L.A.B – IV
(LOOP)
Reviewed by Tim Gruar.
It’s been a big and tumultuous year for L.A.B. It started well, with big appearances on the festival stages as well as massive headlining gigs, and the totally mind-blowing “III”. The infectious single “In The Air” was everywhere, and picked up many accolades including a nomination for the APRA Silver Scroll Award and “ Te Kaipuoro Taketake Toa | Best Roots Artist” and “Te Kōwhiri o te Nuinga | People’s Choice” at The 2020 Aotearoa Music Awards. The band also scooped up major credits from the industry and critics alike. Recently the charts blew up, too. Their release ‘Why Oh Why’ hit number one in Aotearoa, ‘In The Air’ was clocking in at number two and their newest, ‘Controller’ had made number four. Surely some kind of record! And all this, despite Covid-19 ruining the live scene for all of us.
The last time I saw L.A.B was on the WOMAD Stage – two days before lockdown. At that time, I caught up with the band who told me they were planning to record new material at Surgery Studios in Wellington in the coming days. Sure, delays happened. And we all have stories of bands that missed opportunities, or had to reschedule their plans. Yet Brad Kora (drums, vocals) and Stuart Kora (keys, guitar), Joel Shadbolt (vocals, guitar), Ara Adams-Tamatea (bass) and Miharo Gregory (keys), still managed to keep their appointment with Producer extraordinaire Dr Lee Prebble down in Welly and laid down some more stunning material.
This album also shows a bit of a change, and an emphasis on soft-funk over darker, heavier tunes. ‘III’ began with the heady rock strains of ‘Personify’. ‘IV’ starts off in a more dance orientated mood. ‘My Brother’ is dripping with 70’s disco, washes of sexy sumptuous strings and synthesizers. The floor is lit up with this perfect slice of Donna Summer/Stevie Wonder styled magic. With all the summer festival slots coming up, this one will go off in the mosh.
“Why Oh Why”, the new number one, is a perfect earworm and another surefire banger. It kicks off with a bit of Lee Scratch Perry influenced ‘archeology’ noise but is really, at its heart a campfire strummer. Like ‘In The Air’ the lyrics are soft and empathetic, a love song or a call out to the un-requited. Depending on your point of view this has a really deep spiritual element to it, especially with lines like “Oh holy Lord I’m getting on my knees/I’ve got that feeling/You feel it too/It’s not easy if we try/Sometimes love we can’t deny.” Or maybe a quiet, romantic moment: “Love, love, love, love/I feel it in my soul/Saying/I can’t breathe/This feeling that I hold”. Who knows – this could be someone’s wedding dance. Either way, it’s a winner. If you are programming a summer road trip playlist, then you’ll want to add this one in. It’ll be goose-bumps for miles.
The Kora Brothers head back to familiar territory with the more dub-heavy ‘Boy King’. As reggae goes, I prefer this style. Deep bass, plenty of reverbs, digital witchery and heavy skank.
Somebody’s doing a blissed-out guitar solo on “Early Bird”, a mid-tempo 80’s funk-rock tune, that reminds me a little bit of Chis Rea’s performance on his big hit “On The Beach”. My only disappointment was that it all ends far too soon!
Halfway through the album is the instrumental “Natural (Accoustic)”. This is the band all sitting around jamming it up in a relaxed, Far-North groove – cue fire on the beach, a couple of brewskies, mussels on the barbie as the golden sun goes down. This version reminds me of Tuck and Patti’s “Takes My Breath Away”. You can also get the full studio version, which is a more funked up version, with more honey sweet vocals. Was Al Jarreau hiding out down here in Aotearoa during Level 4? I think he must have snuck in to the Surgery for a quick session…
“Yes I Do” returns with a Stevie Wonder/Percy Sledge mood. More big strings and funky guitar licks bring in this tune and set it up. Joel is on fire with this one. His vocals are sugar, sweet, charming and soothing. He really knows how to make honey soul music. My only niggle is that the song seems just a little too familiar. It took me all day, but I couldn’t help hearing just a little bit of Wonder’s “Isn’t She Lovely” every time I spin this.
“Never Give Up” takes a different direction, and aligns more with Stan Walker’s current interpretation of nu-soul. Musically, the song is more jaunty and sparse than the other songs. Quick fire vocals, staccato drumming and some very sexy lyrics: “Moving on the dance floor, rubbing you down”. Enough to get a little hot’n’bothered in the clubs after hours.
You can’t forget that L.A.B came from reggae, with whanau from both Kora and Katchafire in the band. So, it’s no surprise that there would be at least one full-on track in the image of Marley and Tosh. If you heard “No Roots” next to “Bush Doctor” or “Legacy” you’d swear this was some kind of unearthed track from that era.
“IJDK”, “Operator” and ‘My Baby” all have lashings of that 70’s soft rock that L.A.B do so well. Nods to Santana, Hall & Oates, Peebo Bryson, Earth Wind & Fire, Amy Stewart, even Shotgun are there in the arrangements. There was a time when the nation opened up the windows, pumped up the stereo and blasted out the neighborhood with feel-good vibes late into the evening. Nobody complained. They were all wiggling along. I think that time is back, no mistake!
Once again Natalie J Mentor has added her unique art for another awesome cover, adding another layer to the whole impressive package. What’s also great about this album is the instant familiarity of nearly every song. Yes, I’ve dropped references and parallels all over this review but you can’t deny the connections. But what’s wrong with that? Younger fans may not even know who Stevie Wonder or Donner Summer or Bob Marley is. Older fans will remember fondly. At the end of the day this is another collection of brilliant, enduring classic festival/summertime feel good music. Aroha is at the heart of every track. Positive vibes are all over it. After the year we’ve all had this is probably the best medicine you can get! Bring on summer!
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