BILL LASWELL — Hear No Evil

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BILL LASWELL - Hear No Evil cover
3.50 | 1 rating | 1 review
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Album · 1988

Filed under World Fusion
By BILL LASWELL

Tracklist

1. Lost Roads 7:26
2. Bullet Hole Memory 7:13
3. Illinois Central 6:59
4. Assassin 6:24
5. Stations Of The Cross 7:13
6. Kingdom Come 7:33

Line-up/Musicians

Bass - Bill Laswell
Guitar - Nicky Skopelitis
Percussion - Aiyb Dieng , Daniel Ponce , Zakir Hussain
Violin - Shankar

About this release

Virgin Records America, Inc. – 7-90888-2 (US)

Recorded and mixed at B.C. Studio, Brooklyn

Thanks to snobb for the addition and js for the updates

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BILL LASWELL HEAR NO EVIL reviews

Specialists/collaborators reviews

js
“Hear No Evil” comes fairly early in Bill Laswell’s career as it is only his second solo album apart from his band, Material. Of course Bill would go on to release about another 50 million albums, but that’s a subject for another review, at this point in his career he was still taking some time with his albums. Back in the day “Hear No Evil” seemed somewhat profound in its somber ambient atmosphere and cultural mixtures, and its still a good album, but as the years have passed, it doesn’t have quite the same impact as it once did. For one thing, albums that feature cultural hodge-podges are much more common now, as well as records that feature ambience with a rhythmic groove.

At his very best, Bill Laswell can produce an almost religious sobering atmosphere filled with vague longing that is a skill at which he alone excels at. “Hear No Evil” is probably one of the first albums in which Bill displayed this talent, and on here he looks to southern US delta blues for the inspiration for his mournful and lonely melodies. Both Bill and guitarist Nicky Skopelitis play a lot of laid back slide work on here, which they then mix with Asiatic influences. Three percussionists, including Zakir Hussain, provide the percussion, but they are somewhat hemmed in by fairly standard Western time signatures. Indian fusion violinist, Shankar provides excellent solos that match with Bill’s background perfectly. Along with the somewhat straight rhythmic grounding, the other main fault with this album is the almost pop structure of the songs, which can push things in a new age direction.

There is one track that doesn’t quite fit, and that’s the clumsy funk of “Assassin”, take it out and you have a better album. The best tracks are the last two, and on the finale, “Kingdom Come”, the percussionists finally get a chance to go off. This album’s appeal can change with your mood, need some music for reflection, put this on, sometimes it almost seems to have the same impact it had back in the late 80s.

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