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The Blue God CD

Price: £16.71 & FREE Delivery in the UK. Details
Includes FREE MP3 version of this album.
Does not apply to gift orders. See Terms and Conditions for important information about costs that may apply for the MP3 version in case of returns and cancellations.
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Frequently Bought Together

The Blue God + Quixotic
Price For Both: £24.67

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Product details

  • Audio CD (12 May 2008)
  • Number of Discs: 1
  • Format: CD
  • Label: Independiente
  • ASIN: B00177Z56Y
  • Other Editions: MP3 Download
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (7 customer reviews)
  • Amazon Bestsellers Rank: 93,413 in Music (See Top 100 in Music)

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song Title Time Price
Listen  1. Phoenix 3:48£0.79  Buy MP3 
Listen  2. Carnies 3:09£0.79  Buy MP3 
Listen  3. April Grove 3:31£0.79  Buy MP3 
Listen  4. Something To Say 3:26£0.79  Buy MP3 
Listen  5. Baby Blue 2:26£0.79  Buy MP3 
Listen  6. Shangri La 3:47£0.79  Buy MP3 
Listen  7. Snowman 2:34£0.79  Buy MP3 
Listen  8. Da Da Da Da 2:23£0.79  Buy MP3 
Listen  9. Valentine 3:36£0.79  Buy MP3 
Listen10. Poison 2:57£0.79  Buy MP3 
Listen11. Razor Tongue 3:53£0.79  Buy MP3 
Listen12. Yesterday 3:41£0.79  Buy MP3 

Product Description

BBC Review

It's the fate of the muse to be forever defined by the artist they inspire. So it seemed for Martina Topley Bird who, after providing the sultry female foil to Tricky's paranoia on his first three albums, was thereafter apparently doomed to just being 'that girl off Maxinquaye'. Not even the Mercury Music Prize nomination for her 2003 solo debut, Quixotic, could shake that either: As much attention was focused on the male producers and guests like David Holmes, Josh Homme and Tricky (again) as Martina. That might partly have been due to institutionalised music business sexism, yet good as Quixotic was it also wasn't as coherent as it needed to be, and Martina spent the next five years again playing second fiddle on collaborations with Gorillaz and Diplo.

Which certainly isn't the role we find her in on the follow-up. For even though she's run the risk of being overshadowed by her choice of producer again - and there can surely be no-one more in demand than Danger Mouse right now - her enigmatic yet sensual presence floats right to the foreground of the world they've constructed on The Blue God. And The Blue God is a complete world, one that's eerie, eccentric and extremely English and seems a million miles away from the sunshine-soaked Los Angeles where it was recorded. It's the title as much as the sound of first single, Carnies - the most 'pop' moment here - that's the biggest clue to what to expect. For much of The Blue God does feel like a haunted carnival, with a distinctly sinister atmosphere imparted by lines like, ''I contemplate his victims / as they die'' on April Grove - which would give PJ Harvey the shivers. Meanwhile Danger Mouse's production is a hall of mirrors, warping reflections of Ella Fitzgerald, two-tone ska, dark psychedelia and Pentangle's 'acid folk' into unsettling shapes on tracks like Baby Blue and Shangri La.

It's an often astonishing album and one which, if Tricky's forthcoming comeback can't match it, may curse him to be known as 'that bloke who used to rap with Martina Topley Bird'. --Paul Clarke

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Customer Reviews

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Most Helpful Customer Reviews

6 of 6 people found the following review helpful By B. J. Stevens on 28 May 2008
Format: Audio CD
I loved her first album, and wasn't sure on my first listening of 'The Blue God', but I have to say after a week of what seems like listening to nothing else, I have to say that this is just beautiful, amazing stuff. It's eerie, sensual, haunting, sexy, weird...Just brilliant really. It's different in style and tone from the first, but all the more powerful for it. DangerMouse's production just compliments and presents Martina's sultry, delicate voice with incredible sensitivity and effortless style. I love this album, Martina Topley Bird is a fantastically talented artist.
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6 of 7 people found the following review helpful By British Commentator on 1 July 2008
Format: Audio CD
Martina Topley Bird does not fit into one category of music.
Broadly speaking she is "Eclectic Electronica", but fans of Jazz, Soul, Alternative and Hip Hop would all be advised to check this very strong album, and her first "Quixotic" too.
She has a clear yet soulful subtle voice, with good phrasing and a dreamy tinge to it.
The beats are catchy, varied and original.
I heavily recommend that, if you are at all interested in top class and vibrant music, you buy this album.
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Format: Audio CD Verified Purchase
I saw Martina Topley-Bird supporting Massive Attack, and she is the voice of many of the tracks on their latest album, Heligoland. This spurred me to buy her album.

I agree that she is an astonishing talent, and has that husky-voiced quality that is common to many Massive Attack collaborators. The difference with her is that she is a genuine song writing talent in her own right.

This misses out on five stars, though, because I felt the sound quality left something to be desired. This, along with the unfinished feel to Da Da Da Da - which seems to finish in the middle of a beat - lets down what should be an outstanding album.
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7 of 10 people found the following review helpful By TCH TOP 1000 REVIEWER on 14 May 2008
Format: Audio CD
This sophomore album from Topley-Bird a full five years after her solo debut with the intermittently excellent 'Quixotic' is simply superb and a great deal of the reason for this is the choice of producer, Dangermouse, who really has been on a roll recently. The songwriting is mostly very solid but is greatly enhanced by the magnificent production which in the main sounds like a more spare "Gnarls Barkley" with the exception of the last track, 'Yesterday' where DM really digs deep into his bags of tricks for an OTT finale (with an absolute killer bassline by the way). Topley-Bird's singing is predictably excellent with that seductive low-key, woozy, slurry, narcotic feel that is all her own and refreshingly different to that despressing litany of bombastic Amy Whitehouse wannabees that are cluttering up the airwaves at the moment. This album has mystifyingly accrued some flak from critics for being too "pop" but in my opinion that is just critical snobbery, this album has a consistency of tone missing from Topley-Bird's debut, her singing is great, the production is stellar and the songs are mostly strong, what more do they want? So the music has a lighter tone than her debut; I for one like that aspect since I'm getting sick of the angsty self-absorbed music that's doing the rounds at the moment since that way lies the abomination of Amy Whitehouse's appalling "Rehab" (and its ilk), probably the most wretchedly self-mythologising, self-indulgent song of all time (which remember the critics loved by the way!).
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