Various - Back To Mine: Faithless

DMC/Ultra Records: 2000/2001

Tapping superstar DJs to helm a new compilation mix series is all well and good, but how many superstar chill-out DJs were there, really? The dudes from The Orb, Mixmaster Morris, and a couple others, probably. No, the truly famed acts within this scene remain the producers, and DMC was quick in steering their fresh Back To Mine outings towards the names responsible for creating the tracks heard all over downtempo discs and U.K. mall radios. Groove Armada was the first (because of course), followed by the somewhat surprising choice of Faithless. Yeah, the group was one of the biggest commercial successes at the time, and certainly their album material had plenty of laid-back tunes, but they were primarily known for their mega club anthems. Not exactly on the tips of everyone's earlobes when wanting to wind down, is what I'm getting at.

Still, Back To Mine wasn't intended for the typical punter demographic, and for folks who may have preferred Faithless songs like Flowerstand Man and Hour Of Need over God Is A DJ (*cough*), this would be right up their ally. For Rollo and Sister Bliss, who curated this collection of post-clubbing cuts, felt it a great chance to show off the dusty soul records in their libraries. Aaron Neville is here! Pauline Taylor is here! Tindersticks is here! Mazzy Star is here! Dido is here! Wait, Dido is soul? Well, Brit-soul, but yeah, of course Rollo's sister would be here. She even opens the whole set, though I cannot deny her soft, lonesome croon does create the perfect mood for where Faithless takes us after.

Right into Dusted's Childhood, and mang', let me tell you, this track alone sold me on the album that came out shortly after, enough to at least give it a curious listen. It's like, Faithless, but also not! And then I discovered it kinda' was! Oh, and don't worry, folks. Aside from using Sunday 8PM (from the album of the same name) as a transitional track later on, Rollo and Bliss are done with the self-promotion.

Elsewhere, the duo work in some deep house vibes (Marshall Jefferson's Mushrooms), some garage vibes (Adamski's Never Goin' Down), some funk vibes (Alex Gopher's The Child), and Balearic vibes (Bent's I Love My Man). Really, about the only tune that feels starkly out of place is Paperclip People's Throw, the Carl Craig tech-house jam rather abrasive and too darn long compared to everything else on here. Sure can't play that on the work radio, darn it all. But hey, what's a 'personal record showcase' without a cheeky tune or two? Speaking of, having a crusty, reggae-dub cover of Billie Jean as your capper is a most delectable bit of cheek indeed.

Clearly, I adore Faithless' contribution to Back To Mine, and find it one of the finest CDs of downtime music in my library. I eagerly awaited the next volume but unfortunately, things would go a little screwy with the series on my side of the pond.

Faithless - Sunday 8PM

Arista: 1998

I know I'm supposed to declare Sunday 8PM the only Faithless album you're supposed to have, even if you're not a Faithless fan. It is, after all, the best of their discography, an excellent summation of the group's musical talents, nary a duff track in the lot, and all that good rot. Doing so, though, sells the importance of Insomnia on Reverence way short. I can guarantee there wouldn't be a Faithless as we’ve come to know them without the success of that single. Rollo and Sister Bliss would likely have retreated to other pet projects, absent of critical kudos, legions of fans, and piles of money-cash. Insomnia was so big, everyone doubted they could have topped it, and the debate still lingers whether God Is A DJ does the deed or not.

Still, Reverence was the experiment, everyone working together to see if their vision could work. Lo’, they succeeded, but having spent such a brief amount of time on it (a month!), what could they do with more prep and production? The answer is Sunday 8PM, an album that takes everything that made Reverence such a charming excursion and refines them into a wonderful whole.

You’ve got the chill-out instrumental opener The Garden fusing all sorts of influences like trip-hop, acoustic folk, and cinematic dub. You got rugged conscious hip-hop fused with melancholic orchestras on Bring My Family Back. There’s crackly folk-hop Postcards, which actually samples a Dido song released that same year rather than cut another vocal for the track – guess Rollo couldn’t help being efficient there. Why Go? goes for the full soul croon, which I thought was sung by Faithless’ still-employed soul-croon extraordinaire Jamie Catto. Silly me, he’s on the gospel-hop Hour Of Need, whereas that silly-hatted DJ Boy George gets the vocal on Why Go?. Elsewhere, Dido gets an actual song for herself in Hem Of His Garment, while Maxi Jazz throws in another sexy song with She’s My Baby. His shining moment on this album though, is Killer’s Lullaby, a chilling tale of sinister thoughts and deeds. The production on this track is positively stunning, starting with a soft, unassuming ambient session, then unleashing harsh trip-hop weirdness, and hitting a climax of cascading harpsichords and apocalyptic choirs, ending with a final, quiet denouement. Holy descent into madness, Batman!

