Reviews (10)

Cirrus Has Found It
Long time Cirrus fan, every since they ruled the moonshine Over America Tour I have been waiting to see them live. Luckily i may get that chance because of the huge sucess of Counterfeit. This album transcends electronica to a new level. Its one of only a few albums that can make itself better with the stylings of a vocalist, i.e. beth orton to the chemical brothers. I would strongly encourage you to by this album. I still play track 11 and 10, reminding me of the old duo. All i have to say if that there live shows must be something to see, its American techno and it has arrived.

The guy w/ 4 stars is dead wrong
This is by far their best album. "Drop the Break" was weak, "Back on a Mission" is good, but this album is amazing. It is original and at the same time extremely good, which add up to be greatness. Cirrus has taken a road to change electronic music w/ this album, and they do it well.

Awesome, awesome, awesome...

WORD
Fo' shizzle. This album is just straight dope. A great listen the whole way through, and the perfect CD for that brand spankin' new sound system in your car. Loud, heavy beats mixed with some of the most soulful female vocals I've heard in a long time help to make this CD a must have for fans of the electronica genre. If you're into the Crystal Method or BT, you will dig this. I just bought the CD today and I haven't been able to take it out of the stereo. This is my first introduction to the music of Cirrus, and they definitely do not disappoint. Pick it up if you want some great, driving, up-tempo beats to pick you up. If your looking for a great electronic CD that will stay in your collection for a long time, then this is your disc d'ya dig?

CIRR-I-US!!!
GET IT? Oh, never mind! I'll just review "Counterfeit"--a masterfully done CD that was nothing like I thought it would be. The beats are wild and funky and the placements of Laura Derby's vocals on certain tracks break up the monotonony of this often innocuous style of "breakbeat"/cheerleader music. The sophisticatedly groovy, "Half a Cell," "You Are" and "Boomerang" are sure crossover hits, that is, if they can manage to get picked up by these radio stations that are overly-saturated with Top 40 garbage. Other killer tracks on "Counterfeit" are the outrageously funky "Dragon Lounge," "Intermission" and "Matter of Time." Everything else on "Counterfeit" has to grow on you, but are great songs for the gym, and for when you need that extra jolt when cleaning up the house or yard. All in all, a very impressive CD--Nothing "Counterfeit" about it!! GET IT? Oh, never mind!

Good but not their best
I'm a Cirrus fan... their first two albums are outstanding. This one... well, its not bad, but it is less "electronic" than I was looking to hear. Several of the tracks are great (Boomerang, Hit The Decks and Unbreakable are the best songs off this album for my money...), but I would recommend checking out Back on a Mission and Drop the Break for a first Cirrus album. ... Read more

Reviews (1)

old scoll break beat album
This is one of florida's best old school break beat cd's ever made.If you like funky breaks, then you'll go crazy if if you buy this cd!It has all the best artists ever:FRICTION AND SPICE, TONY FALINE, FUNKLAB A.K. MIKE AND CHARLIE. just listen to the samples and you'll be hooked! ... Read more

Amazon.com

Like Fatboy Slim, Asian Dub Foundation, and even Definition of Sound (who show up on "Here We Go," We Rock Hard's anthem), the Freestylers are creatures of the club scene. Their live show is DJ-oriented but involves dancers and rappers; on their debut album, the Freestylers endeavor to layer their music with history (the opening track samples not one but three Public Enemy tracks), big beats, and funky melodies--if they can help it, you're not going to stop dancing for a second. Working with guest MCs keeps the tracks fresh, but if you're not an aficionado of the scene the Freestylers come out of, you might not notice; there's diversity here, but it's subtle. Ultimately, the album falls into a ghetto: it's not quite obvious enough for the casual fan, but it's nowhere near out-there enough for serious crate diggers; fortunately, there are plenty of people who enjoy the middle ground. If you're one, then We Rock Hard is for you. --Randy Silver ... Read more

Reviews (33)

The Whole CD was GREAT!
It's rare that you find a CD where you like every song on it. This CD was one of those CD's. The first time I heard one of the songs was when I was in California about two years ago. I'm pretty sure it was "Here We Go". I couldn't find the CD anywhere so I just gave up on it until I watched "Dude, Where's My Car" a few months ago and I heard the song. So I bought the soundtrack and was disappointed not to find it (still a good CD though). Being lazy I just looked up the Freestylers on Kazaa and burned two awesome songs from the Freestylers and I was like like whatever, these songs are so awesome I have to buy the CD. I finally found it and now I love it. Even my least favorite song on the CD I've grown to like. They definitely deserve five stars.

P.S. I'm listening to the CD right now, keep making these phat songs and I'll keep buyin' them.

Here we go on a ride...
The tracklisting on my album is slightly different from this one but it's the closest I can find - mine doesn't have "Spaced Invader" or "Check The Skillz" but has "Breaker Beats Part 2". That said, those two tracks would make the album rate above 5 stars (I've heard them both and have them as MP3s).

I first heard the Freestylers by way of their amazing single "B Boy Stance". Having heard "Ruffneck" and "Here We Go" in the weeks after, I had to get the album.

This is definitely not the sort of album to be enjoyed by yourself in your room - best setting for this would be in a club or at a huge party (I say this because the night before writing this I played "Ruffneck" at a friend's party and the joint went off).

A lot of people who I've recommended this album to have declared that they aren't much for techno/rap/breakdancing or whatever else - and yet after hearing "B Boy Stance" or "Ruffneck" they're usually trying to work out where they can pick up a copy. That's what this CD will do to you.

It isn't so much rapping in the vocals as it is that marvellously unintelligible dancehall that is almost everywhere these days. Tenor Fly and Navigator contribute two tracks each of top notch toasting (Tenor Fly excelling himself everywhere and Navigator delivering his better performance on "Ruffneck"). Definition Of Sound - a little-known hip-hop group perform on "Here We Go", a track which effortlessly recreates the spontaneity and tag-team freestyling of the early hip-hop culture.

There are also a good deal of instrumental cuts on the album as well - they don't rate as highly with me because they lack the adrenaline of the vocal cuts (especially the dancehall ones), however, in the right setting (again, a party or club is the way to go) they would be well worthwhile.

The real downside to this album is the over-long "We Rock Hard" with Soul Sonic Force. I'd heard a lot of things about these old-school rappers and expected a decent piece from them. Unfortunately, the track is about twice as long as it needs to be (the second half is a repeat of the first half) with the most inane vocals I've heard in a long time - vocals which are so far separate from rap as to make the listener who is unaware of Soul Sonic's background question what they were.

Overall, an incredibly strong album - required listening for breakdance/hip-hop fans and recommended for anyone who enjoys good funky breaks and great rapping.

A bit short of a masterpiece, but......
When "Don't Stop" was released as a single it really stood out as something different on dance-type radio. Not downloading any of the tracks, I took a chance and dropped the $ to see if the rest of the album (by an unknown band to me) could hold up as well. I wasn't disappointed. The album is not a cover to cover masterpiece, but it is a great piece of work. It falls short on a couple of filler tracks, but definatley worth the investment.

A change of pace, that will change your attitude.
I can't think of a higher complinent to pin to this album than this: from start to finish it's one hell of a ride!

