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d888888888 "d888888888" (UK)

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Robyn (UK Edition Bonus Track)
Robyn (UK Edition Bonus Track)
Offered by Bridge_Records
Price: 3.52

1 of 1 people found the following review helpful
5.0 out of 5 stars Album of the year, 13 Aug 2007
Robyn opens the album with her charm and wit in the ridiculous album intro in which outlandish claims galore are made about the singer and serve to put a smile on your face and gear you up for the equally fun and infectious `Konichiwa Bitches' and "Cobrastyle". It is in these tracks that you will hear Robyn rapping against an assortment of synths and soundbites, tongue firmly in cheek, yet giving most rappers a run for their money. On follows "Handle Me" which is a string laden, electro take on an R&B slow jam with fitting slang, but still maintaining a distinct, sharp lyrical style. "Bum Like You" is a lo-funk affair, with a consistent set of bleeps and beats and is a song about a bloke who is a bit of a bum and yet Robyn cannot resist loving him.

"Be Mine" is an absolutely stunning track and showcases Robyn's emotive voice to perfection. The lyrics are incredibly poignant and I imagine this track will speak to people in the same way "With Every Heartbeat" has captured the hearts (and ears) of the record buying nation. Not a bad word can be uttered for either track, as together they are the pinnacle point of the album. Both combine strings, beats and perfectly crafted lyrical hooks to produce pop perfection.

"Who's That Girl" has a thumping beat and crashing synths that grab you as soon as it begins and a chorus which soon becomes lodged in your head and wills you to sing along. "Crash & Burn Girl" has a pulsating rhythm that Robyn's vocals soar above to deliver the razor-sharp lyrics about a girl who is seemingly a bit of a mess. To me, "Robotboy" is the only lull in the album as it fails to excite me, but I can appreciate that some people would enjoy its delicate sound and caring sentiment. "Eclipse" and album closer "Anytime You Like" bring it down a notch, with stripped down production showcasing Robyn's voice in a near acapella style. The lyrics in both songs are incredibly touching. The emotion definitely comes through in the bittersweet "Should Have Known" and is yet another stand out on the album. The bonus track "Jack U Off" is a Prince cover version that Robyn delivers with sass and style that I'm sure would impress the man himself.

And so, if you are looking to find an album of songs sounding similar to `With Every Heartbeat' you may be disappointed. However, if you are hoping to find a collection of tracks that equal the quality and originality of `With Every Heartbeat' then you have many to choose from here. This album is definitely a contender for album of the year.

Trip The Light Fantastic
Trip The Light Fantastic
Price: 6.49

6 of 7 people found the following review helpful
5.0 out of 5 stars Trip The Light Fantastic is precisely that - fantastic., 24 May 2007
Yet again Sophie delivers a pop album worthy of praise upon praise. This is a proper pop album, awash with great melodies and infectious hooks that only Sophie could write and only Sophie could deliver with her icy, sharp precision.

In 'Trip The Light Fantastic' Sophie touches upon some new musical territory with the likes of `Catch You' `New Flame' and `China Heart' all led by frenetic guitars and fronted with powerhouse vocals, sounding much like 80s Blondie and Kim Wilde. Additionally, there is the pulsating, overtly infectious electro-pop perfection of `New York City Lights' that sounds like it could only have ever been produced in the 21st century.

But never fear, Sophie also returns with her familiar brand of disco, with the string laden `Me And My Imagination' and the glittery `If I Can't Dance'. However, Sophie's lyrical ability truly shines in the heartfelt `What Have We Started' and the optimistic stance of `Today The Sun's On Us' as well as in the beautifully epic `The Distance Between Us'. A further highlight of the album are the two tracks Sophie wrote with The Feeling's Dan Gillespie Sells; whether it be the madcap `Only One' with its sing-a-long chorus or the slushy sentiment of `Love Is Here' that again gives more than a nod to the disco sound which Sophie is renowned for.

Last, but by no means least, are the two UK bonus tracks. `Can't Have It All' successfully fuses the disco and 80s influenced pop found throughout `Trip The Light Fantastic' with a powerful, single woman mantra style chorus. Now, `Supersonic' a collaboration with the B52's Fred Schnieder is utterly bonkers and complete fun and clearly a track that both Sophie and Fred enjoyed creating as is heard in their enthusiastic launch countdown.

