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MP3.com Interview with Barry Adamson	49		83	mp3	play
Filesize: 9.5 MB Length: 624 seconds

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Stranger on the Sofa
Released: Jun 27, 2006
Label: N\A

In the last eight years, producer, composer, and multi-instrumentalist {$Barry Adamson} (formerly of {$Magazine} and {$the Bad Seeds}) has issued only three albums. Never an artist who looked at... Continue[+]

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In the last eight years, producer, composer, and multi-instrumentalist {$Barry Adamson} (formerly of {$Magazine} and {$the Bad Seeds}) has issued only three albums. Never an artist who looked at trends or genres, {$Adamson} has always been content to follow the inner workings of his mind. With 1998's {^As Above, So Below}, he moved away from the soundscape-{\soundtrack}-without-a-movie oriented conceptual work he'd been doing since the beginning of his solo career to engage in a more song-based approach. This followed on {^The King of Nothing Hill} in 2002, and on 2006's {^Stranger on the Sofa}, he moves back a step in order to take two forward. For starters, there are very few guests on the set. {$Adamson} handled most instrumental chores and sampled and swiveled the other bits himself; he knows how to get the right loop when he needs it to be sure. There is certainly soundscape work on this recording, check the opening {&"Here in the Hole,"} an effects-laden tome narrated by {$Anna Chancellor}, or {$Pscalle Fuiulee-Kendall}'s narration of {&"Deja Morte,"} or the noir-ish jazzscape as drenched in effects and dubby echo on the album's closer {&"Free Love"} for three examples of his former way of working. But there's so much more here. {$Adamson}'s songs are quite whimsical and lovely when they want to be, {&"The Long Way Back Again"} is such an instance; it could have been a {$Pogues} singalong, with utterly beautiful homesick lyrics. {&"You Sold Your Dreams"} is a futurist lounge lizard's approach at both the early, skeletal funkiness of the {\pop} group as they meet the {\urban} sophistication and {\poetry} of {^Get Happy!}'s {$Elvis Costello}. No. Not Kidding. The B-3 {\jazz} stomp and stroll of {&"Who Killed Big Bird"} sounds like both an answer and a tribute to {$Georgie Fame}'s burning mid-'60s instrumental combos. The former is engaged when {$Adamson} trots out a tenor sax, flute, and brass section and burns the house down with its sweaty groove and greasy perverse swagger. Forget Big Bird, this sounds more like the money-shot score for a porn film that never had the class to get made. It's followed by the drum and vibes rhythmic shuffle that underscores {&"Theresa Green,"} an utterly gorgeous love song where {\dub} bass, B-3, guitars, and strings all paint {$Adamson}'s voice in wish, ache, and optimism. In sum, {^Stranger on the Sofa} is the most fully realized {$Barry Adamson} project ever. This is it. After decades of giving us good and even fine work, he's finally treated the faithful to a masterpiece. ~ Thom Jurek, All Music Guide

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Whispering Streets - UK CD
Released: Dec 16, 2003
Label: N\A

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King of Nothing Hill
Released: Sep 3, 2002
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With {^As Above, So Below}, {$Barry Adamson} took a detour from the soundscape work that comprised much of his early solo catalog. It was more conventional sounding than anything he had written... Continue[+]

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With {^As Above, So Below}, {$Barry Adamson} took a detour from the soundscape work that comprised much of his early solo catalog. It was more conventional sounding than anything he had written prior, and with production help from {$Flood}, the album's seedy undertones and gritty seduction were given center stage. With {^The King of Nothing Hill}, he continues where {^As Above} left off -- seamlessly blending {\funk}, {\jazz}, {\rock}, {\disco}, and '60s {\French pop} while swapping street tales with the listener. It's apparent on tracks like the {\funk}-fueled {&"Cinematic Soul,"} the trippy {&"Twisted Smile,"} and the intense {&"When Darkness Calls"} that {$Adamson} can evoke a variety of feelings in any one of a number of musical styles. He's as convincing when vividly painting a crime scene as when he becomes "Satisfaction Jackson" in an attempt to seduce his prey. He occasionally dips into his soundtrack roots on tracks like the murky {&"Le Matin des Noire"} and {&"The Second Stain,"} but when he does, he maintains the continuity of the album. This variety is what makes {^The King of Nothing Hill} so enjoyable -- it revels in being both fun and furious. Whether he's talking about love or the streets, there's usually a clever hint of irony present. {$Adamson} is blatant when he needs to be, but gets his point across most effectively when using metaphors. {^The King of Nothing Hill} is his first album of all-new material since 1998's {^As Above, So Below}. Although he released a best-of in 1999, {$Adamson}'s fans grew eager as rumors of a new album began to surface. With its sonically rich textures and ultra-smooth vibe, {^The King of Nothing Hill} was well worth the wait. ~ Don Kline, All Music Guide

