Nick Pride & The Pimptones is a group of fugitives from Northern Soul featuring Newcastle Upon Tyne, the city in which they work led by guitarist, main writer and arranger, Nick Pride. They take refuge in a sinuous and sensual blend of funk, soul and jazz, minimally debtor to acid jazz, drawing conspicuously to the sophisticated funk, the retro-soul and a kind of original jazz chameleon, which supports research in perfect balanced alchemy, almost a kind of Holy Grail sound characterized by persistent and measured raids up-funk. The brass section is spectacular and often is the master, with the musicians free to play with ease and elegance over unrepentant bass rhythms and drums. When the Pimptones urge to slow down you have the impression of listening to Working Week grappling with music by Stan Getz. They do not disdain reflexive atmospheres heartbroken as in “Do not Break Her Heart” where the tones are very thoughtful evoking the ghosts of Percy Sledge and Sam Cook.
The Pimptones are excellent musicians, equipped with taste and interest to detail. The arrangements are essential, with refined harmonies, designed to respect the initial assumption of Nick, who tried to keep the sound anchored to the roots, the original inspiration, eager to be as direct as possible, creating a combination of deep funk grooves and blue eyed soul captured live in the studio, to freeze on these ten tracks all the excitement of the musicians, avoiding external collaboration that had characterized the previous works, just to preserve the intimacy and the band’s enthusiasm. He has kept it all in the studio, trying not to dissipate the intensity, the urgency and the magic of the sound of these fascinating hip cats.
In previous albums, as well as during live performances, Nick Pride & The Pimptones used to resort to a number of singers, including useful to remember the wonderful voice of Jess Roberts, but in this case, perhaps a result of the musical evolution and the acquired knowledge, it was decided to take on a permanent basis a new queen of soul, Miss Beth Macari, who certainly looks good in comparison with previous singers.
In fact the Beth entry should be enjoyed to the boys because the album does not have, unlike the previous ones, instrumental song.
Songs, then, but it is necessary to emphasize that their structure is ultimately confined to a fairly accurate model of development, with initial vocal sensations of stained funk and soul, developing a central special of moderate improvisation of jazz nature and return to the initial theme. It is a kaleidoscopic jazz with its many facets can adapt to the various souls of this music, a music that evokes the cool jazz as well the world influences of Charlie Haden. The all, I repeat, in a perfect equilibrium condition.
Easy to quote “Baby Can We Start Again”. It is an irresistible song with his bouncy gait and catchy choruses counterpoint by a brass section without smearing. In fact it is output on a single to anticipate the work on long distance. But all the work is commendable, ideal soundtrack for the summer at the gates, but music without seasons that will warm your hearts in the cold winter days.
If still no one could gather, great record.
Buy at Bandimat
Buy CD at Juno
Buy LP + CD at Juno