Most artists find a formula that works and either stick with it and become repetitive, or they experiment and lose the magic. Some how the Freestylers can give you an entire album that consists of variations on a theme. Songs seem to span multiple styles within the same genre. Each track is both entertaining and distinctly individual, yet they keep to the original thread. All things considered...it's fun, and it's funky. Enjoy.

Can't go wrong.
Do not miss this CD, I am a big fan of all types of music, and across all generes this is one of my top 5 most played cd's in the past few years. ... Read more

Amazon.com

Fatboy Slim and Paul Oakenfold, two of the most famous DJs in the world and kings of big beat and house, respectively, are supremely showcased in this double-CD collection. The Essential Selection, Vol. 1 glorifies each mixmaster's equal, yet mutually exclusive talents in roof raising. The back-to-back discs are an enlightening example of the yin and yang of club music; Fatboy Slim's grounded, drier, giddier expressions of overlapping funk and disco juxtapose Oakenfold's spatial, entrancing continuum supplemented with buzzing, flatulent bass lines, and celestial synths. Both DJs are experts in flow, building beats seamlessly into climactic moments of frenzied, adrenaline-fueled euphoria, then swinging the vibe down again with the subtlety and patience of a free-falling feather. No doubt Fatboy Slim is known for his deliberate lack of subtlety stylistically, but when placed in this context, immediately compared to Oakenfold's ethereal grooves, it's evident that Stormin' Norman possesses copious finesse. Because of their stylistic polarity, like platinum and gold, these DJs shine with matched but multihued brilliance, and like soil and sun, are indispensable components of a diverse dance music ecology. --Beth Massa ... Read more

Reviews (45)

Crazy-style
While this album is a valuable piece of my collection, it can be hit-or-miss on a track by track basis. The largest problem I have is that the two sets are so different - while I like both, it doesn't seem to make sense to have both in the same box.

Fatboy Slim's set starts off with an annoyingly loud beat but falls into its groove by the fourth track, at which point he unleashes a set that includes some of the best track-to-track mixes I've heard anywhere. His lead-ins between tracks 4 through 9 are mind-bogglingly excellent, and then... the set degenerates into another annoying beat that continues through several full tracks. The remainder is spotty, though his mix of Groove Armada's "At the River" bears mention.

Oakenfold's set is, well, Oakenfold. It's neither above or below the standard for most of his other material, and difficult to differentiate from Tranceport. It doesn't spend a lot of time in my MD player, but I'll throw it on at a party. Nothing specific on this second disc jumps to mind.

I think this set is worth buying just for the incredible zone Fatboy Slim hits in the middle of the first disc, but I suspect not everyone would agree with me. Be sure to listen before you buy this one.

great paul okenfold. OK If you like fatboy slim
I was very disappointed when I played disk 1 in the car on the way home from the music store. Then I played disk 2 and I felt better, a lot better. To me, It's worth the price of the set. (Note the 5 stars)

I didn't check out Paul Okenfold's mixes till he was rated best in the world by "Details?" and I bought TrancePort. This is better than TrancePort.

I guess I don't like Fatboy Slim too much. Although I have liked a couple of his other CDs like "You've come a long way baby." I have them all I think. I didn't like this CD at all.

FYI: I like Trance (Sahsa, John Digweed), NewAge (Enigma, Euphoria), Breakbeat (DJ Icey, Kurtis Mantronik, Micro), Techno Industrial (NIN, Front 242) and Chemical Bros. I really really liked the first Chemical Brothers, and the "Brothers Gonna Work It Out" mix album. I don't like Prodigy as much.

This is Comical!!!
Boy, do I love this. Fatboy Slim tears it up on his CD, Oakenfold continues to put me to sleep!!! All I have to say is, if you have the extra money to drop on these CDs, buy it for Fatboy Slim's Disc. Truely one of his better...

Two genres, two discs, two different moods
First of all, if you've never been exposed to electronic music, buy this double CD set. It is a rarity among dance mix compilations since it includes two popular but very different styles of dance mixed by two of the biggest DJs in the world. Almost all other dance mix sets contain one style exclusively, so this album is truly a 2-for-1 deal.
If you happen to be an electronica guru, this compilation may not whet your thirst for innovation. The first CD, Fatboy Slim's big beat mix, sounds dated, despite being fairly high energy. True, there are it's fine points, such as the few tracks in the middle of the mix that create an enjoyable climax, but as a whole the mix sounds old and worn. Unless you're a truly big Fatboy Slim fan, his mix probably will have you hitting the "skip" button on your CD player over and over again to escape the repetition of annoying beats.
As for the Oakenfold mix, it's the reason I gave the album 4 stars. Stand-alone, this CD is one of the best trance mixes to come out just before the trance genre began to flood with exhausted, overplayed, producer driven stagnation. Some critics have panned the Oakenfold mix claiming the song selection was second rate. I could not disagree more. Most of the songs are wonderful selections on their own right, utilizing pure emotion. The CD begins with a surrealistic soundbyte of a New York Thanksgiving day television weathercast, which quickly builds into an energetic hill with the likes of "The Spirit" and "Free". The 3 song climax is among the best I've ever heard, and one that can't be missed. Of note is Solarstone's "Seven Cities", which literally makes the listener feel as if he/she is truly on an emotional ride. The closing two songs on the mix are a wonderful cool-down, of note is "Viola" which is one of the best late night driving songs ever.
Overall I think it's a ...investment well worth the cost.

big beat and trance together?
Fatboy Slim and Paul Oakenfold are two of the biggest dj's out there right now, producing great mix cd's and doing sellout shows. so where did they go wrong on this album???

The first disc, the Fatboy Slim essential mix, rolls with the likes of The Chemical Brothers, Underworld, Art Of Noise, Groove Armada, and of course Fatboy Slim. Each track follows right on into each other but no track is very similar to another. Pinpointing the genre of this disk would be difficult. If you've ever heard Fatboy live, you know what I mean. Funky swelling guitars, disco beats, and twisted vocals fill the air with sound as this disc wanders on. While his "On The Floor At The Boutique" mix had a bit more personality, this mix has more big tracks. The highlights are Fatboy's own "Everybody Loves A Carnival" (very similar to "Everybody Needs A 303"), Mr. Spring's funky "Blaxtraxx 3", Underworld's "Born Slippy" (very tweaked by Slim), and the closer with Groove Armada's "At The River" is the best part of the album. In my opinion, this disk is much better than the staggering disk2.

Disk 2 is Oakenfold's mix. While Oakey has been known for playing the big tracks everybody likes, I don't know what he was trying to do with this mix. His almost blasphemist use of "The Baguio Track" and the sickly tech-pop of "Free" and "Perfect State" make this disk unaccomlished. The best part of the mix comes on tracks 7-9 where his real talent finally begins to show with the strings in "Another Day" building up to heavy emotional trance on the awesome "Flesh" and "Seven Cities", the latter being the best track on the album by far. That vibe is way too soon deminished with the slow, housey closing tracks, which sound disturbingly out of place. His other mixes ("Tranceport", "GU004: Oslo", and "Another World") are MUCH better.

