Barry Adamson ‎– As Above So Below

Mute ‎– 9035-2
CD, Album

Tracklist Hide Credits

1 Can't Get Loose
Backing Vocals – Claudia Sarne, Claudia SarneBass – Henry OlsenDrums – Tim WellerGuitar – Malcolm RossOrgan [Hammond], Piano – Seamus Beaghan*Vocals, Programmed By – Barry AdamsonWritten-By – Doc Pomus, Mort Shuman
2 What It Means
Drums – Andrew Crisp*Guitar – Malcolm RossOrgan [Hammond], Piano, Synthesizer – Seamus Beaghan*Programmed By – Will JohnstoneVocals, Programmed By – Barry Adamson
3 Deja Voodoo
Instruments [All Instruments] – Barry Adamson, FloodProducer – Barry Adamson, Flood
4 Come Hell Or High Water
Arranged By [Strings] – Barry Adamson, Seamus Beaghan*Bass, Vibraphone, Vocals – Barry AdamsonDrums – Tim WellerGuitar – Malcolm RossLeader – Gavyn WrightOrgan [Hammond] – Seamus Beaghan*Saxophone – Pete Whyman
5 Jazz Devil
Arranged By [Brass Arrangement] – Barry Adamson, Seamus Beaghan*Bass – Henry OlsenDrums – Andrew Crisp*Guitar – Malcolm RossOrgan [Hammond], Electric Piano [Fender Rhodes] – Seamus Beaghan*Programmed By – Will JohnstoneSaxophone – Pete WhymanTrombone – Adrian LaneTrumpet – Mike LovattVocals – Barry Adamson
6 Still I Rise
Drums – Andrew Crisp*Guitar – Malcolm RossProgrammed By – Will JohnstoneProgrammed By [Additional Production] – Atticus RossVocals, Bass, Programmed By – Barry Adamson
7 Girl
Vocals, Instruments – Barry AdamsonWritten-By – Alan Vega, Martin Rev
8 The Monkey Speaks His Mind
Drums – Andrew Crisp*Guitar – Malcolm RossOrgan [Hammond] – Seamus Beaghan*Saxophone – Pete WhymanTheremin – FloodTrumpet – Mike LovattVocals, Guitar, Bass, Programmed By – Barry Adamson
9 Goddess Of Love
Bongos – Andrew Crisp*Organ [Hammond] – Seamus Beaghan*Saxophone – Pete WhymanTrumpet – Mike LovattVocals, Programmed By – Barry Adamson
10 Jesus Wept
Producer – Barry AdamsonProducer [Additional Production] – FloodVocals, Instruments – Barry AdamsonVoice [Greeters] – Dina Tate, Ebby Acquah, Flood, Hector Maldonado, Janet Gordon, Lucy Boughton, Marcus Salisbury, Mark Isted, Michael Dunn, Pam Smith, Rebecca Surtees, Rob Kirwan, Roger Johnson (2), Roland Brown, Sarah Lowe, Shaun Connon

Companies, etc.



Recorded at Swanyard Studios, Murkyworld and the Instrument, London.
Additional production and mixing at The Instrument.
Mastered at The Exchange.

Track 1 samples 'Can't Get Used To Losing You' composed by Doc Pomus and Mort Shuman.

Track 6 samples drums from 'Bring The Noise' performed by Anthrax featuring Chuck D of Public Enemy.

Track 9 samples brass from 'Voodoo Doll' composed by Albert Van Dam.

Track 10 samples drums from 'Frankie Teardrop' performed by Suicide.

Barcode and Other Identifiers

  • Barcode: 7 24596-9035-2 0
  • Matrix / Runout: wea mfg. OLYPHANT W3272 HV 9035-2 01 M1S2
  • Mastering SID Code: IFPI L901
  • Mould SID Code: IFPI 2U3Z

Other Versions (5 of 12) View All

Cat# Artist Title (Format) Label Cat# Country Year
STUMM 161, Stumm161 Barry Adamson As Above So Below(LP, Album) Mute, Mute STUMM 161, Stumm161 UK 1998 Sell This Version
CDStumm161, 7243 4 84559 2 5, Int 4 84559 2 Barry Adamson As Above So Below(CD, Album) Mute, Intercord Tonträger GmbH, Mute CDStumm161, 7243 4 84559 2 5, Int 4 84559 2 Europe 1998 Sell This Version
ACDStumm161 Barry Adamson As Above So Below(CD, Album, Promo) Mute ACDStumm161 UK 1998 Sell This Version
CDStumm161 Barry Adamson As Above So Below(CD, Album) Mute, MNW ILR CDStumm161 Scandinavia 1998 Sell This Version
CDStumm161, 5016025611614 Barry Adamson As Above So Below(CD, Album) Mute, Mute CDStumm161, 5016025611614 Europe 1998 Sell This Version



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December 13, 2010
there's a loose sort of concept here. some attention is paid to barry adamson's tendency to write "soundtracks for films that don't exist", but not as much attention is paid to the actual story lines themselves. if this album is any indication, there's some justification for that. the story seems as though it's almost there but not really in your face so any attempts at a construction will be marred by perception.

i'm not going to write an essay about what i perceive the story to be because that may even ruin it for you. but, the general storyline seems to be of a fellow that is rejected from heaven several times before he's finally allowed entry. in the first three tracks, adamson seems to intertwine the general story with a first person viewpoint of each of the three elements of the christian trinity. the fourth track completes the square by casting satan as - who else? - a girl on pedestal shoes......we are in a lounge reality on this record. the second half seems to be devoted to discussing the transmigration of some morally unscrupulous soul and focuses rather heavily on an exploration of the twin vices of jazz music and masturbation. eventually, the soul finds it's way to a rather welcoming homecoming.

it's an intriguing listen - it's very well produced and very well written. while it doesn't break any musical boundaries or push any musical taboos, it does manage to combine some rather diverse influences into one place; the odd palette of influences references quite a few different strains of jazz, funk, hip hop, electro, industrial and punk. adamson's story-telling is lively, his vocals are melodic and his sense of humour is as omnipotent as the slightly cartoonish interpretation of satan that is presented in the concept.

what hit me most on the first few listens were the vocals. i found this disc at a going-out-of-business sale for a local used cd store in 2008, ten years after it was released. i had heard some instrumental adamson, but nothing with vocals. yet, for $4 it was a steal. i was certain that i was actually listening to some guest vocalists until i checked the liner notes. track 2 sounds eerily like mike patton, track 3 sounds strangely like mark lanegan and the intonation adamson uses in several tracks is noticeably similar to that of trent reznor. given that barry adamson played in several influential punk acts in the late 70s and early 80s, i'm sure the influence actually flows the other way around but i was exposed to adamson after all three of those singers so i haven't been able to break the attachment. track 3 is still "the mark lanegan song" in my head and probably always will be.

from a musician's standpoint, don't expect too much. the disc is full of samples and less than technical playing. yet, the soundscaping is superb and profoundly listenable; it really is directed more at english majors and film school types.