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Last Train To Paris [Explicit Lyrics]

Diddy (Sean Combs), Diddy Dirty Money Audio CD
4.2 out of 5 stars  See all reviews (8 customer reviews)
Price: 2.00 & FREE Delivery in the UK on orders over 10. Details
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Frequently Bought Together

Last Train To Paris + Press Play + No Way Out
Price For All Three: 12.34

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  • Press Play 3.85
  • No Way Out 6.49

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Product details

  • Audio CD (24 Jan 2011)
  • Number of Discs: 1
  • Format: Explicit Lyrics
  • Label: Polydor
  • ASIN: B003MPAFZ0
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (8 customer reviews)
  • Amazon Bestsellers Rank: 47,287 in Music (See Top 100 in Music)

1. Intro
2. Ass On The Floor
3. Yeah Yeah You Would
4. I Hate That You Love Me
5. Someone To Love Me
6. Hate You Now
7. Your Love
8. Shades
9. Angels
10. Strobe Lights
11. Looking For Love
12. I Know
13. Hello Good Morning
14. Yesterday
15. Coming Home
16. Loving You No More

Product Description

BBC Review

A deeply ambitious journey into the mind of a hip hop titan comprising lengthy epics, a plethora of superstar guests, expensive-sounding beats from big-name producers, luxe signifiers of an opulent lifestyle, a fixation with the difficulty of loving someone through the prism (and prison) of a massive celebrity ego? No, it's not Kanye West's latest LP – but an album from a man more routinely, and unfairly dismissed. As part of the Dirty Money trio, Diddy – together with singers and songwriters Kalenna Harper and Dawn Richard – has made a seriously impressive artistic statement.

Last Train to Paris is nominally built around the narrative of Diddy racing against time to pursue and win back a former flame – via, apparently, the last Eurostar out of London. This is adhered to only loosely. Though the album broadly progresses from seduction to redemption, its 18 songs (on the superior deluxe edition; 16 on the regular edition) are snapshots of moments rather than a linear plot – scenes from a film that's half action flick, frenetically paced and full of relentless energy, and half romantic drama, stylishly meditative and introspective. The activity moves between beach, club, cathedral, bedroom and stage, each backdrop bedecked with bespoke beats that frequently blow the mind.

For anyone who enjoys sonic thrills, this is a treat. Despite the array of producers lined up – Including Danja, Darkchild, Polow da Don and Swizz Beatz – Diddy has corralled their work into a tight, coherent whole that's absolutely packed with ideas and creativity. Industrial screeches punctuate a twisted reworking of Dead Prez's Hip Hop on Hate You Now, courtesy of Danja, poisonous recriminations buried in the sludge. Darkchild contributes a glorious blend of rippling house piano with swinging syncopated beats on I Hate That You Love Me; 7 Aurelius provides stereopanning insectile squeaks to nip at Lil Wayne's spaced-out spoken word verses on Strobe Lights.

The idiosyncrasies of Diddy's persona prove an unexpected attraction, too: this is fundamentally his story about his issues, but instead of merely presenting them to us and expecting praise he works through them with panache and slanted imagery. Shades is a strange, sad surreal song that depicts the megastar as a warped, trapped man – but rather than self-pitying, it's actually frequently hilarious, with promises such as: "I'll make love to you on marmalade". Elsewhere, Diddy raps about "fuchsia gaiters and cummerbunds", compares himself to Rembrandt and gets high while listening to Sade.

The album's central love story may involve just two characters, but they are performed by a host of voices – Diddy, the Dirty Money girls, guests including Lil Wayne, Justin Timberlake and Grace Jones – who volley the narrative between them at a frenetic pace. At times, it's like a tug of war between opposing perspectives; at others, they're the voices crowding in Diddy's head – lending the album a sense of theatre that makes it an emotionally compelling ride as well as a triumph of production. As its final notes ring out, you feel like giving the cast a standing ovation as they take a bow.

--Alex Macpherson

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Product Description

2010 debut album from Sean 'Diddy' Combs & his new electro-hip-hop-soul-funk combo with cameos from T.I.Lil Wayne,Justin Timberlake,Usher,Drake,Grace Jones & others! Includes 'Hello Good Morning' & 'Coming Home'.

Customer Reviews

4.2 out of 5 stars
4.2 out of 5 stars
Most Helpful Customer Reviews
15 of 15 people found the following review helpful
4.0 out of 5 stars Suprisingly good! 18 Dec 2010
By D. Diep
Format:Audio CD
I know Diddy has a lot of haters out there. It's understandable. He is the richest person in the hip-hop industry and it's only because of his branding and merchandising. Probably only a fifth of his revenue has come from his music (okay, so I made that up, but it's a generalisation that Diddy hasn't been known for his music).