Listen before you buy. ... Read more

Amazon.com

Norman Cook's Fatboy Slim alter ego has become a big-beat legend (if legendary status can be bestowed on such a young genre) and thus a separate entity from Cook's earlier career incarnations. This collection demonstrates, however, that while evolving profoundly from more acoustic pursuits like the Housemartins and the reggae-flavored, early house music of Beats International, Cook has maintained a long musical memory. After 15 years spent producing an impressive roster of other people's records along with his own, the extraordinary diversity and inventiveness he displays on a set of turntables is the inevitable result of sharp, tasteful ears. Reimagining a classic King Tubby reggae melody for "Tribute to King Tubby," Cook acknowledges the de facto inventor of dub music, even while stamping it with his own thoroughly modern dub-beat approach. Likewise, Cook digs around in the space-age pop of early electronic artist Jean Jacques Perrey's "E.V.A.," unlocking that song's cheesy-smooth melodies with sample-laden aplomb. Too often, Cook's Fatboy persona (and big beat in general) is derided for a supposedly brainless approach to dance music, but that criticism misses the point. What's amazing is how he manages, with such an unwieldy assortment of influences, to mix with the ear of an interpreter, rather than a revisionist, while still making it listenable enough to warrant the accusation of brainlessness in the first place. --Matthew Cooke ... Read more

Reviews (26)

Old and New!
With this release Norman Cook, aka Fatboy Slim, puts together several previously released tracks under the project, "Beats International", most of which was produced in 1991. The CD also includes several nicely remixed songs including, Shinehead-Start an Avalanche, that features Mc'ing by, E.C. Aiken Jr, and scratching by Tyrone "Cut Master" Ffyfe. Also, several other mixes that are included on his UK release of "On The Floor At The Boutique", and his, "Fatboy Slim's Greatest Remixes". This is an excellent CD that expresses several sides of Norman's musical capabilities. This should tide your Fatboy Slim needs over until the realease of his US Debut of "On The Floor At The Boutique" and the anticipated release of "Vol. 1-Essential Selection".

Don't quit your day job, Norman!
Ok, I've listened to Fat Boy Slim. That guy's stuff isn't bad, by no means main stream, but worth while. But ... this Norman Cook - he's horrible. It's no wonder Cook developed an alter ego. With the exception of a few easily recognisable tunes, I couldn't believe this "stuff" had come from the same artist that produced Praise You. Renegade Master is the type of track I've come to know and respect (that one is a keeper), and I have to give props for I Left My Wallet in El Segundo. Other than that, this album sounds like someone mixed songs from the first dozen records they found during their expedition to the flea market. If this is the sound you're looking for, save a few bucks, check out your local yard sales. So as not to be too negative, I'll say this; the printing job on the CD itself is charming. The notion of making it look like a turntable was inspired.

Norman Cook is a pioneer! Buy this CD!
All I can say is God Bless Norman Cook... this collection goes way back for me because I was a club dj when all these songs were coming out and I used to spin just about all of them on a regular basis. Todays dance music producers (and even many hip-hop producers) owe a lot to Norman Cook because he helped pave the way for todays scene! This CD Rocks!!! If you were clubing when back when these songs were coming out, you'll remember how refreshing they sounded compared to everything else that was going on!!! so to those who say "don't waste your money", I'd probably guess they have very limited music collections and we're bummed it wasn't "You've Come A Long Way Baby 2", and simply have a long way to come themselves when it comes to music.

Really, really bad!!
Ok...please do yourself a favor and dont waste your money on this cd, it has just too old tunes and mixes and the only good songs in it are the ones mixed by fatboy slim like "the world is made up of this and that" and "renegade master" but overall the entire cd is boring and has a very slow pace...anyway I wasted my money, dont waste yours peace

Leave your wallets in your pockets with this one!
This is a boring album and one song Renegade Master was possibly put on there in order to persuade people to buy the album to make them think that all the tracks were good, I was suckered into it. This was a great marketing ploy, kudos to the people who did that! Otherwise this album is not worth the plastic it is printed on. I wish I left my wallet in El Segundo, then I would not have had the money to waste on this. ... Read more

Reviews (13)

Mtv doesn't have the right!
Mtv doesn't have the right to even pretend they know whattechno music is. Come on, DJ Skribble is so bad it's not even funny, and the only thing they know how to play is Barfy Spears and the Skankstreet Boys. This collection does have some good artists on it, that's why it gets 3 stars. The Chemical Bros., Fluke, Underworld, Aphex Twin, Orbital, And Prodigy are all great musicians, but the thing is MTV just slapped all this together in one big sticky mess. How bad is the world when Underworld is anywhere near Atari Teenage Riot (or as I call them, Atari Barfage Riot.) The good songs on here are okay, but nothing special. Any fan of these artists can find these songs on their CD's. They could have at least had remixes or something special on them. The way this CD is set up, there is virtually no reason someone would have to rush out and buy this CD.

An artifact of '97 Electronica
It's funny, in looking back at this CD, I feel some peculiar nostalgia in listening to what folks in 1997 believed was the future of music.

As for the content, there are some essentials. Underworld's "Pearl's Girl" still melts my cortex with its synth line that ebbs like amniotic fluid. The tracks by Photek and Apex Twin are still great abstract electronica(see the Mille Plateaux label for further excursions.) There are also some overproduced misfires like the Chemical Brothers remix of "Voodoo People and the Chrystal Method's work that sounds like Musak for future "extreme sports" commericals(whoops! it did.)

Overall, Amp marks a time when MTV had this brief period of innovation before the advent of the Boy Bands and Total Request Live.

One of the BEST electronic compilations
First that all, I'm an electronic music fan from Colombia. I remember that my first SERIOUS contact with electronic music was the AMP TV show, via cable television, way back to 1996. In south america, just like in the U.S. the fresh new sound of the AMP TV show captivated a lot of people like me. And just like in the U.S., here in Colombia, finding good quality electronic music was a lot harder than now...

So when this CD came out, I ordered it in a music store that worked with imports, and WOW... even now after six years, few discs on my collection have the ammount of quality that this one has. It has the biggest artists in electronic music, as well as some of their most famous tracks. Of course, this cd may not be of the likeness of the "bang-bang-bang-boom-boom-boom" techno-fans, because every track on this album is pure flowing style. Real quality. Buy it NOW.

the original gangsta
This CD's a great starting point and nothing more. it was best back in 97 in my friend's car when we first heard aphex twin and atari teenage riot and laughed it off, only to end up putting it back on later. before circuit city came along and labeled it "electronica" and god knows what else, this was the best starting point for american listeners to get into british techno. only a few stinkers out of an otherwise very diverse (drum 'n bass, chaos, cyberPUNKROCK, straight up big beat) and catchy bunch, sure to sell any disbeliever after time.

Experimental MTV?YES!
Can you believe I have owned this CD since 1997? I stumbled across AMP one Sunday night after watching 120 Minutes. On AMP, I was exposed to for the first time Prodigy, the Chemical Brothers, Future Sound of London and many other cutting edge artists. From that moment on, I knew I had to have the CD! I agree with the other reviewers here, it is a taste of what MTV in the US can be if they chose to get back their experimental and groundbreaking roots. With songs from the likes of Goldie, the Chemical Brothers, Underworld and the now infamous Prodigy...this CD gives you an overview of the first AMP shows. I can tell you, all of these groups are still very much popular here in Europe and are not "One Hit Wonders" by any means. If you want a taste of experiemental MTV before the Nu-Metal and Boy Band take over of 1998, respectively, then pick up this CD, you wont regret it. ... Read more

Reviews (1)

Better deal than UK/EU imports
The three tracks on the US edition of Galvanize are

1)Galvanize (Extended Version)
2)Rize Up
3)Electronic Battle Weapon 7

The original version of Galvanize can be found on the Push The Button album you should already own, so the only thing the UK/EU import cds have is the PAL video.

