- by Vicky Eacott
- Sunday, May 29, 2005
- filed in: R 'n' B
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The album – Lidell’s first since his solo debut dropped five years ago – comes with a mission statement. Could it be world domination? Or perhaps, to save British music from the clutches of evil? Oh, no. Jamie Lidell wants to make a record that can be played at barbeques.
But enough of that: Lets get the burgers ready. There’s one funky ass barbeque ahead of us.
The album – Lidell’s first since his solo debut dropped five years ago – comes with a mission statement. Could it be world domination? Or perhaps, to save British music from the clutches of evil? Oh, no. Jamie Lidell wants to make a record that can be played at barbeques. And so, ‘Multiply’ will intrigue with its idiosyncrasies from the outset. It’s an intoxicating fusion of old skool motifs (spectacular horn arrangements, finger-clicking and doo-wop harmonies) with an electronic expertise. (He has previous experience with one Super_Collider, a techno collective, under his belt.) Skimming above Lidell’s musical exploration though is his outstanding vocals. At their most silky-smooth and impassioned they recall all those old soul dudes (Curtis Mayfield, Al Green, et all) but with ballads ‘What Is It This Time?’ and ‘Game For Fools’, he proves that it is not just a stylistic referencing that draws parallels between such vocalists: for he possesses that beautifully affecting quality too. Just listen as he pleads: “I’m so tired of trying to read your mind, because baby, what is it this time?” Each word is sung with raw, heart-wrenching emotion, even if the lyrics are a little clichéd.
It’s songs such as ‘The City’ and ‘A Little Bit More’, which interest most though, encompassing energy, power and the ability to take unexpected twists and turns at any given moment. The former’s deep, pulsating bass line, and the latter’s looped vocals make them two of the most memorable offerings on the album. It’s these moments that are most exhilarating as they demonstrate an originality and experimentation that goes beyond the album’s Soul, Funk and Motown influences. At times it makes for astonishing listening, if only to marvel at Lidell’s skilled execution at blending styles so flawlessly.
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