Nightcruising

2007年には充実のオリジナル・アルバム『House Party』を発表してくれた偉大なる現役ファンク・グループ、The Bar-Kaysが80年の『As One』に続いて81年に発表した作品が世界初CD化！ズバリ“Rick James路線”を追求した作風ですが、オリジナルを超える”バーケイズ・ワールド”をきっちりと魅せてくれた流石の1枚。

By 1981, the Bar-Kays were firmly at the front of the synth-laden R&B pack that would come to dominate much of the scene. But, although they had left their Stax era chops behind, four albums into their Mercury career the band was still capable of flinging some fine funk your way. Best described, perhaps, as contemporary and more urban dance, Nightcruising showcased the band in fine form. Multiple lineup changes hadn't detracted too much from their overall proficiency, a seamless sound ineffably aided by their long-term relationship with producer Allen Jones. The sonics here are slick, bright, and punchy, and when the Bar-Kays are good they're nearly unstoppable, a trait best experienced across the hits "Hit and Run" and the deliciously lunatic "Freaky Behavior," which is packed with electronic antics and just a hint of Rick James styling. But there are other nice touches as well, particularly across the older school-styled "Touch Tone" and "Traffic Jam." Where the band stumbles, however, is across their ballads. They're nice enough to be sure, but listeners have never looked to the Bar-Kays to fill that void. And ultimately, it's this mishmash of style and intent that detracts from the overall package. Rather than try to please everyone, the band should stick to what they do best -- thrill the grooves off a crowd. ~ Amy Hanson|

By 1981, the Bar-Kays were firmly at the front of the synth-laden R&B pack that would come to dominate much of the scene. But, although they had left their Stax era chops behind, four albums into their Mercury career the band was still capable of flinging some fine funk your way. Best described, perhaps, as contemporary and more urban dance, Nightcruising showcased the band in fine form. Multiple lineup changes hadn't detracted too much from their overall proficiency, a seamless sound ineffably aided by their long-term relationship with producer Allen Jones. The sonics here are slick, bright, and punchy, and when the Bar-Kays are good they're nearly unstoppable, a trait best experienced across the hits "Hit and Run" and the deliciously lunatic "Freaky Behavior," which is packed with electronic antics and just a hint of Rick James styling. But there are other nice touches as well, particularly across the older school-styled "Touch Tone" and "Traffic Jam." Where the band stumbles, however, is across their ballads. They're nice enough to be sure, but listeners have never looked to the Bar-Kays to fill that void. And ultimately, it's this mishmash of style and intent that detracts from the overall package. Rather than try to please everyone, the band should stick to what they do best -- thrill the grooves off a crowd. ~ Amy Hanson