Sophie has clearly given her all in this album and it's a real treat for anyone who is willing to listen. It certainly does not disappoint.

Offered by best_value_entertainment
Price: 2.72

2 of 2 people found the following review helpful
4.0 out of 5 stars Nelly returns making all the right moves, 13 Jun 2006
This review is from: Loose (Audio CD)
Nelly has returned, only this time she has opted for the pop route, teaming up with hit maker Timberland. Perhaps some of her old fans will dislike the move, but Nelly is guaranteed to build on her fan base with `Loose'. Now for the run through:

The lyrics for `Afraid' are very poignant and understanding, full of sentiment without sounding cheesy and contrived. The track has the typical timberland production, synths supported by a backdrop of drums creating a dark, industrial sound. The chorus for `Afraid' is instantly recognisable and you'll be reciting along with the choir as the track comes to an end.

The smash hit `Maneater' is the second track on the album. `Maneater' has done for Nelly what `What You Waiting For' did for Gwen, Nelly is the new lady fighting for the crown of pop and as the chart success of this single proves, she is more than likely to be wearing it this year. The track has a thumping beat and a perfectly crafted sing-a-long chorus, therefore making it perfect for both radio and club play.

It is clear that `Promiscuous Girl' was tailored for Nelly's return to the American market. It is by no means a bad track, but it is eclipsed by the excellence of `Maneater' and its attempts at sounding Hip Hop sound phoney. Basically, you've heard this track before with the numerous American ladies of R&B who release this material.

`Glow' has the same catchy appeal of `Maneater' with another instantly recognisable chorus amidst a techno-beat. Of course this track doesn't compete with the excellence of `Maneater' but it's good all the same.

`Showtime' is a much mellower affair after the heavy beats in the opening tracks. It has a simply melodic chorus and easy listening appeal. I'm not sure I would call it a stand out track, but you won't skip it as the album plays. However, the same can not be said for tracks 6 and 7. Perhaps they are the kind of tracks that grow on you, but I don't think they compete with the rest of the album.

`Maneater' suggests Timberland's excellence but `Say It Right' proves it. With Nelly's lyrical ability and Timberlands ear for a catchy vocal sample there's is a perfect union. `Say It Right' is a beautiful sounding track. It's not as forthright as `Maneater' but still retains that instant appeal. It's the sort of track you could listen to last thing at night; it has a very atmospheric feel about it.

You could be forgiven for thinking `Do It' was a Gwen Stefani track modelled on Madonna's early work. Nelly's vocals sound very similar to these two ladies. I've read that many people see this track as a stand out one, but for me it just borders on average to good.

`In God's Hands' is about as close as you will get to hearing a track on `Loose' that sounds like a progression from Nelly's second album. Nelly has made such a transition in sound that you wonder if there is a place for any acoustic, folk sounding songs. Nevertheless, the track works as it stands out amongst the Timberland production on the rest of the album and it is because it stands out that you remember it and go back to give it another listen.

Again, with `Wait For You' Nelly touches upon a new angle in `Loose'. The track fuses together the expected drum beats with a new Middle Eastern twang (which reappears in the bonus tracks `Let My Hair Down' and `Somebody To Love'). There is even the use of strings that always give a track a more polished sound.

All Good Things (Come to an End) has a real pastoral beauty. It's how I envisioned the tracks on Folklore would sound before actually hearing them. As a track in its own right, it could have sounded alien amongst the rest of the album - but it has the same lyrical depth as `Afraid' and therefore finishes what was started, making it the perfect album finale.

The album starts strong with `Afraid' and finishes stronger with `All Good Things'. It is a perfectly crafted pop album because Timberland and Nelly Furtado make an excellent team. All the individuals who worked on `Loose' should be very proud and anyone who chooses to buy it will be very pleased with their purchase.

