Last Night

  • Record Label: 4AD
  • Release Date: Nov 19, 2002
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User score distribution:
  1. Positive: 2 out of 2
  2. Mixed: 0 out of 2
  3. Negative: 0 out of 2

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  1. JoeS
    Dec 20, 2002
    8
    Nice transition from the minimalist strings of "Deep" to some rather smooth guitar work in "Last Night" followed closely by some equally smooth vocals by Lovetta Pippen. When you listen to this track a second time, listen to the rhythms and beats. Twice can be nice. The next transition from "Last Night's" soulful sax ending to the funky bass groove that leads into and winds it's Nice transition from the minimalist strings of "Deep" to some rather smooth guitar work in "Last Night" followed closely by some equally smooth vocals by Lovetta Pippen. When you listen to this track a second time, listen to the rhythms and beats. Twice can be nice. The next transition from "Last Night's" soulful sax ending to the funky bass groove that leads into and winds it's way (crawls?) through "Crawlin" works rather well, especially when they bring back the sax at the end. "Teardrops", originally written by Eddie Grant's Equals, reminds me of a little of Stars On E.S.P. :) with some nice piano and bell work in the middle. I don't know if Loretta has some teardrops left over to put out that fire in her heart in "Devil's Night", but I hope she has some for our city. It's a bittersweet sentiment, though, isn't it, that the rennaissance that we are so eager to see may require some deconstruction before there is some reconstruction. The sixth track, "I Been Good Up Till Now", has a nice ambient texture opening with a slow simple echoing keyboard line layered over with the kind of sad, searching strings one might image they would hear during a tender/tragic moment. The seventh song is my favorite track on the album because I really love that fuzzy guitar buzz sound. The increasing volume of that lead in guitar part and it's sound, makes me think of Neil Young or CSNY. Warn blends the two musical lines of his guitar and Voletta's vocals rather well, creating a song with a special power all it's own. I like this special power that is "supposed" to save me from ... "anyone who ever did me wrong." (It IS the greatest love of all, but we all forget how to do it from time to time, don't we?). My comments on the eighth song actually come in the form of a reply and two questions: Yes, When? and Where? OK, one more thought/question: Wouldn't it be kind of fun if the time honored and natural way to invite people to a party was that you composed a song of invitation? Like, "Oh, gosh, we're having that party in a couple of weeks and we still have to clean, make some food, buy some drinks - and - write and practice the invation song, of course." Sorry, I digressed. "Someday My Prince Will Come" is a funky, jammin' extended mix of guitar, horns, percussion and vocals. It's a kind of a groovy, jazz thing, dig. These next two sentences came out when I listened to the lyrics of the tenth track: The tragic things that are done to us and the tragic things that we do to others. It's all a part of us. Nice vocals and more of that nice buzz guitar sound. A wondering, "what if", "Maybe" maybe not sentiment lingers here. "Storm" has me thinking of Hendrix. That's nice. Especially, when in the midst of the guitar solo in the middle of the song, he brings the jam back to the original theme. Speaking of Hendrix, HNIA's version of Train is a nice soft melding of saxophone, acoustic guitar, piano and vocals. Expand
  2. JamieM
    Dec 2, 2002
    9
    Absolutely gorgeous - finally, a viable R&B alternative. One of the most exciting records to be released so far this century.
Metascore
70

Generally favorable reviews - based on 8 Critics

Critic score distribution:
  1. Positive: 4 out of 8
  2. Negative: 0 out of 8
  1. It isn't as succint, and heart-wrenching, as Someday... and it may not have the slicing modernity of HNIA's earlier works, but the idea of the project propels it still.
  2. Some of their finest work to date.
  3. Last Night is a perfectly serviceable mellow slow-jam R&B record -- and that's a damned shame.