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Amarofpatel "vincenzo1uk"

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Kelis - Tasty
Kelis - Tasty
Offered by best_value_entertainment
Price: £2.45

4 of 4 people found the following review helpful
4.0 out of 5 stars You want a taste?, 24 Mar. 2004
This review is from: Kelis - Tasty (Audio CD)
Yes she is. Perched on top of a sundae on the album cover, she looks like the ripest cherry. On a musical front the husky toned frizzy fox has come back with a varied and at times downright seductive album. Drawing on the creative well of not only the Neptunes (there are other good producers in the world!), but also Outkast's Andre 3000 and Raphael Saadiq in particular, the album reassuringly offers a scattering of catchy singles and booty shaking beats. Indeed it caters for all tastes and tempos. The naughtiness factor is there throughout, moving from the skank of 'Trick Me' via alfresco sexual throwdown to latest squeeze rapper Nas ('In Public') through to swooning serenade ('Glow'). For all its novelty value and dark sexy drums, 'Milkshake' is the nerve pusher in the pack, the 'Caught Out There' of the album if you like.
Fittingly, the album closes on a deep overwhelming plea in 'Marathon', which brings her voice to the fore. Kelis thusfar has been hit and miss but there's something unique about her, part bubblegum girl next door, part class act. As she mutters at the close: "Swallow".


They Died for Beauty [Ltd Edition Digi Pak]
They Died for Beauty [Ltd Edition Digi Pak]
Offered by jonfergy
Price: £5.99

7 of 10 people found the following review helpful
4.0 out of 5 stars a worthy cause, 23 Mar. 2004
There must be something in the local produce of Bristol for once again it has delivered unto us an inspiring and dreamy group with all the little flourishes, which touch the heart and warm the soul. The debut album from vocalist Joanna Swan, writer Nick Pullen and Producer Dan Brown, gently kneads dramatic John Barry strings with sun kissed acoustics, crisp flattened beats and smoky aromatic vocals. Swan indulges in each individual tale and cinematic overture, feeling not only the pleasure but the pain, ‘Happy and Weak’. Opener ‘Belissimo’ swirls with ambient panache, crying out to be adopted by a car advert. The Mediterranean come Bristol vibe continues on the jazztastic ‘Quattra Neon’ complete with another spellbinding chorus. At times the radiance of Air’s sweet electronic melody and gentle bossa of Gilberto creep up. Certain tracks like ‘Heavenly’ adopt the characteristic big band aplomb of the Portishead canon before Swan swells into a rasping vocal. One listen to ‘Soleil Soleil’ could convince even the weatherman that all is sunny and well. ‘They Died For Beauty’ r Beauty’ closes with some beautiful key changes of the Zero 7 variety. Comparisons aside this is a sonic landscape in which to roam; dynamic sound, lush instrumentation, tender melody and emotive vocals. An enchanting debut beyond downbeat anonymity.


They Died for Beauty [Ltd Edition Digi Pak]
They Died for Beauty [Ltd Edition Digi Pak]
Offered by jonfergy
Price: £5.99

7 of 7 people found the following review helpful
4.0 out of 5 stars Beauty endures, 24 Jan. 2004
There must be something in the local produce of Bristol for once again it has delivered unto us an inspiring and dreamy group with all the little flourishes, which touch the heart and warm the soul. The debut album from vocalist Joanna Swan, writer Nick Pullen and Producer Dan Brown, gently kneads dramatic John Barry strings with sun kissed acoustics, crisp flattened beats and smoky aromatic vocals. Swan indulges in each individual tale and cinematic overture, feeling not only the pleasure but the pain, ‘Happy and Weak’. Opener ‘Belissimo’ swirls with ambient panache, crying out to be adopted by a car advert. The Mediterranean come Bristol vibe continues on the jazztastic ‘Quattra Neon’ complete with another spellbinding chorus. At times the radiance of Air’s sweet electronic melody and gentle bossa of Gilberto creep up. Certain tracks like ‘Heavenly’ adopt the characteristic big band aplomb of the Portishead canon before Swan swells into a rasping vocal. One listen to ‘Soleil Soleil’ could convince even the weatherman that all is sunny and well. ‘They Died For Beauty’ r Beauty’ closes with some beautiful key changes of the Zero 7 variety. Comparisons aside this is a sonic landscape in which to roam; dynamic sound, lush instrumentation, tender melody and emotive vocals. An enchanting debut beyond downbeat anonymity.