Oh, and there’s two smashing club anthems in here too, God Is A DJ, and Take The Long Way Home. You’ve heard them, especially the former. I don’t need to talk about them as much.

Another feature of Sunday 8PM that trumps Reverence is just how well it flows together, including partial mixes between some tracks. The first Faithless album had good flow too, but this one’s sequence is sublime, shifting moods from introspective to exuberant, from harrowing to jubilant. It’s definitely one that deserves the full play-through treatment, though any track stands strong on its own too. Yes, even that titular sonic doodle in the back half. That bass pitch, mang!

Faithless - No Roots

Arista: 2004

Faithless had to know they needed a shakeup. The various members weren't feeling the synergy quite so strong as the years wore on, other pet projects taking their time away from being one of the biggest bands in the UK (huh, that sounds familiar). They had enough built-in good will with their fans that stretching their musical ability wouldn't alienate many anyway, so why not try something different while the opportunity was there? It's not like it'd abruptly end the group. Haha... eh, well...

Still, No Roots was popular enough, earning Faithless their first number one album on the UK charts. It’s mind-boggling that they never accomplished it with any previous LP. You’d think at least Sunday 8PM or even Outrospective would have climbed that high since those had much bigger singles in their favour (the group was still too ‘underground’ in their Reverence years). Generally speaking, Outrospective did have better success abroad, but most of the world had moved on from Faithless by 2004, whereas their native land still had much love for them (for a couple more years anyway).

No Roots may not have garnered the same mass appeal as their previous albums, but I wager this is Faithless’ best album-album after Sunday 8PM. Though the group dared to blend genres few others would in their previous LPs, their old formula was getting all too predictable. Here’s the trip-hop conscious track with Maxi Jazz. Here’s the Big Obvious Club Anthem. Here’s the world-weary folksy singer song. Here’s the Dido guest spot. Here’s the other Big Obvious Club Anthem. Here’s the other trip-hop conscious track with Maxi Jazz. Here’s the quirky track. Here’s the blissy instrumental. Hey, it was a very effective way to arrange an album, but doing the same thing three times in a row seems self-defeating for a group known for their dynamic musical abilities.

No Roots opts for a different, erm, route. You still have the same markers, but they’re blended into the flow of the album far more effectively. Heck, the entire record flows wonderfully between tracks, making the whole thing come off like one long song. Example: after the rousing build of I Want More (the first of the Big Club Anthem on here, though not as Obvious as prior hits), the drop into chipper, jazz-hoppy Love Lives On My Street is hardly forced, sounding as natural a follow-up as anything could. Another significant change to No Roots is the inclusion of LSK, providing an urban R&B croon in contrast to the khaki-clad style prior guest singers had (Jamie Catto, Boy George).

Elsewhere on the album, you get deep house (Sweep, Miss U Less, See U More), classy clubbier stuff (What About Love), acid ambient (Pastoral), and a little rock action too (Swingers) among the dependable trip-hop tracks. Plenty of reprisals throughout too, adding to the sense No Roots was designed with a full play-through in mind. Listen to a Faithless album in full? *gasp* No skipping to the hits for you, pal.

Faithless - Reverence

Cheeky/Arista: 1996/1997

Given all that we’ve come to adore about Faithless, the wild genre hopping on their debut album doesn’t seem so daft anymore. Why of course they’d go from handbag house to gospel folk to trip-hop bop – it’s what they do! On the other hand, electronic music’s seen nearly two decades of deconstruction since, rendering Reverence more of a novel dip into uncharted dance waters than anything astoundingly shocking or ground-breaking. Come to think of it, it’s not like the album was that far removed from the liberal dance-fusion going on in the UK earlier in the ‘90s either. Tell me what Faithless had that groups like Stereo MC’s, 808 State, or Primal Scream didn’t have. Oh, right, those super epic house anthems. Okay, two things. Oh, right, a brilliant producer in Rollo. Okay, three- y’know what, forget it.

As the mid-'90s rolled on, Rollo and Sister Bliss were already a prominent tandem within UK clubland, but the duo felt they were capable of more than kicking out singles for amyl house heads. They also suspected the audiences that fist-pumped to their tunes on the weekend might enjoy a slower, relaxed vibe when chilling at home. And they be right, trip-hop gaining all sorts of critical and commercial traction at the time. No surprise that YOLO-Rollo and Madame Bliss would throw their hats into that lucrative pile, but they lucked out in landing a chill, conscious-leaning MC with an incredible amount of spiritual charisma. Wait, how is that lucky? Maxi Jazz' style of lyrical manifestation should have fallen flat on its face in an era of gangsta' boasting, yet punters quite enjoyed his laid-back words of wisdom and anecdotes.

