire spectrum of human emotion.  I guess that's why I love Jazz as much as I do, to experience the highs, lows and the randomness - fused with moments of both madness and beauty;  it is complex yet simple, structured yet without form, technical but also unorthodox and in it's purest form, I believe expresses the very essence of what it is to be human.

I own a lot of Jazz music and I of all people admit to being a little Jazzed out these days, yet I never tire of these 10 albums - each of which is a masterpiece.  I feel anyone who loves music should at least own these 10 Jazz recordings.

Now I'm going to quote from a Romantic Comedy, but please don't hold that against me.  It's a scene from Jerry McGuire, where the babysitter ('child technician') is giving Jerry a tape of Miles Davis and John Coltrane playing in Stockholm 1963 and describes it as:

"two masters of freedom, playing in a time before their art was corrupted by a zillion cocktail lounge performers who destroyed the legacy of the only American art form."

This moment resonates with me because:

1. I believe that Jazz is truly the only American art form and perhaps the defining music of the 20th century
2. I feel that the commercialization of jazz and usage in the modern era has eroded the value and credibility of the genre, decreasing it's appreciation by future generations.
3. The 10 albums span 1958 to 1965 - a short window but the peak in the evolution of jazz before its 'legacy was destroyed'

Well, let's start this list -  It's in the order of which you should own these albums, if you don't already and excludes Live Albums.  Starting with the "Year of Jazz" - 1959...

NO.1 - KIND OF BLUE: Miles Davis

Year of Release:1959

Label: Columbia

Kind of Blue is highest selling Jazz album of all time.  Every track reflects the brilliance of Miles and the band, which itself is exceptional containing Bill Evans (Piano), 'Cannonball' Adderley (Alto Sax) and John Coltrane (Tenor Sax) all of whom would go on to be great band leaders and composers themselves.  Available every imaginable form on both CD and Vinyl, there's no excuse for not owning a copy.

NO.2 - TIME OUT: Dave Brubeck

Year of Release:1959

Label: Columbia

Another from the class of '59.  Time Out features 'Take 5' written by Paul Desmond, which was the first Jazz track to break into the mainstream charts.  This classic is defined by the use of innovative time signatures throughout the album.

NO.3 - AH UM: Charles Mingus

Year of Release:1959

Label: Columbia

The third from '59.  Charles Mingus is my favourite Jazz musician who was an incredibly gifted bassist, composer and band leader.  Much like the man himself, the music is complex, emotional, sometimes difficult and volatile, but it is entirely unique and the experience more rewarding with each listen.  This is not my favourite Mingus album but perhaps the one that balances Mingus' art with accessibility.

NO.4 - A LOVE SUPREME: John Coltrane

Year of Release:1965

Label: Impulse!

Coltrane is important to Jazz for many reasons.  I own more than 10 of his albums yet don't necessarily resonate with his music.  This however, is a masterpiece in 4 parts - Acknowledgment, Resolution, Pursuance and Psalm.  This is the most spiritual album of the list and transitions Jazz from hard bop to the next phase of Free Jazz which in turn would evolve to the Avant-Garde movement.

NO.5 - OUT OF THE COOL: Gil Evans

Year of Release:1960

Label: Impulse!

A shining example of orchestral Jazz and the use of a 'big band' but don't be put off by this - Gil Evans colaborated with Miles Davis on the classic albums Miles Ahead (1957), Porgy and Bess (1958), and Sketches of Spain (1960) and deserves equal credit.  Here , Gil Evans finally shines out from beyond Davis' shadow (with Out of the Cool undoubtably refering to Miles' "Birth of Cool") and the result is lush and nothing short of spectacular.  Track 2 - "Where Flamingos Fly", is one of my favourite tracks of all time.


NO.6 - WALTZ FOR DEBBY - Bill Evans

Year of Release:1961

Label: Riverside

Piano, bass, drums - the Jazz Trio; A group formation that is remarkably simple, yet so effective in articulating the music and there is perhaps no greater example than the trios led by Pianist and composer, Bill Evans.  Classically trained, his skill and touch results in a performance that is both sophisticated and emotional, with the title track exemplifying Evan's ability (also only Evans composition on the album).

