The second collection of tuneful treasure excavated from the seemingly vast archives of A Man Called Adam is just as varied, musically, as the first. That said this time out there is less of the “ambient”, less of the experimental sound design, and a lot more dancing to be done – perhaps reflecting everyone`s desire to let their lockdown hair down. To do some serious shaking somewhere other than their kitchen or living room. While The Carry Principle squeak, creak, and bend slightly sinister – creating a kinda creepy kankyo ongaku of phantom field recordings and mutant marimba – and Mei Mei zings all Zen to the song of an Asian zither – around half of the 18 tracks on offer could be broadly “classified” as HOUSE – be that pumping, and thumping – like One Latin Rascal’s edit of AMFP, or phased and filtered – a la `90s Prescription or Cajual vinyl – like Future Perfect – jazzed by cool horns and replete with a broken batucada, shredded Salsoul keys and strings.
Beachflea`s Someone Else is deep and meditative – warmed by womb-like low end vibrations, and rooted by a Civil Rights speech. The Conscious Man Dub of Michael is acid that tilts towards the modern Detroit of KDJ and Mahogani. Drs. Jones and Rodgers build the Roc Reprise of Love Forgotten on an old Basement Boys / Nina Simone loop and spinning, spiraling synths that are a ringer for The Who’s Baba O`Reilly. Teamed with long-time spars, Sensory Productions aka Rob Mello and Chrome Angel Zaki Dee, the learned two deliver the dynamite drum dynamics of Bless This House – managing to meld the back to basics pounding of Chicago`s Relief Records with New York Sound Factory tribalism. The scything snares tempered by wistful, otherworldly, woodwind, and topped off with a big piano breakdown. Brighton-based collective, Bah Samba, transform Que Tal America with some bad, bad, live bass action. Giving the Euro-disco epic a Latin infusion, gracing it with wicked solos from all involved. Paired with Patrick Vidal, Sally covers Captain Beefheart. Their take of Love On My Mind being a piece of plugged-in Parisian disco, whose main wah-wahed riff recalls the wonderful ground-breaking `80s remix work of Shep Pettibone – say Sinnamon`s Thanks To You. This Is London, a collaboration with Chris Coco, combines bleep subs with a cut and scratched break – the proto-go-go of The Barkays` Holy Ghost? Something that extends to the Trouble Funk samples on the head-nodding, heavily stoned, hip hop of Magic Juan`s Eso Lo Que Vas.
There are moments of pure pop, like the fragmented afro-beat, now new wave funk, of Brenda Fassie`s Hurricane Brenda, and the “Baggy”-esque ballad, CU. Heartbreak that shuffles accompanied by fine fuzz guitar. Or The Longest Day, with its kinda country, kinda post-rock, picking – optimistically wishing and waiting for bluer skies.
The standouts might be the instrumental of Estelle – a stone cold Cafe del Mar classic – or Andrew Weatherall`s rare Godiva remix of Chrono Psionic Interface. The former a sort of bossa, its strum floating on a cushion of kalimba, flute and, children at play. The latter, trippy and techno-tinged. With complex machine and hand drum arrangements, and Sally made metallic. I always thought it was inspired by Derrick May`s fantastic Lotus Dub mix of Funtopia`s Do You Wanna Know – but checking release dates on Discogs maybe it was the other way around.
A Man Called Adam`s expansive Love Forgotten Oddities & Rarities Part 2 is available to pre-order on Bandcamp.