Thursday, 21 May 2020

Einstürzende Neubauten ‎– Tabula Rasa (1992)

Style: Industrial, Experimental
Format: CD, Vinyl
Label: Mute, Our Choice, Potomak

Tracklist:
1-1.   Die Interimsliebenden
1-2.   Zebulon
1-3.   Blume (French Version)
1-4.   12305(te Nacht)
1-5.   Sie
1-6.   Wüste
1-7.   Headcleaner
         I. Zentrifuge / Stabs / Rotlichtachse Propaganda / Aufmarsch
         II. Einhorn
         III. Marschlied
1-8.   Das Gleissen / Schlacht
2-1.   The Interimlovers
2-2.   Salamandrina
2-3.   3 Thoughts
2-4.   Ring My Bell
2-5.   Blume (English Version)
2-6.   Blume (Japanese Version)
2-7.   Ubique Media Daemon

Credits:
Music By – Alexander Hacke, Blixa Bargeld, F.M. Einheit, Mark Chung, N. U. Unruh

Latin for clean slate, its an apt title it would be the last album with Mark Chung and Muffi. The album opens with Die Interimsliebenden, with a funky bass by Alexander Hacke. Immediately you are struck by the lack of metallic noise and how melody is beginning to move to the fore. 
Zebulon is spare and gentle melody and vocal harmonies devoid of any percussion until it explodes in the last minute or so. Still the release is lacks the abrasion of previous works. 
Fans may at this point begin to feel that neubauten have softened and they may be right but then they are missing the point. 
Neubauten have began to expand their sound, use noise more sparingly and effective. Blume is a haunting melody, lead by female vocals with Bargelds whispers under pinning it, at times dreamy and other times filled with sadness. 
12305 (Te Nacht) is electronic beeps and metal scrapings and droning, not the strongest track but by no means filler. 
Sie sees the band swap metal pipes for plastic tubing, a technique that they will reuse throughout later albums, at least until the end of the track where it comes in sparingly. While not as harsh as their more metallic songs, it still has the same intensity. 
Wuste is a stand out track, using strings for the first time in a Neubauten album, as well as sand and burning oil. It starts off largely instrumental sounding like a Philip Glass composition, before Blixa's whispered vocals creep in, at times they are barely audible over weird sounds and strings. Then the song abruptly ends. 
Headcleaner builds from a low to hum over 1.03 mins punctuated by metallic percussion then dies down only start up again, and does this over its 15 mins. Every time explodes the band throw themselves full long into sound smashing metal against metal recalling the glorious collapse of their debut kollapse.
Hearing it now the tension of the track it sounds like percussionist Muffi trying to drown out Bargeld and the rest of the band, it becomes easy to use the song as a metaphor for the inner tensions of the band and how they would never record another song as chaotic or tense as this track.
tomwaits4noman / sputnik music

PZ - Mensagens da Nave-Mãe (2015)

Style: IDM, Experimental
Format: CD, MP3
Label: Meifumado

Tracklist:
01.   100% Natural
02.   Bestas
03.   Explícito Dinheiro
04.   És o Maior
05.   Nada Mais
06.   É Só um Facto
07.   Neura
08.   Auto-Estima
09.   Trinca na Chamuça
10.   Colapso em Banho-Maria
11.   Do Que Tu Comigo
12.   Sempre a Nanar

Em ‘100% Natural’, tema que abre o novo disco de PZ, o músico canta: ‘É 100% natural, e é 100% artificial; é uma mistura, é essencial’. A escrita de Paulo Zé Pimenta não é autobiográfica, diz-nos, mas há sempre nela “momentos reais que depois são desfigurados para darem lugar a canções”. É por isso que o músico recorre à letra da faixa que inaugura o álbum Mensagens da Nave-Mãe para explicar que PZ – alter ego que criou para dar concertos de pijama, ter uma namorada com cara de Chewbacca ou comer croquetes sem interrupções – é um misto entre as suas características pessoais e uma personagem inventada. “Não sou expansivo, até sou mais para o tímido e a música é uma forma de sair do meu próprio corpo, de me libertar dos constrangimentos sociais e mandar o mundo às favas”.

