Angeline Morrison: “She’s Ready, Cat!” [Interview]

Written by Imran Mirza

Angeline Morrison initially became known to fans via her scene-stealing vocal duties on projects by now-label mates, Lack of Afro (‘Fool’) and Frootful (‘Baby It’s a Fine Line’).  Thankfully, realising just what a find Angeline Morrison actually is, she was since snapped up by the purveyors of fine music that are Freestyle Records, and in 2013, our formal introduction came in the form of Morrison’s debut solo album, ‘Are You Ready Cat?’.

Freestyle Records’ catalogue of contemporary funk and soul is amongst the best that any label in this day and age can boast, and ‘Are You Ready Cat?’ glistens like a rare jewel – unique to all others – in an already packed treasure chest.

With a style reminiscent of 60s soul, jazz and bossa nova – the music of Astrud Gilberto comes to mind – Morrison presents herself with a befitting elegance and class throughout and marries herself to her music in the perfect nature that Dionne Warwick and Dusty Springfield would engage with classic compositions as constructed by Burt Bacharach and Hal David.  Standout numbers from this release are almost too many to list, but special mention should go to ‘What Has This Become?’, ‘The Music for The Spheres’, ‘Slowtime’ (produced by Nick Radford of Frootful) and the almost unrecognisable production from Lack of Afro on ‘Fool’s Gold’ and ‘A Word for The Words’.  Credited with writing, arranging and producing, Morrison throws herself into the deep end but tackles the responsibility seemingly with ease.  Even the effervescent title-track, ‘Are You Ready Cat?’, demonstrates how Morrison, more than anything, enjoys her music.

The album is a fully-realised vision composed with an effortless comfort and confidence that’s incredibly rare, making this an extraordinary jewel not only amongst the Freestyle catalogue, but amongst any treasure trove in can be placed in.

Ladies and gentlemen, it’s our great pleasure to introduce, exclusive to TheBlueInGreenBlog, Angeline Morrison…

Who were some of your earliest musical influences growing up?
I was quite a bizarre child, very macabre, and I spent a lot of time on my own looking for sounds. The sounds in nature remain a massive influence (raindrops on earth, or glass, or pools of water, the percussive sound of birds wings as they take flight). My parents' record collection was an important source for me; they brought a lush collection of 45s with them from Jamaica. I loved the look and feel of the records as well as the sound, Roland Alphonso's 'Look Away Ska' is a massive influence, as well as Justin Hinds and the Dominoes' 'Carry Go Bring Come'. I'm listening to that at the moment actually...  I also loved early 60s UK responses to American music as a child, I'd spend ages finding oldies radio stations and listening to early 60s beat pop under the covers after bedtime. The traditional English folk music I love so much came a bit later...

When did you realise you wanted to explore a career in music? 
It wasn't ever a decision I made consciously, it just never really occurred to me to not make music...

How did you come to the attention of Freestyle Records? 
My friend Nick Radford, whom you'll know as Frootful, asked me to collaborate with him on a couple of tracks on his first album for Freestyle Records. I'd also done some co-writing and vocals for Lack of Afro, another Freestyle artist, and that's really how I came to their attention. I'm very happy they liked what they heard, Freestyle are a fabulous label. They have a deep love for music and a care and respect for the way it comes into being.

Did you have a clear idea of what you wanted 'Are You Ready Cat?' to sound like? 
Yes, I always work with tracks fully produced and finished inside my head. By the time I share a track with others, it's always fully resolved for me, even down to the all-important emotional 'feel' of the track. It was the same for the album as a whole. It isn't always straightforward to translate the inside of my head to other musicians, but we get there in the end!

What was the process of putting the album together? 
It was fast and furious! There were a few constraints at play – if I had all the time in the world, and all the money in the world, maybe things would have been different. But I was inspired by some of my most beloved albums that were put together in a matter of days. Billy Fury's seminal, 'The Sound of Fury' was recorded in a day in 1960! I love that. So we were all working with time constraints, and hopefully some of the immediacy and freshness that brings has come across. I was super-lucky with the amazing bunch of musicians I've been able to work with. Cornwall is very rich in musical and artistic talent, I think something about the nearness of the sea encourages this...

