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Jan Mulder "Jam" (Lowestoft, UK)

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Price: 7.00

9 of 13 people found the following review helpful
5.0 out of 5 stars Showing some love for Kian Egan here!, 23 Mar 2014
This review is from: Home (Audio CD)
Reading some of the other reviews for this album, i'm upset that people seem to be so negative because of the fact that "Home" is a covers album and are simply looking to find fault where there is none for this matter alone. My advice to you is - you know before you purchase that "Home" is a covers album, and if you're going to moan about that don't buy it in the first place.

Now to my review of the music. Kian has proved with this album that again, Louis Walsh and the other Westlife gurus again sidelined a very strong vocalist instead of giving everybody equal parts. I feel Kian and Nicky were neglected vocally whilst in Westlife and Kian has finally proved that this should have not been the case. I also like the fact that he has tried to shake off his Westlife roots by going for more of a rock-pop angle, and that his choice of covers are you're typical covers which every cover artist has on their album.

"Home" is a perfect upbeat ballad which has a soaring chorus, and the video is very sentimental and suits the story of the song extremely well. Kian has added depth to an otherwise relatively run-of-the-mill pop rock ballad. "What Hurts the Most" and "Not a Day Goes By" both start off very solemnly, but build into well structured and well adapted versions of the originals. "The Reason" starts off in full rock swing and Kian keeps the flow going right until the very end of the song. The highlight of the album has to be the duet with his beautiful stunning wife Jodi Albert (formerly of Girl Thing and Wonderland), as the pair take on Lady Antebellum's surprisingly low-charting classic "I Run to You" (the follow up to their massive worldwide hit "I Need You Now"). Jodi actually outshines Kian in the vocal department, but only because I feel she is given more of a lead on this track than Kian himself.

So, please give Kian a chance. He has produced a fantastic album compared to some of the junk out their today. So don't be put off by all of the negative reviews. "Home" is a great album.
Comment Comment (1) | Permalink | Most recent comment: Apr 7, 2014 6:51 PM BST

Sex And Love
Sex And Love
Price: 10.99

4 of 4 people found the following review helpful
5.0 out of 5 stars Sex + Love has to be Enrique's finest album in years!, 23 Mar 2014
This review is from: Sex And Love (Audio CD)
After a string of singles released over the last couple of years, I was initially disappointed when the tracklisting for Sex + Love was announced. However, I discovered this to be the U.S. tracklisting, and for once, us Brits have been given the best possible tracklisting of them all: All of the singles, all of the English-language tracks (including those exclusive to certain retailers in the US), and the best of the Spanish-language tracks. Someone at the record company had the right idea this time after the tracklisting disaster of Euphoria, which resulted in us getting the least amount of tracks of all.

And there is not one song on Sex + Love which disappoints. I've always said that Enrique and Pitbull go together like cheese & onion, they were always meant to be together and the results are spectacular. "I'm a Freak" has proved to be Enrique's most successful chart single worldwide in some years, while "Let Me Be Your Lover" is synth-pop at it's finest with a catchy hook and a perfect breakdown from Pit. "I Like How it Feels" has to be one of the most under-rated Enrique songs ever, the unforgettable riff that keeps you humming it all day in your head has that essence of pure Enrique magic that is uniquely identifiable.

The Flo-Rida "There Goes My Baby" is surprisingly sophisticated for a track that is a Flo-Rida collaboration. Enrique has gone for sultry, dark sweet tones across a simplistic yet effective beat. The out of this world collaboration with Kylie "Beautiful" has number-one record written all over it and a duet video would bring this audio delight to a visual audience. The Cataracs continue to work magic as their partnership with Enrique continues, again a partnership which seems to be the works of perfection. "You and I", "Still Your King", "Heart Attack" and "Turn the Night Up" take Enrique's vocal abilities to a whole new level. Heart Attack is the perfect rock/synthpop mash-up which sadly wasn't given more radio exposure when it was released as a single.

"Bailando" is a surprisingly laid-back jam which sees Enrique teaming up with Gente De Zona and Bueno, this reminds me of something which would appear on a Shaggy album rather than an Enrique album, but suits Enrique's style surprisingly well. "Physical" featuring Jennifer Lopez is another track which should definitely have the chance at being a single, it would be perfect for radio. The ballads of the album, "Only a Woman", "Loco" and "El Perdedor" are classic Enrique territory, looking back to the days of his Spanish debut and later his smash hit "Hero". "El Perdedor" is the perfect way to round off the album and a fantastic duet between two beautiful vocalists.

So all in all, "Sex and Love" is one you do not want to miss. Buy it Now.

