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Cherry Red Album Reviews – May 2015 by Scenester

Basia

London-Warsaw-New York (Cherry Pop CRPOPD161)

Cherry Pop have released a lavish CD reissue of Basia’s 1990 LP, which repeated the million selling success of her solo debut, ‘Time and Tide’. Fondly remembered by gentlemen of a certain age as a member of light pop band Matt Bianco, Basia’s solo career took off in 1986 with the aforementioned release, but it’s her second LP we’re here to consider afresh.

‘Cruising for Bruising’s gentle shuffling beat opens the album, immediately setting the standard for what follows; slinky jazz-lite with Basia’s reedy voice gently washing over it all.

‘Best Friends’ introduces a funkier beat, and has a nice, high vocal in the chorus, but strangely doesn’t capitalise on the atmosphere.

‘Brave New Hope’s torch song start promises much, but soon becomes a slow, routine workout, with a weaving melody, high, piping synths, soft-impact drums and fails to find itself over its four minute-plus run.

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‘Baby You’re Mine’s North African feel provokes interest, but is basically a wistful love song that lacks any real substance.

‘Ordinary People’ has more going for it, with a good guitar, rhythm and drums in a samba style beat, an early standout,

‘Reward’s late night piano intro takes us into a heartfelt song about love and failure, and is easily the best track so far, suggesting the full range of emotions, and ending on tense, unsettling notes.

‘Until You Come Back To Me‘ has Basia in full-on pop mode, with a memorable, perky tune, rangy voice and appealing lyrics, and is clearly the strongest material for a single here.

‘Copernicus’ opens urgently, Basia’s voice good and lively, and the sax takes over to fine effect in a simple love song that might have benefitted from a more
direct title.

‘Not An Angel’ is another high spot, another sax-aided effort. Basia’s high notes are her strength, and the private, pleading lyric, loaded with suggestion, makes it arguably the best so far.

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‘Take Him Back Rachel’s shuffle gives Basia room to use her much vaunted rangy voice, which shows far more depth here, than on the rest of this collection. Basia gets away with an unlikely plea to her lover’s former lover through the lyric’s sheer bravado.

‘Come to Heaven’ is the first of our bonus tracks, and an altogether sexier, swinging rhythm delivers enough support to justify the assured swell of Basia’s voice toward the end.

‘Masquerade’ is a slow, routine smooch, but benefits from a nice chorus and guitar, with – dare I say it? – a male vocal verse dropped in.

The single reworking of ‘Until You Come Back To Me’ has a more mellifluous voice than the LP track, and is clearly the more suitable choice of the two for 7 inch release.

The extended ‘Cruising For Bruising’ improves on the LP track well, a shuffling instrumental until the slinky vocal kicks in.

Our second CD is packed with alternate remixes and instrumental bonuses that are strictly for the diehards.

I’ll admit that ‘adult contemporary’ is not my first choice for listening pleasure, and maybe that’s because my formative years’ soundtrack was more basement-level punk than supper club jazz. Basia has sold more records than most of my idols could hope to, still less achieve, but that shouldn’t blind us to what’s on offer here; a light, escapist musical background wash that, on more careful listening, reveals a world of troubling emotions. The lightness of touch on many of these productions and the highly sophisticated vocal/instrument interplay belie the often tortured, heart wrenching lyrics embedded in these songs. So what, if they require a little of the listener’s patience? BUY HERE!

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