As far as the tracks themselves, the extended version of Galvanize is just that, a longer version without any new sounds or rhythms, so it is not much to be excited about.

The rating on this single is based on the need to own the next two tracks! Rize Up is a great extra track with lots of energy and any of the Electronic Battle Weapon tracks are not to be missed! ... Read more

Amazon.com

Subtlety does not exist in Fatboy Slim's world. The no-nonsense king of big beat has a job to do: get the party started right. The relentless musical hook is at the center of Greatest Remixes. Reggae and ska rhythms ("Magic Carpet Ride," "Get Up! Go Insane!"), R&B lines ("The World's Made Up of This and That," "What Is Kahuna?"), and acid-synth ("Roll the Dice") are all just grist for the groove mill. "Dubby Jointy" is the disc's wildest track.Backwards tape whooshes, a screaming guitar lick, and a crazed, creepy vocal part coalesce into an inspired version.The album's closer, a remix of "E.V.A." by Jean Jacques Perrey surprises.Fatboy knows enough not to mess too much with the 30-year-old song.The original--funky, loungy, and spacy--could have been recorded last week. --Fred Cisterna ... Read more

Reviews (16)

Norman Cook Is The Renegade Master
Out of ten tracks, about half are insanely danceable enough to merit five stars. I'd list them here, but I want you to buy the album and judge for yourself. No one cares what schmadyhjjks from San Franciso, CA, thought about this album anyway, so why bother?

...So, in conclusion, buy the album, then put in your car stereo as you drive to a club or a rave or an Elks' Meeting or whatever it is you do...

P.S.: This CD is also listed in Amazon as Fatboy Slim's Greatest Remixes with Meat Beat Manifesto as the artist, for some reason.

Average, but 3 tracks here are great
Most of this disc is mediocre. Fatboy Slim gives us a lot of mixes that are pretty good but not anything special, and when there's this many, we see the limitations in his style. However, three songs are simply incredible and really must be heard: Wildchild's "Renegade Master", Christopher Just's "I'm A Disco Dancer", and Underworld's "King of Snake". They all follow the Fatboy formula, but it seems like he does a much better job. These three are moments worthy of his best original productions. So this may not be a necessary purchase, but there are some great parts to it.

Yo check it out
Big beat brashness, funky disco and dopey sounds that test the capacity of your listening pleasure, even insane in the membrane people I suppose. This CD indicates a non-stop party must be going on in Fatboyslims magical mixing mind. "Mighty Dub Katz" is about as clever as it gets for a meshing of sound that is Cypress Hill meets the rude boyz. "Psychedeliasmith" is out there but fits nicely into the concrete jungle landscape, a heady blend of synths and loops. There are a few turkeys too. "Roll the Dice" does just that, I think it came up snake eyes.Sometimes repetition becomes just that, repetitive. On the flip side it works sometimes like on the standout "Deeds Plus Thoughts," nothing to think about here just enjoy the mad master mixer at work. There are plenty of non stop grooves but what fascinates is that one person can orchestrate and manipulate all the diverse and seemingly unrelated sounds into one coherent package. Not my favorite Fatboyslim CD but solid nonetheless. It is easy to see why he one of the most recognizeable mixers of all the gazillion out there. Recommended in small quanities unless you have a high tolerance for pain in the membrane.

Definately an "easy listen"
As an avid Fatboy Slim fan, I can say that this CD isn't in the same style as his past couple CDs, but it's actually a little more laid back for an easy listen. It has some upbeat songs, and some smooth, almost instrumental songs. All in all, it makes a good driving CD or casual listening CD. I'm glad I bought it.

If you like The Beastie Boys . . .
OK, I am not a big Beastie Boys fan, and this album ("Greatest" Remixes) reminds me of their style - loud, brash, unmelodic, hardcore. I couldn't listen to two tracks in a row without popping out the CD. I would've given this CD only one star, but I realize that it might be suitable for some people who liked that "Insane in the Membrane" sound I thought we got rid of a few years ago. As a note, I do have and enjoy "The Norman Cook/Fatboy Collection" and "Live from the Big Beat Boutique." Both of those CDs have some variety. This one is just loud and brash all the way through. ... Read more

Reviews (8)

If you're looking For Jungle this Isn't For you
I bought this thinking that it would be some hard drum'n bass
like Ming & Fs's other albums. I am not really into rap and thats what every song on this cd is. It is way more hip hop
than jungle...if thats what you like then you will really love this album because its a breath of fresh air from all the other
crap thats out there. However, if jungle or drum'n bass is what you're looking for, then I'd suggest grabbing some Reid Speed or an Ed Rush album.

ABSITIVELY POSULUTELY DOPE
I was lucky enough not only to see Ming+FS at a show but also to catch one of their toss outs. I was so impressed I decided to actually buy a released album, something I rarely do because the majority of what you can buy is (bad) compared to cd's you can get at shows. I've only owned this cd for 2 days and I honestly think I must have listened to it at least 40 times already. THIS CD IS (...) AWESOME! If you don't own it already you either have a mental imbalance or must be dead.

Excellent
This truly is a great album. As a devoted fan of both techno (especially jungle/drum & bass) and hip-hop, I found Ming & FS expertly tying both styles together without watering down either of them.

With Hell's Kitchen, Ming & FS prove to be expert producers of underground-flavored hip-hop ("U Ni Son", "CLS", "King's County"), jungle ("Brain Dead Amphibian Twins", "Rock Higher"), even acid jazz ("Bonus Round"), and big beat-style breaks ("Hijack the Disco").

All in all, I'd say this is a superb album. The beats may get a bit tiresome after a while, though. I blame this not on Ming & FS but on the very natures of big beat and jungle themselves, which (in my mind) are not as subtle and layered as, say, IDM or ambient. But overall very entertaining--I'm sure Ming & FS' signature "junkyard" style will soon become heard everywhere as the group gains popularity.

Don't overlook this one.
This is a thorougly dope album by a pair of DJs, producers, and musicians (catch some of their other material on the second and third Deep Concentration comps). They're not the first artists to mix these urban styles (hip-hop, jungle, electro, jazz, trip-hop): DJ Spooky, We and other "illbient" producers fuse those genres to create works of art. However, Hell's Kitchen is the record that you bump in your ride -- especially the first five cuts. Underground MCs bring ill flows on many of the tracks, putting Ming & FS much closer to the hip-hop tip than Spooky. Every track brings a different combination of styles, but Hell's Kitchen is unmistakably an *album* which oozes the sound of New York throughout. Buy this.

delete "FILE" / run "PLAY"
As most other reviews should indicate, this is an awesome album from and featuring some seriously talented musicians who can put together a mature effort and still display a sense of humor. But I got a beef: what is it about the stagnant state of electronic music that an album such as this has to be labeled "Junkyard"? Its focus isn't on eclecticism, but rather music, and thus naturally includes variety and progression. But, for those inclined to subgenres, this piece should provide a dose of substance and prove, indeed, innovative. ... Read more

Reviews (2)

Awesome Addition!
I was introduced to SSX Tricky at a Quake 3 tournament. I've been hooked ever since. The music goes a long way to adding to the enjoyment. SSX 3 takes it all up a level. The soundtrack is excellent! I admit I'd never heard of most of these groups before listening to this soundtrack. However, I loved it so much that I've already purchased MXPX and N.E.R.D. CDs. If you enjoyed the music of SSX Tricky you will not be disappointed by SSX 3! I would have given this a 4 1/2 stars if the system would let me. My only detractors are Fatboy Slim and Audio Bullys, whose selections are very tedious. One other item is that, again the entire soundtrack from the game didn't make it to the CD.