It's A Lot [DVD]
It's A Lot [DVD]
Dvd ~ Femi Oyeniran
Price: 7.00

5.0 out of 5 stars It's a Lot, 18 Feb 2014
Verified Purchase(What is this?)
This review is from: It's A Lot [DVD] (DVD)
Aside from the fact that it is billed as a comedy, and ranked alongside the likes of 'Anuvahood', 'Adulthood' and 'Kidulthood', it is like none of the above, and I would go as far to say it's more of a serious teen drama with elements of comedy thrown in.


The film tells the story of Sean (Orienyan), an upper-class intelligent teenager who drops out of one of the most prestigious colleges to join his school friends at a run-down state college, where he feels like he belongs. However, he is drawn into parading his 'posh' lifestyle to his middle class friends, and finds himself on the end of a 20,000 car repair bill. The only way to raise the money is to come up with the craziest scheme imaginable - inventing a fake charity to collect money on his behalf. But when he falls in love with the girl of dreams, Natalie, his conscience gets the better of him and he is forced to make some pretty tough decisions on what is morally right and wrong.

The film is pulled off exceptionally well, with 90 minutes of strong, flowing plot and excellent performances by all of the actors involved. A special nod has to go to Roxanne Pallett, for her excellent performance as the girl everyone loves to love, Louise, and Jack Doolan, for his sophisticated yet comical approach to playing drug dealer Mr. J. And Tim Westwood as a compere has to be the icing on the cake for me.

While the film relies heavily on promotion of it's predecessors to gain popularity, and thus the reason why I purchased it, it is completely in a different league to it's counterparts with regards to genre and plotline, but is just as excellent as those who came before it.

Law & Order: UK - Series 7 [DVD] [2013]
Law & Order: UK - Series 7 [DVD] [2013]
Dvd ~ Bradley Walsh
Price: 12.82

5 of 5 people found the following review helpful
4.0 out of 5 stars Law & Order: UK Continues to Wow Fans, 5 Sep 2013
Verified Purchase(What is this?)
So after a long wait of eighteen months, the seventh series of L&O UK goes to air, with again two changes to the major cast, and a total of six episodes (including one two-parter).

As seasons go, for story quality & content, these are some of the most gripping stories yet - a spectacular two-part opener involving a major train crash, the death of an elderly lady after being starved by her own granddaughter, and the death of an adoptive father who's adopted son then goes missing. An excellent nod to the scriptwriters there. However, the producers don't seem to quite be on the same level.

Six episodes? Usually we have seven single stories to enjoy, yet this time with the presence of the two-parter we only have five, which seemed watching it at the time a slight 'flash in the pan' effort. We were initially promised eight episodes, including the two-parter, which would have resulted in the seven stories as usual, yet, come broadcast, only six arrived.

Secondly, what happened to Paul Nicholls big send off? DS Devlin got a massive homage two-parter when he departed, yet DS Casey gets nothing, not even a scene in the final ten minutes. We were told early on that Nicholls was leaving in episode six, so why not film some spectacular ending like DS Devlin? I feel Nicholls and Casey were both robbed of the ending they deserved.

Lastly, i was sad to see the departure of both Harriet Walter and Freema Agyeman, as both were great essential parts of the show. I was extremely impressed with Agyeman's replacement, Corrie's Georgia Taylor, who gave a stunning performance as a sometimes dark, yet collected prosecutor Kate Barker. Her attempts to dig deeper into Jake Thorne's private life and find out what makes him tick where the first signs of a stronger relationship between junior and senior prosecutor since Thorne arrived - i always felt that Agyeman's character Alesha Phillips always had a stronger relationship with Ben Daniels' character James Steele. However, the leadership, integrity and grit of Harriet Walter's DI Chandler has been completely lost with the appointment of Paterson Joseph as DI Layton. Joseph gave a lifeless and pointless performance, and his character was simply nothing more worthy than an extra, who instead of getting involved and getting to the bottom of the case like DI Chandler, simply appeared to either be chopping plants and eating bacon rolls in every scene. I sincerly hope that the nods to DI Chandler simply being away, and not having left the station, are not just quips for the story, but are instead hope that Harriet Walter is returning the role for Series 8.

And as for the departure of Paul Nicholls, i feel dissapointed that such a worthy successor - and perhaps a more suitable accompaniment to Bradley Walsh's DS Brooks that Jamie Bamber's DS Devlin - has gone after two series. I seriously hope that his successor is somebody who can fill his boots just as well as he filled Jamie Bamber's.

