While he previously recorded with Funk Monsters and Women,
among others, only very recently, earlier this year, did he release his first
solo CD, “Control/Career,” on Rachael’s Owl Music/Electric Owl Works Records. I
am really enjoying this CD, with all performances by Redding. It sounds like
great old school synthesizer based alternative music (at times you can hear
some Electroman influence, not surprising since Redding created and performed a
rock opera on the late, great Mark Freeland), and I write that in the best
sense possible. Synths and keyboards sound like synths and keyboards, and not
like they are trying oh, so hard to sound like other instruments. Rough edges
are left in, when vocals need to be treated and/or distorted they are, and
Autotune would be a travesty and is not present here.
The CD starts off with the strong, mid-tempo “Red Hearts and
Black Hearts,” with somewhat bouncing synths and a higher-pitched melodic
keyboard joined by sampled vocals repeating “Haile Selassie,” all over a steady
dance rhythm. “AT-54 The Electron Sampler” is a warning against control and manipulation
of access to information and people by technology and the media. Musically, it
has a more ominous sound, with thicker keyboards and a more martial rhythm.
“Today” features majestic, thick and strident synths as Redding sings of living
in the moment, controlling anger that is simmering inside. He notes that he
controls it for now, but…
“Astronaut” is very fast-paced, with keyboards and vocal
samples (including one of Public Enemy’s Chuck D) joined by a guitar synth
melody. Redding wants to be above and beyond the fray, control and surveillance
of everyday life and apparent law enforcement/the state. “Wide Asleep” is a
less frenetic song, smoother but still urgent lyrically, with Redding
guaranteeing that while people crossing him won’t necessarily get their just
desserts today, he will pay them back double for their transgressions. On
“Don’t You Drink the Water,” Redding uses a reggae/island style beat to
illustrate how international conglomerates and monied interests ruin less
“developed” areas through pursuit of money and causing/dumping of pollution and
wastes. “The Devil’s Bedroom” is another major up-tempo synth dance-oriented
song over sounds of bedroom activity and possible warnings of people using sex
as power, domination and manipulation.
While I mentioned that synthesizers and keyboards are
allowed to sound like themselves and not like imitations of other instruments,
people should realize that this is a well put together and sounding recording,
recorded and mixed by Redding and produced and mastered by Charles H. Root III
at Electric Owl Works in South Wales. There is also some very cool cover
artwork courtesy of Craig Larotonda of Revolution Gallery on Hertel Avenue in
Buffalo.
“Control/Career” can be obtained from Redding at his live shows, and is also available on Google Play, Spotify, iTunes, Amazon Prime, and either is or will be soon be available at Revolver Records, Frizbees, and Revolution Gallery.