Real Good Music!
I found "Music From SSX Tricky" before I ever played or even heard of the game. I have 20 bucks to blow at Future Shop and after an hour I just grabbed this off the shelf, looked at the track listing, and bought it. Who can go wrong with MixMaster Mike?
As soon as I listened to it I was shocked. This music was so good! I had not known what I was getting myself into but I now liked it. It introduced me to new artists, and especially, the game (which, sadly, had even more great music that the cd didn't contain [Shake Wha' Yo Mamma Gave Ya!])
Now SSX3 is being released in October and before they release the game, they bring us yet another 12 track SSX cd. I right away asked for it for my birthday. I wasn't disappointed (well, maybe with the length of these songs; I enjoyed the long techno/house music that SSX Tricky delivered, and these songs are, on average, only about 3 minutes long)
This SSX cd is more hip-hop than the last. More MCs (K-os, Swollen Members) and even more great music from artists like Fatboy Slim and Audio Bullys!
If you enjoyed SSX Tricky's awesome music, you can't go wrong with SSX 3: The Soundtrack ... Read more

Album Details

Features Different Packaging, an Extended Version of Metrolike, and Five Bonus Tracks: Bustin Like This, War, No Remorse, Mulu, and 100 ... Read more

Reviews (14)

Bangin' tunes from Junkie XL
This is a seriously amazing album, and totally under-rated as I hadn't even heard of them until I got the 'Blade' Soundtrack. There is such diversity in the sounds here it's just fantastic - right from the almost hip-hop style of 'Saturday Teenage Kick' to the electronica sounds of 'Dealing With the Roster'. Some of the other tunes really surprised me as well. A lot of people have described Junkie XL as Prodigy like, which they are in places, but that's not a bad thing at all. I loved the Prodigy and now they're gone it's good to have someone new there instead. Can't wait for another album!

X-pand your limits
I've been a fan of Junkie XL since 1997-98, when I first heard "Saturday Teenage Kick" and had my attention captured by its one-of-a-kind mix of breakbeat, rap, and good old pure electronics (Prodigy's "Fat of the Land" nothing...that one was a bit of a downer after "Music for the Jilted Generation," and this album is above and beyond that...WAY beyond).

Even though they (and by "they," I really mean founder and only permenant member, Tom Holkenberg...fans were all sad to hear about rapper Rudeboy's departure in 2000 following the losses of Dino and Baz) have continually refined and sharpened their sound since the beginning, this first album has a certain unique, underground edge that isn't as present in "Big Sounds of the Drags" or purely-electronic promo singles like "Bon Voyage," "B Y Whop to the Y," or the lost "Red Heat." This is probably mostly due to Tom's decision to take the band towards more dance-based music for Big Sounds (except for the standout track "Zerotonine," quite possibly one of the most unique electronic pieces I've ever heard, even considering Teenage Kick), but word has it that the next album, due out in September, is closer to breakbeat as Teenage Kick was, which is very, very good news. I'm looking forward to it, because I'm confident that Tom can do it again, even without Rudeboy.

A solid 5. Anyone with good taste in music should have this album, as well as Big Sounds, as well as the next album.

From Mediocre to Dutch Genius
When Tom Holkenborg was still in the band 'Weekend at Waikiki' the music made was not very spectacular. The he started on his own, got a heart attack and bought some computers. Then he teamed up with Rude Boy from the Urban Dance Squad and things started rolling. After the single Billy Club came out it was followed by the debut album.

And it will blow you away! The sounds are load, sometimes almost industrial, harder than the prodigy and a lot smarter. The Rude Boy raps add a perfect mix. I will guarentee you will listen to this CD a lot, especially when jogging it will make you pumped up.
Billy Club, Saturday Teenage Kicks and Metrolike are the best songs but there isn't a bad one on here. Certainly the best album out of Holland in the last 5 years.

X-pand Your Musical Limits
This is probably one of the singularly best albums I have ever owned, hands down.

The first track I ever remember hearing by Junkie XL was "Def Beat", which was featured in a number of driving games, such as Need For Speed: High Stakes and Gran Turismo 3. It's probably still to this day the best instrumental track I've ever heard, and I got this album not knowing what else to expect. Thankfully, I was rewarded with a very unique and un-Prodigy-like experience with tracks like "Billy Club", "Metrolike"(which unfolds like a dance team routine or something, IMHO), and "Melange". Ronin's vocals sound somewhat like Zach De La Rocha of Rage against the Machine, but their higher range and almost serrated edginess really lends a quality to every track he's on that has to be experienced to be understood.

Long story short, buy this album. If you like good honest big-beat electronica, you won't be sorry.

Some Info For Those That Want It
First of all, this has become a worldwide electronic/rock/hiphop fusion classic, setting a standard that Prodigy and other electronic artists are still trying to match. (No offense to the Prodigy). I would just like to clear something up that I see very often misrepresented; Future in Computer Hell (Part 1)is not a 17 minute Opus. That song is only 3 minutes and ten seconds long and is a radio-ready rock anthem. It is followed by a few minutes of silence, and a bonus track called "Mulu" which lasts for 9:48 and is exceptionally cool. ... Read more

Amazon.com essential recording

For Prodigy fans, few things would be cooler than hanging out with Liam Howlett in his home studio, rifling through his record collection. This CD is the next best thing. Howlett is not promoting his skills as a DJ here; rather, the mix is the aural equivalent to leafing through the photo albums of his youth. He invites us into his past by mixing songs that informed and inspired his musical development. It's undeniable that this Brit is in love with old-school hip-hop, with Kool Keith, Grandmaster Flash, and Public Enemy dominating the tracks, while British staples such as the Sex Pistols, Meat Beat Manifesto, and the Charlatans jump in and out of the mix. Not all of Howlett's first choices made it into the final release due to copyright clearance problems, but the album still provides a clear understanding of the music that shaped a world this techno superhero has come to rule. --Beth Bessmer ... Read more

Reviews (81)

A wild ride for those with eclectic tastes
Probably 90% of everybody out there will hate this mix. If you came to the Prodigy through rock music, be warned that the vast majority of this mix is old school rap and both new and old techno. If you were hoping for a pure dance mix a la "Global Underground", be aware that this mix does contain Jane's Addiction, Sex Pistols, Barry White, Public Enemy, and the Beastie Boys. The point is if you want this mix to be neatly filed in one genre of music, you'll be upset.