Aside from these issues, Series 7 was again a fantastic example of finely written, finely performed and well-produced piece of British drama. Well done ITV, you've got a good one here.
Comment Comment (1) | Permalink | Most recent comment: Oct 30, 2013 12:51 AM GMT

In A World Like This
In A World Like This
Price: 9.80

5 of 5 people found the following review helpful
4.0 out of 5 stars An Honest Review from a long-time Backstreet Boys Mega Fan, 3 Aug 2013
This review is from: In A World Like This (Audio CD)
I've been a fan of the Backstreet Boys ever since i can remember. I used to love their edgy '90s boyband pop such as "Get Down", and always admired their amazing ability with vocal harmonies on tracks such as "All i Have to Give". Over the years, their evolution from boyband to man band has been one tough, rollercoaster ride - but as much as those might seem, 'Unbreakable' and 'This is Us' for me where two fantastic albums, seeing the band heading in a fantastic direction, allowing a physical and vocal evolution in both dimensions. The rawness of 'Inconsolable' to the thumping club beats of 'Straight Through My Heart'. But for me, this album is very hit and miss. After hearing the fantastic promotional track 'Permanent Stain' and then the stunningly-amazing lead single 'In a World Like This', i honestly thought this would be the band's best album ever. But i was wrong.

While productions from relatively new producer Morgan Taylor Reid and long-time collaborator Dan Muckala shine on the album, as well as the Max Martin masterpiece 'In a World Like This', the bulk recorded with Martin Terefe - "Breathe", "Madeline", "Try" and "Trust Me" is simply not entertaining. There's nothing that makes the songs shine in any way shape or form, they are simply bland and forgettable. And whilst he may have helped many other artists find international fame, that sadly won't be the case in helping the Backstreet Boys' comeback. And lone-stander "Love Somebody", produced by Justin Trugman doesn't do anything either, with not enough of a hook to keep the listener interested until right near the end.

I once again have to praise Morgan Taylor Reid and Dan Muckala for their work on the album. 'Show Em (What You're Made Of)' is a dark, twisted piece of beauty, intertwinning ballad-esque qualities within hauntingly memorable verses, surrounded by a thumping chorus. 'One Phone Call' is the undiscovered pop cousin of Maroon 5's "Payphone", swinging more towards the well known vocal-harmony side of the group that everyone knows and loves. "Make Believe" and "Feels Like Home" bring the band further into the 21st century with the use of dance-heavy instrumentals accompanied by cleverly layered vocals. Once of which should definitely be a single, to allow the world to see a different side to the boys. "Soldier" is a stadium anthem. It flows powerfully from verse to verse with the subtle undertones allowing for a perfect finish.

For me, only just over half the album is pleasing to the ears - the rest is simply here nor there. However, as a long-time fan i decided to buy the Japanese edition of the album with bonus track 'Light On' - and in my opinion it's the best track of the entire set - and we British fans don't even get to hear it! 'Light On' sees all of the band taking an equal vocal role to create a sound somewhere between Backstreet, NKOTB and The Wanted - which turns out to be superb. This should have easily been the lead single, it would be a chart smash worldwide.

So that sums it up. I would highly reccomend listening tentatively, because for me this album didn't hit all the sweet spots that Backstreet usually manage to hit. And then to top it all, the best track isn't even on the British release.
Comment Comments (2) | Permalink | Most recent comment: Sep 25, 2013 2:56 AM BST

The Art Of Doing Nothing
The Art Of Doing Nothing
Offered by mrtopseller
Price: 8.50

2 of 2 people found the following review helpful
5.0 out of 5 stars The Art of Doing Nothing..., 13 July 2013
So, Mark Owen's back with his fourth solo effort, and too right, because his solo alias has been locked away for too long. The experimental "Green Man", to the pure pop "In Your Own Time", and the more man-band style of "How the Mighty Fall" was a rollercoaster ride of epic proportions. So, for me, "The Art of Doing Nothing" couldn't of come sooner. And it certainly doesn't dissappoint.

GIVEAWAY: "Giveaway" is a slow, suttle ballad, with hints of electronica, combined with a thumping, anthemic drum beat. An angelic, robotic-ish tone on the chorus is the clincher. Although the song doesn't really go anywhere vocally, it's instrumental-vocal touch is enough to earn it the stars. **4 out of 5** THE ONE: "The One" is the track you can imagine as being as the crowd-pleaser at a stadium event, with hints of "Hold Up a Light" combined with a two-tone vocal arrangement. Aside from "Stars", it's probably my favourite track on the album, perhaps due to the fact it would fit right in on a Take That album. **5 out of 5** STARS: "Stars" is sultry, deep and dark. For a lead single, it's a mixture somewhere between Coldplay and Muse, and although vocally doesn't stretch Mark to heights, it's strong enough to stay stuck in your head for a week. And watching it with the music video is perhaps the perfect accompaniment. **5 out of 5** CARNIVAL: "Carnival" is that unique, unidentifiable masterpiece that doesn't really fit into any category - it's bass riff simuliases me in somewhere like Jamaica, dancing on the beach to the sound of bongos and tamborines. And then the drum kicks in - and brings it right back home. **4 out of 5**

