Cafe Del Mar Ibiza Vol.5 (Compiled By Jose Padilla) - Various Artists

Ahh yes, the lovely old compilation CD …. It seems that they’re released one after another – filling our music shop’s shelves with different colours, genres and names every week. Not a night goes by when I don’t see “New mega hits – the best ever volume 5” advertised on prime time TV; and I often wonder how much money the music industry is making from people who will go out week after week, to buy albums ...
...together and consistently bad …

It appears to me though, that there are different styles of compilation CD. These fall into 2 distinct types: the dance mix CD, and the stand alone track CD. Now I can quite happily sit down and listen to a whole disc of the mix CD nature from start to finish– because let’s face it, they’re designed that way. If you go to a club you can’t hit fast forward if you don’t ... more

Ahh yes, the lovely old compilation CD …. It seems that they’re released one after another – filling our music shop’s shelves with different colours, genres and names every week. Not a night goes by when I don’t see “New mega hits – the best ever volume 5” advertised on prime time TV; and I often wonder how much money the music industry is making from people who will go out week after week, to buy albums whose contents resemble a Manchester City defence – poorly put together and consistently bad …

It appears to me though, that there are different styles of compilation CD. These fall into 2 distinct types: the dance mix CD, and the stand alone track CD. Now I can quite happily sit down and listen to a whole disc of the mix CD nature from start to finish– because let’s face it, they’re designed that way. If you go to a club you can’t hit fast forward if you don’t like what’s on; and generally the quality of mix CDs are consistently good if produced by a reputable DJ. The other sort however are much more varying in content and genre and can range from anything as far off as northern soul and blues to Now x and Speed Garage Anthems. Although the producers might argue otherwise – these CDs just aren’t designed to be listened to from start to finish, and I’m sorry pop pickers, but I’ve not found a modern age CD of this type that I can go through without being rudely interrupted from what I am doing by having to fast forward a totally awful track.

But then ….. Up steps Jose Padilla. The Barcelona born Padilla is responsible for pioneering and firmly establishing the Café del Mar series on the alternative and electronica scene. Jose had always had a lifelong ambition of becoming a DJ, and after moving to Ibiza, he found his dream had come true when he was offered a job Djing in Café Del Mar in 1990. Jose’s blend of laid back dance and ambient cool soon elevated him to become one of the Café’s most prominent acts and later, the now ex-resident of Del Mar swapped his decks for a producer’s chair. His job was to compile a CD each year that captured the spirit of the chillout Café by picking the prize cuts from the period and sending them back across the Med to the mainlands and the UK. Café Del Mar lies somewhere between the 2 types of compilation I listed above – it is superb to listen to from start to finish, but you can easily pick out some storming tracks to listen to as a one off if you fancy.

I’ve been waiting a long time for this product to be added, and to review one of my favourite CDs of all time, so without further ado, let’s get the show on the road…

-- A. P. Rabman - Mumbai theme tune -–

There is a somewhat ironic story behind this opener and also behind my introduction to Café Del Mar. It was my brother that initially bought this album, and I always remember him telling me that he heard this track and thought “What the hell have I bought here?!”. He actually loved the rest of the album but this not being his kind of thing, thought he’d made a big mistake. I later went on to buy most of the series whilst he returned to his knish in dance music …. But anyway, back to the track!

It’s extremely ambient this one, and vaguely tribal in it’s nature. It’s first section is based on a low drone, with an instrument sounding like a triangle tapping out a slow rhythm pattern and a flute/pipe playing a wondering melody with a vaguely African sound to it. Then …. The intro section fades and in come the violins and other strings to add volume and depth to the piece. The African feel is somewhat diminished and a more sombre and elegant tone replaces it – however the theme of the initial melody does return as a cello part which gives it a much more ominous feel. Incredibly soothing, but admittedly not for everyone’s tastes.

-- Levitation - More than ever people –-

This was the first track that I ever heard from a Jose Padilla compilation and it is impressive to say the least. It begins, as do many from the series, with the calming crashing of waves and moving waters, before breaking into something with an almost arrogant sense of style and relaxation. It’s got an extremely prominent baseline and when it finally emerges, a crisp clean guitar riff to die for. It has a great feel good factor and is definitely one to drive along in mid-summer to. The mild jazz influence of the song is also to be found in the great guitar solo towards the end and the relaxing vocal part. One of the gems of the album this that everyone will appreciate.