Talkie Walkie
Talkie Walkie
Offered by best_value_entertainment
Price: £2.89

12 of 21 people found the following review helpful
3.0 out of 5 stars Still walking the walk?, 17 Jan. 2004
This review is from: Talkie Walkie (Audio CD)
Messrs Dunckel and Godin return with the familiar mix of beautiful melodic yet melancholic soundscapes on this their third LP proper. Having failed to tap into the mass appeal won through the sublime Moon Safari back in 1998 and then disappearing into obscure prog-rock territory with 10,000Hz Legend, the lads have, all be it in a less effective and clichéd manner, returned to form.
From dramatic opener 'Venus' onto 'Cherry Blossom Girl' the horizontally minded will recognise much of the vibe with which the Parisian duo has become synonymous. The touches of piano key change and live instruments on top of digital sounds are at times beautiful. However the album labours under expectation of providing an 'All I Need' or 'Talisman' moment. Similarly neither a vocoder nor their whispering vocals are a match for a Beth Hirsch. The middle section in particular fails to make an impact, amounting to little more than call centre/background music. Some might raise an eyebrow to the Pink-Floyd inspired 'Surfing on A Rocket'. At least the album finishes, much as it starts, strongly with 'Alone in Kyoto', a haunting chilling signature of departure.
Talkie Walkie is like a little brother; promising, a grower, yet inevitably living in the shadow of its father. One might ask: have we heard the best of Air?


Unseen
Unseen
Price: £11.51

18 of 19 people found the following review helpful
5.0 out of 5 stars It's all microphone mathematics anyways, 14 Nov. 2003
This review is from: Unseen (Audio CD)
Californian rapper, producer and general genius nut Madlib brings forth his helium guzzling intergalactic pimp hustler alter ego (Lord) Quasimoto to send a little blunted reality our way. It is ridiculous how talented this man is. It appears that this loop digga is not content with flipping the jazz script with Yesterday's New Quintet, redecorating Blue Note's vaults for a new audience or Madlibbing in the name of Stones Throw. We must give thanks for this.
Merely through glancing at the neon inlay and hearing the mind bending array of sounds on air, more than a hint of psychedelia permeates. In true Stones Throw fashion, Madlib has beats to spare as the listener is taken on a whirlwind otherworldly trip for some 24 tracks, incorporating soul and jazz samples, snippets, rants, vocal harmonies and a multitude of sounds. Pianos and flutes figure prominently to give the album that laid back vibe. The interplay between Madlib and Lord Quas is intricate and very playful as they unleash many 'verbal dumplings'. The originality is right on point with 'Boom Music' revealing a quirky Chinese xylophone loop. 'Real Eyes' is about as smooth as things get while 'Green Power' and 'Basic Instinct' make head nodding your favourite fun pastime. Jazz Cats more than tips Madlib's hat to his obsession for the likes of Monk, Davis, Coltrane et al. If you need a break then check 'the Unseen'. The number of jewels on this album might confuse some but that's the general idea; to convey the idea of 'astro travellin'' as the man would put it. Sample sniffers will no doubt detect touches of labelmates Breakestra, Andy Bey, Ronnie Laws and Marlena Shaw. The likes of Mr Herb, Medaphoar and beat dropping head honcho Peanut Butter Wolf also pop in to catch a little fun. All elements conspire make this a unique hip hop experience. Welcome to the smokiest silliest most effortless party in the land.