ANIMALS: "Animals" sounds like the alternate cousin of "Carnival", being as weird as an eclectic, but making use of a completely different set of instruments, with a memorable piano riff. But the difference is with "Animals" - it has such a memorable and effective chorus, which allows it to stand out from it's predecessor. **4 out of 5** US AND OURS: "Us and Ours" is the electronic romp which sounds like it would be right at home on an Ellie Goulding album. It's a very brave move for Mark to tackle an anthem like this, especially with the repeated use of the robotic tone first heard on "Giveaway". For me, it's kinda here-nor-there. **4 out of 5** HEAVEN'S FALLING (FEATURING JAKE EMLYN): "Heaven's Falling" is another of my personal highlights. It's a complete three-way contrast, featuring dark, alluring verses, a high, joyous chorus, and then the added touch of rapper Jake Emlyn, which just adds the cherry onto the already beautiful case. **5 out of 5** RAVEN: "Raven" is an excellent acoustically advantaged hidden gem. Listening carefully, essences of the likes of Coldplay and Muse appear to have crept in - but only to Mark's advantage, because he certainly has the voice to pull it off. You can just imagine this being a global smash. **5 out of 5** SAD (FEATURING REN HARVIEU): "Sad" sees Mark team up with good friend and fine female vocalist Ren Harvieu, for a track which sounds like the ideal theme tune for the final scene of a heartbreaking movie. It reminds me of the Ronan Keating/Kate Rusby duet "All Over Again", with a beautiful blend of the two voices. **4 out of 5**

END OF EVERYTHING: "End of Everything" is the most epic, beautiful anthem that Mark has ever released. It has to be a single. It remains me alot of "Alone Without You", which has always been my favourite Mark song since it's release on "In Your Own Time". Can you just imagine the music video? **5 out of 5** GHOST: "Ghost" is a slow, simplistic number. Although you can identify it's beauty, you can't deny the fact it perhaps deserves it's place on the deluxe edition, because with the number of hits on the standard release, you'd feel it was simply a little bit out of place, and perhaps out of it's depth. **4 out of 5** MORNING BELLE: "Morning Belle" starts out with the feel of it building up to an almighty chorus. But what you get is actually a superb breakdown section, which is completely unexpected. And then the kicking chorus comes out of nowhere, accompanied with the backing of "ooh, oohs" all the way to the close. **5 out of 5** THE LAMB: "The Lamb" is something very unexpected of Mark - a throwback to the old standards of the 1930's, with an essence of Michael Buble, spliced with that little bit of Mark magic. It's not my cup of tea, but works well as a close to a rollercoaster ride of an album. Another track which belongs solely on the deluxe. **3 out of 5**

My top five tracks on the album are "The One", "Stars", "End of Everything", "Heaven's Falling" and "Raven".

We Are Smug
We Are Smug
Price: 11.22

5 of 5 people found the following review helpful
5.0 out of 5 stars Darren Should Be Smug!, 16 April 2013
Verified Purchase(What is this?)
This review is from: We Are Smug (Audio CD)
I will admit that my fascination with Darren Hayes and his fantastic musicial catalogue began with my mum becoming hooked on Savage Garden. But since then, she's turned me into a Darren super-fan. He holds such a wonderful tone in his voice and his majestically different style from album-to-album is amazing. And finally, this limited edition album is available on CD.

LOOK WHAT WE'VE STARTED: A suave rock guitar riff, accompanied by the sultry vocals of producer Rob Conley, which sees him take the lead for the first time, allowing Darren to provide a stunning accompaniment, kicks off the album. It's perhaps one of Rob's most commercial efforts ever, and something that should have never stayed hidden for so long. (5/5) HOT TUB BLUES: Combining musicial styles from the classic '40s musicals with a sinking piano riff and a vocal persona of an extremely young performer and you've got something as experimental and timeless as can possible be achieved. The deep vocal harmony accompanying the second and final choruses are also a welcome change. (5/5) GOOD DRESS: A combination of electronic hip-hop and Beastie Boys style rap interludes, accompanied by a backing track of 'whoop whooops' and a killer hook with some ear-shattering high notes is another example of experimental perfection. Very remeniscent of the 'Delicate Thing' era. (5/5) WORDS THAT I CAN'T SAY: A sinister bassline kickstarts a pumping pop anthem which sees Darren taking a back seat for a second time to allow producer Rob Conley to take lead vocals. Rob's tone compliments Darren's soothing vocal extremely well, before Darren kicks in with a stunning middle-eight. The most mainstream effort on the record proves to not to a downfall in any way. (5/5) RIOT: An electronic romp that sounds direct from the 1980's dancefloor, combined with a continuously high falsetto vocal performance throughout makes this formerly unreleased a track one of the most powerfully-influenced electronic efforts on the album. The catchy stadium-anthem style hook will also having you humming it all day. (5/5)