Then there’s the other half of Faithless’ vocals, Jamie Catto. Most know him these days as Who’sThatNow?, but way back in the group’s formation, he was just as vital a component to the Faithless sound as your Maxis and Didos. He provided a husky, soulful croon that complemented Rollo and Bliss’ dalliances into R&B and gospel, making songs like Don’t Leave and Angelina all the more powerful for it. Wow, considering I was kinda’ blasé about his songs when I first played Reverence, I never thought I’d miss his presence in later Faithless albums. Guess it helps to grow an appreciation for music outside the easy ear-candy of plucky stadium house bangers like Salva Mea and Insomnia.

Was that the plan all along, woo in the clubbed-up caners with a pair of undeniable anthems, then drop serious music education on them when they buy the album? Mr. Armstrong and Ms. Bentovim never claimed as such, merely making the tunes that captured their interest (in less than a month, no less!) and letting the chips fall where they may. The duo sound just as surprised by Reverence’s two-fold success in interviews, though they must have suspected they had something unique going for them. The only fault with this LP I can make is Faithless had yet to realize their full potential.

Faithless - Outrospective

Arista: 2001

Contention time: Outrospective isn’t a good album. There’s good music, sure, some of Faithless’ best compositions. There's also ample amounts of weak sauce; a sense of the group going through the motions (was Rollo saving his best new stuff for Dusted?). Not that it’s surprising if they had run out of ideas three albums in, having seemingly explored every facet of their inspirations on Reverence and Sunday 8pm. What need was there to rehash the same formula if the song-writing just wasn’t there though? They’d proved capable of free-wheeling genres, earning chart success and underground cred’ in the process – why not mix things up, go in an unexpected route? (erm, which they did with No Roots, but that’s another discussion)

First off, the club anthems on Outrospective are some of Faithless’ worst work ever. We Come 1 has its fans, but it sounds like a parody of the Rollo/Sister Bliss club banger stylee. The breakdown kills all momentum the track had going for it, the hook is one of the lamest farty noises I’ve ever heard for an ‘anthem’, and the build keeps teasing and halting and pulling back and for the love of God just get to the point already. It’s like El’ Rollie and Miss Bliss had finally hit their creative wall, stuck figuring out how to top God Is A DJ and failing miserably in the process. Compared to the club anthems they kicked out on the regular – even the unheralded b-sides remixes - We Come 1 is just sad. Tarantula’s at least better, not wasting as much time dithering about. Neither serves much purpose in the context of this album though; both come off like pandering, obligatory Faithless anthems because it’s what’s expected of the group. Small wonder such tunes were jettisoned in No Roots.

Still, Faithless albums held their own thanks to the downtempo, introspective moments, with either Maxi Jazz philosophizing about his youth and contemporary issues, or something more folksy with a guest vocalist. We get that with Outrospective too, but aside from the Mohammad Ali tribute, um, Mohammad Ali, little stands out the way prior songs did. Nothing delightfully daft as Baseball Cap and Dirty Old Man, nor anything gripping and tense like Bring My Family Back and Killer’s Lullaby (Giving Myself Away comes close as a tale of a destructive relationship). Elsewhere, Dido sings the chorus on One Step Too Far, which was a huge selling point for Outrospective given the massive star she’d attained by 2001, to the point her presence overshadows everything else about the track despite offering very little in the way of lyrics. That said, Zoë Johnston’s debut with the group is a nice addition, providing a more ethereal, British countryside element to her songs (Crazy English Summer, Evergreen).

Despite my general disappointment in Outrospective, the final run of tracks in Code, Evergreen, and Liontamer (now there’s a great build!) do make the album worth an occasional throw-on. Just not as often as other Faithless LPs.

Faithless - Insomnia

Blow Up: 1995

There has to be a zillion versions of this single out there (“Sixty-one,” gruffs Discogs. “Get your facts straight.”), with just as many remixes. The one I have in my possession is among the earlier copies, though not the earliest. No, those ones have the smiling Cheeky boy mascot on their covers, released at a time when the notion of Faithless as some sort of super-group was nowhere near folks' minds. Then, of course, everyone heard Insomnia (no, not hyperbole – everyone did, whether you liked it or not), and lo', Faithless was off and running. However, that old cover just would’t do, far too tacky for one of the biggest club singles ever. Quick, what’s available as a replacement? A group shot? Fine, perfect, whatever, it’ll do, just go, go! Get that tune in the stores pronto. And start figuring out something better for later. It must be far more eye-grabbing than the group standing around laughing. Something artful, and reminiscent of the forthcoming album, yes?

