Kalima > Kalima Discography > Fact 206 Kalima! > LTMCD 2407 Kalima! < Swamp Children

Release date

May 1988

Tracklisting

That Twinkle (In Your Eye)
Casabel
Sad and Blue
Over the Waves
Now You're Mine
The Strangest Thing
Special Way
Autumn Leaves
Julan

Credits

Long Playing Microgroove 33 1/3 rpm Record

Produced by Michael Johnson
Engineered by Tim Oliver
Recorded at Square One Studios, Bury
November / December 1987
All Songs Written and Arranged by Kalima
Except Autumn Leaves by Prevert / Kosma. Lyrics: Mercer
Published by SDRM / Peter Morris Music
Photography: James Martin
Design: Johnson/Panas | Manchester
Special Thanks to
Everyone at Factory, Geese, Square One, Brick Top, Gregor, Tim & Mike, Wear It Out, Elizabeth Rochford, Chris M, Howard
Fact 206
Printed and Manufactured in the UK

Ann Quigley: Vocals / Lyrics
John Kirkham: Guitar
Anthony Quigley: Soprano Sax / Keyboards*
David Higgins: Drums
Matthew Taylor: Alto / Tenor Saxaphones
Bernard Moss: Flute
Warren Sharples: Bass

Special Guest: Chris Manis: Percussion

Factory Communications Ltd, 86 Palatine Road, Manchester 20, 061-434 3876

Review (by Stuart Bailie in the NME, 16 July 1988)

KALIMA
Kalima! (Factory LP / Cassette, CD)

THEY make all those correct gestures. The boys have smart, baggy suits and they play their instruments with a fair deal of skill. Anne, naturally, wearsthe black cocktail dress and she looks sultry in a vague kind of a way.

But Kalima aren't doing anything unusual with their chosen genre. They've been messing around with this sombre jazz stuff for a few years now, and there is no evidence of fresh creative stirrings. Their efforts, as before, sound plain and cumbersome.

Anne's voice is the major problem. Those fancy chord changes and the moody developments demand some attempt at stylistic high-flying, yet the lady drones through it all like she's got permanent sinus trouble. On 'Sad And Blue', the singing is surely flat, while her attempts at 'Autumn Leaves' sound more like a baby seal in culling season.

If Kalima was a bunch of keen amateurs, we might overlook such failings. Yet the presentation and tone of this record suggests that they are awfully serious about the whole thing.

They ought to discover humour, muscle their way into acid jazz, or even take to earning a handsome living on the supper party circuit. Anything, in fact, to take them off this dreary course. (4)

Stuart Bailie

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