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| | Product Details | | Audio CD Release Date: | June 28, 2005 | | Studio: | Warp Records | | Number Of Discs: | 1 | | Average Customer Rating: |  based on 28 reviews |
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| | Track Listing | | 1. | YouGotMeUp | | 2. | Multiply | | 3. | When I Come Back Around | | 4. | A Little Bit More | | 5. | What's the Use | | 6. | Music Will Not Last | | 7. | NewMe | | 8. | The City | | 9. | This Time | | 10. | Game For Fools | |
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| | Customer Reviews | Average Customer Review: ( 28 customer reviews )
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Most Helpful Customer Reviews
9 of 9 found the following review helpful:
 Exactly what I need Jul 07, 2005
By Mooselover
"dustinland.com"
How can this album be real? Just when I thought music was over and done with, just when I thought the soul was gone - a dorky British white guy comes along sounding like a cross between Marvin Gaye and Prince. This album is fantastic. Every song is full of heart and soul and grooves and funk. I mean, it actually sounds like the guy enjoys making music. Sure, there are a few tracks that are just okay, but tracks like Multiply, Music Will Not Last, What's The Use and When I Come Back Around make the album a must have. Sure, he's kinda ripping off the old school sound, but I'd rather listen to a guy who rips off motown than a bunch of tools who wish they were living in the 80s - aka every new band out today.
6 of 6 found the following review helpful:
Unlikely Packaging Apr 06, 2007
By T. L. Morris
While watching TV one afternoon I heard this commercial for Target, with a memorable hook `A little bit more, a little bit more' I thought, what a catchy little jingle. The next time I heard it I found myself rewinding it repeatedly, oh the joyous wonders of TiVo. Anyhow, I began obsessing over the song as I do so many other things. Until I thought, I MUST HAVE IT! I scoured the Internet and by that, I mean I simply Googled `Target Commercial+A little bit more,' and voila, I had a name, Jamie Lidell. I wasn't quite sure I even had the right person. I clicked the link to the site, fingers crossed, I clicked the link to one of the songs, saying my little mantra to myself `please be him, please be him.' Then it happened...I heard the song not the greatest of sound because it was coming through the muffled sound of my computer speakers (yes I still have a stereo that plays CDs), but it was the song, it was him!! But who was he? Who was this person, Jamie Lidell? Maybe I'm a `Genre Racist' but I expected a more adult version of RB cutie pie Chris Brown. Alternatively, at the very least a hot vanilla honey like Robin Thicke or Justin Timberlake. What did I get? I got a horned rimed glasses wearing awkwardly dressed, escapee contestant from Geeks on Parade! This can't be. But it was. Moreover, the music is fantastic! It is one of the best surprises I've heard all year. I ordered the CD thank goodness Amazon sold it. I have an uncanny ability to hear a couple of versus in a song and know if I'm going to enjoy anything else they sing. The pitch in his voice is great. His lyrical intimations and phrasing is awesome. The music is a bit challenged but if he had better producers, this would be a non-issue. He favors synthesizers a bit. But I attributed this to his German background. Even this small challenge didn't stop this CD from being a small masterpiece. I wonder if his unlikely packaging has gotten in his way from being the next RB/Pop/Rock hybrid such as Robin Thicke or even Adam Levine of Maroon 5. He certainly has the voice and capacity to be as big as these guys. I hope it's just a matter of time. Even if the packaging is wrong. He is great. Now I kinda' like his geek-like charm. I guess it's true, you can't judge anything by it's packaging. It's a great CD, well worth every cent. I put it on a let it roll through to the end. Geeks Rule!
5 of 5 found the following review helpful:
Bring funk back from the dead? Aug 30, 2005
By M. Scott
"Koopa Troopa"
Every day I lament the passing of funk music. Hip-hop killed it dead, leaving only the 5 second samples that MCs choose to loop for their newest tomes about rims and chinchillas. BORING!!
