Colourbox Featuring Lorita Grahame - Baby I Love You So

Colourbox Featuring Lorita Grahame ‎– Baby I Love You So

Label:
4AD – BAD 604
Format:
Vinyl, 12", 45 RPM
Country:
Released:
Genre:
Style:

Tracklist Hide Credits

A Baby I Love You So
Engineer [Remix Engineer] – Mark Zaeger Timbales – James Lock Vocals [Uncredited] – Lorita Grahame Written-By – H. Schwaby*
6:43
B1 Looks Like We're Shy One Horse
Written By – S & M Young Written-By – M. Young*, S. Young*
4:37
B2 Shoot Out
Written By – S & M Young Written-By – M. Young*, S. Young*
3:21

Credits

Notes

Recorded at Palladium, Edinburgh.
Track A remixed at The Yard.

Vocal samples on B1 (and the name of the track) taken from the film "Once Upon A Time In The West".

Other Versions (Showing 3 of 3) View All

Title, Format Label Cat# Country Year
Baby I Love You So (12") Virgin Schallplatten GmbH 608 246 Germany 1986
Baby I Love You So (7", Single) 4AD AD 604 UK 1986
Baby I Love You So (12", Promo) Virgin Schallplatten GmbH 608 287 Germany 1986
▸ show all 5 reviews

Reviews & Discussion

rgrant Dec 29, 2011
my favourite 12" single of all time
Rated 5/5
Review by restless Mar 19, 2011 (edited about 1 year ago)
"Baby I Love You So" is indeed a great 80s version of the Augustus Pablo classic, but the real nugget here imo is "Looks Like We're Shy One Horse/Shoot Out", a wild smokey soundtracky dub piece sounding like the perfect meeting between Ennio Morricone's twilight western vibes and Lee Perry's echoed experiments. A foggy, panoramic blunted beauty.
gayr Apr 07, 2010
Isn't the baseline taken from Chief Checker's "Africa irie", available on the sampler "Nigeria 70 – Lagos jump"? A great track, in any case!
Review by double-happiness Oct 04, 2008
Dub comes of age. From the very start, 'Baby I Love You So' takes a firm grasp of the listener's attention, and refuses to let go at all costs. Multi-coloured swathes of 'Lover's Rock,' (the down-tempo, Blues-based variant of Reggae popular with the more amorous, as opposed to political or herbal, section of the Caribbean community in the UK during the late '70s and early '80s), are blended with samples remiscient of gritty urban reality, and the overall production is tweaked for maximum effect, a truly gigantic sound that swirls wildly and seems to come from above... The guitar refrain is particularly crucial to the overall effect, not the standard wah-wah, 'woppa... woppa...' that merely provides rhythmic emphasis in most bog-standard reggae offerings, but rather an ecstatic and rousing lead more typical of stadium or progressive rock... To my addled mind, the guitar evokes the biblical angel that slew the firstborn Egyptian in punishment for the Pharoah's pride... An avenging force, swooping down from above... A mystical emmisary that incites fear and awe... Dub comes of age, and the holy spirit is observed to fill the studio, inspiring great passion and humility in those present.
Rated 5/5
Review by rev.robert Nov 22, 2002
best use of dialogue from "escape from new york".

killer tune as well.

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