Esse exercício, de usar a música como terapia, começou há já dez anos, quando escreveu o primeiro disco, Anticorpos. Paulo Zé Pimenta tinha acabado de regressar de Boston (cidade para onde foi estudar Media Arts) quando se deparou com uma depressão, motivada pela desorientação típica de um recém-licenciado que não sabe como transformar o canudo em profissão. Em vez de o pressionar a arranjar emprego, os pais aconselharam-no a fazer o que quisesse e Paulo Zé começou a criar as suas músicas no sampler e na mesa de mistura que tinha desde a adolescência. Ao fim de vários dias trancado no quarto, de pijama, a compor, “a música começou mesmo a funcionar como anticorpo da depressão”. 
As circunstâncias acabaram por determinar o “tom dramático e introspectivo” do registo, mas o rumo profissional estava encontrado. Ao lado do irmão mais velho, Zé Nando Pimenta – também músico, produtor e responsável pela editora Meifumado –, começou a dedicar-se à criação de vários projectos e foi assim que nasceram o colectivo Zany Dislexic Band, os Paco Hunter (com o irmão) e, igualmente a solo, Pplectro. Estas experiências dotaram-no do treino necessário para tornar vivências pessoais em letras, com o desapego necessário para eliminar agora o lado biográfico, bastante presente no primeiro registo de 2005. 
Rude Sofisticado, o segundo disco que assinou como PZ, surgiu em 2012 e já ensaiava o lado irónico e humorístico que hoje lhe é reconhecido. “Nessa altura, já estava noutra posição para olhar o mundo”, concorda o músico, que só a partir de 2014 resolveu promover-se como PZ ao agendar concertos e dar entrevistas. Andou nesta vida durante dois anos, até que no início de 2014 nada fazia prever o que aconteceu: o single, e respectivo videoclip, ‘Cara de Chewbacca’ tornou-se um fenómeno viral, transformando PZ numa estrela pop mediática, sobretudo entre a ‘geração internet’. 
A canção surgiu em parceira com o produtor dB e, a par da letra nonsense e satírica – onde se ouve, com sotaque do Porto, ‘não mente, é inteligente e diferente, mas tem cara de Chewbacca’ ou ‘tu és tudo o que eu quero ter, do pescoço para baixo’–, é a filosofia ‘do it yourself’ do teledisco que cativa os seguidores. Apesar do grande potencial humorístico, PZ percebeu que o single ia ter aceitação quando o mostrou à mãe. “Ela partiu-se a rir e aí vi que podia pegar”, conta, explicando que a ironia que apresenta nas canções é uma herança de família. 
Mensagens da Nave-Mãe – que será apresentado amanhã, às 15h, no Serralves em Festa, no Porto, e à meia-noite, no Musicbox, em Lisboa – mantém o espírito mordaz de ‘Cara de Chewbacca’. “Divirto-me a escrever e as coisas que me fazem rir por dentro mantenho sempre nas letras. Depois é uma questão de ritmo. Gosto de cantar como se estivesse a falar e, por isso, uso muito ritmos mais lentos, do hip hop”, diz PZ, sublinhado porém que não é um rapper. O que é então? “Estou a descobrir, a tentar fazer um estilo próprio. Sei que os géneros não me interessam. Quero ter a liberdade de fazer as coisas à minha maneira, de forma caseira, sem pressões”. Deixemos então este ‘sonâmbulo’ no seu pijama (a sua farda ao vivo) sonhar para depois nos fazer rir às gargalhadas. 
Jornal SOL

VA – Baku: Symphony Of Sirens (Sound Experiments In The Russian Avant Garde) (2008)

Style: Field Recording, Modern, Political, Avantgarde, Poetry
Format: CD
Label: ReR Megacorp 

