Arthur Russell - World of Arthur Russell +Album Reviews

Rarities Made Affordable (3.5/5)

M. Starr | Kansas City | 05/13/2004

(3 out of 5 stars)

"A lot of respect is in order here for Soul Jazz Records, who continually represent the lost sounds of the dance genre(s). Whether it's dub, reggae, ska, disco, funk, or a culmination of all the above, these music archeologists always dig up some of the finest forgotten rarities on the planet. When the label re-introduced the fine music of A Certain Ratio in 2002, they opened the eyes and ears of many music lovers to an interesting, yet departed, variety of music that I'll simply call disco-punk-funk. Soul Jazz Records is back again this year with a posthumous release of Arthur Russell's avant-garde and late-disco works. Arthur Russell was born in Iowa, studied in California, and eventually became part of the artistic, and always interesting, New York scene of the late 70s/early 80s. This particular release, appropriately titled The World of Arthur Russell, focuses on his entire catalog from the early days of disco and no wave to the more obscure avant-garde jazz pieces. Since Russell only released a minimal amount of records, the styles of these songs change on a rather frequent basis. Sometimes even shifting back and forth between genres, rather than showing a natural progression of sound. Regardless, they all are representative of his love of carefree music. As the album begins with "Go Bang," we are immediately reminded that Russell changed a lot musically over the course of his career. This particular song highlights the very early stages of his no wave influences, where even a cello shows absence. We're immediately taken into the next era of his catalog with the bouncing bass, cheesy vocals, and minimal disco flair of "Wax the Van." "Is It All Over My Face," the most disco-heavy song here, is also one that will most likely appeal to those familiar with the current rash of funk-punk bands such as !!!, LCD Soundsystem, and The Rapture. It contains all the signature sounds such as hand-clapping drums, disco-funk bass, and roller-skating vocals.For the remainder of the album, however, we are introduced to Russell's more mellow jazz-oriented songs. "Keeping Up" and "In the Light of the Miracle" share the same basic structures when they lose the disco vibe and focus more on cello, acoustic guitar, and Russell's vocals. The second of these two tracks is actually quite a long song, clocking in at just over 13-minutes of subtle electronics and traditional instruments. The most charming track, "A Little Lost" is a film director's wet dream for a potential soundtrack. It almost sounds as if I've heard it in about twenty movies in my life, but after much research I have found that it has never been in a movie. The lyrics are intimate and quirky, yet are very affective and reflect someone who, like everyone, simply wanted to be loved. As the remixes begin ("Let's Go Swimming," "In the Cornbelt" and "Schoolbell/Treehouse"), several musicians place emphasis on the dance club aesthetic of Russell's music. It actually takes quite a bit away from the music if you ask me.All in all, most of The World of Arthur Russell is quite charming. It does a great job highlighting the overall progression of his music, but there are also moments where it tends to fall out of focus. Although the remixes are meant to be odes to the musician himself, they tend to take away from the flow of the album. I at least understand why they were added to the tracklisting, I could just do without them. If you want to get a better idea of what Russell's catalog has to offer, try to find his albums somewhere else. This can be a fairly costly task, so if money is a factor this album will at least give you enough of Arthur Russell until then."

As warm and generous as he was talented

Felix Gonzalez | Berkeley, Ca USA | 07/16/2007

(5 out of 5 stars)

"I knew Arthur in NYC pretty well from about 1977 on. I spent a lot of time hanging out in his funky apartment on E. 12th street. (Like Proust's madeleine, I can still smell the distinctive, slightly moldy odor inside.) I remember him pointing out Richard Hell's place in the same building through a window. He didn't have a buzzer, so I would have to stand on the steps of the church across the street and yell out "Arthur" so that he could come down and let me in. He was a very generous and fun guy - as well as a whiz at tape editing with a safety razor. I got a lot of his LP's from him as they came out, and it struck me even then - although I was still in my teens - how peculiar that he should have dance hits as well as more "serious" works recorded by orchestras. One time he took me to a Tibetan Buddhist meditation center on W. 16th. Green as I was, I had a very hard time trying to keep from laughing, since everyone was so serious. I miss him, although I really treasure the memories of the time that I spent with him. Felix Gonzalez, Berkeley CA."

A Spade a Spade

Larry White | AdultPop.com | 04/15/2004

(4 out of 5 stars)

"Arthur Russell was a Midwesterner, classically trained on the cello, who found his way to New York City and into the world of electronic, dance music. Oh, let's call a spade a spade, it was "Disco". This is music that we wouldn't even consider when it was in its prime in the 80s. Thankfully, our mind and our tastes have broadened a bit since then and we can now say, at least in the case of Arthur Russell, disco doesn't suck. (Although, we're not yet ready to make a case for Rick Dees and his duck). Russell's brand is subtle, hypnotic, pretty; with elements of jazz, African, and classical music. There is a confounding co-mingling of repetition and exploration. The beat pulsates metronomically while the melodies take off. Instruments you wouldn't expect to hear in this genre (like a singular cello) are used while voices and instruments you would expect are used in a manner you wouldn't. Arthur Russell died in 1992. This is a newly released sampling of his work over the course of his career. If you are a dancer, an adventurer, or you just like something rhythmic and compelling, we recommend this."