-- Jelly & Fish - Appreciation –-

This is the first instance of many where Latin meets electronica. Plenty of Spanish percussion to lay your hands on in this track – bongos, tongas, and strange maraca affairs that wonder between your speakers in stereo. This song is one of the more ambient, not in terms of it’s relaxing effect although this is evident, but more in terms of the way in which it is structured. Lots of simple parts layered over the top of each other that come and go throughout the music. It doesn’t really “Go anywhere” as a friend of mine has once said, but there’s nothing bad about it. Oh and the semi-harsh sine wave derived bass and guitar chords give it more of a cutting edge as well.

-- Nookie - Paradise –-

This is possibly one of the dreamier tracks on the album and again returns back to the vocal style. The mood is extremely mellow and romantic, with some lovely wistful strings backing the soft male vocal. Although the persistent “Teasing me, teasing me” that comes and goes in the background might suggest something repeatative and far from romantic, this song is definitely a justification of the “Compiled with love by Jose Padilla” note that appears on every inlay from the series. This again is a great number, with the strings backing sitting tantalisingly distanced from the vocals – perhaps to mirror the ideas of flirtation that the song presents.

-- 4 wings - Penelope –-

This song is perhaps not one of the better tracks on the album but once you’ve heard it a few times you get used to it. It has quite a cold start with electronic high hats and some rather dark chords. But then the Latin influence that is one of Jose’s trademarks breaks through with some laid back trumpet work. When we’re comfortably into the song, the content ranges between some more oriental sounding violin work and spoken (although not rapped) vocal sampling. The nice thing about this song is how 2 or 3 different instruments are layered up together, each playing different chords to build a sound that can only be described as autumnal.

-- Ame strong - Tout est bleu –-

Once more this is a quality number. Now there seems to be a certain romanticism amongst music lovers concerning songs written in foreign languages. Artists such as Santana and Sergio Mendez have become extremely popular over here, yet for the most part, we have no idea what they are singing about – we just like the musical value of it. This one “all is blue” is sung in French and my grasp of French is decent enough to get the general idea “oh, whatever you say, all is blue…” As well as the mournful sounding lyrics, it has some wah wah 70s style piano synths and a funky backing. Although I don’t always understand the lyrics, the overall effect is intensely melancholy and some of the instrumental interludes are extremely similar to those of fellow French band Air. Mildly quirky too, but I quite like that kind of thing so that doesn’t bother me.

-- The ballistic brothers – Uscai’s groove --

Again we revert back to something instrumental. It’s quite hard to describe this one, but if I gave you a good enough idea of what “Paradise” sounds like, then this isn’t too wide of the mark, except without the vocals. It does become a little bit “Harder” towards the end and is a track that I like – although it’s never going to make any lasting impressions stood apart from the rest of the album.

-- A new funky generation – Lubumba –-

Please don’t be reminded of that incredibly cheesy pop song of the 80s of a similar name, as this is nothing like it. This is one of the few tracks that uses authentic drums and bongos, as well as some of those long ridged things that you have to rub with a stick to create a scratching sound (you know, they always had them at school … and no-one knew what they were called? although I’m gonna plum for guiro). This song is sunny, blissed out and very Latiny – with some traditional Spanish guitar and a lovely 60’s influenced organ to add to the flavour. This song has been used countless times on holiday programs and I have to admit, if I said that Tout est bleu was quirky, this is mega quirky, but in a superb way (you’ll be seeing more of the same in Jose Padilla’s solo albums, which are also superb.) A must for any beach resort this one.

-- Les negresses vertes - face a la mer –-

Face a la mer is one of the many remixed tracks that grace the album, and I know the stigma that lies behind the word “remix” … there are no dance tracks on the album, and this one happens to have been re-hashed by non-other than the Bristol lads themselves – Massive Attack :). It begins with a brisk acoustic guitar playing out an ostentatious pattern until the familiar Massive attack style dubbing and backing make their entrance. It’s definitely the darkest track on the album and uses more of the old French vocals – but this time sung in octaves and 3 part harmonies. It even has an Egyptian sounding accordion based influence every now and again which perhaps modifies the tone from dark to somewhat ethnic. It’s a decent break from some of the more “sunny” tracks that have passed you by.