Reconstructions:
1-01.   Arseny Avraamov - Symphony Of Sirens
1-02.   Velimir Khlebnikov - The Radio Of The Future
1-03.   Ivan Ignatyev & Ego-Futurists Group - The First Spring Concert Of Universal Futurism
1.04.   Mikhail Matiushin, Kazimir Malevich & Alexei Kruchenykh - Introduction
1-05.   Mikhail Matiushin, Kazimir Malevich & Alexei Kruchenykh - Act 1: Bully's Song
1-06.   Mikhail Matiushin, Kazimir Malevich & Alexei Kruchenykh - Acte 2: Petite Bourgeoisie
1-07.   Mikhail Matiushin, Kazimir Malevich & Alexei Kruchenykh - Other Excerpts & Final Opera With "Military Song"
1-08.   Dziga Vertov - Laboratory Of Hearing (From The Rumor Of A Cascade)
1-09.   Dziga Vertov - Laboratory Of Hearing (From The Rumor Of A Sawmill)
1-10.   Arseny Avraamov - The March Of The Worker's Funeral
1-11.   Nikolai Foregger & His Orchestra Of Noises - Mechanical Dances
1-12.   Sergei Prokofiev & Georgi Yakoulov - Factory
1-13.   Dziga Vertov - Radio-Ear / Radio-Pravda
1-14.   Konstantin Melnikov - Sonata Of Sleep
1-15.   No Artist - Pause-Sleep...
1-16.   Igor Severyanin - Overture
1-17.   Igor Severyanin - Echo
1-18.   Vasilisk Gnedov - Poem 14
1-19.   Alexei Kruchenykh - Dyr Bul Shchyl
1-20.   Vladimir Kasyanov & The Futurist Circle - Drama In The Futurists' Cabaret
1-21.   David Burliuk - The Family Of Vowels, Laughingly
1-22.   Elena Guro - Finland
1-23.   El Lissitzky - About Two Squares - A Suprematist Story
1-24.   Olga Rozanova - (Spain)
1-25.   H₂SO₄ Group - Dada
1-26.   Simon Chikovani - Tsira
1-27.   Nothingists - Manifesto From Nothingism
1-28.   Nothingists - Decree About The Nothingists Of The Poetry
1-29.   Vasily Kandinsky - To See
1-30.   Kazimir Malevich - Poem
1-31.   Olga Rozanova - Poem Without Title
1-32.   Daniil Harms - Lapa/Paw
1-33.   Igor Terent'ev - Endless Toast In Honor Of Sofia Georgievna
1.34.   Mikhail Larionov - Ozz...
1.35.   Psycho-Futurists Group - Zatirlikali Lirlyuki
1-36.   Vasily Kamensky - Poem To The Letter 'K'
1-37.   Varvara Stepanova - Rtny Khmole
1-38.   Roman Jakobson - Mglybzhvuo
1.39.   Roman Jakobson - Distraction
1-40.   Vasilisk Gnedov - Poem Of The End

Original Recordings:
           Enthusiasm! The Dombass Symphony
2-01.   Dziga Vertov - Untitled
2-02.   Dziga Vertov - Untitled
2-03.   Dziga Vertov - Untitled
2-04.   Dziga Vertov - Untitled
2-05.   Dziga Vertov - Untitled
2-06.   Dziga Vertov - Untitled
2-07.   Dziga Vertov - Untitled
2.08.   Dziga Vertov - Untitled
2.09.   Dziga Vertov - Untitled
2-10.   Dziga Vertov - Untitled

2-11.   Alexander Mossolov - Zavod, Symphony Of Machines
2-12.   Julius Meytuss - Dneiprostroi, Dneiper Hydro-Electric Power Station
2-13.   No Artist - Pause
2-14.   Roman Jakobson Reads Velimir Khlebnikov - Incantation By Laughter
2-15.   Alexei Kruchenykh - Winter
2-16.   Vladimir Mayakovsky - Naval Romance
2-17.   Lili Brik Reads Vladimir Mayakovsky - From Street To Street
2-18.   David Burliuk - House-Painter
2-19.   Sergei Esenin - Confessions Of A Hooligan
2-20.   Vasily Kamensky - The Way I Live
2-21.   Semën Kirsanov Reads Velimir Khlebnikov - Not To Panel!
2-22.   Lenin - What Is Soviet Power
2-23.   Anatoli Lunacharki - On People's Education
2-24.   Alexandra Kollontay - To The Workers
2-25.   Leon Trotsky - 10th Anniversary Of The Left Opposition
2-26.   Boris Pasternak - Night
2-27.   Anna Akhmatova - To The Muse
2-28.   Osip Mandelstham - Gypsy Girl
2-29.   Ilya Ehrenburg Reads Marina Tsvetaeva - You Walk, Resemblin Me
2-30.   Naum Gabo & Noton Pevsner - The Realistic Manifesto
2-31.   Dmitri Shostakovich - Radio Message
2-32.   Dmitri Shostakovich - Radio Broadcast Of The Leningrad Symphony

