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True, there were the influences of dub

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Shara Nelson: Hearing this voice for the first time is bound to have an effect on anyone. Coming along at a time when British soul music (with the notable exception of Soul II Soul) was in dire straits, Massive Attack brought something truly British to the table. True, there were the influences of dub, rap, hip-hop, soul and electronica, but the amalgam and unshowy nature of it was something new. And as the centrepiece of this operation was Shara Nelson, a woman with an almost frightening level of emotion in her vocals, even the simplest “yeah” or “uh” conjuring up shivers. Even those familiar with the real divas of the past like James, Fitzgerald, Franklin, Simone and Knight couldn’t deny that this was a once-in-a-lifetime voice. Upon hearing “Unfinished Sympathy” it is clear of her (and their) genius; the lyrics – “Like a soul without a mind/In a body without a heart/I’m missing every part” – may be abstract,, but what you don’t doubt is the emotion behind them, what ever has happened to her protagonist, it hurts, and you actually care. It surely ranks as one of the best singles (and songs) of any period. Even in her short-lived solo career she managed some interesting feats: producing a debut album of such depth and uncompromising openness that even her take on Motown with (rather oddly) Bob Stanley and Pete Wiggs gave birth to the haunting “One Goodbye In Ten”. Only in Britain. speed dating

Roisin Murphy: Mostly known for her rather eccentric wardrobe choices and of course the mega-hit “Sing It Back” as the voice of Moloko, Ms Murphy is an artist of underrated vocal and musical ability, being both an instrumentalist and producer-arranger as well as a singer.Early Moloko treats such as “Fun For Me” and “Dominoid” may not have been to everyone’s taste, being in a hip-hop/trip-hop style very of it’s time, but did show the early promise in their wobbly vibes and Roisin’s rather Earth Kitt-esque stylings, but it was “Sing It Back” that quite rightly got her (and partner Mark Brydon) noticed, albeit through an Ibiza-inspired remix by Boris Dlugosch. As stylish as it still sounds, it is better experienced in it’s original incarnation, which is really nothing more than a bongo, bass and diggeredoo, giving centre stage to her unashamedly sexy lyrics (“When you are ready, I will surrender/Take me and do as you will”).

 

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