-- Electribe 101 - Talking with myself ’98 –-

Oh yes! Another of my all time favourite tracks this one. I must first point out that this is not the original version of the track, which came out in around 1991 and was more of a slow dance hit. The remixer, Canny, has got to have done one of the most revolutionary and commendable reworkings of all times with this track, as he has transformed a relatively ordinary early 90s track into an ambient marvel. The usual strings and waves are the introduction, but then these fade into some memorable piano parts. None of these can be found in the original, but some of the original little riffs and tweaks still remain to remind us of what the track used to be like. The vocals, when they arrive, are by none other than Billy Ray Martin, who left Electribe 101 to release “Put your loving arms around me” remember that one? The melody is passionate and stirring “And if you just say where and when, then I will be there waiting, cos I would really love to see you again.” And a powerful percussion bridge reminiscent of slower Prodigy works breaks up the main chunk of the song from the outro. I really couldn’t begin to do this song justice by describing it, just take it from me, it is an unbelievably beautiful track.

.. Sorry people, we’re approaching the 4 page mark here and still a number of tracks to go – I’ll try and be brief and prevent you all from either leaving or falling asleep on your keyboard.

-- Cyberfit - PoJo pojo –-

Probably my least favourite track on the album and responsible for Excelle’s mis-conception (and a poorly informed one at that ;) :)) that Café del Mar is full of bhangra music. Ok, this one is rather Indian sounding, with all the usual Asian instruments and a very weird tribal vocal used (that I suspect to be a sample). This is backed up by a firm and slow trip-hop style backing and is altogether bizarre – not a huge fan.

-- Lamb - Transfatty acid –-

Another worthy track this, and from a similar vein to Orbital and The Orb. The Manchester band Lamb feature quite a lot on chill out compilations and all the tracks that I have heard (a few remixed admittedly) have been stunning. However, the album I bought was something of a disappointment I hasten to add. This version is mildly drum and bass, (definitely qualifying this genre towards the end) with some longing and lengthy vocals similar to that of Portishead. Although it’s innately cold sounding, the real percussion used for the drum and bass style backing and reverb effects would make it a strong contender to grace an alternative/chill out room in a club up town…

-- Salt Tank - Angel’s landing –-

Another fine effort here, but this time from a notable collaboration. The original artists Salt tank are now firmly established in their own rights as a classy act, but then to have Padilla, the Godfather of ambient electronica to lend a hand with the remixing takes it above the sublime. Despite the dreamy piano and strings work that fill out the atmospheric intro, the song is quite up tempo with airy vocals: “I will always be with you, sometimes black and sometimes white, air will hold you if you trust, trust highways of desire.” In a similar way to Talking with myself, it’s one that may be responsible for tipping you over the edge if you’re feeling a bit tearful (it’s rumoured that some of the tracks Jose played in del Mar brought grown men to tears with their beauty.)

-- Paco Fernandez – Mani --

The penultimate track from a legendary modern day guitarist is quite “back to basics” in its approach and is quite gritty and thrusting. A traditional Spanish affair this one and you’ll generally find at least one track of this nature on each Café del Mar compilation. Virtually all acoustic guitar improvisation I would suspect; and its relatively moody sounding. The chord sequence is repetitive but the lead makes up for this with some interesting and original Spanish and chromatic melodies. A good wind down from the past to prepare you for …

-- Wim Mertens – Close cover --

The album finishes much as it began – superbly relaxing and peaceful. This is a piano melody that sounds like it came straight from a film score – everyone who I’ve played this to swears that they’ve heard it before and it definitely has an essence of familiarity about it – perhaps its just the clever composing that does this. It’s a great track to end on, and is quite yearning and sad – certainly a good one to conclude with and if any of the other last tracks from the series are evidence – it is more than likely an old 80’s or 70’s alternative track.

So there you have it – my first review of a probably limited selection of compilations. I own virtually all of the Café Del Mar series now but this (and indeed Café del Mar 6 – Padilla’s farewell album) is up there with the best of them. I have actually convinced a person to buy this, telling them that I would pay for it if they didn’t like it =;) I am not willing to make the same pledge on Ciao I’m afraid, but needless to say, this person was not disappointed and the wallet remained closed. If you like to stick to the well trodden pop highways, or are into something altogether more aggressive, then it’s probably best to steer clear, but if you’re into dance/electronica/world, or generally have a musical taste spanning many genres, then it should definitely be in your CD collection.

 

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