NO.7 - MOANIN' - Art Blakey

Year of Release:1958

Label: Blue Note

This shit is hot.  It starts up with the classic "Moanin" and doesn't stop from there.  Drummer Art Blakey is furious with the sticks and leads what would become a Jazz institute, his "Jazz Messengers" at their finest.

NO.8 - UNDERCURRENT - Bill Evans / Jim Hall

Year of Release:1962

Label: Blue Note

This is a brilliant duet album between two Jazz artists at their peak.  The simple combination of a piano and guitar shows that sometimes less is more.  The pair show a rare understanding of the music as well as between each other.

NO.9 - MONEY JUNGLE - Duke Ellington / Charles Mingus / Max Roach

Year of Release:1962

Label: Blue Note

Ellington, Mingus, Roach.  Enough said.  An often neglected classic.  Below is a brilliant review by Sanson Corrasco found on Amazon that I feel compelled to provide here:

The Duke is the king. He was huge. Too much recent writing bogs down in arguments whether Strayhorn got enough credit, whether Hodges or Nanton or Williams were showcased properly. These writers, came to the banquet late, and are squabbling over table scraps. Ellington dominated the jazz world from the mid-1920s until he died in 1974. Ellington was the vanguard. This CD is one to prove it.

The year is 1962. Big bands are dinosaurs. Ellington's orchestra still performs, but dance hall venues of the 30s and 40s went out with the war. He's been doing studio work, some with the band, some with smaller ensembles. Everyone wants to record with the Duke. This time out he's with the angriest man in jazz, Charlie Mingus, the Black Saint himself. How did they do? Unbelievable.

Here's Duke, elegant, sophisticated, and smooth. He plays piano in the parlor. Probably in the Hamptons. Max Roach accompanies discreetly with brushes and cymbals. You can almost hear the whispers of liveried waiters circulating with champagne and canapés. But beneath this frothy party, up through the floorboards, comes a rumbling, and a thumping. Not a guest at the party, what you hear is an unpresentable, dangerous member of the family. Locked away for the night, he's Charlie Mingus, the beast in the basement, down there, pounding away at the foundations.

Max reacts. Brushes, cymbals and the quiet pretense of elegance, give way to sticks and traps and a harder edge- "Duke," he says, "Duke, you hear that?" The Duke doesn't answer right away. It's like maybe he didn't hear it, but then, when he answers, he answers with a discord. "Is that what you mean?" Another discord, "You mean that?" "Yeah, Duke, that's it. That's what I mean."

Bit by bit Duke and Max pick up Charlie's themes. Duke, over sixty, he's seen it all, commiserates with Mingus, the quintessential angry 60s black man. "Yeah, Charlie, we know, Charlie. We're angry, too, Charlie. It's not just you. You're not alone, Charlie." They grumble, angry together. But with age comes wisdom, and sweetness, and forgiveness, and after a bit, Duke hits a nice round churchy gospel chord. "C'mon, Chuck, lighten up." Another gospel chord. Max cracks a joke. And Mingus mellows.

The trio hits a nice rhythm. A bit of harmony, even. "Wanna come upstairs, Charlie? Join the party?" And, after a bit, he does, walleyed and nervous in the bright light. "You understand, Duke, this is just for you? I'm only doing this for you." He really doesn't like these people, but still-- It's better than the basement.

Mingus never really is comfortable in the parlor. And as long as he's upstairs, the guests look at the waiters with apprehension. This bass player, you know, he could lead a revolution. But Mingus likes jazz, and he likes the Duke. Duke's not just one of those lard-butted bandleaders, he's one of- Aw, man, forget `one of', he's the BEST jazz piano player EVER. so sit up and listen or Mingus will kick your--

NO.10 - GETZ / GILBERTO - Stan Getz / Joao Gilberto

Year of Release:1964

Label: Verve

The quintessential 'Latin Jazz' album - a term that now evokes horrible music.  However, this is the classic Grammy winning album with Girl From Ipanema, featuring the unforgettable sultry (and amateur) voice of Astrud Gilberto.  

On a side note, my mum hates these guys - she says it sounds like they're all on drugs and she's probably right, knowing Jazz musicians.