Come And Get It
Come And Get It
Price: 9.50

4 of 4 people found the following review helpful
4.0 out of 5 stars Ten times better than Rachels debut album., 13 Oct 2005
This review is from: Come And Get It (Audio CD)
It doesn't matter what you think of Rachel as a person, after all it is all about the music and this album certainly has some high class tunes.
The opening track 'So Good' is more than just a Kylie cast-off - it has an excellent single woman mantra chorus and an immense synth breakdown, making it the perfect pop stomper. 'I Said Never Again (But Here We Are)' touches on a new sound for Rachel, it's nicks the beats and chants of Adam & the Ants and teams them with a whole load of squelchy computer noises and over produced vocals. It makes for a great combo.
'Crazy Boys' sees Richard X on production duties. You get the obligatory squelchy synths, only here they're more gritty and appealing. The track isn't as immediately catchy as 'Some Girls' but it grows on you and definitely confirms Richard X's status as one of the top pop producers.
'I Will Be There' is an electro-ballad; it has all the soothing, dreamlike sounds of your average pop ballad only with more of a beat. A definite album highlight. 'Negotiate With Love' was good in that it helped Rachel progress from the dire 'More More More' cover. It has an excellent surf guitar and pretty good lyrics for a pop song.
'It's All About Me' has an excellent intro, a sample from The Cure's 'Lullaby' which I think works well and gives the impression that the track is going to be excellent. Unfortunately it slightly falls short of pop excellence. It's still very good, but a bit generic. 'Secret Garden' is another Kylie throwaway from the Body Language days; it definitely follows the sound of that album with its sickly and somewhat ambitious vocals that Rachel seems to struggle with. It has a few catchy lines and does grow on you. But the verses sound a bit disjointed.
'Nothing Good About This Goodbye' is the album highlight. It's not a patch on the original by Alexis Strum but it doesn't matter because the song itself is a pop classic. This song deserves to be a big hit, and hopefully it will be.
Everyone knows 'Some Girls' as it was one of the biggest tracks of 2004 and rightly so. 'Je M'Apelle' sounds like it's trying to be R&B but don't worry it's not. Parts of the song are good, but I never seem to listen to it in its entirety.
'Funny How' to me, sounds like Geri Halliwell's 'Ride It'. It's a bit naff and doesn't compete with some of the better tracks on the album. 'Every Little Thing' sounds like something S Club could have done, it's all very poppy and head bopping. Finally you have 'Dumb Dumb' another one of the better album tracks. It sounds like a track Britney could have recorded; it's all very electro with the popping computer synths and tinny drums.
Basically, the album is great if you know you like pop music. If you liked any of Rachel's singles than you can't go wrong with this album. It's a vast improvement on her debut and does deserve to do well.

