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Everything But the Girl

Everything But the Girl

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Recensione album

The music fad of the moment in 1984 in England was a revival of the early-'60s Brazilian pop sound of Antonio Carlos Jobim, Astrud Gilberto, and Stan Getz, updated to current sensibilities, and the two main practitioners were Sade and Everything But the Girl. On this revised version of their U.K. debut album, Eden, altered for U.S. consumption, the duo of Tracey Thorn and Ben Watt performed their three U.K. chart singles, "Each and Every One," "Mine," and "Native Land," in a calm, unruffled style keyed to Thorn's warm, if slightly unfocused, vocal style. If the music had a flaw, it was that the sound, with its light sambas and steady ballads, spare instrumentation, and careful sax solos, impressed more than individual songs did, perhaps because Thorn's way of phrasing meant you could listen to "Mine," for example, several times before catching on to its feminist theme. Still, Everything But the Girl was more direct and had less of the exotic affectation of Sade (which, however, may help explain why it was she, and not they, who succeeded in America).

Biografie

Formato(a): 1982, Hull, England

Genere: Pop

Anni di attività: '80s, '90s, '00s

Originating at the turn of the 1980s as a leader of the lite-jazz movement, Everything but the Girl became an unlikely success story more than a decade later, emerging at the vanguard of the fusion between pop and electronica. Founded in 1982 by Hull University students Tracey Thorn and Ben Watt, the duo took their name from a sign placed in the window of a local furniture shop, which claimed "for your bedroom needs, we sell everything but the girl." At the time of their formation, both vocalist...
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Everything But the Girl, Everything But the Girl
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