Groove Armada Albums (5)
What The Critics Say
Groove Armada survived longer than most in the downbeat scene because they were able to move beyond the usual sample-plus-beats formula that so quickly lost its currency by the end of the '90s. Andy Cato and Tom Findlay could create tracks with or without samples, and their production skills put them in close company with the best in the business (Air, DJ Shadow). (They even used a Jay-Z beat better than, and previous to, its commercial-rap appearance -- on The Black Album's "What More Can I Say" -- and hired Jeru the Damaja to give it a better feature.) As before, the duo trawls British clubland of the past 20 years with surprisingly great results, spanning grime features like "Get Down" (an excellent single) and housey, digitalistic productions on a pair of Candi Staton features that are worthy of Massive Attack themselves. Prince gets extra props, with the funk extravaganza "The Girls Say" (featuring the great Rhymefest) and a refreshing look at mid-'80s neo-psych with the single "Song 4 Mutya (Out of Control)." Critics could (and would) say that there's little here that tells you what Groove Armada sound like (aside from their influences), but the productions are perfect, the hooks are miles-wide, and most of the vocal features turn out well. ~ John Bush, All Music Guide
What The Critics Say
Though Groove Armada's Andy Cato and Tom Findlay have been justly praised for their production talents, the duo's fourth album, Lovebox, takes them down the path of production gloss. The opener, "Purple Haze," features Nappy Roots backed by a restrained guitar grind, while Richie Havens (making a repeat appearance) contributes yet another deeply felt performance on "Hands of Time." "Final Shakedown" rips a page from the Basement Jaxx book, with a swinging, slapping house production and the ragga-tinged vocals of Red Rat. "Madder," the only track on the album performed by a band, rides a groove straight out of the Clash's "Magnificent Seven," with a solid sung-spoken rap by M.A.D. Another track that works well is "Remember," a gradually ascending epic with a sampled Sandy Denny vocal (lifted from Fairport Convention's Unhalfbricking) echoed by the affirmations of the London Community Gospel Choir. ~ John Bush, All Music Guide
'Goodbye Country (Hello Nightclub)'
Release Date 9/10/2001
Tracks 12
Label Jive
See Album Tracklist and Review
What The Critics Say
Far more than just a sampladelic trip-hop group by their third full album jaunt, Groove Armada began solidifying its reputation as one of the most copacetic production acts in electronica, equally comfortable building grooves behind folkie Richie Havens, disco maverick Nile Rodgers, and underground rapper Jeru the Damaja (yes, all three make appearances). The pair kick it off in grand style, recruiting Jeru (one of the most underrated rappers in the hip-hop world) for "Suntoucher," a breathtaking production that seeks the middle ground between a classy spy soundtrack and a classic rap track (straight out of DJ Premier's playbook). The trailer single, "Superstylin'," is another great track, a smooth, swift fusion of acid house and dub with the chatting of frequent collaborator Mike Daniels. Groove Armada isn't just branching out from "juvenile" sampladelia to more "mature" band productions, the duo's getting better at making music. Unfortunately, problems arise when the pair mature so far they soon reach the bland, ultra-smooth side of adult contemporary. The two features for Richie Havens ("Little By Little," "My Friend") are prime examples; the bright acoustic guitar and Havens' wizened growl are the only "edgy" elements in the entire productions. "Lazy Moon" and "Fogma," a pair of solid instrumentals, bring it back slightly, though Groove Armada would be served best by sinking back into the underground and not adjusting its sensibilities to its collaborators, no matter how respected they are. ~ John Bush, All Music Guide
What The Critics Say
Groove Armada's second album finds the pair expanding on the sonic range of 1998's Northern Star, spreading out to Franco-electronic pop ("Dusk, You and Me"), big-beat techno ("If Everybody Looked the Same"), and laid-back funk grooves (the masterpiece titled "At the River"). Though it often seems they're throwing change-ups more to show listeners what they can do, Vertigo achieves the effortless grace of a varied repertoire. ~ John Bush, All Music Guide
What The Critics Say
This is what happens when you let George Clinton fans start experimenting with ambient house. True -- unlike what their name probably implies, Groove Armada stumble off much more into funk's flamboyant territory than groove's hypnotic subtlety. Which actually isn't so bad. Because here in the band's debut album, Northern Star, such genre tweaking works nearly every time. You get the primal rhythms of "Entrance to Zanzibar" or the Air-like French house of "Dirty Listening," and it sounds soothing as well as unique. It's as if Ninja Tune's mischievous ambient artists (Funki Porcini, The Irresistible Force, etc.) were reinforced by small spikes of traditional melodies instead of just "quirky" samples. The album does tend to shilly-shally by repeating such tricks (the less said about "M2 Many," the better) -- possibly because the straight-ahead spectral ambience or hands-in-the-air booty shaking haven't bitten the band just yet. Even worse, why Groove Armada's majestic "At the River" is strangely absent from the album is anybody's guess (thankfully, rectified later in the band's Vertigo). Which means that as a statement, Northern Star might overall leave one with a plain aftertaste, but the smart laid-back funk of the album will surely have most curious palettes satisfied. ~ Dean Carlson, All Music Guide