If, however, you can appreciate and enjoy rap, big beat, early 90's rave, soul, and alternative/punk, this is like a dream. Cutting through 50 tracks in 50 minutes, there's no time to get bored, and all of the tracks are entertaining on their own. The real fun, though, is when Liam Howlett blurs between the songs. My personal favorite part, for example, is when the Prodigy's own "Poison" suddenly veers off into Jane's Addiction's "Been Caught Stealing" and then the bassline from that is looped under Tim Dog and KRS-One's "I Get Wrecked" (!).

Basically, if you like a lot of different music, this is a must buy. If you don't, don't even bother.

Uber-mix
Despite being credited as a Prodigy disc, this CD is most definitely the brainchild of Liam Howlett, the musical intellect behind the band since its inception. By issuing his first continuous-mix CD for a major label at the height of his fame, he opens himself to easy accusations that he's cashing in on the studio cut-and-paste world of DJ comps made popular by many of the acts on Los Angeles's great Moonshine label, among others. But this amalgamation is quite unlike anything else that has been put out by a mainstream artist to date. Dirtchamber isn't a record to be indifferently danced to in an archetypal sense; rather, it's a virtual composition intended to be absorbed and experienced.

To avoid being dismissed as a one-trick techno pony, Howlett throws down constantly diverse grooves; for example, "The Mexican" sets Babe Ruth's flamenco guitar against a nice Chemical Brothers underbeat that leads to the B-Boys' "Rock the House." This idea is reinforced through the use of standout old-school cuts such as Word of Mouth's "King Kut" and Grandmaster Flash's "Pump Me Up," which manage to sound unexpectedly fresh within the context of Howlett's musical canvas.

Occasional flashes of humor turn up--Howlett juxtaposes the Sex Pistols' "New York" with Fat Boy Slim's "Punk to Funk" (get it?)--as do moments of just plain delicious mixing: Who wouldn't love the combination of the Propellerheads' "SpyBreak" with "It's the New Style," by the Beastie Boys, Prodigy's supposed nemesis? Clearly, Howlett feels that anything with a beat can be united, and by compressing 49 credited samples into a scant 51 minutes, he goes a long way toward proving it. The selections are gratifying yet surprising, and when they're heard in totality, they create a recording that's not unlike a painting by Monet. If you look at it too closely, all you'll see is incoherent spots--but if you examine it as a whole, you're likely to be overwhelmed.

Experience
Prodigy`s wonderboy Liam Howlett delivers an addictive and gripping mix CD, where he exposes some of the band`s influences and preferences, creating an exciting and eclectic record. This is more than an average, by-the-numbers dance mix works that seem to be around, since Howlett clearly knows what he`s doing and is able to create a rich, solid and well-balanced record. The rehashed material is tight and well blended, proving that Howlett is indeed a key element in Prodigy and manages to pick some credible, diverse and appealing references (Chemical Brothers, Sex Pistols, Meat Beat Manifesto, Jane`s Addiction and the Prodigy themselves, it`s all here and more). The overall result is convincing, surprising, and keeps getting better with multiple listens.
More Sessions, please.

If I Could, I'd Give It 10 Stars!!!
That's right! In my humble opinion, I think Liam Howlett has made one THE best DJ mix albums (along with The Chemical Brothers' Brothers Gonna Work It Out) I've ever heard...and I've heard quite a few. From intro to conclusion, there's always a surprise waiting for you. the way Liam mixes Chemical Bros.' "Chemical Beats" with Ultramagnetic MC's "Kool Keith Housing things" was just awesome, adding Hip-Hop beats to Charlatans UK's "How High" and blending Jane's Addiction with KRS-One...pure genious. The best thing is that you get a lot of this. Babe Ruth's "The Mexican" with B-Boys' Rock da House, Meat Beat Manifesto's "Radio Babylon" with Propellerheads (which is layered with Beastie Boys rapping from "The New Style"), Sex Pistols with Fatboy Slim, JVC Force with Primal Scream, then Public Enemy... the list goes on and on. Basically, there's highlights in all the tracks and make you wonder: "How did he do that". Being a music lover, I love the tracks that he chose maybe 'cause I have quite a few of them in their original form. If you love old school Hip-Hop, Electronica and Rock, then this is definately an album for you. I know theres people who think this sucks because "It's just not Prodigy", but this is just to give you an idea what influences Liam has had to make the music Prodigy makes, so I hope if you do buy this, you'll listen to this with an open mind...enjoy!

WHOW! ITS TOTALLITY BREAK DANCE
ESTO ES BREAKDANCE ES RARO POR EL TIPO DE GRUPO QUE ES THE PRODIGY aun asi es muy buen disco aunque el mix sea un poco a la ves se va de si el tempo de los samples sin embargo es buena Pieza de coleccion aunque no entiendo el por que de este cd de alguna forma es exelente no tanto como THE FAT OF THE LAND pero bueno muy bueno ... Read more

Amazon.com

Apollo Four Forty have nothing if not a preponderance of raw, frenzied energy going for them. Whether they're channeling Van Halen on "Ain't Talkin' 'Bout Dub" (off 1997's Electro Glide in Blue) or indulging in goofy Fatboy Slimesque big beat on songs like "Stop the Rock" off of this disc, there's no denying their good-natured, infectious enthusiasm. While the empty-headedness that such manic tendencies often breed can be exasperating, their willingness to experiment keeps everything so fresh that you barely have time to notice. Rock-god guitar riffs mixed with scratch samples and pumped-up bass lines ("Cold Rock the Mic") give way to light drum & bass-influenced noodlings with trance atmospherics ("For Forty Days") without skipping a beat. Even when the whole thing starts to get a bit hokey, the band's creative drive makes it audibly palatable. Apollo Four Forty end up walking a techno-rock tightrope with a safety net made of cheese. --Matthew Cooke ... Read more

Reviews (17)

Average overall
I'm not the worlds biggest techno-music fan. But I like rock-techno music. Apollo 440 does it very well on about half of the tracks. If you like "Stop The Rock" you'll like the half that I like. If you like traditional techno music you'll like the others. Other tracks I like include "Stadium Parking Lot", "Lost In Space (Theme)", and "Heart Go Boom". The rest are just boring. Overall rating 6-6.

STOP THE ROCK ALL THE WAY!
My friends and I liked the song so much we decided to do it for the talent show and we think Stop the Rock is the best cause it has alot of beat in it. Rock on!

How to mix together everything to some positive result
Apollo 440 have established themselves as a prominent force in danceable trance music with their previous two offerings. But in this album they went over the top in everything, mixing a dozen of styles together to some very credible result! I can understand people who dismiss this album, because it's so very different from what @440 were doing before, but it doesn't make it less worthy of your attention.

