Beckett - Caller On The Line

Review by Karl Magi

Overall Album Impressions

Beckett’s Caller On The Line is sexy, groovy and about as cool as it gets. Beckett’s silky voice, powerful doses of funky groove and guest performances by Luca Ricardo and Rachel Jones all contribute to making this album an addictive, entertaining slice of retro-synth goodness.

The way in which Beckett’s vocals and lyrics interact on Caller On The Line is a major factor in my enjoyment of the album. He’s got a voice that enfolds in creamy waves, expressive and sensual but he can also inject a little grit when needed. His deeply entertaining lyrics only add to the fun and sexy feeling in the music.

Jazzy, funky and groovy elements also add to my listening pleasure on Caller On The Line. There are grooves that are deep in the pocket as the percussion interlocks with the bass. A good dose of funk pours from the melodies and jazzy synths and guitar complement the album’s aching cool.

Luca Ricardo and Rachel Jones’ presence on the album also adds to its strength. Luca Ricardo’s guitar playing is fluid, skillful and expressive while Rachel Jones’ soulful, sultry voice adds depth and feeling to the songs on which she performs. Both artists take the album to the next level.

My Favourite Tracks Analyzed

“Just Hold On (Erika)” comes to life as a spot-on‘80s retro drumbeat underpins energetically leaping, glowing synths and dynamically slicing guitar. Beckett’s enjoyably strong, emotive vocals carry a melody that is full of yearning and a desire to move forward.

Driving drums and intertwining guitar dance over a smoothly gliding background. Now Beckett’s voice fills with hope and need as the chorus soars out, along with strumming guitar and glimmering synth. The drums and bass throb on, shaping the music. Luca Ricardo’s guitar intricately weaves richly howling notes, full of impassioned emotion.

Beckett’s voice has a little grit that gives it character along with its smoothness. Brassy synth hits alternate with slashing guitar before the vocals carry the song to an end along with shimmering guitar and flaring synth sounds.

Our narrator is trying to dispel rumours that he’s been cheating on the song’s subject. He tells Erika that he couldn’t have made it that far without her. He says that another woman “made it up and broke your heart, the rumours and the lies” but Erika believed her.

Now the storyteller is going to “take the whole world on” and he asks Erika to “hold on tight this time” and swears that he won’t let her go. He asks her to “hear past the noise” and disregarded the lies she hears.

In the chorus, he begs Erika not to leave him because “I never met her, never knew her name” and tells her he won’t leave her like that. The narrator begs for Erika to believe him and to “hear your heart, hear me” because he didn’t cheat and “she made a fantasy.” He ends by saying “don’t leave me this way. I wont make it."

Groovy, fat bass and tapping drums are touched by glittering chimes interspersed with shiny brass licks as “Step On It” opens. The brass section is full of pleasing sunlight and an eager energy. Beckett’s silky voice flows with sensual promise as the funky guitar line weaves over the popping drums and active bass.

Horns add more positive, confident energy to the vocal melody. Beckett’s voice is both rich and expressive, now matched by Rachel Jones’ sultry vocals, broken by gleaming chimes and metallic percussion. Nasal-sounding, medium- low synth carries a wandering melody sliced by the crisp horns and supported by pulsing percussion.

Luca Ricardo's guitar swirls in, jazzy and gliding, while the horns keep flaring out. Again the chorus is carried by Beckett’s seductive voice as the horn section’s delicious licks dance over the drumbeat and moving bass line. The song ends on guitar with a funky flow and percussion.

Temptation and desire fill the song as the storyteller talks about the danger of him and the object of his affection getting along so well. He adds that he can “feel your flirty moves.”

He points out that “since your guy’s a mess” they’ve been getting along well together. The narrator invites her to jump in his car and head to the mall. He says that he wants to take her out, to be “seen places you wanna be, for your peace of mind.” He asks the song’s subject to forget about the other guy and focus on him.

Now the storyteller invites her to spend some time together alone, adding that she keeps him “spinning round and round.” He tells her that he knows a place they can be alone that “only you and I need know.” All he wants is a yes or no.

