Lizzy Mercier Descloux: One for the Soul (Vinyl LP)
Light in the Attic
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Vinyl LP pressing includes digital download featuring two bonus tracks. Digitally remastered and expanded edition of this album from the genre-hopping French artist. The location, this time, was Rio De Janeiro, a suitably exotic location to follow their sojourn in Soweto given that Brazil had recently emerged from twenty years of dictatorship. But unlike Zulu Rock‘s broad appropriation of the local sound, One For The Soul borrows very liberally from Brazilian culture. The aim, says Adam Kidron, was to “reimagine the blues”, but Lizzy’s musical essence was in flux. “A Word Is A Wah meshes reggae with her beloved accordion, “Women Don’t Like Me” is wild, new wave pop, and she even wanders into soul territory, with whispery lounge versions of Al Green’s “Simply Beautiful”. Most notable is the album’s foray into jazz, and the fact that Chet Baker, the master jazz trumpeter, blew his last on “Fog Horn Blues” and the sensuous “Off Off Pleasure”. Rio was to be the last great hurrah of Lizzy and Michel Esteban’s global recording adventures, and although work proceeded apace, the experience was often quite tense. So fraught were the sessions, it’s a miracle that such a cohesive, sparky record emerged. The record-buying public did not agree, and as the album crashed and burned, so did the relationship between its three heroes. Lizzy was, for the first time, about to take on the world alone – and there was but one album left in her. One for the Soul, Simply Beautiful, Fog Horn Blues, Women Don't Like Me, My Funny Valentine, Sound of Leblon Beach / Garden of Alas, God-Spell Me Wrong, Off Off Pleasure, Long Voodoo Ago, Queen of Overdub Kisses, A World Is a Whah, Scala Saga Samba, Love Streams, Let's Get It on (Bonus Track), Bravado (Bonus Track)
Vinyl LP pressing includes digital download featuring two bonus tracks. Digitally remastered and expanded edition of this album from the genre-hopping French artist. The location, this time, was Rio De Janeiro, a suitably exotic location to follow their sojourn in Soweto given that Brazil had recently emerged from twenty years of dictatorship. But unlike Zulu Rock‘s broad appropriation of the local sound, One For The Soul borrows very liberally from Brazilian culture. The aim, says Adam Kidron, was to “reimagine the blues”, but Lizzy’s musical essence was in flux. “A Word Is A Wah meshes reggae with her beloved accordion, “Women Don’t Like Me” is wild, new wave pop, and she even wanders into soul territory, with whispery lounge versions of Al Green’s “Simply Beautiful”. Most notable is the album’s foray into jazz, and the fact that Chet Baker, the master jazz trumpeter, blew his last on “Fog Horn Blues” and the sensuous “Off Off Pleasure”. Rio was to be the last great hurrah of Lizzy and Michel Esteban’s global recording adventures, and although work proceeded apace, the experience was often quite tense. So fraught were the sessions, it’s a miracle that such a cohesive, sparky record emerged. The record-buying public did not agree, and as the album crashed and burned, so did the relationship between its three heroes. Lizzy was, for the first time, about to take on the world alone – and there was but one album left in her. One for the Soul, Simply Beautiful, Fog Horn Blues, Women Don't Like Me, My Funny Valentine, Sound of Leblon Beach / Garden of Alas, God-Spell Me Wrong, Off Off Pleasure, Long Voodoo Ago, Queen of Overdub Kisses, A World Is a Whah, Scala Saga Samba, Love Streams, Let's Get It on (Bonus Track), Bravado (Bonus Track)