It starts out with an instrumental "Are We A Rock Band Or What...?", that, just like its name implies, is an ambient relaxed synth-dominated short intro. But it's quick to burst out in a hard-rocker on a break-beat base, "Stop the Rock". Somehow it reminds me of The Prodigy, or Chemical Brothers' "Block Rocking Beats", only that this one is more straightforward.
Guitar riffing continues on through "Crazee Horse", to "Cold Rock the Mic", and on to "Lost in Space". They all got mostly samey feel to them, the first 3 perhaps are closer to The Prodigy, while "Lost in Space" is a harder number, almost aggro-metallic at its core. Tasteful use of samples and sampled voices provides classy touch.
"For Forty Days" throws some drum-n-bass upon the listener, and it has a strong melody, too.
"Heart Go Boom" is a funny number, that starts out with a cartoonish theme, but later explodes in a techno-rock madness with underlined drums.
"The Machine in the Ghost" is a downtempo ambient piece, which is quite long and demonstrates good development.
"Blackbeat" is a techno-rocker with a touch of hip-hop influence.
"Stadium Parking Lot" is another highlight. With its mighty shouted chorus and pounding drum, this is the song that Beastie Boys would be proud of.
"Yo! Future" again mixes trance with rock.
"High on Your Own Supply" is another bizarre eclectic track. With vocals from a B-class horror movie and spooky melodic lines, it's a great electronica number with plenty of atmosphere. A gem!
The album ends out with "The Perfect Crime", which is a mellower number with latino-touched melodies, that reminded me of any Tarantino movie soundtrack.

All in all, I like this album! Listening to it, you are treated with a dozen of musical styles, most of which are executed and mixed together perfectly. This might be the best eclectic album out there. For those open minded and liking bizarre music, very recommended.

Far from as good as their first
After a exelent first album they are back again. "Stop the rock" is probably the album's most popular and famous song since it appared on the video game Fifa. We also got "Lost in Space" another sound track song which they make their version of and "Heart go Boom" that had some airplay, decent but quite predictable so to say. "For 40 days" is a slow dance track, "The Machine In The Ghost" too with some funky beats, also the simular "Perfect Crime" should get a mention. So there are a few great songs on this album too, but to be honest this album is far from the other one in quality. Many songs are just too annoying, too much vocals that kills the song and too much "rock" into the music, some songs even remind me of Metal-rock. If they could have sticked to the sound of the few songs that acually were good, and not made so many boring fillers this would have got a better vote. The fiasco of this cd might also be the reason why no 3 album is out yet.

A "Different" Sound Anyone Can Enjoy
I've owned this CD for over a year, and I haven't tired of it yet. Apollo 440 is starting to gain more recognition as they "sell out" their music to movie soundtracks and TV commercials.

Good for them.

I doubt no one would know who Moby is if he hadn't done the same. If any band deserves to have their music heard, it's Apollo 440.

Their sound is original - a collection of samples and original music spun together to create a sound that you can not only dance to, but that is truly fun. "Stop the Rock" has gotten a lot of air play in the US, and I think the bird whistles make it. "Heart Go Boom" has a deep bass beat overlayed by a Jamacian-sounding man saying "$50 bet she's a sunshine, filling up my belly like a fine wine..." and other goody nonsense phrases.

I had heard Stop the Rock in early 2000 before I broke down and bought the album. I wasn't disappointed, I suspect you won't be either. ... Read more

Amazon.com

Hot on the heels of the excellent compilations Trance Nation America and House Nation America comes Ministry of Sound's latest two-disc DJ face-off, Club Nation America. As with the trance and house versions in the series (the former featuring Taylor and Jimmy Van M, the latter, Little Louie Vega and Erick Morillo), two DJs are each given a full CD for their wax-spun spells. This time East Coast DJ Johnny Vicious is handed the reins on the first disc, on which he delivers an unapologetically aggressive, pop-trance party classic featuring work from Delerium, Paul van Dyk, BT, and a few of his own self-produced groovers. The U.K.'s Tall Paul takes over on the second disc, using remixed Moby and Fatboy Slim, among others, to piece together an irresistible spider web of fat, sticky beats. This release is another example of Ministry of Sound's taste in DJs, and it brings their latest cause--the takeover of America's hearts and minds--that much closer to reality. --Matthew Cooke ... Read more

Reviews (19)

Ministry Of Sound: Club Nation America
Ministry Of Sound: Club Nation America

I cannot explain how much I love Ministry Of Sound. They always release the best mixes, mixed by some of the best DJ's in the world. When I purchased this CD, I was very suprised. I had heard another mix that Tall Paul had done for MOS (The Annual 2000-CD), and though that his mix would be the better of the two CD's. I was extremely suprised that I was wrong.

Being that I gave a horrible review of CD 2, which is half of what your buying, your probaly wondering why this CD received 4 stars. Johnny Vicious mix was amazing, and could have easily been released alone. The track selection is wonderfull, and it's long enough for a party. But this CD for the Johnny Vicious mix, you wont be sorry.

Johnny Vicious is well known DJ, especially in the NYC area. He has his own mix show every saturday nights on New Yorks WKTU and has residency at various clubs. Ministry of Sound wisely picked Johnny to mix this CD. The mix starts with Delerium's "Silence," which is a trance anthem. Other tracks include Aurora's version of the Duran Duran classic "Ordinary World," Sureals "You Take My Breath Away," and Johnny Vicious amazing (but bootleg) remix of Dido's "Here With Me" (which is over 10:00 long). The mix ends with Svenson & Gielen's (AKA Airscape) "Beauty Of Silence." What I love about this mix is that it starts with strong trance and ends with strong trance. There are not weak spots.

CD 2- Mixed by Tall Paul

This mix is terrible!!! Ministry of Sound has to tell Tall Paul to go in another direction with this mix because this is unlike anything else I have every heard from him. He usually starts with Disco sounding house and builds up to nice melodic trance, but this CD features neither. Instead, it features boring and bland house and trance. When purchasing this CD, I noticed that Moby's "Southside" was featured. This mix doesn't even feature Gwen Stefani. I mean I know that the Southside featuring Gwen Stefani is already a remix, but who wants to hear Moby just speaking. However, even though this mix is terrible, there are a few hot pics. Simon's "Free At Last" features words from Dr. Martin Luther King's famous "I Have A Dream Speak." Even though it is one of the highlights, It still sounds plain. I was dissapointed to find out that the Paul Van Dyk remix of the Thrillseekers "Synaesthesia" is not a vocal mix. But nevertheless, it is still breathtaking. The last highlight from this mix is Push's "Strange World." It's a pretty cool track, but the melody is very repetitive.

PS- Johnny isn't only a DJ, he's one of the hottest remixers currently on the hard house/trance scene. Check out his mixes of Veronica's "Im In Love,"* Chicane's "Don't Give Up,"** and Mary Griffin's "Perfect Moment."*** CD 1- Mixed By Johnny Vicious

*- Available on Veronica- Im In Love (Maxi Single) **- Available on Chicane- Saltwater (Maxi Single) ***- Available on Mary Griffin- Perfect Moment (Maxi Single)

I loved the first disc, the 2nd disc could have been better
I wasn't too impressed with what I've heard with the second disc mixed by Tall Paul. It wasn't bad but it wasn't nowhere near the awesomeness of the first disc mixed by Johnny Vicious. The songs lacked the punch that Johnny's mixes had. Now that is said and done, on with my review of the first disc.

The second I heard the Dj Tiesto remix of Delerium's "Silence", I knew immediately this cd was going to (be a hit). The production is big, the melodies are excellent. The song structure hasn't been distorted by Johnny's mixing abilities. I liked what I heard. Several minutes later, "Silence" quickly becomes "We Are Alive", my favorite Paul Van Dyk song off his "Out There and Back" cd. I do wish that Johnny used the full vocal mix version of this song but nonetheless I'm happy to hear this song. I was totally surprised to hear a dance version of Duran Duran's "Ordinary World" w/female vocals. That really knocked my socks off. I also loved the trance version of "Here With Me". This first disc in Club Nation America was impressive and made me think of the Saturday nights I spent in Chicago dancing to house and trance music. Just awesome.

