Believe it or not, Moyet's old record company Sony refused to release this record. Alison had delivered this masterpiece to them, recorded in Bristol with the Insects (Goldfrapp, Massive Attack, Spiritualized), with a host of star guests (ex Spiritualized drummer Damon, Portishead genius Adrian Utley) but, well... they just didn't get it.
Not difficult to fathom, really, for a company currently releasing anything with a pop idol or boyband tag attached. Of course they wouldn't 'get it'.

Britain's undisputed finest voice has here a faultless collection of bittersweet symphonies... bruised, twisted, melancholic and gorgeous, this is an album to soothe you through a broken love affair, to ease you into bed with someone else and one to reminisce over when you're alone again.
From the opening mantra-like 'Yesterday's Flame', all backwards guitars and Indian-style harmonies, it's obvious this is a totally different Alison Moyet. But is it really? The real Moyet has always been the dark brooding chanteuse, writer of such delights as 'Where hides sleep' from her debut 'Alf','Blow wind blow' from her second 'Raindancing' and one of the finest songs ever written, the stunningly morbid 'This house' from her awesome 'Hoodoo' album, criminally overlooked in 1991. The public face of Moyet has been the one foisted on the general public by Sony - happy Essex chappess with great voice belting out happy poppy singles. With great success. Is it any wonder Sony didn't want a change? But, more importantly for an artist with such depth.... is it any wonder Moyet wanted 'out'?
After the critical success of Hoodoo (a Grammy nomination for its first single It Won't Be Long must have cheered up the Moyet camp quite considerably after its commercial failure in the singles charts), things went downhill professionally for Moyet. The follow up, the flimsy Ian Broudie produced 'Essex' provided only one top 20 single, a cover (Whispering your name) and no other hits, and Sony wanted her to ditch her more leftfield avenue for the mainstream again, even going as far as trying to team the lady up with a boyband producer to recreate the hits they had with her in the 80s. Needless to say, in her own inimitable way, she told them where to get off.
Even a number one 'Best of' in the late 90s, the fantastically eclectic 'Singles' couldn't persuade them that Moyet was still bankable. They left her in the wilderness to record the album she wanted to.... but ultimately Sony had very little intention of releasing it. That album turned out to be Hometime. And it's nothing short of a masterpiece, make no mistake. It's not hard to see why Moyet had such faith in the record. Her vocals have found a natural home with the Insects' intricate, beautiful production - if only she'd had them to hand all them years ago....
Mainly downbeat and 'adult', the album positively glows, and lyrically, she's better than ever. Let's hope them Grammy people are listening.
Now signed to Sanctuary, a small independent that seems the rightful home for such a free talent, Moyet once again has the freedom to do almsot whatever she pleases - and if Hometime is the type of thing that pleases her, then it's fine by us. It pleases us even more to hear her sounding so genuinely passionate again - something she hasn't done since her seminal work with Vince Clarke and Yazoo. Moyet positively LIVES these songs, not only sings them.
It's hard to pick out favourites from Hometime.... the title track, a delightfully tripped out druggy sounding Portishead-like beauty is incredible. The Dusty Springfield overtones on Do You Ever Wonder are a joy, the new single, the downright filthy 'More', the breathtaking velvety vocal work on closer 'You don't have to go'.... this is an album of genuine blinders... yes, it'll take a while, but live with it. The best songs are never the most immediate.
Album of 2002? Without a doubt.
Fantastic.

It's been some time coming but "Hometime" turns out to be the best album of Alison Moyet's career. With The Insects at the production helm (see also Goldfrapp and Massive Attack), the sound is elegant and chilled. The marriage between their trip-hop Bristol savvy and Moyet's organic songwriting style is something of a heaven-made match, the progeny of which is a stylish set of smoky chansons, moody beats and aching beauty. The long time since Moyet's last album (1994's under appreciated "Essex") has been put to good creative use and, despite ranking commerciality way down her list of priorities, she has delivered a set rich in potential hit singles. Truly, the woman has never sounded better.