You've worked a few times with Adam Gibbons [Lack of Afro] - how would you describe the way the two of you collaborate? 
Yes, I've been lucky enough to work with Adam a few times, from writing lyrics and melodies for him, to having him mix two of my albums. He mixed the second album for my band The Ambassadors of Sorrow, and did a very fine job. I was impressed with the way he just 'got it' straight away, he understood the sound I wanted to create. He also did a super-fine job on 'Are You Ready Cat?'. He collects a lot of analogue equipment and knows his way around all of that, so his ability to create an authentic vintage feel on tracks is superb. He produced two of the tracks on this album.

You're credited with having a lot of your creative input with the album, from writing, producing and arranging - was that a lot of pressure for a debut? 
I wouldn't have had it any other way! :-)

What was the concept behind the video for 'The Feeling Sublime'? 
One of my favourite films of all time is 'The Girl Can't Help It' (1956). It's often cited as inspiring the British rock n' roll stars, with its lush imagery... the video is based on the Julie London 'Cry Me A River' scene. Julie plays a ghost of herself, in the imagination of the man who has never been able to get over her. Those scenes have a massive effect on me, and my version is a spooky homage to this. The ghost I play is different though, she's thoroughly enjoying her power over the men, and is quite mischievous and twisted...

Before the album's release, songs where you collaborated with Lack of Afro and Frootful were floating around - are there other collaborations in the pipeline, and who would be a dream collaborator? 
Yes, there's another project with Nick Radford that's already begun. The pair of us are about to record an album as 'The Mighty Sceptres' on Ubiquity Records. The first single, 'Siren Call', is coming out at the end of January.  My dream collaborations are mostly with deceased geniuses. I wish I could have something produced by Joe Meek, or do some co-writing during a seance with Geoff Goddard...

Have you given any thought to how a follow-up album would sound? 
Oh yes, lots and lots... it's almost written in fact, but I don't want to spoil the surprise ;-)

What's been a notable musical highlight for you so far? 
Wow, there's so many I don't know where to start... I think when what I call the 'box of glory' from Freestyle Records arrived, with all the finished copies of the album inside, that was a very special moment.

2013: Top 5 albums

#5

'No Beginning No End' by Jose James [Blue Note Records]

For several months after this album's release, it looked certain to claim 2013's top spot.  Marking James's debut with Blue Note Records, 'No Beginning No End' saw him recruit heavy-hitters Pino Palladino, Chris Dave, Amp Fiddler, Hindi Zahra, Emily King and Robert Glasper, all in an effort to shift his music towards more 'soul' territory - notably for the first half of the album.  The division of 'halves' is ultimately what I think worked against it for me though: the first half, as mentioned, featured the album's soul aesthetic while the second half delves back into the jazz James was initially associated with, but ballads moreso than anything else, lacking the personality normally injected into his music (see Jose James's debut album 'The Dreamer', for example).  These are really just gripes for me as I place Jose James on such a pedestal.  What 'No Beginning No End' has actually gone on to achieve is undeniable though and much credit should go to Blue Note for the faith they clearly have in James and his product.  In and around this album though, we have to consider the two remix EPs that accompanied it ('It's All Over Your Body' (2012) and 'Come To My Door' (2013)) featuring alternate mixes by DJ Spinna, Taylor McFerrin and Oddisee, amongst others, as well as an incredible tour featuring Richard Spaven (drums), Takuya Karuda (trumpet) and Solomon Dorsey (bass).
For more info on the album, click here:
http://theblueingreenblog.blogspot.co.uk/2013/02/no-beginning-no-end-by-jose-james-album.html
For a review of Jose James live in 2013, please click here:
http://theblueingreenblog.blogspot.co.uk/2013/04/jose-james-live-xoyo-london-9th-april.html

#4

'Where Does This Door Go' by Mayer Hawthorne [Universal]

Well... he's certainly come a long way since his Stones Throw debut in 2009, and the retro-themed stylings of 'A Strange Arrangement'.  Now housed under the Universal umbrella, Mayer Hawthorne evolves his music immaculately by taking his sound in a far more progressive direction while still dipping his cap to vintage soul in the way he's been famed for.
The decision to relinquish the production reigns to names including Jack Splash has given a fresh perspective, direction and sound that establishes it as wholly unique for 2013.  Three contributions are even submitted from Pharrell Williams (four, if you include the iTunes bonus track) and his production on 'Reach Out Richard' stands blissfully tall amongst an album full of highlights, including 'The Innocent', 'Crime' and 'Her Favourite Song'.  'Where Does This Door Go' genuinely ranks as an essential purchase for 2013 and was a genuinely strong contender for 'album of the year'.