TALES FROM BEYOND THE GROOVE
TALES FROM BEYOND THE GROOVE

17 of 20 people found the following review helpful
4.0 out of 5 stars Go Limp, 14 Nov. 2003
"It's the sound of two friends making music because they want to ...and it's fun."
So goes the press release for this debut offering from the Limpest partnership to ever come out of the near prolific Tru-Thoughts stable in Brighton. Many will be familiar with their prodigal son by the name of Will 'Quantic' Holland, who has fast made a name for himself in the jazz soul breaks and anything-else-you-like quarter. His childhood mucker and partner in crime is Russ 'Rusty' Porter, familiar to many as the malty 'Horlicks voiced' presenter of the Unfold Show for Juice 107.2 in Brighton. Together they have come up with a laid back and satisfying pot of soul, beats, funky guitar, folk and dub for our digestion. Will exclusively brings his trademark West Midlands soul production to the table, ably assisted on whispering quirky vocals/lyrics and organ by Rusty.
There are ditties aplenty on this album, which climaxes before you can even say the title, it's that much fun. The intent is plain to see from the off with organ intro giving way to drum beat and a tickling rolling bassline. 'The Dub That Sank the Sub" goes down all too quickly for my liking, providing the Desmond Dekker moment on the album. Just try not clapping or shaking your chops to 'Moving Closer to the Sofa.' 'Another Day in the Life of Mr Jones' transports you so some juke joint in the Deep South, complete with a catchy vocal. Rusty's lyrics are sure to amuse. "When she asked me what I do I said as little as I can." Fair enough. These boys can also hold a tune ('Get it Back'). Most definitely the order of the day is to have a laugh. Fresh rhythms are aplenty. Just check "If it ain't broke..." On listening there are all sorts of echoes and shouts including Stereo MC's, Terry Hall and the Stranglers. It is fitting that we go away whistling down the road to the happy melancholia of 'Bitter and Twisted' after being thoroughly entertained. The "biggest bag of green..." is optional but welcomed.


Boy In Da Corner
Boy In Da Corner
Offered by DVD Overstocks
Price: £5.41

6 of 7 people found the following review helpful
4.0 out of 5 stars "I'm a problem for Anthony Blair!", 12 Nov. 2003
This review is from: Boy In Da Corner (Audio CD)
“I stay sweet as a nut, sweet like Tropicana; bring out my hammer smash ya head like banana.”
Let’s stay positive to begin with. Before us stands a 19 year old East London lyric spitter by the name of Dylan “Dizzie Rascal” Mills. He’s produced – literally – an album of menacing, innovative and at times overwhelming noise. It relentlessly bombards as a vivid piece of social commentary confronting familiar societal issues, which range from ambition, girls to money and family. It’s a frank and frantic walk through the streets of Dizzie and his mind. Take cover as a cacophony of bleeps, crashes, voices and rhythms disorientate you. From the harrowing introductory frustration or self-doubt of ‘Sittin’ Here’ through to the perpetual traffic jam of ‘Stop Dat’, the album takes on a certain shape, though at times a rather unsettling one. Schizophrenically hot-stepping between cutting edge garage and hip-hop rooted rhymes and statement, originality is assured. Undoubtedly the crowd pleaser to gee up the most muted of masses, is straight up beat dropper ‘Fix Up, Look Sharp.’ Ingeniously sampling classic rocker ‘The Big Beat’ by Billy Squire, Dizzie stays true to his grammar – much like on the whole album - amidst a hail of enthusiastic ‘whoooooos’. Elsewhere the catchy operatic pronouncement of ‘Jus’ A Rascal’ promises to win over a few listeners by sheer brainwashing if anything. The above tracks apart, the rest of the album lacks the clarity and channelled assertiveness necessary to make you want to play it over and over again. This should nonetheless do little to tarnish the album as an important and impressive body of work from a regular 19 year old street dreamer, a statement of how it is and most definitely how it could be. It is particularly poignant that the album opens on a confessional complaint but finishes resoundingly on the positive and determined ‘Do It’.
The fact that this album captured the Mercury Music Prize, serves both to please and infuriate in equal measure. Voices within dependent upon melody, solid instrumentation and a little song structure scoff at the idea of this being the best album of the year. Conversely at a time of misunderstood black culture and not ‘So Solid’ truth telling, it may just be the most important. Unprecedented exposure has resulted. He’s recently collaborated with dance music’s Brixton rooted bad boys Basement Jaxx. Much like the Streets’ offering last year, this will be name checked and sought out as THE slice of raw underground pirate radio culture commentary. Admirable values permeate this album; it’s reassuringly original and undeniably British. ‘It’s now or never’ for this rascal and he’s making it. Roll deep if you please.


