2 of 2 people found the following review helpful
Brooding noir vocals and then he stretches his larynx to sing as he launches into exotica; to bring about a picture of red dangling lampshades, smoking guns, whiskey decanters couched in big fat Havana cigars, all brooding around a pool shoot at 3am in the deepest darkness. Stories about life flowing past relentlessly in the slow lanes. Doused with a hint of sexuality splashed across the face, forever looking backwards in the mirror to the big themes in life - where it all began, slowly based in a heavy scent of sexual heat. These tunes marked a departure into a sombre reflection upon a life lived.
Great album, detailing a presumed auto biog take on a past culled from funk wah wah, bass deep grinds into where the red neon night meets a glazed morning as the shutters finally let the light in to meet Barry White sitting on the sofa.
Turn on the lava lamps and relax into his custom built reverie.
7 of 8 people found the following review helpful
on 8 October 2002
Barry Adamson has definitely surpassed himself with his new release 'The King of Nothing Hill'. Definitely his best album since 'Oedipus Schmoedipus'. From the dry humour on the Barry White style 'Black Amour' to the darker 'I Love Paris' instrumental, this really is the cinematic ride of your life.
4 of 6 people found the following review helpful
on 16 September 2002
I'm not sure that I could categorise this album . . . jazz, hip-hop, funk, rock, pop, punk . . . they are all there. The production is fantastic and I can easily imagine some of this appearing in films (noir). Not having heard of Barry Adamson before (amazingly), I bought it on the strength of a newspaper review. So, in response to DC of the Sunday Times, I must say that I whole heartedly agree with your closing comment . . . 'a wonderful, must buy album'.
6 of 22 people found the following review helpful
on 2 October 2002
hmmm...not all newspaper reviews are right...which is a shame because this could have been another Morphine or Natacha Atlas (some of my dad's other 'Review Discoveries') But it isn't. I like some of it. The instrumentals are really quite interesting, definitely a potential for some theatre/film soundtracking there, but I don't like the pseudo-Barry White thing he has going on.
The music is interesting from a sampling point of view. I like the mismatched sounds and the fact that he's not afraid to have a full blown string section, even though it is cheesy.
Ultimately, I think it's his lyrics that let him down. It really is cliché after cliché.
Some of it did sound like the Twin Peaks: Fire Walk With Me soundtrack though. Which is a good thing. But that's already been done now, I would have liked something different.
Having said all that, I do quite like the last track (Cold Comfort) if only because there's a voice that isn't Barry's on it.
I think Barry Adamson should sell his music to car companies so they can use it in adverts.
Just my opinion...