Dangerous & Moving
Dangerous & Moving
Price: 25.65

12 of 12 people found the following review helpful
5.0 out of 5 stars The greatest Russian exports, fact., 20 Sep 2005
This review is from: Dangerous & Moving (Audio CD)
'All About Us' is the first single to be lifted from 'Dangerous & Moving'. As you've probably heard, it's a track which expands on the sound of the debut album. It has the rhythmical feel of 'All The Things She Said' with a more immense sound. It is synths, strings and drums galore creating a perfect balance on the borders of pop and rock. The chorus is unbelievably infectious which does result in you singing along, even though the notes are impossible to reach. The orchestral sound which features heavily in this album is a prominent part of this songs appeal. The girls voices have definitely matured and aren't as harsh as some said they were on the first album. Expect big things from this single!
'Cosmos' calms your fears that this album may not be as perfect as the first single suggests. This album is even better than the first single suggests! 'Cosmos' is a raw, drum packed rock track. It is rock; it's dark and moving and burst into musical flames when the chorus starts. The lyrics are a bit wacky, but that just makes the song more interesting. The russian accents create a James Bond-esque feel. A potential single and future film soundtrack.
'Loves Me Not' grabs you in the first few seconds. Yulia's vocals are sweet and addictive and lure you into the dreamlike sounds of the first verses. But the chorus definitely packs a punch, a huge contrast with the delicate disposition of the verses. Another track which must be a single!
'Friend or Foe' features Sting on bass. It is quite 80s sounding and has definitely been influenced by Stings past work, only with one of the big catchy choruses that are now synonymous with the girls. The guitar solo, performed by the man himself, is the high point of this track.
'Gomenesai' means sorry in Japanese. It is rumoured that this track was made as an apology to Japan after t.A.T.u.'s behaviour during a promotional tour in 2003. However the song is metaphorical in that the lyrics speak about losing a friend and not being able to say you're sorry. The string arrangements are by Richard Carpenter and they are simply magnificent. The girls were very lucky to have such great collaborators because they really bring something special to the album.
The presence of Trevor Horn on 'Craving' is evident. The vocals are perfectly presented and the sound is rich and powerful. However, the lyrics do sound like they are written by one of the Russian cohorts. The intro for the track is perhaps the most unique sounding on the album. The use of wind pipes makes it sound like the opening sequence of a 1960s British film set on the Yorkshire Moors. Or something similar.
One of the things t.A.T.u. do best on this album are the instrumental breakdowns. When 'Craving' hits the two minute mark the music becomes pure heaven, in synth and strings form. This song touches on a new sound for the girls and further demonstrates their musical progression.
'Sacrifice' has a very Sting-esque guitar opening and might fool a few unknowing individuals to think this is the track he worked on. It is similar to 'All About Us' in that it's not quite rock, but it's definately not pop.
'We Shout' is an English version of a Russian track called 'Nichya'. It is an atmospheric ballad with lyrics which seem to hint at the troublesome relationship t.A.T.u. had with their former producer. It is very beautiful sounding with a dark, haunting chorus.
'Perfect Enemy' further builds on the sound from the debut album. It is enigmatic and yearning with its shimmering computer synths and monotone, robotic vocals.
Yes 'Obezyanka Nol' is a Russian track but don't let that put you off. The girls sing with such emotion that you get an understanding of the poetic nature of the Russian words even though you probably don't speak the language. The chorus is especially impressive, Yulia sings with a strength and passion that is completely mesmerising. A definite stand out track.
The title track 'Dangerous & Moving' has a superb opening, which is probably why it features twice on this album, once as the introduction and again in the closing track. 'Dangerous & Moving' is a fast paced, drum packed track in the style of 'Not Gonna Get Us' - it sounds like the musical forum of a rollercoaster. There is the despair and feather light vocals in the verses which plunge into a screeching chorus and later lead to a guitar breakdown which turns the tempo on its head.
These girls are serious about their music and their sound is unrivalled. Ignore your preconceptions and pay no attention to what parts of the media try to tell you. The music here is a one of a kind and you don't want to miss out.

Sleeping In The Nothing
Sleeping In The Nothing
Offered by MasterDVD
Price: 2.73

4 of 5 people found the following review helpful
4.0 out of 5 stars Perfect Pop., 5 May 2005
This review is from: Sleeping In The Nothing (Audio CD)
The opening track, 'One Word' is a relation of Visage's 'Fade To Grey' - only with better production and a more punchy chorus. 'Uh-Oh' sounds distinctly 80s Blondie and works really well for Kelly - definately a potential single. 'Redlight' is another slice of perfect electro-pop - it's fat full of synths and equipped with many vocal hooks. It is sure to be a hit on it's enivitable release. 'Secret Lover' slightly lowers the standard - for, although it's not bad, it's not in the league of the opening tracks. However, there is a very interesting sample at the end of the song - it has to be heard. 'I Can't Wait' is a mid-tempo pop song. It's quite beautiful sounding and plods along nicely. It has one of those choruses where you find yourself echoeing along. 'Edge Of Your Atmosphere' is out of this world, in terms of blandness. It just sounds very unpolished and lacks that certain something to make it sound good. Never fear because 'Suburbia' appears and is another bite of perfect dance-pop. It's perhaps the most pop sounding, in that there is no sign of a guitar and the vo-coder takes centre stage. The less said about 'Don't Touch Me' the better. 'Save Me' on the other hand is an excellent track. Kelly's vocals have this lovely melancholy tone and the lyrics give an insight into Kelly's past from her point of view. 'Entropy' wins the award for best title as it just sounds incredibly futuristic and intelligent - as does the music in the closing track.
Kelly should be proud. She stuck to her guns and has released an excellent pop album, albeit a little short, but still, it's quality not quantity.

