EADG
10-14-2004, 12:02 AM
The most recent release of Stuart Hamm's successfully displays his composing ability, showcases his chops (although not as often anymore), and reveals his more recent musical influences, all while proving that he in fact did not in fact, vanish off the face of the earth after The Urge in 1991.
Personnel:
Stuart Hamm - Electric Bass, Keyboards, Additional Programming
Mark McGee, Judah Gold, Tal Morris - Electric Guitar
Chris Collins and Greg Forsberg - Grooves, Vibes, Noise, and Vocals
Frank Martin - Keyboards
Steve Smith - Drums
Breakdown per Track:
1) "Outbound"
What better way to start this long-anticipated album. Random static and noise, an intercom, Stu sets us up with an interesting tapping intro, enter Smith, and your train has officially left the underground platform. Stu, creative as ever, shows that he has no need for a guitarist, with his piccolo bass set with octave and overdrive. A great vibe on this track, complete with plenty of slap, pop, and tap, and a nice almost-shred piccolo solo.
2) "...remember?"
Now, toning things down a bit, we find this synth-laden work. Stu supplies a contrapuntal bassline throughout, while McGee's melodies ice the quite metaphorical cake. This is the first track to feature Youth Engine, who's grooves are featured quite frequently on this album.
3) "The Castro Hustle"
Uh-oh, it's official. It's a techno song. Don't fear it, however. Techno can be your friend. This track is nothing more than some simple grooves and bass, but there is an interesting twist: there are four tracks of bass. A conventional holds the groove down, while a second adds ocassional fills, all while the two pseudo-guitars (again, piccolo's with octave and overdrive) weave in and out of each other with increasingly dissonant but enjoyable harmonies.
4) "Star Spangled Banner"
Not a whole lot to say. Much of this track is random slap, with Stu conversing with Youth Engine in the booth. This is Stu's famous rendition of the American anthem, done with contrapuntal bass and droning open strings. As much as I can appreciate the way Hamm made this his own, I'm Canadian.
5) "The Memo"
A nice change from the preceding here. A quite upbeat song, the grooves really make the song. The synth is composed of basic chords and is often drowned out or not used, but makes a nice addition. Stu's melody shows he is no stranger to the high register (purists be damned), while the guitar's musical quotes only add to it. This song features a nice solo by Stu, which showcases his very underrated fingerstyle chops. It is quite evident how much he has improved at his instrument over the years at this point.
6) "The Tenacity of Genes and Dreams"
Hamm has always seemed to have an obsession with groupings of 5. This is one of his few songs to feature an odd meter (5/8). Although the majority of this song is quite minimalist (there are few chords used), there are some great musical moments here. My favourite melody on the entire album can be found, first on fretless bass and then guitar. And, fans of classic Stu who were disappointed at the lack of slap solos find hope. The tempo turns quite fast during the interlude, and Hamm let's loose, as if just to prove to any who question him that he's still got it.
7) "Charlotte's Song"
One of Stu's rare solo bass pieces, which is a shame, as he proves to be quite successful at composing solo compositions. This is done entirely on one piccolo bass, with no effects, although with very unique tone. This was written for Stu's daughter, Charlotte, and was played for her before she was even born, and in the maternity room when she was just a few hours old.
8) "A Better World"
A good concept, but not expressed properly, I think. While I am by no means against long compositions (I am quite a Pink Floyd fan), this one is just too much. It's slow, repetitive, and sometimes dull. While the melodies prove for some good musical moments, this song is very drawn out. I often fall asleep listening to this (literally). However, it's good if you're in the right mood, and it does offer Stu's take on acoustic bass.
9) "Further Down Market"
Another low point on the album. I like this song and all, but it has always seemed very out of place. I also feel it made the album a bit too long and drawn out, almost as if it's filler. The intro is interesting, although kind of dull, but once the tempo picks up it's time once again to showcase Stu's fingerstyle technique and harmonizing abilities. This ends with quite a different mood than which it starts, and even features a sample of "The Castro Hustle", which may or may not be a sarcastic remark toward sampling in modern music.
10) "Lydian (Just enough for the City"
Don't worry, it picks right back up on this one. There is just simply no better close. If four basses seemed excessive to you, I must warn you that there are even more on this track. However, it never seems cluttered... somehow. Many of the basses repeat simple patterns, while the fretless takes lead with fills and an enjoyable improvised solo. Beautiful harmonic work, a memorable melody, and just a great composition overall. The downside is that it's just too short; and it leaves me wanting more. Oh well, another Stu release is in the making, and I will more than likely be picking that up.
Overall: 4.5/5
This album has some great moments, and the additions of urban beats, drum machines, and effects are interesting, but this just has some low points, particularly near the end. Also, as a fan of Stu's older work, I find the lack of shred a bit disappointing, as Stu's playing has improved so much over the years and he could have completely outdone his older shred works. Then again, it is good to see that he is trying something new. Pick this one up (if you can find it).