Martina Topley Bird - Some Place Simple

Year of Release: 2010

Label: Honest Jons

Genre: Alt-Pop / Electro Folk

Music: 3.5

Sound: 4
Format Reviewed:CD

Call me a tight-arse but I can't comprehend a 36 minute album being released in today's day and age.  Sure, maybe if it's on vinyl only I can understand the physical constraints, but "Some Place Simple" is only available on CD, in spite of being released by the vinyl-friendly Honest Jon's records.  Full price for a 36 minute album - it had better be good.  But I digress already.

"Some Place Simple" is Martina Topley Bird's 3rd full release and the first I've listened to.  Apparently, a number of the songs are reworkings from previous albums.  This makes sense, as she was musically and romantically connected to Tricky (back in the day), who displays and similar work ethic and rather than write new lyrics, puts old words to new music.  A little sticker on the front of the record (warning bells have gone off this time) also points us to Tricky's Maxinquaye, for which she provides all the female vocals.  Further testimony to Tricky's laziness and probably poor boyfriend material - is the fact that Martina Topley Bird is given credit on the album simply as "Martine".  It would seem that since then she's developed a complex and now goes by the more cumbersome Martina Topley Bird.

Honest Jon's certainly has done a better job at marketing the album, with the album being widely promoted (at least in Melbourne, Australia)  It's strange that not many people have heard of her, especially since the little sticker on the cover also tells us she's performed with Massive Attack.  Massive Attack have a extensive collection of female vocal tracks -  Unfinished Sympathy, Protection and Teardrop just to name a few - so surely one would come to mind for Martina.  After a while, I gave up and searched online - apparently she features in Massive Attack's latest album Heligoland - an album which I only listened to briefly before dismissing it as mediocre.  Anyways, she features on the two tracks "Psyche" and "Babel".

Blue Lines: Shara Nelson

 Mezzanine:  Elizabeth Fraser

  Protection:  Tracey Thorn

Heligoland: Martina Topley Bird

100th Window:  Sinead O'Connor

"Some Place Simple", aptly titled for the most part, features mostly stripped back accoustic pieces with varying levels of precussion from sparse to dancey, but mostly the former.  The album opens with a sweet little track in which Martina accompanies herself with a ukulele, which more or less sets the tone for things to come.

I find it difficult to point out any highlights but also can't point out any glaring weaknesses - I guess it's hard to fail over 36 minutes.  Actually that's unfair and also untrue, so I take it back.  I'd describe this album as nice but that's the best I can do;  It's warm, light and flows with the ease of a refreshing summer breeze.  It's not terrible or mediocre but nor is there anything there to stir your soul - put it in, play, enjoy, forget.

Jean Claude Vannier - L'Enfant Assasin Des Mouches

Year of Release: 2007(rerelease)/1972

Label: Finders Keepers

Genre: Psychedelic Classical Funk / Experimental / Avant-Garde

Music: 2.5

Sound: 4
Format Reviewed:LP (Reissue)



Extraordinary talent? Check.  Association with legendary musicians? Check.  High in demand, low in supply? Check.  Cover with naked man on a beach staring into the boundless sea? Check.  Rave reviews from modern day musicians? Check - All the elements for a lost classic are present.


This album has the honor of holding catalog number FKR001CD/LP on Andy Votel's Finders Keepers record label, a crate digging collective that is:

"introducing fans of psychedelic / jazz / folk / funk / avant-garde and whacked-out movie musak to a lost world of undiscovered vinyl artifacts from the annals of alternative pop history."

I picked up this album based on Vannier's work on Serge Gainsbourg's - Histoire De Melody Nelson, and even if I wasn't aware of this, a large promient sticker that adorns a third of the album cover informs me of the album's associations and credentials. 

Following the 28 minute Histoire De Melody Nelson, the world was left hungering for more of this brilliance and unfortunately for music lovers, hip-hop vinyl heads, collectors and me, this void has been largely left unfilled.


Until now (apparently).  Finders Keepers is one of those outfits that I love, who dedicate themselves to the search of wonderful and obscure music - both elements that appeal to the purist in me.  This record here, which translates to, "The Child Assassin of the Flies" is in the same pysche-rock-opera-soundtrack vein as Histoire and is as strange the title might imlpy.

