Why is Omar Lye-Fook not seen as one of the most important artists to come out of the UK? He’s been in the game for over 30 years and has had endorsements from the likes of Erykah Badu and Angie Stone. Maxwell cites Omar as one of his influences, Stevie Wonder said, “When I grow up, I wanna be like Omar”, and Roy Ayers even had the crowd chanting his name in a recent Brighton date. This innovator of soul music should be selling out the biggest and most impressive concert halls around, nevertheless, the truthful and humble nature of Omar’s talent not only comes out in his music but it puts him up with the very best of his illustrious peers.

It was with great excitement that I heard of the return of Omar – with the release of I Want It To Be EP last year, it was certainly a moreish neo-soul taster of what was to come on his eighth studio album. Three years in the making, and three since his fantastic The Man LP, the twelve tracks on Love In Beats holds the typical authenticity you get with Omar’s music. It was not contrived nor meticulously constructed but took shape organically, written at various different points in his life with portions of the songs coming to light after chance meetings all over the globe.

Like any good film’s opening credits, the cinematic soul-jazz of ’Vicky’s Tune’ bubbles with anticipation for what is a super cool opener to the album. Spacey electro sounds of flute, bongo drums and the irrepressible class of Robert Glasper’s jazz piano makes for a smooth and incredibly strong start by a song that was originally conceived in 2003. Love In Beats has all the soul, jazz, funk, rare groove and Latin stylings that you would expect in any Omar record. Being co-produced by his brother the Scratch Professor, as well as the man himself, hip-hop influences run true with the album being more beat orientated – perfectly heard on ‘Gave My Heart / Its So Interlood’. Its J Dilla-esque pulse features the sublime vocals of legendary songwriter Leon Ware (who has created hits for none other than Michael Jackson, Quincy Jones, Maxwell and Marvin Gaye), adding a sophisticated soul edge to the up-to-date groove. This vibe continues on the amorous ‘Feeds My Mind’ – this time featuring Floacist, who’s sumptuous poetic lyrics perfectly slot into the tune’s rolling beat.

Love In Beats is an eclectic mixture of music, yet continuingly adheres to one another. Recorded in Paris, the collaboration of the lesser known Cape Verdean singer Mayra Andrade and Omar on ‘De Ja Vu’ is a match made in heaven. The talented Latin singer’s vocals demand a slow sensuous blues dance, holding a romantic tone which is lavish, lush and very enticing. Scratch Professor’s production prowess is for all to see. His punchy hip-hop beats with the warm tones of baritone sax and xylophone on ‘This Way, That Way’, or the waltzing cha-cha-cha of ‘Doobie Doobie Doo’ perfectly compliment the silky-smooth vocals that Omar brings to any song. Even though each Omar record stays relevant and current with music’s every changing trend, there are plenty of tracks which any old school Omar fan will dig – with the gorgeous Latin rhythms in ‘Hold Me Closer’ and the infectious tropical groove of ‘I Want It To Be’ delivering a masterclass in Omar’s soul supremacy.

Without a doubt, this is up with the very best of Omar’s releases to date. Love In Beats gives us an expressive mix of timeless songs which showcases why people talk so highly of the UK’s father of soul.

Iain Lauder

Website: omarmusic.co.uk
Facebook: facebook.com/omarofficialuk
Twitter: twitter.com/omarlyefookMBE