Customer Reviews

Obsession

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1 star:		(2)

 

 

Bob James' "Obsession" is one of those rare CDs that just oozes with perfection. A disc where you never skip a track because you don't like a particular song. But even above this CD's delightful music is its value as an audio tuning tool.

For over a decade, every piece of audio equipment I have bought has had to undergo (and pass, if I intend to keep it) the Obsession test. That title song is simply amazing! It is the most perfectly recorded and engineered song I have ever heard. Frequency response, channel separation, signal level- I have literally listened to this one song over a thousand times (an obsession??), and to this day it still amazes me. You can find flaws in practically any stereo equipment with Obsession. Every speaker, every amplifier or receiver, every set of headphones, every equalizer, every CD player that I have owned since first getting this CD has been broken in with this song. And yes, it really is good enough to pinpoint sonic differences between two CD players.

Oh yeah, the music... The pace is rapid throughout, opening with the frenzied (and VERY appropriately named) title song, and only slowing down for the very pensive "Rain". "Gone Hollywood" makes a profound statement, even 15+ years after this disc's release. And Mr. James' attack on the piano in "3 A.M." is absolutely unforgettable. Again, the tonal quality of this entire CD is superlative, and no two songs sound even remotely alike.

"Obsession" is a timeless classic that has become my one and only test disc for every stereo I own (home, computer, and vehicle). You simply cannot go wrong in buying this CD. If the content doesn't hook you, the sonic purity will.

Not many albums blow you away on first listening. This one definately does. I bought this album in 1989 and still listen to it regulary now and each time is just like the first. Simply fantastic. Also this album is aways played at Wembley Arena in London before a concert.

So many reviews have been written about this CD but none have the musicians on it. So, that is what I will do for you: give you the musicians for this CD. Randy Brecker & Jon Faddis (trumpet); Mike Brecker, Andy Snitzer & Kirk Whalum (sax); Sharon Bryant, Renee Diggs, Lisa Fischer & Vaneese Thomas (vocals); Steve Khan & Nick Moroch (electric guitar); Marcus Miller (electric bass); Lenny White, Mike Colina, Ray Bardani & Bob James (programming)
Enjoy this CD!

First, I am 50+ years old, a keyboard/synth player, and my two favorite genres of music are electronic and jazz. I do not look down on Bob Jame's music as a whole but it is not what I call jazz - it is jazz inflected instrumental pop or jazz lite. And Bob is a master of the genre and a great pianist. Now you know my basis. There are 2 or 3 Bob James Albums that I love - Obsession, Ivory Coast, and maybe Grand Piano Canyon. But this is number 1. There are three great works in this style for me - Obsession , Dave/Don Grusin's Sticks and Stones, and James Newton Howard's JNH and Friends. All are mid-80s and heavily use the technology of the time. The JNH album is a live on which was meant to feature Yamaha's new FM synth tech. If you are looking for John Coltrane go elsewhere. If you are looking for some of the best work with FM and MIDI at the time then this is for you. This record - my first Bob James Record - was a critical influence on my own music. IT showed me that MIDI could be used to make good and, like "Rain", even great songs. Whenever I hear the initial layering of the synths on the title track it always brings a smile to my face. It was great to be born at a time where I could listen to the development of the integration of technology with music making. In that context, this is a great record with a number of good tunes and melodies. If you like it you will likely enjoy the other's I mentioned along with Jan Hammer's Escape from Television and possibly Tangerine Dream's work from the "Melrose" period.

Bob James,one of most prolific jazz-funk keyboardists of his time in terms of recording and session work was already well on his way to having his way with the synthesizer as far back as his 1982 releases Hands Down. At that time though it was integrated as an arranging element more on the level of the boogie funk genre. His albums after that,for the most part used the instrument much the same way. Mainly because Bob James major instrument of choice was still the electric piano. On this album he more fully integrates electronics into everything part of his music. What really makes it work for him is the pedigree of the people involved in helping in this transition. Marcus Miller,the Brecker brothers,Steve Khan,Kirk Whalum and Lenny White were some of the instrumentalists who played on this album. And all of them had made their name in the world of live instrumentation same as James had. They also knew the typical pitfall of using synthesizers: trying to make them sound like live instruments. And they knew how to avoid it. And that's what made this album as strong and special as it was.

