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On his debut, "Maverick a Strike," 23-year-old Scottish-Ghanaian singer Finley Quaye – who sounds like Horace Andy after listening to too many Al Green records – succeeds in cooking up soul-soaked, remix-ready roots reggae music for after-hours '90s dance floors. Laden in Studio One bass lines, Stax-era horns and organs, and African drums and thumb piano, Maverick delicately reshapes time-tested reggae styles, from dub to lover's rock and dance hall, with subtly applied trip-hop trimmings and Lee Perry-worthy lyrical outbursts ("My bass man is a ghost/And my ghost is a news carrier"). It's only when his arrangements fall short (the bland beats of "Supreme I Preme," the stock guitar work of "Sunday Shining") that Quaye becomes trapped by the past; for most of Maverick, he's liberated by it. (RS 778)
LISTEN: Anti-Pop, "Born Electric" (DOWNLOAD MP3)
We used to listen to music in an entirely different way. There was once a time when music was organized into 45- to 75-minute chunks-- often a few standout tracks padded with a lot of mediocre filler, but occasionally designed so that the parts built up a larger structure. Used to be, people would sit down and listen to that lengthy piece of music from front to back in one sitting, resisting the urge to jump to their favorite parts or skip over the instrumental interlude that served as grout between two fuller compositions. These antiques were called CDs. Here's a story about the last of its kind.
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