Since the days of Yaz, Alison Moyet has quite rightly been feted as one of the finest British singers. Now the time has come to add 'songwriter' to that title. Witty, intelligent and often poetic, the Moyet compositions have meat on their bones. There is melody and substance alongside that inimitable diva style. "If You Don't Come Back To Me" typifies this, in its string-drenched beauty and haunting broodiness. The title track is an intoxicating mix of trippy, swampy jazziness delivered with Billie Holliday-esque panache, while "More" hitches Moyet's chocolate voice to a taut, moody beat yielding sexy and addictive results. The gorgeously sweeping first single "Should I Feel That It's Over?" is a lesson in creating simple, timeless pop. The overall mix is enriched by a couple bespoke songs by other writers, including "Do You Ever Wonder" in which Moyet claims Dusty Springfield's crown, and "Say It" where modernity blends with a flash of Bacharach/David zing.

This is the return of a rare talent. It really is "Hometime".

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Alison has delivered what is arguably her best album ever! This is an amazing CD combining trip-hop, soul and perfect pop all layered over with Alison's velvet voice and 'take control' attitude.

"Yesterday's Flame" sets the mood with the ultimatum "if your heart isn't in it...pull away and start again". Alison provides an electro vocal backdrop creating unusual musical textures and smooth delivery.

"Should I feel that it's over" is the lead off single...a perfect piece of pop craftsmenship. Accoustic guitar is sweetened with Alison's heartfelt vocals and it is just a gorgeous moment.

"More" begins a electro groove that meanders aimlessly untill it obeys Alison's voice as it whispers close to the mic creating intimacy and a chilling atmosphere.

Other knockouts includes the amazing deep gritty-smooth "Hometime", the epic storysong "Mary don't keep me waiting", the minmalist "Say it", the woeful strings of "If you don't come back to me", a counting rhythm minor chord beauty of "Do you ever wonder" a possible single, and the final "You don't have to go" a sweet uncomplicated song set up to show off Alison's beautiful soulful notes.

If you loved Yazoo, you will appreciate this because Alison seemed to get what she wanted...warm electronica with accoustic instrumentation.

I highly recomend this CD to those who listen to Morcheeba, Everything but the Girl, or Portishead or just want a beautiful electro album where the singer isn't suffering in the plot...believe me this is your CD!

Spend a little hometime with this CD and see how it grows on you!

Alison Moyet has always made consistent solid great music, not to say that absolutely extraordinary voice; one of the best vocalist EVER. With "HOMETIME" she reinveted herself one more time with a gorgeous selection of songs. The music setting is like a collage of different musical influences, and they all work together to make a sound that is all her own. There's not a weak song in this recording. Hypnotic, sexy, nostalgic and ultimately a mesmerizing musical experience. Congratulations for Miss Moyet & The Insects (Producers); can't wait for her next musical adventure. It's time for Hometime.

I had no idea that this album had been held up by problems with recording labels, and I cannot imagine how a label could turn down something like this since it's handily Moyet's strongest album. Her previous effort, Essex, was all over the place with more than a few lousy tracks, but Hometime is a showcase for her astounding voice (growling honey?), and every single track could be a single, really. On first listen this album may likely seem far more subtle than her previous efforts (except for Raindancing, which I'd consider a sort of wretched example of what Hometime does very well) because there aren't any whomping disco tracks this time out. But this is hardly a problem since each song is just so well-crafted, both lyrically and musically. There are electronic flourishes in the songs, but they don't take center stage. Moyet's voice is rightly given that spotlight, and it's never sounded so urgent and exhilarating as it does here. It's like the best of Golfrapp and Massive Attack was suddenly commandeered by a deeply soulful voice that never let the electronics get the better of her. I had this disc playing in my office today, and several people stuck their heads in to say, "Whose voice IS that?" I told them it was Alison Moyet. They didn't know who she was until I mentioned Yaz. Of course. And too bad.