anyone heard this guy? I believe he is from the uk.. its a white guy (u'd never know it hearing his voice)

he has a soulful voice.. when people review him.. they bring up Otis Redding, Beck, Prince, and funk mentions..


I am listenin to it now.. I definantly see the beck and prince influence.. There is a synth solo (a la Head) that sounds just like something off dirty mind on the third track...


pretty interesting stuff...


talk up if u know anything about him..


pitchfork named it one of the best albums of the year
[Edited 12/28/05 22:23pm]

haaaaa...


This album kindof funkayyyyy



Modern Artist with an upbeat funky album?


alright

He has obvious "styles"... You could fill in about 20 different artists to be honest.. I think its neat so far tho..
[Edited 12/28/05 21:05pm]

Pitchfork.....


Escaping the reductive seductions of his weird-core past-- harder, faster, grainier-- Jamie Lidell multiplied himself into a new polymorphism: blue-eyed soul devotee, self-sampling beatbox (if beatboxers imitated Merzbow, perhaps), multimedia showman. Onstage, he handily strips the title "performance artist" from lesser acts with more props-- his larynx-shredding, demon-exorcising blasts of naked funk and deadpan discomfort are more Marina Abramovic than Fischerspooner. Straighter than his recordings with Crisitan Vogel as Super_Collider, and nothing like his live shows whatsoever, Multiply is Sunday morning with tea and a kiss, complete with pretty much the whole Stax/Motown/etc. catalogues playing in the background. There are just enough glitches to make the Warp label stick, but the joint's really just about Jamie doing what he does best: splitting himself six ways at once-- until he comes crashing back together in the most unexpected harmony you've ever heard. --Philip Sherburne

Amazon.com....


It would not be an exaggeration to say that James Lidell’s the finest blue eyed soul singer in years, and thankfully he puts his pipes in service of the right stuff. Dude can seriously sing–one minute he reminds you of Otis, the next Sly, a brief detour through Marvin, a serious Prince workout, and then the dude goes and nails a great take on Stevie ’s style too. The production is really inventive and subtle. Songs like "Multiply" and "Game for Fools" start out sounding spot-on retro at first, but then little touches sneak into the mix later on that are decidedly modern – the crazy keyboard solo on the former and the drum programming and subtle vocal effects on the latter. What keeps Lidell from massive cheesiness a la Jamiroquai is evident on "The City," the only real link here to Lidell’s previous crazy-beats-heavy and effects-laden solo album and his work with Supercollider. Its inclusion here helps ground the album in the present, and along with the brief live clip included in the enhanced portion of the disc, it is clear Lidell is a major talent. –Mike McGonigal

some guy on amazon.com posted this from Igloo Magazine's Review


For the past few years, I have been rather vocal in my dissolution with the state of electronic music -- and more so, with the entirety of the commercial music industry. In that time, I have witnessed a throng of cookie-cut artists taking themselves way too seriously, using the same preset sounds, flimsy beats and geometric graphic drivel to market their flop. Now, as a reviewer I know it's not ethical to make such a blanket statement, but I happen to also wear the blessing of "indie label owner" (see Nophi Recordings) and am therefore subject to the curse of "dozens of bad demos every week."

So, where is this rant going? I'll tell you. Jamie Lidell's Multiply is the kind of recording I dream about getting in the mail. Granted, it's on Warp, so I would hardly say this is a demo by some unknown IDM calculator nerd, but it is imbued with the kind of spirited musicality and freewheeling joy that I look for in the artists I release... you know... the wanton musical lust which so many artists lack. (see the Id according to S. Freud)

The first thing I want to point out is that Multiply is not an IDM record. In fact, I would say this record is actually 75% old-school soul, owing much to live instrumentation and the prophetic teachings of Wilson Pickett and Otis Redding, but not James Brown. In other words, Multiply is neither revolutionary, nor highly innovative, but a tasty slice of the soul-flavored bundt cake. What makes this disc so palatable is the masterful production and execution of ten great tunes by a rather unlikely candidate from a somewhat likely label. Traditional soul tunes like "Multiply," "What's the use," "What is it this time" and "Game for fools" shine super bright -- lending their love embrace to the more programmed sounds of "When I come back around," "A little bit more" and the trudging and chaotic "The city" (which brings an awkward bit of 60's psychedelia to the disc.)

I must commend Warp for its willingness to adapt, innovate and take chances with artists like Lidell, !!!, and Vincent Gallo. The post Aphex/Sqaurepusher world needs more good songs and less over- calculated, computerized circuit-puke. If you are aspiring to be a producer or electronic musician in general, you should most assuredly add Multiply to your list of must-have albums. You should also consider spending some of that bread you're saving for an overpriced synthesizer on a busted-ass drum kit or bass guitar. It's only a matter of time before the REAL music fights its way out of your machines and back into your hands.

http://www.prince.org/msg/8/171897

JDINTERACTIVE said:

Aww my bad.. I tried a search and obviously I didnt do somethin right...



well cool then

Sdldawn said:

No worries. Its good that the word is being spread. 'Multiply' is only a small reflection of what Jamie's all about. His live shows are definetely where it's at. Be sure to check out the live clip I've included on the previous thread.

JDINTERACTIVE said:

Will do