Subtitled: Sound Experiments In The Russian Avant Garde -- Original Documents And Reconstructions Of 72 Key Works Of Music, Poetry And Agitprop From The Russian Avant Garde 1908-1942. "These two CDs and 72 page clothbound book offer the most comprehensive presentation of the experiments and innovations in the exploration of sound by the historical Russian Avantgardes ever attempted. This publication is based around the sounds themselves. Though much was not documented at the time, and some has been lost, what remains is collected on the second CD, which centres around Dziga Vertov's prescient environmental sound composition for the 1930 film Enthusiasm..The Dombass Symphony -- and also collects together for the first time 22 original recordings of Mayakovsky, Mossolov, Jakobson, Khlebnikov, Lenin, Lunacharsky, Kollontay, Trotsky, Pasternak, Meytuss, Akhmatova, Mandelstahm, Naum Gabo, Shostakovich and others. But what makes this collection doubly valuable, and unique, are the contents of CD1, which consists of 40 painstaking reconstructions -- made by the Laboratorio de Creaciones Intermedia, Dept. of Sculpture at the faculty of Fine Arts in Valencia, Spain -- of documented sound-works that have subsequently been lost, above all the now legendary 'Symphony of Sirens' at Baku, by Arseny Avraamov. This massive open air composition, for two artillery batteries, several full infantry regiments, all the foghorns of the Caspian flotilla, several sea-planes, twenty-five steam locomotives, multiple choirs, arrays of pitched steam whistles and all the city's factory sirens can now, for the first time, be approached as a physical event through this careful and accurate spatialised audio reconstruction (using original contemporary source materials) as well as 39 other priceless lost works, including the legendary Victory over the Sun (mayak &c) and other works by Vertov, The Orchestra of Noises, Prokofiev, Mayakovsky, El Lissitsky, The Nothingists, Jandinsky, Malevich, Rozanova, Larionov, the Psycho Futurist Group, Kamensky, Jakobson, and others. The CDs give body to Miguel Molina Alarcon's comprehensive overview of the complexity and breadth of the many early C20 Russian avantgarde movements, and there are extensive detailed notes and contexts for all the individual recordings, as well as biographies of the artists, additional work-notes on the process of the Baku reconstruction, a bibliography, rare photographs, web research links, related artwork, facsimiles of contemporary documents, a comparative timeline of European and Russian Avantgarde movements, and the first English translation of an article by Avraamov about his events. Apart from a general appeal, this is a work articularly suitable for libraries, educational institutions and galleries."
Fonte / forcedexposure

Annette Peacock ‎– Abstract-Contact (1988)

Genre: Electronic, Jazz, Funk / Soul
Format: CD, Vinyl
Label: Ironic Records

Tracklist:
01.   Abstract-Contact
02.   Lost In Your Speed
03.   Elect Yourself
04.   Memory Is
05.   Living Is A
06.   We Are Adnate
07.   Disparate X's
08.   If Time Weren't
09.   Happy With My Hand
10.   Down In Blue
11.   Until Untrust Unties
12.   No Winning, No Losing
13.   This Almost Spring

Credits:
Bass – Ed 'Slam' Poole
Drums – Simon 'Diamond' Price
Mixed By – Annette Peacock, Jim Abbiss
Recorded By – Jamin' Blelenna, Jon Hiseman
Vocals, Keyboards, Words By, Music By, Arranged By, Producer – Annette Peacock

There might be more than a bit of avant-garde diva to Ms. Peacock's persona, but she pulls it off better than most. This tough-to-find LP from 1988 on the small Ironic label showcases her songwriting, singing/speaking, and sociopolitical/radical feminist lyrics in the pared-down context of a funky trio. Peacock plays various keyboards, acoustic and electric, in an off-kilter and free manner, offsetting the intensely grooving bass and drum work of Ed Poole and Simon Price. The lengthy showpiece "Elect Yourself" finds the rhythm team laying down an unstoppable riff as Peacock declaims on top, covering all sorts of topics from sex to government to religion, sometimes singing, other times speaking, always with a sardonic decisiveness and underlying fury. The lyrical content alone would make this recording stand out from the myriad, pallid attempts at "meaningfulness" coming out of the alternative rock scene at the time, but Peacock's writing ability, a quality long recognized in a portion of the jazz world, gives the songs a power and creativity rarely encountered elsewhere. Long before the Divinyls' "controversial" hit "I Touch Myself," listeners find Peacock's infinitely more incisive and to the point "Happy With My Hand," with lines like "And if there's no penetration/You got to use imagination." Lyrics aside, however, it's a joy to hear her unique voice, both singing and writing. Listeners who became familiar with her work through the ECM release An Acrobat's Heart might be surprised to hear this rougher edge. Highly recommended if you can find it.
Brian Olewnick / AllMusic