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The Murky World of Barry Adamson
Released: May 18, 1999
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{^The Murky World of Barry Adamson} collects the best of the former {$Bad Seed}'s solo recordings. {$Adamson}'s moody, filmic songs mix sex and menace with impenetrable cool, especially on {&"The... Continue[+]

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As Above, So Below
Released: Jun 23, 1998
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{$Barry Adamson} is playing quite the "{\jazz} devil" on {^As Above, So Below}. The album sees the dark noir guru taking a detour from the more {\experimental electronica} of {^Oedipus Schmoedipus}... Continue[+]

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{$Barry Adamson} is playing quite the "{\jazz} devil" on {^As Above, So Below}. The album sees the dark noir guru taking a detour from the more {\experimental electronica} of {^Oedipus Schmoedipus} into a cool, brutal concept album of aggressive, ominous {\rock-jazz}. It seems that a great deal of {$Nick Cave}'s cinematic themes have rubbed off on {$Adamson} from his days as a {$Bad Seed}. Where {$Cave} deals mostly with vampiric {\goth} ballads, {$Adamson} creates his art under a moody, effective {\jazz} noir cloud. Many of the songs shuffle about with a determined sense of cool, as {$Adamson} utilizes deep crooning vocals; he often sounds remarkably like a more sane {$Nick Cave}, especially on {&"Come Hell or High Water."} Perhaps {$Adamson}'s work on {$David Lynch}'s {#Lost Highway} soundtrack inspired the tales of dead detectives and shady women detailed on {^As Above, So Below}. One can easily imagine these songs coming from a younger, <I>rocking</I>, and more sinister {$Angelo Badalamenti}, a frequent {$Lynch} collaborator. The album's high points include {&"Can't Get Loose,"} {&"Still I Rise,"} and {&"The Monkey Speaks His Mind."} {&"Can't Get Loose"} sees {$Adamson} cooly cooing over keyboards reminiscent of {$New Order}, with a fun, suave xylophone sound and a sample of {&"Can't Get Used to Losing You"} by legendary songwriters {$Doc Pomus} and {$Mort Shuman}. The song operates under a pleasant, humorous atmosphere, while still displaying ample doses of {$Adamson}'s warped, dark vibes. {&"Still I Rise"} is monumentally cool. {$Adamson} sounds quite angry and defensive, sing-screaming "still I rise" repeatedly, alternating that mantra with verses of autobiographical, stream-of-consciousness lyrics. The final cry is as punishing and entertaining as it is crass. {$Barry Adamson} has yet to release an album that isn't entirely compelling. {^As Above, So Below} is a strong, winning mix of style, emotion, and {\rock-jazz} noir power. It's a bold, satisfying vision from an artist who shows no fear in expressing the seedier sides of life. ~ Tim DiGravina, All Music Guide

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Oedipus Schmoedipus
Released: Aug 7, 1996
Label: N\A

After some releases with more of a pop, beat-heavy feel, {$Adamson} moves back -- sort of -- into the land of noirish soundtrack. Unlike {^Moss Side Story}, it's not really a soundtrack with... Continue[+]

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Big Bamboozle
Released: Sep 12, 1995
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The Negro Inside Me
Released: Oct 19, 1993
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Something of a holding pattern. On this six-song EP, {$Adamson} extrapolates from contemporary black dance beats, samples his American publicist's answering machine message and {$Jane Birkin}'s hit... Continue[+]

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Moss Side Story
Released: 1989
Label: N\A

{$Barry Adamson}'s first full-length album, {^Moss Side Story} is still unequivocally his best. Elements of {\rock}, voices from news reports, blood-curdling wordless female vocals (courtesy of... Continue[+]

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Delusion
Released: 1991
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It's perhaps unsurprising that {$Adamson}'s eclectic compositional talent doesn't work nearly as well when he has to wed his vision to an actual film. This soundtrack for an obscure 1991 movie... Continue[+]

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Barry Adamson

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