One record at a time: 238. Leftfield - Rhythm and Stealth

The 'difficult second album' was released three years after the seminal "Leftism" to big sales but little enthusiasm. Reading the Wikipedia article for "Rhythm and Stealth" you don't really get an indication of the rocky reception this record received, but there's no doubt it disappointed many (including me).

The group's debut album had landed in a musical wilderness, but by 1999 the Britpop fad had died and electronic music was re-emerging once again. This shift of power seemed to leave Leftfield a little behind and they struggled to keep up with some of their contemporaries.

Before the album was released, the initial signs were good as "Phat Planet" was used as the soundtrack to an advertisement that was on heavy rotation. This new material sounded innovative and I'm sure many people bought this album on the back of hearing just this song. Personally, I bought the album on CD on the day of release and ordered this vinyl copy when it was re-released in May 2023.

For me the best track on this record is opening track "Dusted" but some of its impact is lost as it drowns in a the sea of mediocrity that surrounds it. "The Chant of a poor man" is a confused and directionless mess that points to the struggles the band had in realising this record. "Double Flash" has nothing to distinguish it from the bedroom noodlings of any DAW user who thinks he's the next Calvin Harris and "Dub Dussett" is as vanilla as electronic music of the period gets. 

Things do improve a bit with the downtempo techno of "El Cid" and "6/8" war is worth four minutes of anybody's time - but I'm convinced the unfortunate "Africa Shox" only survived the cutting room floor because it features Afrika Bambaataa. 

As a listening experience, this album does not hang together well. All of the flair and inventiveness of the first record is only found in a few of the tracks and it feels like there is a lot of filler. Yes this record sold very well, but most of the people who took it home were left disappointed. 2/5

P.S. It has just occurred to me that I have been reviewing my vinyl collection for just over two years now. Thanks to those of you who keep popping in to read these. I always envisaged my ramblings might get people to either spin their own copies or seek out some new music on Spotify - so I hope at least a few of you have either discovered something new or been reminded of music you may have forgotten about.

One record at a time: 237. Leftfield - Leftfield

In 1994 the UK music scene was dominated by Oasis, Blur and manufactured "boy bands". In these dark days electronic music fans were sustained on a diet of Björk and trip hop that never really left us satisfied. The occasional release by Aphex Twin or Moby managed to stop us succumbing to the temptation of Scooter or Real McCoy, but it was a close run thing at times.

"Leftism" was delivered to hungry electronic music fans like manna from heaven in January 1995. I can't begin to tell you how wonderful this album sounded when compared to the guitar driven dirges and Barry Manilow covers that filled the airwaves back then. Whilst this album finds its origins in dance music, it draws on dub, reggae, downtempo and progressive house to generate a unique and mesmerising experience.

Here I am listening to the remastered special "22" edition from 2017 which replicates the original triple vinyl. Personally I prefer the CD version, but there is so much good music here I'm sure I won't be disappointed.

"Release the Pressure" is one of the most awesome and atmospheric introductions to an album that I have ever heard. Earl Sixteen's vocal soon gives way to dub flavoured techno that cranks up in a hedonistic frenzy. There are lush pads to underpin the swirling VC3 style effects and churning rhythms that make this as perfect a letfield/progressive/dancehall/techno crossover as you will ever hear.

The second track "Afro-Left"  fuses club beats with, what I always assumed to be a vocal by an African mystic called Djum Djum. Truth is that the vocals are simply improvised gibberish by a London based singer Neil Cole. Still, it's a great groove.

The flip side of the first LP delivers up "Cut For Life" which is an edit of the standout track "Song for Life". Most of the elements contained in the original version are here, but things have been shaken up and made a little firmer to satisfy the dance floor. It's a nice alternative take, but nowhere near as good as the version on the CD.

Next up is "Melt" which is a dreamy downtempo excursion set to a haunting mute trumpet and a sample lifted from The Art of Noise. This track offers irrefutable proof that Messrs Barnes and Daley could create supreme electronic music as well as beat driven dance tunes.

The beats return for the relatively short jaunt of "Black Flute" which ticks along nicely without outstaying its welcome. Toni Halliday of Curve provides the vocal for "Original" which plays a little too safe and panders to the trip hop trend started by Portishead, Tricky, Massive Attack and the rest. I bought the CD single of this back in the day but this was more out of loyalty than a love for the song.

Things get back on track with "Inspection (Check One)" which sees a welcome return of TR-909 hit hats and the dancehall vocals of Danny Red. "Space Shanty" sounds great coming from this vinyl and the bass drum kicks away in a relentless demonstration of the precise and punchy bass available from wax. So many synth effects and samples move in and out of this track you can't help but wonder at the creativity at play. 

In what seems like no time at all we have moved onto the third disc and its opening track "Storm 3000". If I had to pick a low point for this album it would probably be here but the breakbeats and dub basslines aren't to be sniffed at. The dub continues with "Half Past Dub" which is a short piece that patches together various samples and quirky synths with limited success.

The final side of the album sees the magnificent single "Open Up" laid out as a nine minute extravaganza of pulsating synths, driving beats and a vocal by John Lydon. I'm not a fan of the Sex Pistols, punk music or even rock, but I have to admit I am impressed by Lydon's contribution here. I used to think the bassline on this song sounded impressive from CD, but it sounds simply amazing from this record. Having whipped us up into a frenzy, Leftfield bring us back down with "21st Century Poem" and the poetic words of Lemn Sissay.

This album is a classic of the genre and its influence is as broad as it is deep. For me this is so much more than dance music, this is electronic ear candy that saved us from having to chose between Britpop or Culture Beat. 5/5