Lively and brilliant percussive sounds start and maintain throughout this work. I've asked around to some of my fellow DJs and none have heard of this "multiplatinum selling producer" whose press release claims house music disciples; From where and who? I'll just act like I didn't read that, okay? Fuel-up an Onassis jet and let's take-off to his newly-discovered region of Santorini. Be prepared to stay a while with Osunlade under the "Aquarian Moon" [BBE Records], for this is the musical equivalent of la isla l'amour. His release aptly describes this 'soundscape' he wants to share.
The album disc is embraced by deep bass throughout – that full, tight-but-soft and round bottom we all like, with various true beats and titillating tempting tempos to beseech thee musical sensitivities. The bio says this was "recorded live" – where, in the invisible studio? There sure is no audience or crowd on here!
In his musical mind, this is maybe a testament to the Greek Gods, as he thusly named one of the songs; yet he stays sufficiently grounded as to keep his enchantment growing track by track. We first embark with the short intro "Thira," with stings as I like them, his imaginary curtain rising; add vocals and shake well. "Aquarian Moon," the title song and cut two left me wanting at first, and thereafter. Like I said before, rich bass forms a gourmet musical marinade, otherwise on this one, the ending describes this particular planetary excursion – cold. So let us get ignited by one of the hotter selections, cut three, "The Day We Met For Coffee," which brings to mind the mysteries of the Kama Sutra, while whetting your appetite for a li'l afro-java with the whipped cream on top under the morning sun with your light-sensitive shades on, your mind playing the previous night in rewind mode.
Ahh, track four, "Flow," neither jamz or grooves, it is a spooky little endeavor. Next "Fingerblood" provides one of the only traditional jazz moods of the effort, while the next cut is a funky tailchaser from the start, aptly named "Circles." Track seven opens with a drum solo with the same beat as the Gladys Knight & The Pips classic "Heard It Through The Grapevine." The similarity stops there, although it still keeps your feet a-tapping; don't get me twisted! Cut ten was written to reflect the title "Casablanca Soul."
Oddly enough, in the midst of all these cultural multitudes, track eleven, "Music For The Gods," is the most viable for radio, and the one I would release as a single becasuse of its familiar-sounding intrumental hook. Osunlade plays all kinds of stuff. This St. Louis native even extracts music out of such traditional items such as the mini moog, electric bass, drums, and piano!
There is a really long pause between the last two cuts on the disc, and I wonder if this was intentional or not. There is a clue in that the last track, is labeled '(Hidden Track) *In Flight,' however the only purpose it serves is to cause the listener and/or their CD player to skip on to my loo – the next disc loaded. Why would he want to hide the one link to his musical past collaboration with the inimitable Roy Ayers?
In a while, things make cosmic Greek Isle sense again. After all, supposedly that is the place Osunlade ( I always have to look at that name when I write it) drew inspiration for this work from. Whatever – take notes and feel what I call deeply this inspiraloovey [rhymes with "groovey"] session.
If his upcoming fourteen city tour doesn't include your city, then nag'em at www.BACKSPINPROMO.com . Hint: he is from Chicago, so you know where else to look... "Aquarian Moon" is very listenable, and I would recommend loading it into your car's CD changer for this summer's road trips – it may distract you from the price of gasoline. It is a good four-star effort.