Azimüth ‎– Azimüth (1975)


Style: MPB, Jazz-Funk, Latin Jazz
Format: CD, Vinyl
Label: Far Out Recordings, Bomba Records, Som Livre

Tracklist:
01.   Linha Do Horizonte
02.   Melô Dos Dois Bicudos
03.   Brazil
04.   Faça De Conta
05.   Caça A Raposa
06.   Estrada Dos Deuses
07.   Esperando Minha Vez
08.   Montreal City
09.   Manhã
10.   Periscópio

Credits:
Vocals – Márcio Lott
Vocals, Percussion – João América
Drums, Percussion – Ivan Conti
Guitar – João América
Percussion, Vocals – Ariovaldo Contesini
Guitar, Violin, Vocals, Percussion, Bass – José Alexandre Malheiros
Written-By – A. Malheiros, I. Conti, J. R Bertrami
Piano, Clavinet, Electric Piano, Organ, Synthesizer, Vocals – José Roberto Bertrami

The legendary Brazilian group Azymuth have been keeping toes tapping for over thirty years with their funk/jazz fusion, or as they call it ‘crazy samba’. This is their first album, remastered and released outside Brazil for the first time. As a bonus the generous folk at Far Out recordings have also thrown in a second disc of remixes. 
Disc one is the original album, and is a mix of up-tempo jazz funk freak-out and loungy mellow grooves, all with a distinctive Brazilian swing and a few healthy injections of psychedelia. Tracks such as “Melo Dos Dois Bicudos” and ''Estrada Dos Deuses” define the up-tempo sound; samba swing, pimped-out bass and wah-wahs, organs backing huge synth leads, melodic vocal chants and spacey analogue sweeps. These are killer dancefloor tracks with plenty of candy for both the mind and the feet. 
There are plenty of moments of calm amongst the craziness, such as “Brazil”, a warm and charming piece on which the drums and the bass sit back and let the keys pour their little hearts out. “Morning” is in the same vein, while opener “Linha Do horizonte” which has a wonderful childish innocence to it. They should pump this stuff into prisons and watch the crime rates drop off. 
Disc two contains the somewhat hit-and-miss remixes and re-edits. Things get off to a great start with the Harmonic 33 mix of “Melo Dos Dois Bicudos” which takes snippets of the original and works them into an infectious bouncy hip hop groove smeared with string sweeps and uneasy vocal stabs. The epic spiritual south mix of “Wait for My Turn” maintains the standard but sadly, after this, things begin to drop off. 
When they wrote these tracks Azymuth were playing around, experimenting with sound and obviously just having a lot of fun, and that shines through in a great album that has quality all the way through, yet never takes itself too seriously. This record manages to invoke its time perfectly but very rarely sounds ‘dated’. A classic album that isn’t going to leave my CD player for quite some time, if you like to get funky then just buy it - you won’t regret it.
Jamie Fisher / BBC

Roy Ayers ‎– Virgin Ubiquity (Unreleased Recordings 1976-1981) (2003)

Genre: Jazz, Funk / Soul
Fomat: CD, Vinyl
Label: Rapster Records, BBE

Tracklist:
01.   Boogie Down
02.   What's The T?
03.   I Really Love You
04.   Oh What A Lonely Feeling
05.   Sugar
06.   Mystery Of Love
07.   Green And Gold
08.   Brand New Feeling
09.   I Did It In Seattle
10.   Mystic Voyage (Version)
11.   I Just Wanna Give It Up
12.   Together Forever
13.   I Am Your Mind

Credits:
Mixed By – John Hopkins
Compiled By– Eddie Bezalel, Peter Adarkwah, Roy Ayers, Sarah Williams