So is this a return to his music career? Well, this is by far his strongest effort in a long while, after the pretty good but sometimes forgettable 'Press Play' was released back a few years ago.

Personally, I don't think haters will be swayed, no matter how good his album is. But that doesn't mean that those who are open to new music shouldn't be preventing from listening to what I think is a well-thought out, thoroughly enjoyable album. I was surprised. I thought this album was going to flop real bad.

That is not to say that the reason for this album's greatness is the talent of the man himself. Sean Combs is an average rapper. His flow seems prehistoric to what other rappers nowadays can achieve. Nonetheless, his input doesn't damage the album that much at all and he is always there when it is necessary, rather than become an annoyance amongst all the guest stars on the album he has added. Tracks such as 'Hate That You Love Me', 'Yeah Yeah You Would', 'Coming Home' are wonderfully crafted songs that showcase his personality and sound in his songs. It sounds like the better Diddy that we've heard previously, I can tell you that now.

The overall sound of the album is modern, in some cases distinctly futuristic, something that is new to Diddy but actually works really well with the his style. There is a mixture of techno, hip-hop, rap and r'n'b that is sure to delight any approachable listener.
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3 of 3 people found the following review helpful
5.0 out of 5 stars What Diddy Did Next 3 Feb 2011
By The Wolf TOP 100 REVIEWER VINE VOICE
Format:Audio CD
The past can be a good friend or a fierce foe in the present.
Sean Combs has made friends and enemies too. It's an occupational
hazzard in this genre...BUT...Mr Diddy (whether his money is
dirty or not) is still here and swaggers out on his fifth studio
album with shiny shoes and expensive dentistry, still ready to
be counted with the best. This man has ALWAYS believed in himself!

Mr Diddy is not the greatest rapper on the block but it sort-of
doesn't really matter when an album as good as this springs out
of the woodwork, grabs you by your shirt collar and swings you
around the room asking...NO DEMANDING!...to be heard. So listen up!

The success of 'Last Train To Paris' lays in no small measure to
his two new female vocal collaborators - Dawn Richards and Kalenna
Harper. They are the true heart and soul of this project. Mr Diddy's
braggadocio still has the power to thrill us but the ladies deliver
a consistently high gloss to these magnificently dance-friendly
inventions. There are guests aplenty too (a sine qua non of any hip
hop album these days it seems!) but the individual contributions make
more cohesive sense and are better integrated than many other
collaborative celebrity-fests we've been subjected to of late.

Album highlights would have to include : 'Shades' which finds Justin
Timberlake doing a good turn and Lil Wayne overstaying his welcome,
(sounding more than ever like a cartoon chipmunk!
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1 of 1 people found the following review helpful
5.0 out of 5 stars Diddy's Brand of Euro Dance 4 April 2011
Format:Audio CD
To be honest, I think that as much as we complain about the state of Hip-Hop, R&B today is in a far worse situation. Besides Trey Songz that traditional R&B/Hip-hop sound is dead.

Usher, Ciara, Ne-Yo, Chris Brown etc. have found some success by abandoning the traditional R&B sound in favour of the more pop sounds of eurodance. I personally hate the direction that these artists are taking R&B to and I was saddened by the news that Diddy was going the same route. He even named his album "Last Train To Paris" in order to make the connection to the European sound even more apparent.

Don't get me wrong, not everything out of Europe is trash as anyone who was bumping Wiz Khalifa's `Black And Yellow' this past summer can attest. Stargate seem to have found the right balance between R&B and pop. But the David Gutetta meets BEP brand of R&B is not my thing. I like OMG but that is not R&B for me.

Given the preliminary discussions, it was surprising that the first single off the album, `Angels', was a slow jam rooted in hip-hop. Complete with an overused sample and a rehashed Notorious B.I.G. verse. As surprising as its departure from the Euro sound was the biggest shock was Diddy's autotune croon. Initially the track didn't go down well but after hearing Lupe Fiasco's freestyle over that beat I sold. Rick Ross who joined the party later also came and killed it.

A slew of singles followed but they failed to catch on until Diddy released the monster, `Hello, Good Morning'. It was a dance track but there was nothing Eurotrash about it. The same was true about `Ass on the Floor' which is not as catchy as `Hello, Good Morning' but it did set the scene for Diddy's brand of R&B/Dance.

Having heard the entire album, I think that Diddy is on to something here.
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