Personnel:
Stuart Hamm - Electric Bass, Keyboards, Additional Programming
Mark McGee, Judah Gold, Tal Morris - Electric Guitar
Chris Collins and Greg Forsberg - Grooves, Vibes, Noise, and Vocals
Frank Martin - Keyboards
Steve Smith - Drums
Breakdown per Track:
1) "Outbound"
What better way to start this long-anticipated album. Random static and noise, an intercom, Stu sets us up with an interesting tapping intro, enter Smith, and your train has officially left the underground platform. Stu, creative as ever, shows that he has no need for a guitarist, with his piccolo bass set with octave and overdrive. A great vibe on this track, complete with plenty of slap, pop, and tap, and a nice almost-shred piccolo solo.
2) "...remember?"
Now, toning things down a bit, we find this synth-laden work. Stu supplies a contrapuntal bassline throughout, while McGee's melodies ice the quite metaphorical cake. This is the first track to feature Youth Engine, who's grooves are featured quite frequently on this album.
3) "The Castro Hustle"
Uh-oh, it's official. It's a techno song. Don't fear it, however. Techno can be your friend. This track is nothing more than some simple grooves and bass, but there is an interesting twist: there are four tracks of bass. A conventional holds the groove down, while a second adds ocassional fills, all while the two pseudo-guitars (again, piccolo's with octave and overdrive) weave in and out of each other with increasingly dissonant but enjoyable harmonies.
4) "Star Spangled Banner"
Not a whole lot to say. Much of this track is random slap, with Stu conversing with Youth Engine in the booth. This is Stu's famous rendition of the American anthem, done with contrapuntal bass and droning open strings. As much as I can appreciate the way Hamm made this his own, I'm Canadian.
5) "The Memo"
A nice change from the preceding here. A quite upbeat song, the grooves really make the song. The synth is composed of basic chords and is often drowned out or not used, but makes a nice addition. Stu's melody shows he is no stranger to the high register (purists be damned), while the guitar's musical quotes only add to it. This song features a nice solo by Stu, which showcases his very underrated fingerstyle chops. It is quite evident how much he has improved at his instrument over the years at this point.
6) "The Tenacity of Genes and Dreams"
Hamm has always seemed to have an obsession with groupings of 5. This is one of his few songs to feature an odd meter (5/8). Although the majority of this song is quite minimalist (there are few chords used), there are some great musical moments here. My favourite melody on the entire album can be found, first on fretless bass and then guitar. And, fans of classic Stu who were disappointed at the lack of slap solos find hope. The tempo turns quite fast during the interlude, and Hamm let's loose, as if just to prove to any who question him that he's still got it.
7) "Charlotte's Song"
One of Stu's rare solo bass pieces, which is a shame, as he proves to be quite successful at composing solo compositions. This is done entirely on one piccolo bass, with no effects, although with very unique tone. This was written for Stu's daughter, Charlotte, and was played for her before she was even born, and in the maternity room when she was just a few hours old.
8) "A Better World"
A good concept, but not expressed properly, I think. While I am by no means against long compositions (I am quite a Pink Floyd fan), this one is just too much. It's slow, repetitive, and sometimes dull. While the melodies prove for some good musical moments, this song is very drawn out. I often fall asleep listening to this (literally). However, it's good if you're in the right mood, and it does offer Stu's take on acoustic bass.
9) "Further Down Market"
Another low point on the album. I like this song and all, but it has always seemed very out of place. I also feel it made the album a bit too long and drawn out, almost as if it's filler. The intro is interesting, although kind of dull, but once the tempo picks up it's time once again to showcase Stu's fingerstyle technique and harmonizing abilities. This ends with quite a different mood than which it starts, and even features a sample of "The Castro Hustle", which may or may not be a sarcastic remark toward sampling in modern music.
10) "Lydian (Just enough for the City"
Don't worry, it picks right back up on this one. There is just simply no better close. If four basses seemed excessive to you, I must warn you that there are even more on this track. However, it never seems cluttered... somehow. Many of the basses repeat simple patterns, while the fretless takes lead with fills and an enjoyable improvised solo. Beautiful harmonic work, a memorable melody, and just a great composition overall. The downside is that it's just too short; and it leaves me wanting more. Oh well, another Stu release is in the making, and I will more than likely be picking that up.
Overall: 4.5/5
This album has some great moments, and the additions of urban beats, drum machines, and effects are interesting, but this just has some low points, particularly near the end. Also, as a fan of Stu's older work, I find the lack of shred a bit disappointing, as Stu's playing has improved so much over the years and he could have completely outdone his older shred works. Then again, it is good to see that he is trying something new. Pick this one up (if you can find it).