The setup is pretty typical of a Bob James album. Seven elongated tracks between four and seven minutes a piece. On the title song the drum/percussion effects and/or programming are used in the most polyrhythmic sense for strong funky piece. Same goes for the similarly patterned album closer "Feel The Fire". Lenny White was involved in the writing of "Gone Hollywood",the lone vocal piece sung ably by Lisa Fischer is a grooving urban jazz piece with a strong edge to it. "3 A.M" with it's stomping beat is a nice spare funk piece. And that's part of what makes this music function as well as it does for it's era. The production of the 80's tended to work at it's best when it was done so in a stripped down fashion. And despite the fact their are a lot of musical factors,it works especially well on numbers like "Rain" with it's Asian melodic flavor as well as more midrange grooves such as "Rousseau" and "Steady",both of which showcase more intricate jazzy song structures.

It wasn't too often,especially in the 80's did you find music that represent both stylized sound and substantive composition at the same time. Somehow that's exactly what happened with Bob James on this album. James had a sound that could be one of two ways-he either had an extremely light and understated instrumental touch or he let his occasionally flamboyant arranging style overwelm everything. In this case that lighter touch is what he chooses to rely on. Also because of this albums rhythmic excitement this album stays away from the cliche of great grooves turning into typical smooth jazz by processing the soul out of the sound. Some might see this as an album of exactly that. But all one has to do is put this on alongside just about any other sort of record like this from the same era and the difference will be very clear. Michael Franks and Ben Sidran were very successful the same sort of production concept during this era. And it's worked it's magic for Bob James the same way.

Bob James has to go down as one of the all-time greatest keyboardists.I have the majority of the early CD's,starting with the 1st.I've been listening to Bob since my freshman year in college on our basketball team's road trips.In fact,BJ's keyboards are a major reason for converting me to the world of jazz in the 1st place.Bob is perfection on the piano no matter electric or acoustic,or whatever type of synthezizer he happens to be playing, but in my humble opinion THIS CD IS THE ONE.When I found out that it was available I rushed out and got it instantly, and have been playing it regularly for the past 6 years nonstop.The title track,Hollywood,3 A.M, just pick anyone of them and start there and let it play.I have been listening to fusion/smooth Jazz for over 35 years and this CD has to rank in my top 50,along with about 2-3 other Bob James CD's.ABSOLUTELY OUTSTANDING

There is a major mistake that says this cd was released in the 2000's. It was released much much earlier. As a matter a fact this was one of my first cds when cds first came out. However I dream about this music. Buy it.

Jazzmaster Bob James shows his mastery of the musical wild horse known as the synthesizer on OBSESSION. The title song with it's lusty pyramid vamp (and clicks and thumps) kicks the CD off. Lisa Fischer lends her vocal talents to "Gone Hollywood". Drummer Lenny White handles the OTHER musical wild horse known as the drum machine deftly. You might want to crank up the volume a bit on the maniacally funky "3 A. M.". Bob really 'goes to town' on this one! Next comes Michael Colina's composition "Rousseau", precursoring his own solo work. Michael Brecker plays an EWI (sort for Electronic Wind Instrument) seminally here. Marcus Miller also provides some excellent bass fills. "Rain" (one of Bob's most memorable numbers) features Bob in a quiet mood. "Steady" features saxophonist Kirk Whalum and some great brass work. "Feel The Fire" is a hot number composed by Bob's bassist Gary King (not present on this CD). OBSESSION shows that ther is a true art to synth technology at a time when such was so commonplace. I go one further than one reviewer in saying that OBSESSION is also perfect for the "surround sound" test!

Bob James has many, many albums/cd's and I haven't heard all of them, but I have heard a lot of them and this is the best I've ever heard from this great recording artists. I love this cd!

Bob James has many, many albums/cd's and I haven't heard all of them, but I have heard a lot of them and this is the best I've ever heard from this great recording artists. I love this cd!