There is a new collection of thematic music not yet in if not on the air. Get your trench coat and droopy spy cap out of mothballs, fore it is time for a whiff of ‘60s Peter Sellers cloak and dagger, Mad magazine’s Spy vs. Spy and just plain good groove to get you unsettled in your seat, as Jim Baron and Bob Sadler of Nottingham in the U.K. sleuth into our Eustachian tubes as Secret Stealth with their third album, “Hooked On You” [Kosmica 87430000420]. The duo is no stranger to helping stars, but may have to get used to the spotlight after having remixed for Whitney Houston and Aguilera tracks among others, they may now get “Hooked” on center stage – and maybe they should.
Lots of instrumentals here, and in most instances I don’t even miss the vocals; what words there are only serve to augment the selected songs where they play key roles and shine brilliantly. Cut one “Drive Me Cra-zaay” [Crazy] at once evoked my memory banks to Nu Shooz 1986 “I Can’t Wait” for a possible mix. I did it on the air, and it works thanks to pitch control. They are similar in the girliness of the vocal with Holly Backer doing the honors and breaking-off a few Chaka Khan and Vesta Williams notes while she’s at it. It is also a great example of excellent song positioning as they embark upon the musical mission.
“High Riser” has a slightly slower Stardust, “Music Sounds Better...” pace along with Thom Bell-ish, be they synthetic strings, surrounded by a bawdy instrumental arrangement.
It seems everybody wants to include an obligatory Jamaican cut these days even though the novelty has worn-off during the past thirty-some years. And while our strategic heroes have clandestinely not let the massive down in that regard with the slightly forced “Gwann’in”; ask a Nesta notable next time guys, for true groove guidance. “Wacky Backy” reminds me of a par amour I once heard of – no check that; positively reminds me of the group War with the Lee Oskar type harmonica riffs. “Whew, that was close!”
The title song, ‘Hooked On You” is what they call a ‘lounge track” these days, and I can’t believe I used that term for what is otherwise smooth and laid-back disco and a prelude to one of my two best cuts on this album, “Dream Of You”; a Loose Ends-style soulful and jazzy dance, setting carried by a luscious female vocal, and it is no wonder that it was a big hit on British radio – if this is the same dreamy cut the press release ballyhoos.
Next, “Going Back To Denver” is a real change-up. Almost folksy-Country music complete with pickin’ guitars, and then the cloaking device again – an SOS Band-like beat kicks in with strings layered like cheese on a Philly steak. What we have is a very tasty melodic feast! This is the other track that I said could be my fave cut; one that you can settle the day with while thinking you to think creative, transporter-room soundtrack thoughts. The nest two, “Here To Stay” and “Manage Tout” allow a respite to digest a bouncy and familiar stateside version over strong beats right off the concealed bat.
“Free” ends this secret mission on a very friendly, jazz-funk note with a hint of Euro café. Plaintiff strings set a heartfelt tone; yearning and moving, touch-and-turn-style on the dance floor. The vocals are Larry and Fonce Mizell-style, evoking memories of Washington, D.C.’s Donald Byrd arrangements of the late ‘70s and early ‘80s.
Listening to this album with mediate and needed introspection I predict four-and-a-half stars will finally materialize.