ON THE RADIO: A lower, raspy tone provides the backdrop for the perhaps weirdest effort on the album, which discusses the subject of sex and profanities on the radio and TV. The amount of vocal changes and mash-ups throughout the song makes it sound four or five songs have been spliced together, like a megamix. But nobody ever said megamixes were bad, and this certainly proves otherwise. (5/5) TEAR IT UP: A second attempt at hip-hop, this time blended with the return of the high falsetto is perhaps let down by the unadventerous, in comparison, instrumental arrangement of the track. It's like a blend of two genres which were never meant to mix, and should never have been. The final chorus is a kickstart too little too late. Saying that, however, it's better that alot of the music you find in the charts nowadays. (3/5) NEVER BE THE SAME AGAIN: For the first time on the record, Darren uses his well-known vocal style that has been tied to him since his earliest Savage Garden days. A mixture of instrumental loops alongside some unexpected ballad-esque lyrics makes this a shocking classic up-tempo ballad amongst an electronic extravaganza. It's a welcome return to the Darren we all know and love. (5/5) WATCHING ME, WATCHING YOU: Before Darren began working with Rob, i'd never held much of an interest in electronic music, but his production on 'Tension and the Spark' was simply wonderful. And it is replicated here in this pop-laced electronic chatachism of a tale of Big Brother looking down on us. It's the only track i'd heard before purchasing the album, and it's a perfect place to bridge the gap between Darren's albums. (5/5) FIRE IT UP: An electronic take on the classic rock anthems of the 1970's, that once again finds Rob at the forefront of proceedings. It's surprising that Rob has never decided to take the stage himself as a solo performer, as he has an amazingly unique voice. Darren provides some fantastic vocal harmonies on the chorus, as well as a wonderful breakdown section. (5/5) THE PRESSURE: Darren and Rob close the album with a harmonised duet that is extremely reminiscent of the 'Spin' era, accompanied by a perfect piano and drum arrangement. It's somehow very different to anything Darren's done before, perhaps inspired by the similar artists in the field of this genre, such as Coldplay. A simply perfect close. (5/5)

So, overall, using an extremely large amount of different vocal styles, and every music genre from thumping electronic basslines to classic '40s musicials-themed pop anthems, Darren and Rob have created an amazingly different experimental masterpiece. Every track is different to the last, none of which should be passed over. This has to be Darren's finest album ever, simply because of the vast ranges of styles he manages to pull off. Worth anybody's money anyday. If you're a fan of Darren, buy this now.

The Ascent
The Ascent
Price: 6.67

1 of 2 people found the following review helpful
3.0 out of 5 stars The Ascent Has Not Quite Reached the Top!, 3 April 2013
Verified Purchase(What is this?)
This review is from: The Ascent (Audio CD)
I was excited by the look of Wiley's new album, mainly because of the line-up of all star guests, which enticed me into purchasing it on the day of release. Don't get me wrong, i've always been a fan of Wiley, but this album is very mix and match for me. There are some amazingly stand-out tracks, and others which are just not up to the mark.

ASCENT: The track is very much scattered and doesn't really seem to withold any direction. It has a very disorganised introduction, and the actual vocals are just lost in the blur of weird sound effects, synths and jumbled instrumentals. A very poor start to the album. (2/5) FIRST CLASS FT. KANO AND LETHAL BIZZLE: This is one of the more successful pure grime tracks, making use of the two featuring MCs well as adding some structure to proceedings. Saying that, however, from the moment it starts to the moment it finishes, it doesn't seem to want to go anywhere. It stays very safe, and very calm and collected, which in this case, is a disadvantage. (3/5) SKILLZONE FT. GHETTS AND CO: This track has to be one of the worst grime tracks ever produced. It just sounds like noise. Seven very weak vocalists with some poor lyrical ability served atop a once again scattered and crazy instrumental. How somebody high up top didn't refuse to release this is beyond me. I've heard poor grime tracks in the past, but this takes the biscuit. (0/5) HANDS IN THE AIR FT. TULISA AND ICE KID: Finally, the album begins to pick up with the appearance of N-Dubz's finest and grime trainee Ice Kid. Sticking true to Wiley's roots, yet moving slowly towards the mainstream, this is a fine mash-up of two genres. Tulisa's autotuned vocal works well against the backdrop of Wiley's verses, an ideal use of autotune. (4/5) RELOAD FT. CHIP AND MS D: Reload is the best track by a clear mile. It's the most mainstream effort on the album, but perhaps gives us a sign that Wiley should turn his hand to mainstream rap more often. Chip's feature is also a standout moment, giving an amazing performance atop some pumping club beats and a suave and calculated hook from Ms. D. (5/5) CHAINSAW FT. WRIGZ, J2K AND KEVANC: Now the grime side of proceedings begins to come into it's own, with a powerful, yet risky hook-laden anthem involving three of the underground's finest MCs. The situation is calculated and controlled, and gives an excellent result with a selection of lyrically-advacned verses surrounding a succinct, powerful hook. (5/5)