He goes on to encourage her to forget about other guys and give him a chance to try. Our narrator points out that “I can make it fun girl, if you wanna.” He continues to say that he might “blow your mind” and reminds her to “check out what you’re missing.”

Her response is to say that she’s spent another night alone, waiting. She only wants “one call: all I need to hear, one text: all I need to read.” She concludes that all she wants is one love from him and for him to “feel the same way as me.”

“Fright Night Fever” begins as steadily throbbing bass and a horror movie voice over comes in along with creeping, distant sound. Rough-edged bass growls while an ominous organ rises and haunted notes interweave.

Beckett’s voice slips in, flowing and full of feeling while the organ adds a thrilling sense of threat and percussion throbs with retro life. The vocal melody is shadow, but full of promise and guitar adds a razor edge to the song.

Slap bass contributes cool energy and organ chords swell with evil intent. Drums burst and minor key, distorted synth spirals down through the song. The guitar slips through as the organ’s weight flows into darkness and delicious horror.

A little spooky season action fills the lyrics of this song. The narrator talks about how on Halloween “the party is kicking.” There’s a knock on the door and he asks “got the ghouls and witches a trick or treat?” He talks about the song’s subject being “hot in jumpsuit and boots” adding “a trifecta for me, tasty.”

Our storyteller bets he’d “make you scream, chase you down, movie serious.” He talks about how the song’s subject is a fantasy whose “blood red lips make me delirious.” He wants them to take a stroll at the midnight hour. The storyteller asks if she’s feeling chilly and adds “your skin so soft and cold, I’ll keep you warm if you dare?”


in the talk box segment, the narrator talks about having “fright night fever” when they are alone in the shadows, in the moonlight. They’re undead creatures “on the loose, coming for you.” He says that they are “nightmare screams” and “stars of the double features.”

The evil identity of the storyteller becomes clear as he says “they say I’m something to behold, I’m 400 years old.” He talks about moving in to kiss the song subject’s neck as the skin goosebumps. Now the final strike is made as his “my hands a gentle touch, you shudder with delight and as the clouds roll in I take, my bite.”

Oceanic sounds and seagull cries are touched by repeating, flashing synth as “Harbour City” kicks off. The synth has a cutting shine as airy panpipes tremble in a glimmering pattern and a guitar cries out, gaining energy as it climbs.

Breathily flowing panpipes add texture and a snare drum rapidly taps as guitar jumps in with a shiny flare. Now rippling, interweaving digital sounding synth carries a warm, positive sounding melody. The drums keep on charging and now the pipes add an inspiring touch to the unfolding synth line’s enlivened emotional outpouring.

Underneath it all, the drums rush along and Luca Ricardo’s guitar drifts out in full-sounding chords as the elevated synth pulse glitters rapidly. The guitar cascades in sunny sparkles as the snare drum keeps bursting and the bass undulates. A sense of bustling life fills the track, evoking a busy street in a retro future city. The track ends on deep guitar notes, feathery panpipes and floating bass.

“Night Liaison” starts as unctuous bass and reverberant percussion launch into an undeniably groovy pattern. Beckett’s sensual, enticing vocals fill the song, carrying a caressing melody. Lambent light bursts from the rounded synth. I enjoy the way in which yearning and latent hope fill this song.

Steadily pulsing, gliding synth is touched by the shimmering bell and slap bass keeping the funk going. Luca Ricardo’s blues-inflected guitar leaps in, carrying a solo that cascades with passionate need. Strong retro percussion shapes the music before the arcing lead synth melody’s brightness illuminates the lyrics. Beckett’s voice is as velvety and expressive as ever while the luscious guitar tone swirls around it.

Sometimes love’s a tough thing to work out as our narrator is discovering. He feels that he’s taking a step forward and two back while “in a bona fide rat trap.” He tells the object of his affection “don’t be like that” and she responds that he talks too much. The narrator says “I fear these games we play” adding that they are getting old.

He wonders about “another lover contingency” pointing out that “trust is gold.” He points out that now he has a paying gig so he’ll step up, asking if they can work on the relationship but is still unsure. Our storyteller feels that “we never used to be like this” as the time seems to have come for them to “question it all.” He says they used to be madly in love but now asks “do we shut it down or answer the call?”