Everybody loves the Roy Ayers. I’ve yet to meet a single person that doesn’t. I wouldn’t trust anybody who doesn’t. My daughter, Jessie, knows that if she ever showed signs of not loving Roy she would no longer be a financial beneficiary. He’s a vibraphonistical Santa, a sunshine loving Michael Palin, a dippy-doo-run-run-run Ian Wright. Everybody loves him. 
Roy will be 80 in September (pause for audience applause) and if you’ve ever experienced him live; either incapable of standing still in a field on a summer’s day or sweaty-as-hell in a club/tent late at night, you’ll know why he’s so important. He was an essential element in the reawakening of cool that was Acid Jazz, Jazzmatazz and Nuyorican Soul as well as being sampled to infinity. He’s known as The Godfather of Neo-Soul (don’t worry D’Angelo/Omar, people can have more than one Godfather); that’s how important he is. 
‘Virgin Ubiquity: Unreleased Recordings 1976-1981’ was initially released back in 2004 and is now being given a brand new feeling by BBE. It consisted of 13 previously unreleased recordings from Roy’s vintage Polydor period and is a subset of BBE’s Roy holdings (there’s a Virgin Ubiquity II amongst others). It was also given a successful remix by a host of biggies: Kenny Dope, Joey Negro, Basement Jaxx etc. in 2006. 
The comp kicks off with Carla Vaughan’s formidable, never-one-to-fear-a-dynamic, Minnie who?, gymnastic pipes, demanding that we ‘Boogie Down’ via a tight-as Dennis Davis (drums) and William Allen (bass) disco rhythm and a funk-punchy keyboard/guitar riff that attacks in waves. You know it’s proper boogie when it rhymes ‘I got a notion’ with ‘your magic potion’…pour yourself on me, obvs. 
Merry Clayton takes over the vocals for the next three tracks. ‘What’s the T?’ is some synth-line led, dirty yet polished funk, with horn stabs and Clayton’s shiny-uptown-Betty Davis delivery that is just dirty enough to demand you pull stank face but slick enough to get you hovering confidently down the Soul Train line. ‘I Really Love You’ is a gorgeous, lush lovemaker’s soul duet where Clayton leads Roy in the schmooziest of harmonies but also belts out some specific requests including “come meet my family”. Ser-i-ous. 
‘Oh What A Lonely Feeling’ is a winner. It’s a two-parter: the ‘Oh What A Lonely Feeling’ half, a hi-drama Minnie’s ‘Inside My Love’ soul diva affair; and the ‘Love Of My Life’ half, a hi-joy, deepest of the deepest, deep groover with Allen’s heavy bass mercilessly prodding Chano O’Ferral’s congafest. It cries out to be two separate songs. ‘Love Of My Life’ is truly what it is and Clayton is breathtaking. 
‘Sugar’ is archetypal happy times Roy. Sweet, loved-up, dancefloor buoyant with those Tommy-Cooper-just-like-that electric piano shoved chords. ‘Mystery Of Love’ is silk-sheeted, honey-dripped soulfulness while ‘Green and Gold’ is all about upbeat funky vibes and a proper bassline – just how we like it. 
Majestic ten minuter, ‘Brand New Feeling’, has Clayton and Sylvia Fox battling it out on fierce vocals with Steve “click track” Cobb supporting Roy’s Sunshine chords and sprinkled magic dust, while Justo Amario’s blesses with a smooth, unhurried tenor solo. ‘I Did It In Seattle’ is a 5 mates bar jam with Roy chatting over fluent, seductive vibes and Peter Brown’s spanking bass. The vibes-sprinkled smooth jazz of ‘Mystic Voyage’ highlights the flawless Carla Vaughn’s rich-hued voice and some beloved, low-in-the-mix, Roy scatting. 
‘I Just Wanna Give It Up’ has main-man, Harry Whitaker, on the ivories, Roy on the electric and Clayton on vocals all bringing the groin-led flourishes while Allen and Cobb hold it down true. The Vaughn led duet ‘Together Forever’ is juicily sensuous while album closer, ‘I Am Your Mind’, is a thumping, bass-heavy Roy free-your-mind manifesto; not sure what I’m meant to take from it (apart from minds and unity and souls) but it has a trippy epic-ness that I DIG. 
This comp is delicious and it’s worth the entrance fee for ‘Oh What A Lonely Feeling’ alone. The production is lush and saturated with Roy-ness sunshine throughout; the vocals are powerful and occasionally excessive, which is a happy indulgence; and, although most of these recordings may not quite be top-3-Roy, they are still essential-Roy. So, it’s a big thanks to BBE from me and all humans everywhere because…everybody loves the Roy Ayers.
UK Vibe