How much is Jamie Lidell worth?

Net Worth:$5 Million
Profession:Professional Musician
Date of Birth:September 18, 1973
Country:United Kingdom
Height:
Unknown

“When I was a kid I didn’t really give a sh*t about music. But when it came time to decide if I was cool or not, I chose Prince, which made me really uncool. That put me really on the fringes of popularity, to say the least. It was pretty damn uncool to be into ‘the funk,’ but I felt it.” — Jamie Lidell to Marquee magazine

Who Is Jamie Lidell

Jamie Lidell comes from a music family and learned to love music at an early age; his mother sang professionally with different orchestras and as a child, took up the xylophone, drums and trombone in school. When he was a little older, Jamie learned to play the electric guitar and also began getting into ’80s electronic dance music. He bought an amplifier, synthesizer and a drum machine, and recorded his own music in his bedroom on a four-track tape machine, often layering his own vocals over the instrumentals.

English musician and soul singer Jamie Lidell has a net worth of $5 million dollars, as of 2020.

Learning His Craft

His late teens found Lidell moving to Bristol to study physics, after being away from school for six months with a severe bout of glandular fever, he decided not to return to the science program and enrolled in philosophical studies instead. In the mid-1990s Lidell moved to London and became friends with Jason Leach and Phil Wells of a band called Subhead. Lidell has attributed his time making music with Subhead, to his learning how to perform live and the process involved with digital audio editing. In the late 1990s, he moved again, this time from London to Brighton.

Going Solo

In Brighton, he formed the techno-electronic music duo Super_Collider with Chilean producer Cristian Vogel. Super_Collider produced a slew of singles and two albums, 1999’s Head On and 2002’s Raw Digits. In between, Lidell kept working on solo material. He dropped his first electronic album, Muddlin’ Gear, in 2000. Over the years, Lidell’s vocal style evolved to become much more soulful, starting with his breakthrough 2005 album, Multiply. Since that point, his solo work has been very much influenced by classic and modern Soul music, with bits of his original electronic sound added in.

‘Compass’

He started out as an electronic music producer and musician, but ever since his 2005 album, Multiply, British crooner Jamie Lidell has added more and more Soul elements to his music. And on his latest release, Compass (released in the United States on May 18 2010), Jamie proves yet again that Soul knows no gender, race or geographic boundaries. Compass is more consistent than his other albums when it comes to song quality and Jamie’s vocal ability has become noticeably stronger. There’s a few clunky songs that keep the album from being near-perfect, but this is definitely his best solo album so far.

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North, South, East, West

One of the better things about Compass is that Jamie Lidell adds a dose of funk to some of the songs, giving the album a strong funk-Soul vibe reminiscent of some of Prince’s past work. Not to say that Jamie’s on the same level as His Purple Majesty talent-wise or creatively, but this album shows that there’s definitely some similarities between their approaches to music. For instance, “I Wanna Be Your Telephone” sounds like a cousin of Prince’s “Erotic City” (musically speaking, not content-wise), and “Your Sweet Boom” also has some subtle Prince influences.

But although the music is occasionally funky, Jamie’s voice is still deeply embedded in Soul. Otis Redding, Marvin Gaye and other ’70s legends are all represented within Jamie’s vocals as usual, but he also seems to be evolving into a more of a versatile performer and someone who’s willing to break the mold and incorporate other music genres into his style. For example, on both the title track and “Big Drift,” his vocal style sounds close to that of Pearl Jam frontman Eddie Vedder; and on the album’s final track, “You See My Light,” his voice has a folksy cadence to it.

Overall, the album’s not exactly a masterpiece, but Jamie gets credit for thinking outside the regular R&B;/Soul box and bringing new ideas to the table. This isn’t your run-of-the-mill, by-the-numbers retro-Soul album. It’s a funk-soul meets indie rock that’s creative and catchy. Although Jamie’s singing may not quite be up there with the best in the business, his range of skills are strong enough make the album listenable from top to bottom.

‘Jim’

If retro is the new progressive, then Jamie Lidell is miles ahead when it comes to bringing the past to the present. On his third solo album, Jim, which comes out in the U.S. on April 29, 2008, the British singer has nearly perfected the whole Blue-Eyed Soul thing. Jim isn’t perfect, but it’s definitely a step up from Jamie’s second album, 2005’s Multiply. Multiply had its moments but was very uneven. Jim has more great moments, fewer flaws and overall better production than Multiply. Again, it isn’t perfect, but anyone who enjoyed Multiply should probably be equally, if not more, receptive to this album.

