Sugar Minott – Holding On – Review

July 6, 2020

Sugar Minott: Holding On Single Review by Mr Topple for Pauzeradio.com.

Just days before the 10-year-anniversary of legendary Sugar Minott’s passing, the world is being treated to a brand-new, never-before released track. And it serves as a pertinent reminder of the great man’s talents.

Sugar Minott Holding On, released via DPhil Productions, is a glorious Lover’s Rock affair, doused in the signature style Minott was so well-known and loved for. The arrangement has been beautifully done, and the production and engineering are top-class – with particular note to dB levels and filtering to give a classic, timeless feel to proceedings.

It’s a track that encapsulates the genre, with all the rhythm section hallmarks of the movement. The bass walks around the root triad across a syncopated rhythm, bringing momentum and a wind with it. It has a rich and rounded tone but is engineered well, so as not to be overbearing. The drums perform a one drop, with the snare and kick hitting the two and four. But their role is embellished, with an additional hi-hat drop on the first beat of the third bar of their four-bar phrase; then at the end of this there’s another, heavier roll across tom-toms before the phrase restarts again. And to complete the package, keys run a bubble rhythm, giving that classic, offbeat bounce.

But Holding On has lots of detailed intricacies on top of its rudimental rhythm section. The electric guitar arrangement is gorgeous. On top of a skank, additional lines perform intricate, legato glissandos across arpeggio chords at the end of each bar. Their tone is all very classic, too – sounding like they’ve been run through a mid-to-treble amp before being played nearer the bridge, to give that whimsical, day-dreamy summer vibe. An electric organ also flits in and out with smooth yet rhythmic runs as well as straight, slightly broken chords with the vibrato wound up slightly.

The composition itself is intelligently written – notably working around the root chord, then its major fifth and minor sixth. Holding On’s backing vocals are endemic of Lover’s Rock: multi-layered across harmonies, they work around call and response duties as well as more authentic Soul/Doo-Wop vowel accompaniment. It’s also particularly pleasing to hear a full range across the arrangement – from a resonant bass, to high tenor via baritone. This three-voice approach adds real depth, and serves as the perfect accompaniment to the star of the show: Minott himself.

It’s clear from Holding On just why he was such a legend. His voice was, and still is, one of the most recognisable in Roots history. Even towards the end of his life, it was still a powerful instrument. Minott possessed a timbre and richness of tone that cannot be taught, which is on full display across his mid-high tenor and falsetto ranges, here. But he also had all the artistic instincts of a Soul singer. Again, the track showcases this wonderfully, as he improvises, skips effortlessly across runs and riffs and makes compelling use of dynamics and vibrato to accentuate the ballad-like lyrics. It should also be noted that this was recorded just before his untimely passing: showing he was still at the peak of his powers, even then.

Holding On is glorious, and it’s somewhat moving to hear new music from Minott. Cleverly composed, arranged and produced, it’s a sumptuous cut from DPhil. But moreover, it serves as a timely reminder of the talent of Minott; one that is sorely missed but ever-so fondly remembered.