A cacophony of strange bleats, footsteps, gunshots, whacked-out choirs, guitars heavy on the wah-wah, exotic eastern instruments and sweeping strings movements, makes this experimental album interesting listening.  Like a soundtrack to a movie (which it actually is), I'm listening and not watching and am I'm left puzzled to what is the nature of the strange story that is being played out to equally strange music - I'm thinking elements of William Golding's "Lord of the Flies" but can't say for sure.

I own two other Finders Keeps releases both of which have been similarly packaged as this record - elaborate thick cardboard gateway foldout, brilliant artwork and a large sticker giving me info on what is a lost classic, as well brief take-out comments from respected and renowned musicians and media sources.  Warning bells should have gone off but they didn't - I thought I'd found that needle in the haystack, that gem in the rough.

As with both those albums, I find L'Enfant Assasin Des Mouches ultimately disapointing.  Certainly, this is an avant-garde album, at the cutting edge then and even now but I find myself thinking when I would want to listen to this record;  it makes for a challenging and not neccesarily rewarding listen, sure there are interesting and beautiful elements but it is not something I where I feel irrevocably changed for the experience or actually enjoy.

The union of Gainsbourg and Vannier, without a doubt was the period in which Gainsbourg produced his finest albums.  Sometimes the synergy of such a pairing cannot be matched by the artist that stands alone.  Think Garfunkel without Simon, or McCartney without Lennon.

Jean Claude Vannier...

without Serge Gainsbourg

Reviews on the cover of an album, book or film need to be taken with a grain of salt.  I should have but I was under the spell of marketing and it's often empty promises.  However, when I reread the reviews, I still find myself resonating with Jim O'Rouke's (of Sonic Youth fame) comment:

"This kind of record could not be made today: who would pay for this brilliant suite of instrumental concrete madness?"

Who indeed?  Me apparently.  But in my humble opinion, this is something strictly for the collector, the curator of musical history seeking out those rare and strange curiosities.

You can listen to some samples here, but be wary of a 30 second clip taken from a 7 minute track.

Lee Fields - My World

Year of Release: 2010

Label: Truth and Soul

Genre: Soul / Funk

Music: 4

Sound:4
Format Reviewed:LP (Reissue)



Over the last year or so, I've been on a bit of a Nu Funk/Soul binge - Nu Funk/Soul being what I call the current revival of funk and soul music brought about by mostly modern day artists, with mostly original material.

This movement captures the feeling and authenticity of the late 50s, 60s and 70s but at the same time, subtly modernizes the sound for the ears of today.


I assumed when I bought this album, that Lee Fields was one of these new comers, in spite of his older appearance.  Embarrassingly, I latter learned he's considered a legend by the Soul community and rightfully so, with a voice that ranks up there with greats such as Marvin Gaye, Otis Redding and Bobby Womack.

Although he hasn't achieved the international renown or achieved commercial success of the aforementioned, his rediscovery in the 90s led to recognition of his undeniable talent and subsequent revival of his career.

Lee Field's My World is the result of Truth and Soul's owners/producers, Jeff Silverman and Leon Michels' goal to create an album that captures the classic soul sound as well as being both "tough as nails and sweet as honey".

The production is solid and you'll be hard pressed to find a weak moment on the album - the result of Lee's exquisite voice that is characterized by it's strength, tenderness and emotion.  It would be negligent not to mention his backing band, "The Expressions" which compliments Lee so flawlessly, as the Dap Kings do for Sharon Jones (and Amy Winehouse, although they're not acknowledge by her in the headline).

A deeply soulful affair, as exhibited by the cover of The Supreme's "My World Is Empty (without you babe)", he still demonstrates he bring the funk when so inclined, with the catchy track (that finds itself on on high rotation in my household), "Money I$ King" in which he laments, "it's a sad, sad world, where money is king."  The subtle modernization of music is particularly palpable on the title track "My World", where the bass line has been lifted from Massive Attack's soulful, "Better Things".

Born In A Suit - You'll Be Hard Pressed to Find Lee Fields Attired Otherwise

All in all, it's a very good album and wonderful listening, whether you're just discovering his music for the first time or reliving golden moments from decades past.