As someone residing in North America, it feels odd having this ‘middle version’. We got Insomnia two bloody years after it first hit the streets, which is understandable to a degree. Faithless’ shtick was unlike anything marketable in the big U.S. of A. Heck, they were still trying to figure out groups like Chemical Brothers and Prodigy, and now here’s something that has elements of that cheesy euro dance stuff, yet is stupidly popular and somehow seen as artistically credible. What is it, those barely sung lyrics from Maxi Jazz about suffering from insomnia?

Yeah, funny thing about those lyrics. You can take them at face value, about a poor chap who just can’t get no sleep, but gander at this theory: how many of you out there have had a night of partying or clubbing where, at some point, you’ve consumed a substance that was just a bit too stimulating. Woo, that rush was fun, but fun-time’s over and you’re feeling kinda tired now. Off to home, get some sleep, recharge, recoup, twist, turn, what the Hell, why can’t I fall asleep? It’s been hours, there’s daylight, twist, turn, and still nothing. Good Lord, what was in those things? Am I ever gonna sleep again? This is ridiculous! Wait, did I just fall asleep now, only to pop awake scant minutes later? I’m… not sure. Greasy insomnia, please release me!

I’m not saying Insmonia is an ode to all those poor clubbers who took too many stimulants, but that, coupled with that oh-so memorable anthem hook at the peak of the tune, definitely made it a club classic that Faithless seldom ever topped in their following career. Not bad for a tune that, fundamentally, could be called ‘epic garage’.

Oh, this CD? It’s got all the ‘first generation’ mixes on it (Moody, Tuff, Original, CEC, and Monster mixes), though the Monster Mix is edited. Only thing unique about it is the cover. Guess that’s why I was sucker enough to snag it.

Faithless - If Lovin' You Is Wrong

Cheeky Records: 1996

Of all the tracks to pluck for single duty from Reverence, they went with this one? Insomnia and Salva Mea were no-brainers (lead-ins, to be honest), and Don't Leave made for a decent third. If Lovin' You Is Wrong always struck me as novelty track though, like Baseball Cap or Dirty Old Man - something to spice the album up with cheeky fun so it didn’t get weighed down with po-faced seriousness. It's definitely the most erotic you'll ever hear Maxi Jazz, the sort of sexy come-ons you wouldn't expect a pseudo-religious lyricist to indulge in (sample: “Eat you like a cannibal.” Classy.). Heck, in retrospect, the entire track feels at odds to Faithless’ discography; at least, to the extent I’ve kept tabs on the group, as their post-Outrospective material hasn’t graced my ears much. That’s a topic of discussion for later though.

As with a lot of Faithless music, If Lovin’ You Is Wrong defies easy description. I suppose Prince-influenced R’n’B is the easiest lump, borrowing tempo and sounds of that genre (oh so much womanly moaning throughout). But ho, there’s more: beat scratches, clanking percussion, and a gospel chorus! I... don’t think I’d want to hear that while “tearing off tights with my teeth”. Wait, that’s a different song. Overall, the tone is just too goofy to take seriously as a slice of pure eroticism, despite Maxi Jazz’ sexy descriptions of unhinged love making. Like I said, more of a novelty track following the uber-anthem Salva Mea on the album.

The single comes with a Sexy Edit (just the album version), and a Cleaned Up Edit, which removes all the moaning and adds more light-hearted bounce to the music. Oh, and some lyrics are changed. Instead of eating you like a cannibal, Maxi Jazz will “eat you like caramel.” That’s actually more erotic, come to think of it. And speaking of coming, Mr. Jazz initially said, “If you come first, well that’s the worst”; now he says, “If you go first, well that’s the worst.” That’s... um, that’s just lame now.

On the backend of the CD, we get a pair of remixes courtesy of Rollo and Sister Bliss (I assume, what with no other credits listed). The Slowly Risin’ Mix opens with Mr. Jazz singing his opening verse without any musical backing, a boogie-woogie bassline eventually emerging. Pretty fun stuff, and then it’s off to house land, getting a little prog, getting a little bosh, and, of course, a little hands-in-the-air. Not bad, but if you prefer it when Faithless goes for the full-bore anthems, then check out the Inflammable Mix, about as unabashedly over-the-top as the group could get in the ‘90s. For that matter, how’s this track even related to If Lovin’ You Is Wrong? Admit it, Rollo, you and Ms. Bliss just had another anthem lying around in demo form, and slapped it on here under pretence instead, didn’t you. Oh well, as far as b-sides go, it’s worth scoping this single out for.