| | Buster Benton Blues At The Top CD Buster Benton Discography of CDs
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A compilation of the two albums Benton made for the French Black & Blue label in 1983 and 1985, this 15-song collection rates with his best. Two separate bands are involved, and the sound changes with them: backed by harpist Billy Branch's Sons of Blues, Benton exercises his R&B-laced chops, while the older hands behind him on "Honey Bee," "The Hawk Is Coming," and "Hole in My Head" (guitarist Johnny Littlejohn, pianist Leake, drummer Odie Payne) assure that the grooves stay more in the mainstream. ~ Bill Dahl
Recorded at Sysmo Studio, Paris, France on May 23-24, 1985 and November 22, 1983. Includes liner notes by John Corbett.
Personnel: Buster Benton (vocals, guitar); Bruce Littlejohn, Joe Beard , John Littlejohn, Carl Weathersby (guitar); Billy Branch (harmonica); Francois Rilhac, Lafayette Leake, J.W. Williams (piano); Mose Rutues, Odie Payne (drums).
Liner Note Author: John Corbett .
Recording information: Sysmo Studio, Paris, France (11/22/1983-05/02/1985).
Photographer: Robert Barclay.
Personnel: Buster Benton (vocals, guitar); Johnny Littlejohn, Carlton Weathersby, Joe Beard (guitar); Billy Branch (harmonica); Lafayette Leake, Francois Rilhac (piano); Bob Stroger, J.W. Williams (bass) Mose Rutues, Odie Payne (drums).
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This album is a soft, embracing musical landscape, perfect for calming the mind and body relaxation. Translucency and multilevel, interpenetration and merger. That is the basic concept of the album. It's an attempt to flow through the space in a dark-purple sounding of clouds. Beyond boundaries of reality. Like the flow of time. This album is good as a background, to help to facilitate meditation and falling asleep, and at the same time just nice instrumental music. -------------- Di Evantile - Infrared Clock (2008) Monday, June 30th, 2008 How I Feel About It : We reviewed Di Evantile's Inertia last December and I remember thinking that Beatrice Clarke went a little easy on it. It seemed a little too Animatronics, too machine-like and the keyboard sounds seemed too cheesy and overused. Even if it was superbly orchestrated (and some of it well-played) it sounded a bit hollow and soulless to me. So imagine my surprise when I drew Infrared Clock to review. I thought, Here's an excellent chance to set the record straight. But Di Evantile changed some things, and for the better. This album is dreamy and trance inducing. It's the perfect music to go to sleep to, without actually inducing sleep. There's something at once modern and primeval about it, and it urges the listener to dream on an epic scale without requiring epic amounts of energy to do it. This isn't a work that I will ever feel passionately about because it's only interested in the passion of dreams, which are usually distant from the dreamer, somewhat aloof and impersonal. Infrared Clock is something of an opiate. What I Think About It Where Inertia had tightly knit arrangements with club-ish drums, Infrared Clock meanders. It meanders in the same way Peter Gabriel does with many of his songs and keyboard parts. It also has a world music feel because the drum tracks (especially track 8, Hidden Element) have a world beat tinge to them that Inertia lacked. It also has an element of Pink Floyd, especially the beginning of Shine of You Crazy Diamond, on the album Wish You Were Here. Last but not least, it shares some qualities with Vangelis' Blade Runner soundtrack and I even hear a touch of Jan Hammer in the mix. The best part about this album is its pacing, the same pacing the Blade Runner soundtrack has, the same pacing as Shine on You Crazy Diamond, and Di Evantile rarely departs from it. If the pace changes on this album, it's only for a very brief period of time. The pace, along with a wide variety ...
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