Offered by Direct Entertainment UK
Price: 6.73

10 of 11 people found the following review helpful
5.0 out of 5 stars The new queen of pop., 14 Mar 2005
This review is from: Anniemal (Audio CD)
When an album has a title as genius as 'Anniemal' you know it's going to unbelievably excellent before you even begin to play it.
Admitingly, not all the songs grab you on the first listen - but when they do get you, you're glad of it. The 'intro' to the album is packed full of squelching synths and animal cries; which become almost too much. That is until Annie's soothing voice beckons you to 'start the record' and that's where it all begins.
Firstly you have the trademark sound of Richard X, the pop pioneer of the noughties. 'Chewing Gum' is infectious pop, the sort that you find yourself singing or humming to at the most inappropriate times. 'Always Too Late' is a stand off between electro and edgy R&B where it seems both manage to stand down and work together hand in hand. 'Me Plus One' sees Richard X back on production to fashion another excellent peice of pop music, equipped with zaney lyrics, dog barking, a spelling bee and actual whistling. It's just excellent.
Then you have the track 'Heartbeat'. It is so superb. It has a sound and style of it's own and become more enjoyable the more you listen to it - a rarity in todays throw away pop culture. 'Helpless Fool For Love' is another slice of quirky pop, packed fat full of bleeps and even more synths. 'Anniemal' is the title track of the album and is heavily 80s influenced with the vocal effects and dreamlike sounds - it's introduction is brilliant.
'No Easy Love' appears to give you a slight break from the fast paced pop world of Annie. It is so laid back and so stylish. Annie's vocals are delicate and soothing and suit the tone of the song perfectly. It's the sort of track you expect to hear in a Parisian coffee bar or another equally cosmopolitan place.
'Happy Without You' is the angry track. It comes out of nowhere and leaves you feeling slightly perplexed. But after a few listens you realise it's nothing you can't handle and start to appreciate it for it's originality. It proves further Annie's abilities as a singer, songwriter and producer. 'The Greatest Hit' samples Madonna's 'Everybody' perfectly, and although produced in the late 90s, it doesn't sound as though it aged a bit. 'Come Together' is a great disco track that begins quite subdued until the beat and the chorus eventually kick in. 'My Best Friend' seems to have the effect of bringing you back down after the elation of such an excellent pop album. It's mellow and comforting and has a message mostly everyone can relate to.
Annie should be very proud of herself for creating a pop masterpiece. Buy this album. Buy this album now.

Offered by best_value_entertainment
Price: 2.83

4.0 out of 5 stars Give the gal a chance., 1 Jan 2005
This review is from: Footprints (Audio CD)
Holly Valance never professed to being a tip top vocalist or a lyrical genius. Her critics (the media) seemed to overlook this. 'Footprints' is a good pop album, which should be praised seeing as there are hardly any at this present time. However, as a record it is very inconsistent in style, which, isn't neccessarily a bad thing, just noteworhty. Now for the run through:
First you have the middle-eastern twang in tracks such as 'Kiss Kiss' and 'Tuck Your Shirt In' which works very well to create a different pop sound, one that has since been adopted by the likes of Britney amongst others.
Then you have these sort of uptempo ballads in the form of 'Cocktails & Parties' and 'Naughty Girl' where the production seems to emulate that 1990s sound with the drums, strings and squelchy synths (ala Spice Girls '2 Become 1').
Then there is the slightly darker sounding dance beats of 'Down Boy' and 'All In The Mind' that standout amongst the mediocre 'Hush Now' and 'Whoop' - two tracks that aren't bad, but not exceptionally good either.
Now come the two wildcards of the album. The cowboy-esque 'Harder They Come' (reported to be the 4th single before the album was benched) and the electro-R&B-ness of 'Connect'. Both tracks standout profusely amongst the album, but luckily both are able to stand alone as good pop tracks.
In conclusion, this is a very good debut and is likely to please anyone as long as it is given the chance. Buy it.

Mr. Alibi [DVD]
Mr. Alibi [DVD]
Dvd ~ Maria Willson
Offered by aardvark-games
Price: 2.93

5.0 out of 5 stars Excellent !!!, 8 Nov 2003
This review is from: Mr. Alibi [DVD] (DVD)
Its a shame this song missed the top40, but I would definately put it down to bad promotion and not because of the song! I bought both the CD and DVD single because its nice to watch the Live Performance, she really is a very talented singer!

Offered by vinylandcds
Price: 7.99

1 of 1 people found the following review helpful
5.0 out of 5 stars Truly Beautiful, 8 Nov 2003
This review is from: Beautiful (Audio CD)
My favourite ballad of all time, it just blew me away and the trance remixes are superb!! Their follow up singles have also been brilliant and if you haven't already got i, buy their album, its brilliant !!

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