HEATWAVE FT. MS D: Despite the fact it became a number-one record, Heatwave doesn't really do anything for me. Don't get me wrong, it is nowhere near the worst track on the album, but apart from Ms D's sulky, smooth hook, the track is really lacking in get up and go. (3/5) SO ALIVE FT. FAR EAST MOVEMENT: Hooking up with one of America's most commercially awful acts was a bad move. Grime is essentially a british genre, and therefore adding American and Asian rappers to an esentially british anthem is simply a bad idea. Once again, it's not the worst track on the record, it's just nothing stand-out either. (3/5) LIGHTS ON FT. ANGEL AND TINCHY STRYDER: The second best track on the album, aside from 'Reload'. The commerical aspect is strong enough for it to become another number-one record, with dark and soulful tones from Angel, added to a surprisingly frank appearance from Tinchy makes this a shining light amongst a select set of dark tracks. (5/5) CAN YOU HEAR ME FT. SKEPTA, JME AND MS. D: A slight improvement on 'Heatwave' as the second single, but again, Ms. D's appearance is the only highlight. To me it sounds like two tracks that have been spliced together, with rather disastrous results. The appearance of Skepta and JME fails to do anything for the track either. (3/5) TOMORROW FT. MEGAMAN AND STYALZ FUEGO: Where has this little gem been hiding? An under-rated yet sophisticated vocal from Styals Fuego on the hook is a piece of musical perfection on the ears. The sultry drum and bass backing Wiley and Megaman keeps the track flowing right through until the very end. Definitely has to be released as a single at some point. (5/5) MY HEART FT. EMELI SANDE AND FRENCH MONTANA: I was seriously looking forward to hearing Emeli hook up with Wiley again, after the amazing 'Never Be Your Woman' back in 2010. But a poorly-written hook from Wiley, extremly autotuned beyond recognition vocals and repetitive lyrics make Emeli sound as the worst performer on the track, which is a huge disappointment. Emeli's beautiful vocals and songwriting ability have been ruined by Wiley and his awful production. (2/5) HUMBLE PIE: The album closes with the second and final solo effort on the record. It's a slight improvement on the opening track, but again fails to really lift off. By this point, i'm starting to wonder if there's enough on this album for it to be worth purchasing. (3/5)

I would seriously reccomend listening to samples of the album before you purchase it. If you're a big fan of the grime genre, it may suit you more than the average listener. "Tomorrow", "Reload", "Lights On", "Chainsaw" and "Hands in the Air" are the stand-out tracks for me. If you're not interested in buying the entire album, these are the tracks i would reccomend. Hope for better things from Wiley next time.

The 20/20 Experience
The 20/20 Experience
Price: 7.81

1 of 4 people found the following review helpful
5.0 out of 5 stars As Timbaland Would Say, "....Hit It JT"!, 20 Mar 2013
Verified Purchase(What is this?)
This review is from: The 20/20 Experience (Audio CD)
After nearly seven years away from the musical spotlight, it's fantastic to finally hear some new material from Mr. Timberlake. After the masterpiece that preceded it, "The 20/20 Experience" is an experimental, fast paced electro-project with some classic slick style neo-soul beats - and a fine example of the wide spectrum that can be covered in one album.

PUSHER LOVE GIRL: The album kickstarts with a guitar-laden anthem, laced with saucy spoken word raps and slick, stylish vocal layers, amongst the falsetto experimentation and classic beatbox accompaniment. It's an excellent start to the album, with some fine, tight production. (5/5) SUIT AND TIE FT. JAY-Z: This throwback to the classic swinging '60s, with the accompaniment of saxophones, trombones, pumping samples of "Sho' Nuff" and a deep rap breakdown from the master of rap, Jay Z, is an example of musical perfection on the ears. Despite being the only hook-up on the album, it easily satisfies the length to which Timberlake has to go to create an amazing record. (5/5) DON'T HOLD THE WALL: The sultry "oooh, la, las" which kick off the record lay the path for some dark, tribal beats accompanied by a dark, background vocal from the musical master producer that is Timbaland. By this point, the energy and adventerous side of the album is beginning to show, with amazing results. (5/5) STRAWBERRY BUBBLEGUM: The silky, light tones of this infectious pop-laced number are just the basis surrounding a pumping hook and some strictly off the record references to candy. It's probably the most pop-influenced number on the record, but it's not a shy away from the otherwise ingenious attempt to create a hip-hop love song. (5/5) TUNNEL VISION: The high-powered hip-hop beats that first surfaced during the era of ''Justified'' return in fine form, with this vocally-advanced return to one of Justin's finest eras. Upon first listening to the album, "Tunnel Vision" sticks out to me as the possible choice for third single. It has the ability to be chart friendly, yet works well as a stand-alone masterpiece. (5/5) SPACESHIP COUPE: The R&B side of Justin's pop personality is revealed on this electronically-assissted tale of a woman from outer space. A well structured-example of the album's finest work, using the verse-bridge-chorus arrangement which features heavily on Justin's previous efforts. (5/5)

