Gordon Nelson Jr - Conversation Peace - 2010

Three years have elapsed since Gordon Nelson Jr's last album and once again it is one that is not going to disappoint you. It's more varied in it's make up than many releases, and this is something that I am more than happy about. Today's scene has a plurality of styles - embraced by sets like this - and although the style adopted by Gordan may not fire up the enthusiasm on today's teens / 20-somethings, it certainly warms my cockles and many more like-minded souls who feel as comfy with this as wearing an old pair of slippers with brand spanking new insoles in! Eight tracks reflecting the twists and turns of romance, the balance of groove pivots perfectly from a stepping groove to a house groove and then to a sultry ballad - all of which do not fail to impress. The opening song, "When" complete with Chi-Town stepping groove, synth-horns and quirky keyboards and becomes a tastier and tastier delicacy after every play. Perfect for both quality radio and the more informed dancefloor, I think this is a strong opener indeed.

What I am starting to tire of, though, I have to admit is the use of autotune to 'compliment' vocals. It may be in vogue but quality artists such as this do NOT, I repeat NOT need to use this. Designed to augment and bolster weak vocals it's not so much a trend in today's youthful R'n'B but a pre-requisite as many of these whiskerless pin-up stars have no real vocal skills. Arguably Gordon is NOT from this crass residuum of the industry and the use of this here is something that irks me considerably. It spoils my enjoyment and will, in time, ruin what could be a timeless song into a piece of ephemera. This is the only piece of criticism I have, and although I dig grooves such as these, the enjoyment is considerably watered down. A gentleman in the same league as Cuba Gooding doesn't need this, and the music employed within "Something I Should Know" is blindingly good. Let's leave the gimmicks for those who have to use them.

The tapping funky house grooves of "Crazy 4 U" and "What About Love" are examples of really tight grooves, and the jazzy vibes, piano, bass and organ compliment perfectly. It's dance music for the intelligent and this is something I sincerely applaud today. My favourite uptempo groove is "Show Me Some Emotion". Akin to the best soulful house that I would buy and download from US House music sites sites such as Traxsource, I can do nothing but thoroughly sing the praises of this choon! From the very offset we are in Mr Day / DJ Man-X territory and the Louie Vega flavours oze out with sultry summery basslines and jazzy flute! Personally, I cannot get enough of this kind of material and the delicate balance between what is soulful and what is purely mechanical is perfectly and expertly executed here. The music, the instruments, the vocals. All top-drawer. Again, this applies to "Peace Of Mind", and what a balance with the jazzy Cuba Gooding-like "Hey Lady". So...yet another winning set to wave the flag for!

Barry Towler

The Vibe Scribe

Gordon Nelson Jr - Whisper In My Mind

This is slightly different to the music we've recently featured. If you loved the soulful dance / House that Colonel Abrams or, say, Todd Terry, was coming up with in the mid '90s, and still get a vibe for recent garage / house jams from the likes of Chez Demier, Rahsaan Houston, Markus Enochson etc then you will also be drawn to the flavours of Gordon Nelson Jr. Almost every track is on a dancefloor tip – something that suits me fine as long as its not clichéd, ephemeral or downright chart-orientated. Not all of the album appeals, but the majority of it defiantly gets the two thumbs up from myself. The opening song is possibly the most accessible for the more conservative soulful ear. The beats are not dissimilar from those used by the likes of Richard Rogers, and the keyboard riffs are almost straight out of Keni Burke's “This Dedication”. The feeling is rather a “step” affair, and very good it is too. The second serving, “I'll Be Gone” remains chunky and soulful and we are almost, almost into Gerald Alston vocally and quite nice it is too. Jumping to “Until We See” then, is where the hard hitting drum and snare start walloping in. This is EXCELLENT dancefloor material. Vocally imagine a smooth fusion of Gerald Alston and Billy Valentine, but hooking up with Strictly Rhythm Records! Yes, it really is an odd combination but it works. DJ Bigger once noted that R&B committed “ballad suicide in the late '80s” and, I suppose, led the way for the sewer pipe of urban R&B to drown out any quality that was about. I go along with this to a small degree. Please, give me the ballads, but also let's have some soulful dance. I feel that since R&B cannot provide it due to its confined nature it is Disco's bouncing baby of House and Garage that can best provide it. I would love to hear more material like this – throw in a few strings and a sax and hey presto...soul for the dancefloor! You go, Gordon, you've got my vote! The socially conscious vibe adopted on these grooves also hits the spot, continuing on the racy “Time Goes By” with its subtle and laid-back piano. The jostling “Baby You And Me” breaks this mould, but without taking its eye off the dancefloor or the bass-pins. The use of horns etc in this cut is definitely a bonus, believe me. “Walking In The Rain” is another choice bass-pin rumbler, and vocally Billy Valentine really comes to mind here. The 80s sounding “Changes” almost apes Robert Owen's musical style, if less frenetic and a tad more Salsoul in the keyboard work. The set closes for the day in excellent fashion with a jazzy flavour in “Let's Get It On” – think Norman Brown meets NuYorican Soul and at 7½ minutes does a damn fine job. Great for the dancers and those who are happy to encompass this fine style of music into their soulful listening. Brilliant!

Barry Towler

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