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Dewbury expands on this philosophy. "There's a lot of great modern music coming out at the
moment, but so much of it is soulless, dark, not really saying anything - maybe it's a sign of the
times. We wanted to give our album a very positive feel, which kind of goes against the grain. We're
both children of the 70s - it was a very optimistic time musically. We're continuing that spirit,
aren't we?"
"Very much so," Ben agrees. "Not just because it's old, but because it was right then
and it's still right now. We began writing this album around the Millennium when people seemed to be
more optimistic; a small period of time - 1999-2001 - when the world looked like it may be a more
peaceful place with the horrors of the last century slipping into the past - until September 11th. We
have tried to capture some of that early optimism in the record and made something that can bring
joie de vivre into some peoples' lives again."
Thus, Rapping With The Gods. But which gods? "The album is spiritual rather than religious,"
says Ben. "When you think about the lyrical content, it's all about exploring a larger
consciousness. It's certainly non-denominational. Wouldn't it be great if there were some other force,
a guiding light out there? I don't know if I believe there is, but surely it's better to hope and keep
an open mind?"
"The best music, for me," Russ continues, pointing to his heart, "is the music that you
feel *there*, that does something for you - natural soul music. I like listening to an album and it's
fat, it's meaty, there's loads to get hold of… So I made one!" Dewbury smiles. "First and
foremost, there is an uplifting spiritual message there, all the way through."
Russ Dewbury is not the only partner to have laid his musical cards on the table. "It's such an
honest record, true to what we like and what we believe in musically," reveals Mitchell, "it
was a very easy project for me to put my name on - I've never done that before but it just fitted this
time. This album is a part of our lives, it really is me and Russ... When you're both in the studio
with the same ideas in your mind, it makes the recording process very natural, very easy."
"To start with we did a lot of talking, feeling out our common ground and discussing our
aspirations for the project. We wanted to have a plan for the whole album before recording the first
note. Russ would bring in a selection of inspirational vinyl gems from his collection."
"For years and years I've been putting things aside, ideas that I thought would be good. But
we never wanted to rely on samples - just use the music to inspire us," Dewbury interjects. "... and once we'd checked a few ideas, we could almost map out the final track just by
writing out a few things: this wasn't always chord structures, melodies or lyrics at this stage,
it was atmospheres, textures, what musicians, components and what we were trying to say within the
track. Even an instrumental has to have a story. Then the actual recording was pretty much filling
in the gaps, like colouring in a picture."
"We wanted to give it the live feel though. There is a certain vibe that you can only get from
live playing." That's Russ Dewbury, the jazz fan talking - but then the music maker in him takes
over. "Then again, it's all very well getting the right musicians in but you have to guide them.
So we did a lot of pre-production, we clearly told everyone what we wanted."
"It's not a record about playing, it's about emotion, and interpretation. We didn't just want to
capture 16 bars and bung it on top of our groove - we were very hands on in terms of direction and
always set the scene for the musicians. The thing is, we haven't got on the phone to any new people
for this album - we wanted to share this with people we have a long history with. It makes a huge
difference if you're working with musicians you have worked with for many years, who are like-minded."
Few people could be more like-minded than Billie Godfrey, the album's main vocalist. "We're
really lucky to have Billie on the project. Her involvement was crucial, with her lyrical and melodic
input and beautiful voice. She has worked with some amazing people over the years, including US soul
legend Don Blackman, Martine Girault and is currently supporting UK soul diva Beverley Knight."
Rapping With The Gods is in many ways a family affair. Alongside Godfrey, the players that Mitchell
and Dewbury have used are all hand picked; from Navasha Daya and James Collins of Baltimore soul-jazz
outfit Fertile Ground to cult Philadelphia-born jazz flautist Lawrence Jones; from bass player Jeff
'The Funk' Walker to Nigerian saxophonist Bukky Leo, one-time student of Fela Kuti. With the
assistance of this formidably diverse line-up, Rapping With The Gods is able to probe not only the
boundaries of nu-soul and jazz but more the essence of what it means to be a British act, here and now.
Ben Mitchell explains how this project can possibly remain whole and in bounds with regard to some
of the tracks with a more global influence. "I do think it's very important, particularly when you're
a European exploring other cultures' music, that you don't try to pastiche your source - you just
absorb some of the influence and then create your own music."
Rapping With The Gods, in other words, is one of those rare albums that succeeds in bringing clarity
and relevance out of a melting pot of diversity - united and driven always by an uplifting theme and an
optimistic world-view. This is the key to its success and the complex formula for all albums that appeal
to listeners right across the musical spectrum.
Above all, Rapping With The Gods evokes memories of the way albums used to be lovingly written and
constructed and should be listened to from start to finish. In Ben Mitchell's words, "We hoped to
give it the spirit of an old album, a journey, with a beginning, a middle and an end. From when you
put the first track on, you should know that you can't cherry pick this album." The much mourned
album art is not lost - it is alive and well, and living in Brighton.
Enjoy the ride!
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