THAT GIRL: "That Girl" is a mash-up of the classic big band genre with the classic beatbox layer, accompanied by a heavy instrument-laden arrangement. Surprisingly, it's the shortest track on the record, but it's the one that screams out that it needs to continue on a little longer. However, don't let that disguise it's amaze factor. (5/5) LET THE GROOVE GET IN: The tribal beats of "Don't Hold the Wall" return for a second outing on his culturally influenced dance number. The repetitive lyrics, alongside the non-adjustable instrumental makes this one of the less successful tracks on the album. Saying that, however, it's much more stylish than the usual chart material nowadays. (5/5) MIRRORS: By a clear mile, the best track that Timberlake has ever written. The lyrical meaning, accompanied by the catchy hip-hop beats and an added guitar loop makes for a pop/rock/hip-hop mix up of epic proportions. Nowhere else will you find such a successful example of a mash-up of three major genres. A perfect song. (5/5) BLUE OCEAN FLOOR: And if you thought "Mirrors" was the only fine example of a ballad on this album, then you're wrong. Because the opening seconds of "Blue Ocean Floor" are just perfect. The pumping synths layered behind a very soft, spoken vocal, before the pumping chorus comes straight at you. Across a couple of listens, this is fast becoming my second favourite track to "Mirrors". It's simply beautiful. (5/5) DRESS ON: Upon the first listen, "Dress On" sounds very much like an out-take from the ''LoveSounds'' era. It's very suttle and simple, yet sophisticated in it's approach. The powerful, yet short rap interlude from Timbaland is perhaps a hint that the track was originally set for commercial release, perhaps as a single. (5/5) BODY COUNT: "Body Count" is a flashback right into the history of Timberlake, even perhaps touching on his 'N Sync days. The use of a darker, rap-style from Timberlake is a surprise, yet amazingly fantastic change. The beat will instantly get you up on your feet and will make you want to dance. Essences of "Senorita" spring to mind. (5/5)

So, in summary, all i can say is that Justin has created the perfect album. It's experimental level, combined with some very tight and instrumentally-advanced production makes for the fantastic return that everybody was hoping for. And with the rumour of a further new album in November, this truly is the year of Justin Timberlake.
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Girl Who Got Away [Bonus Disc]
Girl Who Got Away [Bonus Disc]
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1 of 3 people found the following review helpful
5.0 out of 5 stars Dido Returns to the Stage!, 7 Mar 2013
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It may have been five years since Dido last released a record, but she's lost none of the class and creativity she first displayed tweleve years ago on 'No Angel'. Since then, she's gone from strength to strength, and her new effort, 'Girl Who Got Away', is a fine display of her imagination and musical ability.

NO FREEDOM: The album kicks straight into gear with a guitar-laden ballad, which has tones and essences that remind me of the Fugees version of 'No Woman, No Cry', penned by Wyclef Jean. Despite it being one of only a couple of chart friendly tracks on the album, it's one of Dido's finer examples and has the ability to live up to the legend of 'Thank You'. (5/5) GIRL WHO GOT AWAY: The guitars continue on this second, chart friendly effort. The album's title track is a tale of a lost love, or perhaps one that is never going to be found. Working with drummer Ash Soan, Dido has managed to recreate the contents of a mainstream pop song into a suttle, yet refined downtempo ballad. (5/5) LET US MOVE ON FT. KENDRICK LAMAR: Dido's take on the hip-hop genre is displayed in a carefree, humble grace laden-beat backed with some extremely memorable vocal performances. Enlisting the help of American rap supremo Kendrick Lamar, who manages to add an extra sparkle to the track without ruining it's calm and subtle style, was a fantastic idea. (5/5) BLACKBIRD: Dido takes the album is a slightly alternate direction for her next track, mixing influences of dubstep and drum and bass into a catchy, soul-filled number. At first, i wasn't sure whether the mix of so many genres together would work, but on a second inspection, it really stands out as a prime effort. It might not be ready to have a video filmed, or played on the radio, but some of the finest masterpieces never are. (5/5) END OF NIGHT: Dido reveals her wild side with this stadium anthem, laced with infectious hooks and dramatic finishes. It's the kind of track you would imagine she would perform as an encore at one of her sold-out arena tours. It shows that despite her usual style of deep, dignified and classic, she has the ability to come out of her skin and prove she has the ability to work both sides of the spectrum. (5/5) SITTING ON THE ROOF OF THE WORLD: This thoroughly acoustic number is an example of how something so simple can become such a stand-out. It doesn't need thumping instruments and layered vocals to be noticed, it's simple features of Dido and a guitar are enough to glide it through five minutes of pure musical perfection. (5/5) LOVE TO BLAME: Love to Blame starts off well, but for me spends too much time worrying about the instrumental than focusing on the vocals. Long, elongated instrumental sections take over the lyrical amazement of the first verse, which sadly appears to be the only respectable part of the song. It's a shame, but perhaps the choice to have hip-hop producer P*Nut handle the song instead of her usual collaborator, Rollo, was a bad decision. (3/5) GO DREAMING: A happy-go-lucky number, which again deals with the subject issues first discussed in 'Girl Who Got Away'. It's perhaps a not as successful conclusion to the tale, but it's not something to be passed over, either. It grows on you after a couple of listens, so don't ignore it if the first time, you don't get what it's all about. (4/5) HAPPY NEW YEAR: The tale of a winter's adventure, captivated behind some strong electrical production is perhaps the perfect recipe for Dido's next future hit. It has the ability to visit so many different places, but the decision to keep it structured and layered reveals that perhaps, just perhaps, it has the ability to work of it's own accord. (5/5)