Thank god, then, for this record. Like other reviewers have said, it runs the gamut from old-school Otis Redding soul to dirty, dirty Parliament funk. At times it sounds Beckish, at others it drifts into Terrence Trent D'Arby town, occasionally it even picks up the Phoenix vibe, but for the most part it's up front, serious about taking it to the edge, and totally fun. How dare a modern musician create an album that has an upbeat vibe!
He's got a great voice, the production is dope, and the songs only get better with time. In a word, a record like this gives me hope. Could funk come back to life?
6 of 7 found the following review helpful:
Igloo Magazine's REVIEW Dec 01, 2005
By Pietro Da Sacco
(...)For the past few years, I have been rather vocal in my dissolution with the state of electronic music -- and more so, with the entirety of the commercial music industry. In that time, I have witnessed a throng of cookie-cut artists taking themselves way too seriously, using the same preset sounds, flimsy beats and geometric graphic drivel to market their flop. Now, as a reviewer I know it's not ethical to make such a blanket statement, but I happen to also wear the blessing of "indie label owner" (see Nophi Recordings) and am therefore subject to the curse of "dozens of bad demos every week."
So, where is this rant going? I'll tell you. Jamie Lidell's Multiply is the kind of recording I dream about getting in the mail. Granted, it's on Warp, so I would hardly say this is a demo by some unknown IDM calculator nerd, but it is imbued with the kind of spirited musicality and freewheeling joy that I look for in the artists I release... you know... the wanton musical lust which so many artists lack. (see the Id according to S. Freud)
The first thing I want to point out is that Multiply is not an IDM record. In fact, I would say this record is actually 75% old-school soul, owing much to live instrumentation and the prophetic teachings of Wilson Pickett and Otis Redding, but not James Brown. In other words, Multiply is neither revolutionary, nor highly innovative, but a tasty slice of the soul-flavored bundt cake. What makes this disc so palatable is the masterful production and execution of ten great tunes by a rather unlikely candidate from a somewhat likely label. Traditional soul tunes like "Multiply," "What's the use," "What is it this time" and "Game for fools" shine super bright -- lending their love embrace to the more programmed sounds of "When I come back around," "A little bit more" and the trudging and chaotic "The city" (which brings an awkward bit of 60's psychedelia to the disc.)
I must commend Warp for its willingness to adapt, innovate and take chances with artists like Lidell, !!!, and Vincent Gallo. The post Aphex/Sqaurepusher world needs more good songs and less over- calculated, computerized circuit-puke. If you are aspiring to be a producer or electronic musician in general, you should most assuredly add Multiply to your list of must-have albums. You should also consider spending some of that bread you're saving for an overpriced synthesizer on a busted-ass drum kit or bass guitar. It's only a matter of time before the REAL music fights its way out of your machines and back into your hands.
2 of 2 found the following review helpful:
Music to last May 20, 2006
By Stephanie Lee
Jamie Lidell is a damningly close version of a cross-bred love child of Sly Stone and Van Morrison, and with one ear finely tuned to P-funk psychedelia and the other to bluesy soul, he's made Multiply one of the best experimental records to date.
Formerly of the electronica duo Super_Collider, Lidell has rolled over to face the other side of his avant-garde ego -- and what's come of this transition is a keen sense of cross-rhythm and texture, of how much can be layered before inducing dementia or removed in taste of minimalism.
The title track is a five-minute throwback to prime Otis Redding backed by an electric organ that runs crazy chromatics throughout. Lidell similarly breathes new life into funk with "Music Will Not Last," a carefully crafted tangle of melodies and bouncy basslines carried only by the words in the title. But beats aside, Lidell's voice is the killer. He can rasp his way into a Ray Charles record and pull a falsetto that would make Prince cry, but his range and intuitive inflection are entirely his own blessings best heard in "Game for Fools." Accompanied only by the counter-melody of an upright bass, Lidell momentarily sets aside his mixing board to make a quiet offering of achingly good soul. It's both a testament to his command of musical aesthetics and the perfect finale to an album determined to redefine the fringes of rhythm & blues.
See all 28 customer reviews on Amazon.com
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