One of MOS's better sets
This double CD is one of the best that MOS has put out in quite some time. I would give the edge to the Titan on this one although Johhny Vicious played a remarkable set. Tall Paul's set has some of the best electronic tracks ever; Star 69, Push, Synathesia, and makes this set flow exceptionally well. The last three tracks on CD 2 I can play over and over and over again and still never get sick of it. Johnny Vicious tends to lean more towards more vocal type tracks and thats why I have to give the edge to the Titan on this one. Regardless, this double disk set is definitley one worth buying.

First CD Awesome
I should give this CD 4 stars, since I'm not a fan of the second CD, but because it's tough to find a complete mix cd that you can listen to start to finish, I owe it to Johnny Vicious to give this CD all 5. Disk one is awesome start to finish. Disk two has some popular dance stuff, but I'm more of a trance fan myself. This CD is from the days when Ministry of Sound actually pursued quality rather than quantity. I highly recommend this classic disk.

Another great mix from Ministry of Sound!
As any MOS fan would agree they know what their listeners like and keep providing us with new great sounds. This cd is certainly one you should have in your collection if you like dance music. Tall Paul and Johnny Vicious are 2 great djs that put the mix through it's paces and you come out the winner. ... Read more

Amazon.com

Eighteenth Street Lounge has positioned itself as the ultimate chill-out label, purveying a cosmopolitan blend of vocal and instrumental styles with a strong Brazilian influence over jazzy, laid-back grooves. However, even the most dedicated lounge hipster likes to pick up the pace once in a while, and All Systems Are Go Go fills that need handily. Alex Gimeno (a.k.a. Ursula 1000) has previously released The Now Sound of Ursula 1000, which featured his own music; this CD is a continuous DJ mix of international tracks of what the Germans call "Easylistening." The record kicks off with a blare of horns from Japan's ECD, remixed by Pizzicato Five's Yasuharu Konishi. The music is sounds like the movie scores of '60s and '70s composer Peter Thomas bolstered by the late '90s big-beat drum tracks that persist throughout the CD. Berlin's Bungalow Records is represented with a Southern-fried organ-groove track from Le Hammond Inferno, and England's Skeewiff follow with a kitschy lounge-flavored track that's characteristic of the Brighton sound. Other ESL friends such as Nicola Conte put in appearances, and a track from England's Jadell is spun around the guitar riff from Can's "I Want More" (fresh from its appearance on the Workshop track of the Deutscher Funk compilation). While the beat is a bit too unvarying throughout, there are some welcome breaks from the horn-heavy lounge-exotica musical emphasis; the Hardwire and Trio Electro tracks include some hip-hop samples, and Los Chicharrons and El Loco Gringo's appealingly ersatz Latin styles hold up the latter half of the mix. --Bob Bannister ... Read more

Reviews (9)

fun and upbeat
surprisingly good even with repeated listens because the quality of the studio production in high. Its very upbeat and tongue-in-cheek, and most of it is very danceable. Poeple who take pop music seriously will hate it, but then again they probably wouldn't be looking at this review in the first place

Excellent
First of all, never heard of Ursula 1000. But this CD is a masterpiece. Do you like Fatboy Slim? This is a better mixture of all kind of flavours of uplifiting, dance music. Continous mix of "make me dance" music. Excellent! My favorite "El Loco Gringo - Whatchuwanna". A must!

Name That Sample
A good mix of music to make the room shake. An orchestral hit from "James Bond", a riff from Beck's "Mixed Bizness", and a lot that I've heard before but can't quite identify. A lot of fun.

Groovalicious retro beat for the 21st century!
What an entirely fun CD, listening to this will inspire you to get off your duff, slide on some bell bottoms, and jump on the dance floor! Ursula 100 has gradually been gathering an underground following, and with the release of this CD they have given a good sample of the great mixes they can come up with. Part disco, part european funk festival, and part D.C. go-go -- "All Systema Are Go Go" has just the right mix for fun and danceability. My favorite tracks are probably numbers 4, 11, and 18!

Thunderbirds are go! ....
Remember "The Thunderbirds" stop-action, clay-mation-esque series that used to air. That campy, mid-to-later sixties spy/space thriller? This could very well be the soundtrack to that series...particularly if the Thunderbirds resided at the Playboy mansion and threw parties all night long, every night.

The latest installment from DJ Ursula 1000 proves to be slightly different from his last release. A little more campy, largely due to the hype around Austin Powers. In that respect, it becomes increasingly difficult to play this cd without the masses thinking you're mad over Austin Powers and that whole scene.

However, the vibe is still there, and his choice of tracks is rather enjoyable. Most of the songs feature the typical grinding organ and reverbed guitars (Stratocasters and Fenders no doubt). The mixing proves smooth and the transition from one song to the next is very well done. As always, Ursula 1000 demonstrates his good ear.

I like this cd very much, and dig the entire ESL catalogue for the most part. However, it's hard to determine how to approach this cd. If Ursula 1000 is serious, it becomes a little more difficult to swallow this release. The campiness of it all seems to outweigh any seriousness to it. If it's all tongue-in-cheek, then it's fantastic. But, appreciate it for what it is, and you will not be disappointed. Purists, however, would be better off opting for ANY Jimmy Smith cd, or the likes of Lonnie Smith or Ronnie Jordan. Even still, look into just about anyone on the Ubiquity label, such as Greyboy, James Taylor Quartet, Night Trains, Snowboy, or the like.

Worth noting, the presence of Mo Horizons on this release is just about worth the price in itself. As always, a stunning mark left by Mo Horizons, mixed fantastically by U1000. ... Read more

Reviews (4)

Not only is it great music, but its for a good cause.
I could have created a "Mantra Mix" compilation of my own from my existing knowledge of the electronic/trance/ambient genres. I own several of the albums of the artists on this featured compilation and creating a compilation for driving, reading, or a lounging around the house would be simple. In doing so, however, I would only stick to music that is familiar and not expand my musical aptitude.

Had I not purchased this compilation, the calypso beats of the Sacred Sound System, the rhythm of Madonna's "Shanti/Ashtangi", and the hip Chemical Brothers' "One Too Many Mornings" would have passed me by. Sinead O'Connor, Peter Gabriel, Travis, and David Byrne add their finesse to make this album complete. My musical knowledge has increased in breadth as a result of this album, and it pleased me to read that all royalties from the sales of this album are donated to the Tibetan Refugee Fund.

Great CD to Drive and Work With
When you find yourself going absolutely insane with road rage and office madness, put this on. Some songs will make you wanna cry, but in a good way. A great mix of different types of music, and a nice intro to throat singing. Sinead O'Connor's number makes you all weepy and fuzzy inside. But Fatboy Slim's number is a great rock out. One of the best compilations.

A rare compilation of wonder
The cover of this album compelled me to look into what this album holds for its listener. I recognized many of the names, such as Madonna (with her awesome sankskrit song), Sinead (with her compassionate "To Mother You"), and Peter Gabriel (with his heartwrenching "Games without Frontiers). However, many of the other artists on this album were unknowns to me, and I