R&B U.K. Style
By Fantasiac
What's up, circumnavigators? Since this is the Internet, that would
make you world (wide web) travelers of a kind. My name is Fantasiac
and hopefully, once every moon, I'll be giving my thoughts for
your examination and commentary from this power point of mellow
vibes here at BlakeRadio.com. Everything I speak about will be
based in music, and I'll stimulate your minds as much as the music
from BlakeRadio.com gets to your hearts through your ears.
The first topic is R&B from the U.K.; not every artist that comes
out of Britain will be discussed, but I will focus on some of those
that were either not released by American record companies (thus
obtained as imports) or those that deserved wider recognition but
were not promoted adequately upon release in the U.S. Since I'm
dealing with the limited attention spans that the Internet cultivates,
I'll talk a little about several artists in order to stay in motion.
I'll be concentrating on releases that came out after 1989, using
Soul II Soul's Club Classics, Vol.1, with "Keep On Movin'"
as the benchmark for change and new confidence in England.
Jazzie B is still maintaining his influence on the scene as figurehead
of Soul II Soul. The last album I bought from his crew was Time
For Change (Island, 1997). Although they're on a new label, which
doesn't release their music in America, it doesn't mean that it's
not worthy. Songs such as "Dare to Differ", "Represent"
and "Limit Is The Sky" show that Jazzie B is still trying
to use his music to inspire a positive mindset. While all those
songs are cool, my favorite is the instrumental track "Camdino
Soul." I believe this cut, which kicks the album off, is a
dedication to Camden, B's stomping ground in London which is also
a style and music haven. The song has a nice house/garage feel
to it and somehow, because of its sublimely futuristic feel, it
sets the tone for the rest of the album. (I've heard there's a
new Soul II Soul album out: would somebody let me know if that's
true. I tend to miss a few things.)
I'm sure that Jazzie B has been an influence on 4Hero, a unit whose
album Two Pages (Mercury, 1998) definitely deserved more than the
passing notice and short shelf life it got in the United States.
With a combination of strong jazz and R&B elements, 4Hero creates
a stimulating and progressive listening experience. I don't care
to single out any particular cuts because the CD flows the way
that it does. The images on the insert and most of the song titles
lend themselves to having you enjoy their cosmic vision-if you
can get into their music. Their sound is like a transatlantic drum
'n' bass/jazz poetry slam, with both African-American and Black
British contributors throwing down. A solidly worthwhile investment
for heads that go in that direction.
McAlmont is an intriguing individual. His first solo album was a
pop-rock shish kabob that showed his potential, even though the
album was not anchored creatively in any particular direction.
He followed that with collaboration with former Suede guitarist
Bernard Butler (which I was afraid to touch, as much as I've enjoyed
Suede). Then he came out with A Little Communication (Hut/Virgin,
1998), which I found to be much more grounded and in tune with
the personal variables that flavor his self-expression than the
glam pretensions he displayed earlier. The title tune, with its
"Sexual Healing"-drum machine cop, would have given the
CD and its artist a good go toward building a cult for himself
in America, in spite of his stylized falsetto. The album was such
an improvement over his previous work - more natural sounding for
his mode of expression - it makes you wonder what he was on. Unfortunately,
he probably won't get anything released in America unless it's
some kind of dance/club remix or something.
Here's a band that has nothing devastating about them, but I find
them enjoyable to listen to: D-Influence. They've had 3 albums
to my knowledge: only Good 4 We was released in the U.S. (WEA,
1992 ). All their works have that funky but smooth sound with Sarah
Ann Webb's smokey vocals out front. They've also loaned their remix
touch to Mark Morrison, among others, while introducing Shola Ama
to the UK soul audience. If you enjoy mellow up tempo songs with
a little substance, pick up Prayer 4 Unity (WEA. 1995), it won't
hurt. This is a group that simultaneously looks back with its heart
submerged in old school flavor and looks forward with its mind
in a contemporary awareness.
Recently, in the Sunday Times of London, a Japanese chef, now living
in Australia, suggested that people should attempt to "make
simplicity seem like abundance." That describes the singer
Omar, when he is at his best. His early albums, There's Nothing
Like This and Music (both on Talking Loud, 1991) showcased the
man's vocals in their best light, with loose song arrangements
and acoustic instruments combined with electronic sounds. This
gave him room to handle his business - self-harmonizing acapella
on a couple of tunes and in general, displaying the influence of
Al Jarreau. His only U.S. release For Pleasure (RCA, 1994), had
him lumped in with D' Angelo and Maxwell in an attempt to sell
him to the so-called neo-soul market, but he's not about coming
off with a "love-man" thing that kind of way. Omar is
more laid back, and the vibration of his songs don't fit the current
American scene. The two subsequent releases, which I don't have,
made unnecessary concessions to the American market, sound and
taste-wise, and then were never released in America anyway. Maybe
Omar's time is yet to come.
Too bad about Eternal. They really could have been popular in America.
Only their first album, Always & Forever (EMI, 1994), with
the hit single "Stay," was released in the U.S., but
it was their next album, Power Of A Woman ( EMI, 1995 ), that could
have given them strong footing with an adult urban contemporary
audience. At the time, they were a trio of attractive young black
women, getting their image down and presenting songs that could
appeal to a mature hip crowd. Unfortunately, their increased success
was just limited to the U.K. and Europe because there were no further
releases in America. Soon America was forgotten about. Now, with
the departure of one member, they are a duo. I haven't heard their
new joint yet, but I'm sure it's better than the CDs by great-to-look-at-but-weak-material
groups like the Honeyz and N-Tyce. more›››