Another fantastic compilation from the guys at the "Soul Jaz

fetish_2000 | U.K. | 10/07/2005

(5 out of 5 stars)

"Having already made his name as a classically trained cellist and also becoming well known for his involvement in setting up the 'sleeping Bag' Hip-hop / Dane label, Arthur Russell became involved in the growing N.Y. dance scene around the early 70's, and although his contributions would eventually be anything but conventional (incorporating his Cello into Dance music??), his influence in a then growing scene, helped push the underground music into new interesting ideas.

Firstly it's important to note that this compilation, that has been expertly compiled by the folks at U.K. label 'Soul Jazz' has gone for a overview of Arthur's music, rather than merely focusing on purely his dance-orientated music. And so, although this compilation has a tendency to veer all over the place, the collection of work here (including a few rarities) is incredibly solid, and a perfect introduction, to those (like myself) unfamiliar, as to exactly how talented and innovative his music was. Several tracks on this compilation may well be familiar to some, with tracks such as "Go Bang" exhibiting some of the early forms of what would now be considered 'Punk-funk'...and takes the form, of an energetic and slightly agitated sort of dance music, and pushes it into experimental territory, by taking its cues from an almost arty form or punk, and disco with traces of dub. "Wax the Van" on the other hand is far more informed by disco, and takes a stylish and dramatic sound and makes a sort of mutated disco sound from it, spilling over with sort of wired energy. "Is It All Over my Face", is probably amongst the best known work here, and takes a more straightforward dance music approach to it sound, and still manages to have that urgent energy and lively party aesthetic that would later mark this track out as deserving of its post-disco Garage anthem status.

"Keeping up" touches on the more experimental side of Arthur Russells music, and focuses on his fusion of his acclaimed Cello work and builds a track that is closer to possibly experimental-house music, that although lacks the tempo of dancefloor music, introduces guitar and more percussive instruments , that leans more towards music not strictly considered dance, music, has overtones of subtle form of melodic house music buried within. "In the Light of the Miracle" makes a grand statement with a track that is a long (13min) Afro-centric fusion of house and progressive dance, and if you think along the lines of the sub-genre 'Jazz-house' you be on the right tracks, with complex instrument arrangements (with brass segments) sitting on top of heavy percussion, with a fluid kinetic and visceral approach, for a epic track full of lucid basslines and circular rhythms. "A Little Lost" is my personal favourite track. It's not even a dance track, but instead a touching acoustic guitar and cello assisted ballad, to the perils of love, and subtle in the most affecting way possible, with a way with musical folklore & heightened romanticism that is generally very rare in an artist with a background in Dance/Hip-Hop music.

The creative side of Post-punk gets another spin, with the mostly instrumental shuffle of "Pop Your Funk", which (like a lot of music from that era) is something that although seemingly simply devised, is actually something more akin to a sprawling track with a celebratory feel, that trades in mutating rhythms, and adds extra layers onto its sound and holds the listeners attention with its hypnotic groove and relative striking digital beats. And speaking of Digital beats "Let's Go Swimming" has a fine line in them, with a distinctly retro sound, coupled with slightly off-centre rhythms mixing things up wonderfully and a prominent synth arrangement playing throughout, and not sounding too far off a more restrained tribute to early Detroit House/Techno music. "In the Cornbelt" of which this is the Larry Levan mix, sits in nicely amongst this oddball collection of tracks, with sampled voices and spooky synths and minimalist tendenices bring this closer to electronica then I was expecting, and reminds me of some of the 'Warp' labels earlier output. "Treehouse" reshapes what they would musically come to expect from Russell with something more akin to Afro-centric drumming, and the dance grooves that you might be expecting have largely been replaced with this more minimal percussion approach, to produce a spooked out almost ambient-groove, with a very weird distinctive track, that is so distressingly brief. The final track "Schoolbell/Treehouse", pushes keyboard sounds to the fore, with upbeat percussion, and bass guitar adding texture, thereby African-style chanting/singing is added, with various inspired electronic sounds being mixed in, constantly redirecting the listener's attention.

As is the case with the majority of 'Soul Jazz's' releases, this has been lovingly compiled and seems like a labour of love, with the sleevenotes providing useful/informative information, and although long-time fans or purists may bemoan certain tracks missing, even they would have to admit that a excellent effort has been made here. Arthur Russell's music probably isn't really for everybody, and it's one of those sort of releases that will probably appeal most, to those sorts of people that have heard a lot of music, maybe too much, and are looking for a new musical romance, to become interested in. As it's an album bursting with innovative and highly accomplished work, and although musically it's all over the place, I found myself really getting into this compilation, and those that are curious like me, really must give this a whirl. Highly reccommended!!!"

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	Arthur Russell World of Arthur Russell Genres: Dance & Electronic, Pop While Russell was formally trained as a classical cellist, he was very much a multi-faceted musician, having produced the first 12 inch single for Seymour Stein's Sire label ("Kiss Me Again") and co-founded the Sleeping Ba... more » « less
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