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Multiply

Rate It! Avg: 4.5 (65 ratings)
Multiply album cover
01
You Got Me Up
1:51 $0.99
02
Multiply
4:29 $0.99
03
When I Come Back Around
5:30 $0.99
04
A Little Bit More
3:09 $0.99
05
Whats the Use?
4:31 $0.99
06
Music Will Not Last
3:32 $0.99
07
New Me
4:10 $0.99
08
The City
5:10 $0.99
09
What Is It This Time?
3:08 $0.99
10
Game for Fools
4:16 $0.99
Album Information

Total Tracks: 10   Total Length: 39:46

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eMusic Review 0

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Philip Sherburne

eMusic Contributor

Philip Sherburne has been writing about music in print and online since the late '90s, with a focus on electronic music (for dancing and otherwise). A native of...more »

05.31.10
An unabashedly sentimentalist record, delivered with the style of a true showman
Label: Warp Records

It's hard to imagine a greater left curve than Jamie Lidell's fantastic second album, Multiply. His first solo album, Muddlin Gear, had been a disorienting spray of rapid-fire beats and digitally abraded samples, so frenetic it made his labelmate Squarepusher sound sluggish in comparison. His live shows, likewise — both on his own and in the duo Super Collider, with Cristian Vogel — were incendiary affairs where the artist resampled his own shrieks and beatboxing into shuddering maelstroms that were part industrial techno, part apocalyptic R&B.

But Lidell's dirty little secret was always that he actually had a fantastic, versatile voice, as well as a deep appreciation for classic American soul of the Stax and Motown varieties. Multiply emphasizes both points across a set that makes explicit reference to everything from Stevie Wonder ("What's the Use") to Otis Redding ("Multiply," which adapts its melody from "Sitting on the Dock of the Bay"). Working with a cast of collaborators including Gonzales, Snax, Taylor Savvy and Mocky, who co-produced half the album, the record breaks almost completely with Muddlin Gear's digital foundations, availing itself of electric piano, drums, standup bass and even horns. These are proper songs, cleverly… read more »

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I may have to revisit my rating, but...

fulofunk

there's a little too much electronic and not enough funk that he is definitely capable of.

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Soul revival

ChimbleySweep

Excellent soul revivalism from a white british dude. The dude can do it.

user avatar

Soulful

Groovy9

I guess everyone would say that about this artist. His back up is vintage soul. I downloaded a couple of his songs from his more current album too.

user avatar

Fantastic.....consider this having 7 stars

BigMoo23

Funky, dirty, electronic, soulful, classy leftfield tunes. This is a wonderful album, that you're not complete without....get his other two albums too....'Jim' is more soulful, and 'Compass' is a mixture of 'Jim' and 'Multiply'

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They Say All Music Guide

Head On and Raw Digits, the two albums Jamie Lidell made with Cristian Vogel as Super_Collider, remain thrilling meeting points between the lacerating, discombobulated electronic disco of Liaisons Dangereuses and the freak-flag-flying funk of early-’80s Cameo. Lidell’s Multiply is more a successor to those two albums than his first solo full-length, 2000′s relatively rigid and academic Muddlin Gear. Only now, he’s gone a rather straight-laced route, retreating to things like mid-’60s Stax and Motown, James Brown, pre-Revolution Prince, and oh, you get the idea. The focus here is on Lidell’s affected (if occasionally affecting) voice, real instruments, and real songs. Lidell’s voice is rarely treated, unlike the alien moments on the Super_Collider albums, and it will be compared to a few soul legends, though it’s just as deserving of parallels to John Fogerty and semi-obscure journeyman singer Shawn Smith (who, as part of a duo called Pigeonhed, made an unrecognized precursor to Head On in 1993). With about as much effort, Lidell could do wicked impressions of any earnest post-grunge vocalist. Though he’s not against using electronics to his advantage — as on the zapping, slightly hallucinatory “When I Come Back Around,” which lands somewhere around an imagined Basement Jaxx remix of “Controversy” — plenty of songs are knocked out with Hammond organs, horn blurts, handclaps, and all the other elements to make it as authentic as any neo-soul release. Since this is out on Warp, many will question whether or not Lidell’s being ironic, but it’s plain that he’s being sincere, despite the affectations. He really is pouring everything he has into the whole thing, but there’s so much overly earnest, reverential, “let’s get back to making real music” energy floating around that you can sense it nibbling away at the desire to make something that sounds like today. And if that doesn’t bother you, a couple issues with this album remain — one being that at least half of it could’ve been made by a moderately talented hobbyist. – Andy Kellman

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