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Given enough time Jah Wobble will, hopefully, collaborate with just about everyone. Over the past few years he has successfully mixed his trademark, bedrock bass guitar styling with Laotian folk ("Molam Dub"), inventive saxophone ("Passage to Hades") and all out industrial rock ("The Damage Manual"), among others. Here he teams up with Temple of Sound, the duo of Neil Sparkes and Count Dubulah, both formerly of Transglobal Underground.More success! The disc is initially only available by mail order through Wobble's 30 Hertz label. And no, this isn't an album of Motley Crue covers, just an unfortunate title coincidence. Ten tracks, most in the 5 to 6 minute range, explore a genuine Arabic electro dub amalgamation. Wobble provides the soul shaking bass lines, Dubulah the guitar, keys, strings and programming atmospheres and Sparkes a host of ethnic percussion such as riq, zils, Egyptian tabla and darabuka. Among other contributors are 3 female vocalists - Shahin Badar, Natacha Atlas and Nina Miranda - who grace half the album with powerfully emotive, mostly foreign tongued strains. Every track is solid. Really solid. The quirky loops of "Cleopatra King Size" are laced with electronics, stuttered guitar notes and booming low end.
The wandering bass line of "Once Upon a Time in The East" reminisces of Wobble's legendary late '70s tenure in Public Image Ltd. The sweeping strings of "Maghreb Rockers" weave together a delightful tapestry of Middle Eastern flavors. A rolling mass of effected percussion brings "Symphony of Palms" close to Muslimgauze territories. And it doesn't get anymore lovely than the slower, more subtle "La Citadelle" - the lumbering groove, the solemn vocal, the gliding background guitar notes - all of which are revisited in the finale "Mistralazul 2". Fantastic. No word yet on what Wobble is up to next, but other recent releases include "The Early Years" and "Radioaxiom - A Dub Transmission" with longtime collaborator Bill Laswell.
 
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- Diane Ray - Please Don't Talk to the Lifeguard
- Bernadette Caroll - Party Girl
- Priscilla Parts - My Window
- Lori Burton - Love Was
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The result isn't remotely similar to the rhytmic, hypnotic, free-form other-worldly jams heard on Sam's Shalabi Effect album, but more of an improvisational collage, carefully constructed of loops and manipulated sounds. Rolling cymbals, tinkling pianos, multi-layered flutes, high-pitched ringings, field recordings and a repeated low-string color the 27 minute first track, almost like a tourist showing a slide-display from multiple projectors of various vacations. The sounds stay long enough to be identified and work into a comfortable synergy with each other, then move on, one by one, giving way to completely new movements which before long don't resemble previous or future snapshots. Just when a level of serene comfort is reached by the end of "Outside Chance," the blaring horns of the next track rush in. "Soot," accurately describes this track, as what appears to be distorted guitar loops, abrasive loops, tapes played at wrong speeds, and intruding horns create a gritty, dark, and uneasy sound. As interesting as it is, thankfully it clocks in under six minutes. The album ends on the nearly eight minute "The Wherewithall," which returns to the ease while soaking the listener in a thick tape hiss. The tinkling piano returns, an unoffensive guitar taps out notes and all lights fade.
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- Ich Und Ich (with Denyo 77)
- Bei Manni und Bine (with Andrewas Doreau & Justus Kohnke
- Losjez (with Thomas Fehlmann)
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- Lab Suite (Hidenobu Ito)
- April (Oval)
- A Short Break (Yoshihiro Hanno)
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