The Rich O’Brien Project – “Horizons” album review

The latest release from Bristol born bassist Richard O’Brien appears to have been perfectly timed to coincide with the change in weather that has occurred throughout the United Kingdom in March 2014. As the cold, gloomy winter nights gradually give way to spring, and the reappearance of light and colour lift the nations collective mood, an album such as “Horizons” is perfectly placed to provide the soundtrack to this reawakening.

 The influences that have shaped Richard musically are worn proudly on his sleeve, as can be heard on the opening piece “Co-Incidence”. Instantly memorable bass and brass lines provide a rock solid foundation for muscular soloing. Poignant keyboards tease their way through the mix giving the piece a mid 70’s soulful edge, which provides the perfect introduction and sets the stall out for the rest of this release. Not letting the joyful mood slip once, “Strawberry Kisses” bounces forward on deep and dirty bass lines which provides a firm foundation for some upliftingly sweltering guitar soloing. By the third track in the sun is beating down into your back garden and thoughts of cleaning down the barbecue are beginning to become a reality. As the first glass of wine is poured, “Juvenile” gives you no inclination that there is any reason to go back indoors. Tight arrangements again support fluid soloing, which sustain the momentum and keep the album optimistic and inspiring.

The vocal appearances on ”Promiscuous” and “Stay”, rather than disrupt the mood, add an additional weapon to the Richard O’Brien Arsenal of Soul, principally with the introduction of ‘seductiveness’ to the array of adjectives that could be applied to the music on “Horizons”. Slowing the pace down temporarily, “Ricardinho” could not be any more furtive and contented if it actively tried, and is complemented by some sumptuous keyboard and guitar playing that would not be out of place on a mid 70’s Miles Davis release. “Horizons Interlude” and “Nostalgia” provide tender fleeting vignettes compared to the cheerful agendas that make up the rest of this release, but are valuable additions that illustrate the flexibility of arrangement and playing. Tremendous music for the approaching summer months that will also help sustain the mood into subsequent years.

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Richard O'Brien Project - Hot Potato

Coming from a family background with disparate influences ranging from jazz, funk, rock, blues, soul and hip hop, must have an influence on the development of an artists sound. Add in to the mix being raised in the cultural smorgasbord of Bristol, and Richard O’Brien has a head start when it comes to producing music that exhibits spirit, passion and enthusiasm. As well as being an active member in bands such as Trip the Switch, Mango Factory, In Extremis and The Trish Brown Band, he has found time to produce “Hot Potato” under the Richard O’Brien Project.

One look through the list of musical influences should give some indication as to the pedigree on offer; Marcus Miller, Miles Davis, Alice Russell, Cinematic Orchestra and Jaco Pastorius. This release features Matt Brown on drums, Joe Price on guitar, Sam Mills on keyboards, John Herbert, Jonny Pratt and Jonny Bruce on horns, Rich Jones on violin, Jack Skuse on vocals and O’Brien himself on bass.

The album opens with the guitar driven title track ‘Hot Potato’ which is not only drenched in overwhelmingly catchy riffs, but has a progression that is not easy for the listener to remove from their subconscious once the track has finished. The solos are tight and punchy, and are restrained enough to fit appropriately into the songs taut framework. The horn section on “Definitive” again, is tight and uplifting, and provides the tune with a hook that is not easily forgettable.

By the time the listener has reached ‘Momentum’ the pace has slowed and the tender vocals introduce another level to the composition. ‘Whiskey Fever’ shows the band displaying confidence in their abilities and an authentic display of collaboration. The bass soloing is never ostentatious but remains true to the spirit of the music. ‘Sweet Protection’ and ‘Pastiche’ are affectionate, and augmented latterly with the addition of the violin, which is at times reminiscent of the playing of Jon Luc Ponty in the Mahavishnu Orchestra. ‘Frisky’ is, as the name suggests, playful and bold, whilst ‘Funkyard Jam’ lives up to its name, with searing horn and guitar passages that do nothing to detract from the overall collective sound. The album closes with the filthy, throbbing, ‘The Grudge’, featuring solo bass mischievousness from O’Brien....

Read the full review at This Is Not A Scene