LOVELESS HEARTS: Sadly, "Loveless Hearts" is one of those tracks which doesn't really go here-nor-there for me. Don't get me wrong, it's not bad, but it's nothing memorable either. It kind of slips inbetween the stronger efforts such as "Let Us Move On" and "End of Night". (3/5) DAY BEFORE WE WENT TO WAR: Dido enlists the help of lengendary instrumental composer Brian Eno for an epic, all-out conclusion to the first half of the deluxe album. The epic crashing synths and uplifting crashes provide an epic backdrop for the tale of two halves of the same as they go to all-out war against each other. This should certainly be recognised as a fine example of Dido's creativity, blending mainstream pop and soul ballads with artistry and powerful composition. (5/5) LET US MOVE ON (JEFF BHASKER AND PLAIN PAT REMIX): Bhasker and Pat mix up the instrumental arrangement of the album's finest hip-hop moment, taking out some of the more electronic moments, and replacing them with subtle piano and guitar riffs. It's an exciting reworking, which proves that the track works on both sides of the spectrum. (5/5) ALL I SEE FT. PETE MISER: You kind of get the impression with this track that when it was recorded, Dido was originally the featuring artist, and that somewhere along the line, Miser decided not to release it, and so Dido picked it up instead. It has the infectious hip-hop blend of "Let Us Move On", but shows very little of Dido, and instead focuses more on Miser. Don't get me wrong, it's an amazing track, but if it were the case of the roles being reversed, it should of perhaps been reworked a little more in Dido's favour. (5/5) JUST SAY YES: The electronic side of Dido's musical flare is revealed, but for now, it's perhaps an angle that she should keep hidden from the public perspective. It's not the best effort on the album and by far, and perhaps that's why it only appears on the deluxe album. But it just doesn't do anything for me. (3/5) LET'S RUN AWAY: How did this track miss the main album? It's purely amazing. The banging stadium vibe of the chorus, alongside some cleverly structured verses makes for a fantastic example of fine pop perfection. It should definitely be recognised in it's own right, and tucked away on the deluxe album, it's being hidden away from a lot of deserving fans. (5/5) LOST: Again, how did 'Lost' not make the main album. A ballad of epic proportions, which reveals the extent of thought which goes into Dido's lyrical storytelling. Add in a formulated and calculated beat, and some extensive backing and layered vocal patterns, and you have another fine example of Dido's ability. (5/5) EVERYTHING TO LOSE (ARMIN VAN BURREN REMIX): The dancefloor will be set alight with this fantastic blend of Dido's ballad from Sex and the City, combined with a thumping and rip-roaring electronic and dancefloor arrangement, courtesy of one of the finest DJs around. It retains the key ingredients of the original, yet through it's extended length allows for further additions to the fine recipe. (5/5) NO FREEDOM (BENNY BENASSI REMIX): If you've chosen to download the album, you'll find a remix of the lead single by Benny Benassi. Turning the subtle ballad into a dancehall fever club romper is a good idea for the deluxe edition, but lets just say that the original has something about it that can never be replicated in any remix. (3/5)

So, all in all, 'Girl who Got Away' is an excellent return to the top of the charts for one of Britain's finest musicians. It may have a few flaws, but nothing that really detracts from the beauty of Dido's musicial flare and ability, and nothing short of her last effort, 'Safe Trip Home'. The girl really is back, for sure.

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