#3

'Are You Ready Cat?' by Angeline Morrison [Freestyle Records]

"Why so few words for the album you're ranking #3 of the year?"
Well, we're a mere few days away from unveiling our special feature on Ms Angeline Morrison, who was kind enough to engage in a Q&A just for you good people so we'll save all the best words about the album for that article.  Needless to say, it's claimed an incredible place on our list so it's worth already speaks volumes.  The BlueInGreenBlog bows down to you Angeline!

#2

'Victim of Love' by Charles Bradley & The Menahan Street Band [Dunham Records]

Charles Bradley (and The Menahan Street Band) formally introduced themselves to the soul-loving public with 'The World (Is Going Up In Flames)' in 2007, and it took four years for the full-length album release to finally hit the shelves, which it finally did in 2011 in the form of 'No Time For Dreaming'.  Released on the Daptone subsidiary label, Dunham Records (headed up by Thomas Brenneck), the album was standard Daptone fare with Bradley's heart-wrenching lead vocal soaring over Brenneck's musical platform.  Thankfully, we didn't have to wait as long as we did on the first time round for the follow-up or else 'Victim of Love' wouldn't have a home on this year's list.  So ridiculously close to claiming the top spot, this release was by no means play-it-safe.  Much like Brenneck did with the Menahan Street Band's sophomore effort released last year ('The Crossing'), this album could have easily followed in the vein of its predecessor but songs like 'Victim of Love' and 'Confusion' are almost reminiscent of 60s/70s psychedelic rock a la Jimi Hendrix or The Doors.  It's a far more gutsier and more mature record, and probably the boldest one to ever come out of the Daptone family.  This is a certified classic that demands your attention. 

#1

'Tortured Soul' by Nicole Willis & The Soul Investigators [Timmion Records]

It really has been as long ago as 2005 since the perfect made-in-heaven collaboration of Nicole Willis and the Soul Investigators came to its fruition unleashing their debut album, ‘Keep Reachin’ Up’.  Released on Timmion Records, an undeniable classic floor-filling record and soul connoisseur’s gem was unveiled, propelled by standouts including ‘Feeling Free’, ‘If This Ain’t Love’ and ‘My Four Leaf Clover’, the trans-Atlantic pairing of the Brooklyn-born, US songstress and Finland’s soul and funk power-house band garnered sterling reviews and a loyal fan base who patiently waited eight years for the follow-up record, delivered to us with glee, again, by Timmion Records in the form of 2013’s ‘Tortured Soul’.
While ‘Keep Reachin’ Up’ was glorious in its infectious enthusiasm and all-round feel-good vibes and nature, ‘Tortured Soul’ is a decidedly darker album – in both its themes and its music, adopting a more bluesy approach to many of its songs.  Few tracks on this release even seem like they’d have a home on ‘Keep Reachin’ Up’ with ‘Time To Get Business Straight’ being one of the few can’t-sit-still contenders.  By no means is this a bad thing at all – as a result of the new direction, songs are given more room to breathe and are fleshed out with more instrumental work showcasing just how unbelievingly good The Soul Investigators are.  These are conditions that Willis equally thrives under as well though – showcasing her indelible talent and ability, both as a singer and a songwriter, to get you up dancing or have you nostalgically lamenting.
With the new album’s release, it probably couldn’t get much busier, but despite it all, Nicole Willis took the time to bless this site with an exclusive chat about the last eight years and what went into the creating of the new album which you can read here:
http://theblueingreenblog.blogspot.co.uk/2013/04/nicole-willis-soul-investigator.html

2013: honourable mentions

We're not too far away now from unveiling our top 5 albums of 2013 but we were immersed in so much good music throughout a bumper year of releases, it was only right that we acknowledge some of the music we may not have had the chance to earlier on this blog.  If you've yet to do so, please check out the following releases and definitely let us know if you think we missed any!

‘Be My Monster Love’ by David Murray Infinity Quartet [Motema Records]

In the year that’s seen Motema Records celebrate its tenth year putting out incredible jazz music, they can also boast a brand new release from famed saxophonist David Murray and his Infinity Quartet, and their album, ‘Be My Monster Love’.  Featuring lyrics written by Ishmael Reed and Abiodun Oyewole, and vocal contributions from Macy Gray and Murray’s former label mate, Gregory Porter, who guests on a staggering three tracks: this album is exciting, vibrant and if there was room for a SIXTH place on our ‘best of 2013’ list, this album would’ve swiped it.  (The inlay card also features a short story penned by award-winning crime novelist, Robert Wilson, entitled ‘A Dangerous Kind of Love’.)

