Album Review: RPA And The United Nations Of Sound-United Nations Of Sound

Album Review — 19 July 2010

By shelz.

The last few years in the music industry have found more and more artists walking away from long-held personal styles and blurring the lines between genres as they do so. Most produce vanity projects of questionable quality, but quite a few have pushed boundaries and have forced people to re-evaluate what they like. Making that kind of difference in the business is challenging but very sexy to those with some hefty self –esteem. It was only a matter of time until Richard Ashcroft, ex Verve front man and possessed of prodigious self-esteem, threw his hat in the ring. His latest project is called United Nations of Sound.

The album is a kind of R&B, bluesy, rock, soul thing with a little Hip-Hop sensibility and some gospel thrown in, to boot. The conglomeration sounds fine on paper with Ashcroft as ringmaster, and the idea of the project is bolstered by a who’s who of participants including Reggie Dozier and No ID, the lone listed producer. Unfortunately, everything that looks good on paper isn’t well…good and United Nation of Sounds is a perfect example.

Most of the songs possess some redeeming qualities, but within the overwhelming layers piled, on there is usually some element that manages to short circuit what good that may be present. “Are You Ready” starts nicely enough, with the broad strings that Ashcroft is fond of. However, those are tossed to the side for a Musak-inspired synth, tambourine and canned guitar that appears out of nowhere like St. Elmo’s fire. The lyrics overflow with religious rhetoric. Ashcroft rivals Master P’s “Uhhhhh” with his obnoxious “Owwwww” and he asks, “Are You Ready” so many times, I actually answered. The answer was no.

“Beatitudes” starts with a clap, some thump and some great digital strings. Then Ashcroft starts this weird rap thing, singing a little but not really. The track is strong enough to support his delivery, but the canned guitar is released again and that wha wha pedal at that point becomes unbearable. To make matters even worse, it sounds like Ashcroft and his female vocalist are saying Beatle Juice, which is a bit confusing.

There’s an interesting take on the Delta in “How Deep is Your Man,” which is eclipsed by the unintentional comedy engendered by the title (pause). This song really tries to get dirt-road bluesy, but doesn’t quite make it. “Let My Soul Rest” is a strange stagnant song that just swirls around until it (and you) gets tired. The gravely begging and whining Ashcroft employs is hard on the ears and “Born Again” is really cliché enough for one of those new school Scientology commercials.

All is not lost though. “This Thing Called Life” has a great old school soul vibe and even though Ashcroft doesn’t have the voice to carry this song, his attempt is still very entertaining. The same can be said for “Good Loving.” The production is solid and it’s Ashcroft’s best vocal performance on the album. He drops his new found urban pretentions to get back to basics on “She Brings Me The Music,” but the possibility of producing something awesome is shot down by the raucous ending that had no place in that song.

United Nations of Sound is ironically quite the opposite of its title. It’s an awkward gathering that can’t exist as a singular sound no matter how hard it tries. The production, at times, is great but Ashcroft’s bad presentation and odd lyrics counter No ID’s work. However, the producer is not without fault as some of the tracks drone on with no spark while others flop around with no direction. There are a few bright spots but they are unfortunately weighed down considerably by the rest of the album.

black-thumbs-up out of 5