Can't Hold Back
Can't Hold Back

6 of 7 people found the following review helpful
5.0 out of 5 stars Look I found somebody new!, 15 Oct. 2003
This review is from: Can't Hold Back (Audio CD)
August 2002. Summertime in bloom and almost a year of escapism from soulless everyday life has past. My triumphant yet reluctant return to England from foreign lands is eased by the joyous variety of sounds on offer to my eager radar. Nothing ever pleases or twists the ear more than a piece of music by an unknown that just captivates and makes you move in its direction…seductively. The first day I caught the smooth laid back soulfulness of Levin’s ‘When I’m With You’ was indeed a great day. I just needed the moment to last forever. Hounding a station to find out what they’ve just played like your next meal hinged on it; it just doesn’t happen enough today. Other pieces of ‘Levinism’ began to emerge sparingly but notably with the soulful house remix project that is ‘Wahoo’ - with production partner Dixon - and another captivating cut from this his debut long player, ‘(I Got) Somebody New’. Fast forward over a year and the waiting is over. It is criminal that music this good, universal yet deep and textured, is not known to many. Doesn’t it make you feel that much more privileged though?
Georg Levin started writing songs at the age of ten on a broken harmonium and an out-of-tune piano. It is no surprise then that this album is rich in song structure, a foundation upon which dynamic instrumentation and Georg’s smoothness – no doubt schooled in the classic soulsters of yesteryear right up to current favourite D’Angelo - can blanket you. The mission is a familiar one; to draw inspiration from the past to create for the future. As part of the awesome nu-jazz electronica Sonar Kollectiv he has notably been championed by label bosses Jazzanova. That said, the sound is delivered with a freedom that befits the breezy vibrancy of liberated Berlin. All the ingredients are here for a truly inspiring body of work. Above all else the vibe is what catches you straight away. Few artists can speak of love and loss with such warmth without sounding clichéd, tired or trite. Levin manages to find the right groove and instrumental hook at the right time. Bear witness to Somebody New. You find yourself singing along, eyes closed and feeling the pain of loss with an undercurrent of hope for things to come. Label mate and Jazzanova vocalist Clara Hill is mesmerising on lead vocals interplaying with the warmest of basslines. Amidst all the song writing, programming and singing, Georg finds time to tinker with the bass, keyboards, synthesiser and rhodes. Jazzanova’s Axel Reinemer and key/synth-wiz/producer Volker Meitz, amongst others, ably assist with the production duties. The sound morphs from obvious jazz funk fusion to smoky live band territory (‘Insider’), house grooves and hot buttered balladry. It was only a matter of time before the likes of Masters at Work’s ‘Little’ Louie Vega came knocking to spread the Berlin sound Stateside complete with remix treatment. America no longer has the monopoly of smooth soul.
It’s nothing complicated. It’s music to catch you unawares, to get you to smile, to sing, to nod, and to make your way to the dancefloor. Don’t resist, just do what he wants you to. It’s more fun that way.


The Document II
The Document II
Offered by best_value_entertainment
Price: £6.97

19 of 20 people found the following review helpful
5.0 out of 5 stars look who's back!, 19 Sept. 2003
This review is from: The Document II (Audio CD)
DJ Andy Smith is not a record spinner merely trading off the name of Portishead (we all gotta build a rep somehow right?). He is without doubt one of the most talented eclectic DJ's in the country serving up his pungent brew of funk, hiphop and soulful rock sounds to the people. Anyone who has seen Andy will know just how hard he works the circuit consistently putting in blinding performances, keeping the audience guessing and even throwing a few surprises their way. Technically he can cut it whilst for crates count this man could set up his own record store. So it is with eager anticipation that the new chapter of the Document is released, again fairly hush hush but odviously with a loyal expectant following given the awesome debut mix up from 2000. On that occasion the Jungle Brothers were sitting down for dinner and a little chitchat with the likes of Marvin, Jeru, Steve Winwood and Tommy Jones no less.
On this occasion Andy has gone for the bigger and badder approach with a track listing numbering over twenty and with a fair helping of classic hip hop for that nodding factor. Following one of the most bizarre but attention grabbing intros in mix tape history courtesy of Kate Bush (Yes that's right!) just check the spreading of Akbar's "Hot Ya Hot" over three instrumentals including a little "Lowdown Popcorn" from Soul Brotha Number 1 James Brown. Ah Yeah! There are tippings of the hat to Black Sheep and Eric B & Rakim also. No doubt Andy brings the funk also with something old, something new. There's a tasty take on Otis Redding's "Hard To Handle" by Patti Drew while the fast rising Quantic Soul Orchestra prove that the funk is still alive down in Brighton with "Super 8 (Pt 1). "Need it...I gotta Have It!" Typical random unpredictable findings from Andy are Serge Gainsbourg getting a little spooky on "Requiem Pour Un C" as well as an unknown take on Hendrix's "Fire" by Five by Five(?) His love of Northern soul is legendary so why not throw a little stomper from Barbara Randolph (Marvin's "Can I Get A Witness") into the mix? Its simply impossible to keep still when this man is putting it down. The right tune at the right time. It's a surefire sign that good music is still out there and you're listiening to it. Putting the miserable harsh elitist critic hat on for a just little bit, the Document is probably a more focused and technically mixed up affair but given the scope of tracks worked with and the awesome four track intro, this more than delivers the goods. This man has even made me curious about Kate Bush. A miracle worker? I think so. As Kate whispers at the beginning, "he's here" and very much in effect. The hardest working man in deckbusiness will no doubt be coming to a town near you so get on your good foot and move. It's hot you lot.


