Michael Chapman Albums (14)
'Time Past Time Passing'
Release Date 10/7/2008
Tracks 11
Label Electric Ragtim
See Album Tracklist and Review
What The Critics Say
While Michael Chapman has often worked with other musicians on his recordings over the course of his lengthy career, on his 2008 release Time Past Time Passing, only his guitar and voice are heard. The self-produced album is more impressive for the quality of his instrumental work than it is for his occasional vocals -- which almost sound like an afterthought -- and the compositions, all written by Chapman, and none of them appearing on disc prior to this release. The guitar playing is very impressive, and might as a ballpark comparison find favor with fans of John Fahey as it's extremely virtuosic yet fluid and expressive, and a little dark in tone. It's not, it should be emphasized, extremely similar to Fahey, despite the inclusion of a song titled "Fahey's Flag." But there are some similarities in the mood it creates, with its mixture of folk styles (which in Chapman's case take in British folk, blues, and perhaps a bit of ragtime), the richness of the guitar tone, and the sense of placid calm struggling with tense undercurrents. Chapman's singing, which on this disc is a dry sing-speak, doesn't add anything of note, though it doesn't significantly detract, and fits in with the material's overall wistful, slightly resigned feel. Though he's a better singer than Fahey, perhaps at this point it might have been best to, like Fahey, focus virtually wholly on instrumentals that let the guitar do all the talking that's necessary. ~ Richie Unterberger, All Music Guide
What The Critics Say
Chapman has long had a fascination, not just with American music, but the American South and West. So an album explicitly inspired by the country should come as no surprise. The joy is how much it highlights his fabulous guitar picking. "Sweet Little Friend From Georgia" and "Coming of the Roads" might seem relatively straightforward, but the more epic "Swamp" and "Gaddo's Lake" delve into decidedly complex territory; in fact, the impressionistic "Swamp" is probably the record's centerpiece. As an instrumental portrait of the southern states it's loving, very finely honed, and played in a way that reminds you that Chapman is one of the best, and most undervalued, guitarists around. Even if "Jumping Geordie" has its origins on the other side of the Atlantic, it still fits in. For longtime fans, "Indian Annie's Kitchen" brings back some memories of "Kodak Ghosts," and throughout small touchstones of blues, country, and jazz slip by. A comparison to Ry Cooder -- most especially some of his soundtrack work -- might not be too amiss, except that Chapman is looking in from the outside, and is, possibly, a more gifted player. ~ Chris Nickson, All Music Guide
What The Critics Say
Dreaming Out Loud finds Michael Chapman in fine form, turning a record that isn't drastically dissimilar from his early work. While it doesn't have the spark of his early albums for Harvest, it has a professional journeyman quality that is appealing in its own way. Chapman plays most of the instruments on the album himself, which can occasionally give the music a stilted feel, but on the whole, it's an ambitious, successful effort that fits nicely into his body of work. ~ Stephen Thomas Erlewine, All Music Guide
'Still Making Rain Remixed'
Release Date 7/25/1996
Tracks 14
Label Making Waves
See Album Tracklist and Review
What The Critics Say
Hopefully this reissue of Chapman's 1993 disc will find a wider audience than it managed the first time around. For those who love his late-'60s work, there's a real harking back to the classic Rainmaker in the title, and even a new version of one of his best-known songs, "Postcards of Scarborough." Doing everything himself, Chapman melds his gritty voice with thoughtful lyrics and rippling guitar work, although he does cut loose on a couple of occasions, on the instrumentals "Akublu" and "Elinkine," while his non-vocal take on "She Moves Through the Fair" glides with an almost ethereal grace. He can still write some stunning, insightful songs, like "Fool in the Night," with its remorse, or the wistful "Falling from Grace." He's still a master of making more from less, using percussion subtly, and making the sound seem remarkably full, but still intimate, with just a few layers of his own guitars. And, like the best singers, he can take clichés (as he does on "Bon Ton Roolay") and invest them with real depth, or make a political piece like "Geordie's Down the Road" accessible and memorable. Chapman has a rare talent, and it's still going strong. ~ Chris Nickson, All Music Guide
What The Critics Say
When Chapman recorded Heartbeat in 1987, it was very much an experimental work for him. He'd had the idea for a while -- one long suite of music -- but it was only the advent of the CD that made it feasible as a listening experience, to be heard in one go without the interruption of turning over a record or cassette (curiously, it was also originally issued on cassette). That allowed the piece to flow and develop as intended, nine sections that blended into a continuous work. It's essentially an ambient piece of gently shifting moods on guitar, with some wonderful unfolding melodies, Chapman trying things he'd never attempted before -- and pulling them all off. Its lightness has found it categorized as new age, possibly the only Chapman album to warrant such a tag, but it's quite fair, since the experience it offers is one of the mind rather than physical. Ahead of its time it might well be, but it certainly stands the test of the years well. ~ Chris Nickson, All Music Guide
What The Critics Say
Originally recorded for Criminal Records in 1980, Looking for Eleven finds Rod Clements and Ray Laidlaw of Lindisfarne handling bass and drum duties, rather than Rick Kemp and Dave Mattacks. The resulting set has a somewhat stripped-down sound to it, though the assorted Chapman trademarks are present and accounted for, right down to the offbeat guitar sounds (Chapman, like John Martyn, has always refused to stick with a typical acoustic guitar sound). This album features more than the usual amount of instrumental work, which makes for a particularly engaging listening experience. ~ Steven McDonald, All Music Guide
What The Critics Say
Chapman in fine form, with the aid of regular bassist Rick Kemp and drummer Dave Mattacks. There are a few synthesizer frills here and there, but these are kept fairly low key in favor of accenting the guitars. Chapman's playing, as always, is top-notch, with the instrumental "Lescudjack" and "Theme From the Movie of the Same Name" providing a snappy showcase for his skills. The songs on display range from slow ballads to the snappy country variant of the title track, all of them played well and eminently listenable. Given the more attractive elements of Chapman's music, it's a surprise he hasn't found more success over the years. ~ Steven McDonald, All Music Guide