‘Sound The Alarm’ by Booker T [Concord Jazz]

Following his 2011 album, ‘Road From Memphis’, Booker T Jones returns in fine form, this time with the help of The Avila Brothers who helm much of the disc’s production.  Boasting an all-star cast including Mayer Hawthorne, Estelle, Anthony Hamilton, Sheila E and Vintage Trouble, along with production assistance from Terry Lewis & Jimmy Jam, and guitar work by Raphael Saadiq on a handful of tracks - ‘Sound The Alarm’ delivers some of the year’s best songs including ‘Broken Heart’ and ‘Your Love is No Love’.

‘Broadway’ by Myron & E [Stones Throw Records]
Produced by and featuring Finland’s awesome band of musicians, The Soul Investigators, the vocal R&B duo flourish with a distinctly exquisite soulful sound that has heralded them as one of the genuinely well-received surprises of the year.  TheBlueInGreenBlog was thrilled to have caught up with Myron Glasper for an exclusive chat about the album in October of this year, so click here for the full read: http://theblueingreenblog.blogspot.co.uk/2013/10/soul-from-sea-to-sea-myron-e-interview.html

‘Say That to Say This’ by Trombone Shorty [Verve Records]

Following what could be described as Trombone Shorty’s breakthrough album, ‘For True’ in 2011 (featuring heavy-hitters, Lenny Kravitz, Ledisi and Kid Rock), ‘Say That to Say This’ is a decidedly low-key affair – by no means a bad thing as this is brilliant.  Produced by Raphael Saadiq, the album’s highlight comes in the form of Trombone Shorty’s cover of ‘Be My Lady’, originally by The Meters and, here, featuring The Meters.




‘Lady’ by Lady [Truth & Soul]
Truth & Soul struck gold with the seemingly random pairing of the UK’s Terri Walker with the US’s Nicole Wray, and teaming them with musicians from Truth & Soul and Daptone Records, led to a true throwback Motown-esque sound with all the youthful vibrancy of the genre’s architects.  The album proved to be a breakthrough success so hopefully the team will capitalise on this soon enough.  Click here for our full album review: http://theblueingreenblog.blogspot.co.uk/2013/05/lady-by-lady-album-review.html

‘Time to Do Your Thing’ by Zbonics [Membran]
Zak Najor, drummer for Greyboy Allstars, assembles a dream team of artists, including saxophonist Karl Denson, guitarist Melvin Sparks and singer Gregory Porter, who appears on five of the album’s 14 tracks.  Apparently created over several years, this very contemporary-sounding, funky soul/jazz release is a definite standout of the year.

‘Sometimes Too Much Ain’t Enough’ by The Excitements [Penniman Records]

 

I picked this one up based on liking the album cover – more retro good-timed and up tempo soul music with Spanish band, The Excitements and their American lead-singer, Koko-Jean Davis.  This is actually the group’s second album – the first having been released in 2010 which I’m yet to get so have some catching up to do as well.

Blue-in-Green Podcast#3: GetToKnow_Thomas Brenneck

Thomas 'TNT' Brenneck is the producer/musician/writer under our proverbial spotlight this month in Episode 3 of our 'get to know' the producer series.

Not an easy one to put together this month - Brenneck's music, as guitarist with (check this lineup...!) The Dap-Kings, The Budos Band, The Expressions (with Lee Fieds), The Menahan Street Band, along with contributing to albums by Mark Ronson, Daniel Merriweather, Amy Winehouse and Lady, it's been difficult trying to keep track of it all but hopefully you'll be pleased by the selection that's been put together.

Having set up his home with the Brooklyn-based record label, Daptone Records, his subsidiary label, Dunham Records, spawned the album releases by his own pet project, The Menahan Street band, as well as the two albums by Charles Bradley. 