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Pleasantly Uptempo

On his third album on indie Warp Records, singer-musician Jamie Lidell – or Jim, as his friends call him – continues making pleasant, uptempo British Blued-Eyed Soul. No one aspect of his music is outstanding – the vocals, lyrics and production are all just about average – but his passion for old-school R&B; and Soul music is admirable. If you’re looking for a poppier version of the retro R&B; made by other Brits like Joss Stone and Amy Winehouse, Jamie Lidell should fit the bill quite nicely.

It’s never good in music for critics to compare artists too much, but if a comparison must be made between Jamie Lidell and anyone, that anyone would likely be the late, great Sam Cooke. Traces of Sam can be heard throughout Jamie’s music, most strongly in the track “All I Wanna Do,” which musically (but not lyrically) is pretty similar to Cooke’s “A Change Is Gonna Come.” Otis Redding’s raw vocal style can also be heard within Jamie, especially the faux-Gospel-ish “Wait For Me.”

Whole Lot of Feel Good

Other songs on the album, like “Out Of My System” and the wild, uptempo jam “Hurricane,” continue the late ’60s/early ’70s Soul vibe. If there’s a song that completely encapsulates the tone of the album, it’s the first single, “Little Bit of Feel Good,” which, as the title obvious implies, is a feel-good song. But not just a feel-good song, but a feel-good love song that amazingly manages to be retro and progressive at the same time. The song’s arrangement is old school – horns, tambourines, etc. – but the production values are solidly contemporary.

The only real drawback to the album is the in evoking legendary singers of a bygone era, he ultimately sets himself up to being compared to them, and that’s a comparison he just can’t win. Because although he’s got plenty of raw Soul, Jamie’s still no Otis Redding or Sam Cooke. What he is though, is a talented artist who has a good knack for making catchy, occasionally funky, feel-good Soul records.

‘Jamie Lidell’

If you grew up loving 1980s R&B; — or what passed for R&B; back in the ’80s — you’re likely to dig what British soul-electronic artist Jamie Lidell has cooked up for his self-titled fifth studio album. The album, which was released in the U.S. Feb. 19, 2013 is a collection of synthesizer heavy jams that evoke memories of groups like the Dazz Band, Mtume and LeVert. But this isn’t just some one-time retro R&B; experiment. Throughout his career, Jamie has straddled the line between Soul, electronic and R&B; and this latest release just represents the latest step in his evolution as an artist. And Jamie Lidell the album isn’t just a one-dimensional look back at the past; there’s also quite a few innovative, futuristic songs here that sound several years ahead of their time.

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Quirky, Captivating

Take a helping of ’80s synthesized R&B; (think of Janet Jackson‘s groundbreaking 1986 album, Control and you get the idea), add a healthy dose of electro music (a la Midnight Star), toss in some futuristic industrial-type sounds and then stir well and what you get, more or less, is Jamie Lidell’s self-titled fifth album. This collection of songs is so adventurous and hops back and forth so much musically that there’s no way that an American urban music artist would have recorded or released it, not in today’s overly cautious, creatively stagnant U.S. music marketplace. But to Jamie’s credit, he seems much more motivated by crafting quirky, interesting songs than getting anywhere near the top of the charts.
Maybe the prime example of this is “Why_Ya_Why,” which starts out as a sort of ragtime-y blues number that you would have heard at a speakeasy back in the mid-t-late 1920s, but over the course of about three minutes it transforms like Optimus Prime into a mechanical-sounding industrial tune. Another song, “So Cold,” with its warbly crooning and funk guitar, sounds like an outtake from Andre 3000’s half of OutKast’s Spearkerboxxx/The Love Below double album.

Blazing Trails

Perhaps the most adventurous tune of all here though, is “What a Shame,” a futuristic slice of musical pie that sounds like what it might have been like if Phil Collins had ever recorded with Daft Punk or if George Michael was ever a member of the Ohio Players.
Jamie does stray slightly into traditional R&B; territory on “Don’t You Love Me,” the album’s only (relatively) downbeat song. The relationship tune, about a romance in shambles sticks out sonicly, but not in a bad way. It’s a soulful plea full of gravity and emotion. If he made more songs like this, people would likely be calling him the next Justin Timberlake or Robin Thicke, but obviously he’s a man who prefers to create his own path, rather than follow anyone else’s. And Jamie Lidell, despite all its sonic tributes to decades past, is definitely a quirky, yet fascinating trailblazer of an album. It’s way out of step with what’s considered mainstream R&B; or Soul music in today’s world, but that makes is no less a quality release. In fact, it’s near-subversive going against the grain of what’s popular in music may even be an attribute.

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