How The West Was Won: Live (3CD)
How The West Was Won: Live (3CD)
Price: £9.45

6 of 7 people found the following review helpful
5.0 out of 5 stars Just A Little Bit Baby!, 15 Sept. 2003
Da- Da - DaDaDa - Da - DaDaDaDaDa - Da - Da - DaDa... So the hairs on your neck stand to attention at the sound of Page's call to arms and it's only track three of this behemoth three-disc session of "liveness". Unanimously acclaimed as Led Zeppelin at their finest, the argument is undeniably strong with this evidence. Culled from a handful of performances at the LA Forum and Long Beach Arena in their energetic raw heyday in 1972, this is affirmation enough that they were the greatest live band every to take the stage: Four tremendous artists, a band greater than the sum of its parts. Jimmy Page, general and genius, remarks in the liner notes that he just happened to stumble upon these recordings, as you do. That they have clogging up the vault is more breathtaking than the fruit of other bands' lifetime toils. The material heavily focuses on Led Zeppelin I - IV with the spine tingling anticipation of an imminent Houses of the Holy release apparent.
CD 1 has all the earlier favourites including an extended playful "Heartbreaker", an awesome heartfelt take on "Stairway to Heaven" that magically betters the BBC Sessions version. Page just goes on and on coming with the fury. The acoustic section eases in nicely to a warm reception from the American masses.
As the laser hits CD2, the musicianship and innovation of this band really shines through on a marathon 25 minute "Dazed and Confused". The audience, you, are in the palm of their hands. As the funked up riffs of "the Crunge" are woven seamlessly into the sonic tapestry aside from a little gizmatron and violin bow tinkering, the feet and most definitely getting on the good side of things. A juicy swagger is added to the mystical tones of "What is and What Should Never Be". Delicious. "Moby Dick" is essentially an exercise in drum kit destruction-sticks not required - sandwiched between a characteristically heavy Page riff. This song more than any other exemplifies why John "Bonzo"Bonham was the heartbeat of Led Zeppelin, the engine room. It's a complete onslaught. You might need a bomb shelter.
CD 3 has a typically unbelievable version of the Delta blues rocker "Whole Lotta Love" complete with medley incorporating anything from Lee Hooker's "Boogie Chillin" to a happy clappy "Hello Marylou". The interplay between Page and Plant is like something out a crèche. Plant still wants to be the backdoor man. At 23 minutes you are hooked and hanging on every note. Its still THE declaration of libidinous intent and a tour de force for the monster rock riff, no matter what Top of the Pops tried to do to it. Just when you thought the band would let up, the Chuck Berry inspired drum intro to "Rock And Roll" thumps out of the speakers signalling for all to restart their engines, and before you know it, you're off. The curtain call is upon us as the boys "Bring It on Home" with a little help from the blues shuffle of Willie Dixon. Page and Bonham duel while Plant oohs and aaaaghs to orgasmic proportions feeding off a now frenzied audience.
This album brings the fervour of bootleg anticipation to the masses, a collection unrivalled in its epic proportions. It is immaterial that the raw precision in intimate confines of the BBC Sessions album is preferred. The stadium recordings reveal a punchy and dynamic sound by no means polished and uniform and thus embodying the Zep dynamic itself, even if that means Bonzo thumping allcomers into submission. This collection is indeed not only how the west but the world was won. They were simply one of the most mesmerising gifted groups that I have had the pleasure of opening myself up to. They have indeed changed the way I listen to music. Who knows what might have happened if they'd caught me in my formative years.
Sonic innovators, monster rock gods, blues tributeers, boogie woogie children, the guise matters not. You're in the audience, 100000 plus, girls with flowers in their hair, an abundance of hair in fact, the age of the carefree suntouched, and the anticipation is pant moistening, hand crushing. "Some new material's being played tonight rumour has it. Wonder how long "Dazed" will go on for this time?"


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