In the chorus, the narrator asks if they should “drift apart, hold back our cards, let down our guard, hide our hearts?” and likens it to a “night liaison.” Now he talks about “two hearts, running out of step” and he feels he has to “talk under my breath.” He points out that she said they’d “always be like this” but now he finds himself saying that he doesn’t know.

Popping electric bass, steadily bursting percussion and a medium-high, wriggling synth bring “Caller On The Line” to life. Taut synth curls tendrils through the music as a call to a radio show starts. Incredibly thick and groovy bass moves as quick synth sparkles flicker.

Rachel Jones’ vocals are enjoyably emotive and full of need and hope. Trumpet-like synth flares behind the melody mingling aspiration and progress as the drums and bass throb in a shaping pattern.

Deep feeling fills Rachel Jones’ voice as the DJ’s reply comes in with resonant tones as the drums burst. There’s a soulful feeling in the main melody that suits the vocals well. Brassy synth doubles the vocal melody, lifting it and adding more heartfelt emotion as it all keeps grooving.

Our storyteller has called a radio show to lay her heart bare to the person who hurt her. As she starts talking, she says that she won’t wait or debate, adding “you’ll hear this call!” She asserts herself and says that she won’t be hurt this time and “you’ll start learning, I’m needing more now.” She says that people say love’s found every minute, but warns the song’s subject “your time’s almost out.” However she adds, “I made this call to say you’re forgiven.”

The narrator says that the next time, she’ll get it right and not “waste breath on pointless fights.” She says there won’t be any “rundown or broken men” since she’s looking for a “lasting heart” and easy love. Everything should be “clear and plain” and she won’t have a man who’s not true. She adds “Babe that’s why I know we’re through.” Our narrator concludes that "love it needs to burn with desire, shouldn’t need to ask.”

“Talk Low, Talk Slow” commences as soft wind drifts and slap bass gets right into the pocket as jazzy, round toned synth shivers through the music over Beckett’s voice. The rap hits, flowing with old school feel before Beckett’s silky singing slips over the rock-solid low end and the melody extends outward.

Now the rap continues, easily moving through the track as the slap bass pops and wriggles. I am drawn to this song’s hip-shaking feeling as Luca Ricardo’s ultra-chill guitar solo slides through, full of tasty licks.

Hi hat creates a steady metallic pulse as the twisting, nasal synth trips in the background. The vocals are as cool as the guitar as they unfold over steady drumbeat and bass flow. Luca Ricardo lets loose with his guitar once again, delicious tones dancing out over the low end groove.

The rhyming that starts us off winds through playing off lines like “it’s the new swing, it’s a NewJack thing” and “I’m da - kid Beck-ett, I got the sound legit.” Our narrator tells the song’s subject to “feel the bass groove, nod your head, approve” his low and slow talking.

Now the storyteller invites the object of his affection to drink some Chardonnay after a long week. He says he’s glad she made it out “even though now we work from home.” He adds that they need the chemistry, “the simple office crush” but through a screen, he can’t offer much.

He wants the song’s subject to “stay the night, call it love” as she moves in close and “one kiss ain’t enough.” The narrator wants to fall into her eyes as she talks “low and slow” and feels his pulse racing. He adds “I know you need to have that softer touch.”

Our storyteller says “so you wanna keep our feelings quiet” but wonders about “those extra meetings” and whether or not they “keep sneaking around the office briefings.” He questions if it’ll be online or at home, wondering “do we even need to be remote?”

Now he says that he wants to be “the guy that’s in your chat room window” who has “soft breath and tight threads.” He wants the song’s subject to “book a special meeting, evening” to have dinner with “the real me.” As the song ends, he concludes that he needs “a woman who can love and lust and play, right?” He talks about how they’ll be "talking sexy, talking slow.”

Conclusion

Caller On The Line is one of the most fun albums I’ve reviewed lately. Chilled out, funky and full of satisfying grooves, it always feels laidback. I get the feeling that Beckett had a blast making this album because I sure had a blast listening to it.