Click below for your listening and downloading pleasure:
http://soundcloud.com/user305437292/blue-in-green-podcast-3

'Keep on Looking' - Sharon Jones & The Dap-Kings
'Deep in The Sand' - Budos Band
'The World (Is Going Up In Flames)' - Charles Bradley & The Menahan Street Band
'Make The Road By Walking' - Menahan Street Band
'Could You' - Daniel Merriweather
'Rehab' - Amy Winehouse f/t Jay-Z
'The Crossing' - Menahan Street Band
'Victim of Love' - Charles Bradley
'Ghost Walk' - Budos Band
'I'll Still Be True' - Sharon Jones & The Dap-Kings

Me, myself and my CDs (part3)

Welcome to the final part of our trilogy of posts celebrating the album hardcopy. 

'Home Grown: The Beginners Guide to Understanding The Roots, Volumes 1&2' by The Roots [Geffen, 2005]

In an effort to complete their contract under then-record-label-home, Geffen Records, The Roots agreed to release a dual album 'best of' containing an inspriring selection of, not only their hits but also fan favourites, remixes and exclusive live recordings of their songs as well.  It's very much an exemplary way of releasing a 'best of' - why provide fans with music they already have and throw a new price tag on it?!  Further to that, however, the reason this compilation has found a place within this series of articles is due to the exhaustive liner notes prepared by the band's leader and drummer, Ahmir 'Questlove' Thompson.  Always one for finding ways to connect with his audience - hence the very reason Okayplayer.com exists - it was the liner notes that made fans of The Roots salivate in anticipation of these releases.  Detailed stories are outlined for each of the songs on the tracklist, including the stories behind the shockingly long list of singers that were approached, and in many cases, actually recorded their parts, for 'Break You Off' (D'Angelo, Bilal, Erykah Badu, Gerald Levert, Claudette Ortiz, among others...).   Essential reading for Roots fans.

'One Nite Alone...Live!' by Prince & The New Power Generation [NPG Records, 2002]

A glorious 3-disc opus spanning recordings from Prince's tour in 2002 in support of 'The Rainbow Children' (2001), and the internet-only album release, 'One Nite Alone' in 2002.  Prince, live, is as good as it gets!  If there's any doubt about that fact then the brilliant funk of '1+1+1 is 3' to the intimate playfulness of 'Adore' will prove this is the release to convert you, and then there's the bonus of the aftershow performance as well, featuring guests, George Clinton and Musiq Soulchild.  Thinking about it, it's surprising that this is the only offical live release that there is to purchase (DVDs aside)(?). 
The CDs are presented amongst two jewel cases within a nicely-pacakaged box set.  The full-colour booklet acts like a scrapbook of the performance containing fan testimonials, media concert reviews, plus comments and input from the band (a dream team line-up including Maceo Parker, Greg Boyer, Candy Dulfer and Renato Neto) regarding their favourite moments from the US tour. 

'Lou Bond' by Lou Bond [Light in The Attic, 2010]

This masterpiece of soul music was originally recorded in 1974 and released on the Stax subsidiary label, We Produce, but after having fallen by the weyside back then, it's Light In The Attic reissue in 2010 reintroduced this gem to a whole new audience.
As much as quality music purchasers should be applauded, fans are doing themselves a disservice by not picking up a copy of the CD itself as the icing on the cake to this reissue (aside from the previously unreleased bonus track) is really the bonus booklet that comes along with it, which features an incredibly written feature and interview with Bond himself, along with contributions from artists he played with, members of Stax and friends from his childhood.  Reading about Bond's childhood amongst numerous foster homes, and his time living on the streets, makes songs like 'That's The Way I've Always Heard It Should Be' even that much more significant, and haunting in its own way, as the Carly Simon-penned song muses over marriage and family, and the expectations and disappointments they can bring:

You say we'll soar like two birds through the clouds
But soon you'll cage me on your shelf
I'll never learn to be just me first
By myself

'The Dreamer' by Jose James [Brownswood Recordings, 2008]

Any chance I can get to wave the flag for Jose James then I'm damn sure going to take it.  From his Brownswood Recordings debut in 2008, and what I believe to be his great offering to date, may I present to you, 'The Dreamer'.  This album is one of three that I've ever bought based on the album covers (along with Khari Cabral Simmons's 'Clementine Sun' and Shirley Brown's self-titled 'Shirley Brown'), and this has gone on to be something of a definable image for James.  Photographed by Lars Beaulieu, the image is the perfect invitation to the world you're about to delve in to - it's intimate, it's sincere, it's engaging and it sets the mood and tone perfectly for the gems littered throughout the album.