Amazon.com's Best of 2001

A collection of three EPs released in limited quantities by this London duo (Nick Franglen and Fred Deakin), Lemonjelly.ky is what happens when you mix electronic psychedelia with downtempo beats, a selection of warm and organic sounds, a splash of sunshine, and a big dose of smiles. Coming across like a series of electronic fairy tales designed for warm, hazy afternoons in the park, Lemon Jelly are all about a good time, chill style. Kruder & Dorfmeister would approve, as would the Orb, but LemonJelly also have a stoner's sense of humor to accompany their warmly chaotic mixes. Take "A Tune for Jack," with its big sea elephants and smooth high-synth sound that evokes the Parisian duo Air, and then trythe amusingly instructional voiceover during "The Staunton Lick." Both illustrate clearly that for Lemon Jelly there are no rules other than to let your imagination (fueled as it might be) wander where it must. Indeed, one of the most delightful things about this album, as you meander through stunningly lush pastures like "Homage to Patagonia" and the melancholic romance of "Kneel Before Your God," is its ability to marry great music with a genuine sense of goodwill and happy disorder. If Alice ever did manage to hear some tunes as she tripped about Wonderland, Lemonjelly.ky must have been the soundtrack she enjoyed. --Steffan Chirazi ... Read more

Reviews (40)

Enchanting
Lots of eloquent praises have already been sung on this page about the gleeful and utterly entrancing album that is "lemonjelly.ky", but I have to put my two cents in since I find it to be one of the most delightful and relaxing albums I have heard recently. The opener, "In the Bath", is in my opinion the strongest point on the album. It skips through fairly familiar territory for most fans of downtempo or IDM but it is a catchy tune that makes great party music. The rest of the album has an overall slower pace, which makes it more suited perhaps for being played in the background when you have a few friends over for cocktails and board games. "Homage to Patagonia" combines a soothing melody and ambient feel with a unique Eastern theme that makes it my candidate for second-best song on the album. The samples scattered throughout the rest of the song make for amusing listening, such as the guitar instruction intertwined with the beats of "The Staunton Lick", or "Nervous Tension"'s appropriation of what sounds like samples fron a mainstream "How to Meditate" record from 1963. Overall a solid buy if you are into the likes of Tipsy, Thievery Corporation, or Noonday Underground's instrumental work.

gorgeous artwork AND gorgeous sounds
As a new listener of "electronic" music, I wasn't sure what to expect from this album (which I had purchased based on the reviews here.) Being pleasantly surprised is a bit of an understatement! I was wowed, not only because of this album's accessibility, but because of the way it sucks you in and creates an atmosphere. That is vague, sorry... each song is different but similar enough to the others that a definite mood is created. There are bleeps and blips and drum loops and snippets of people talking, but they're all blended in such a way that isn't annoying and forced. Everything flows - due primarily to the catchy rhythms and clever melodies.

I've listened to this album while cleaning the house and at bedtime because at a lower volume, lemonjelly.ky is very relaxing. But just yesterday I was listening to it while speeding along the highway and the album was much more exciting, which surprised me. I thought it would warrant a nice, relaxing car trip, but instead it just made me want to drive faster! So I guess Lemon Jelly figured out a way to create an album that would suit any mood. That's success in my book!

What a quirky band!!
Lemon Jelly is one of the most unique style's of music that I've heard. They combine speech recordings with looped samples from various sources and manage to create beautiful music. "A tune for Jack" has a nice jazz piano lick, a baby saying "oom-baby, ba-bum-ba-bum ooom-baby," and and a laid-back beat. At the beginning a man is in South America capturing a sea elephant and there are these barking noises that sound gross. It's hilarious!! These guys have a great sense of humor and it really shows on this collection of ep's. This album can be very thought-provoking on some tracks such as "page one." It's not like really deep metaphoric poetry like on most pop or rock albums because it is a voice recording probably taken from some book on evolution or something. But, the combination of the vocals and the sampled pianos, bass, guitar, and what not create an atmoshpere or mood that draws you into a different world as you ponder what the man is saying. A few of the tracks don't have any words, but they are also excellent. "Come" is such a dreamy, laid-back, and simple, song - a perfect closer. The harmonica meanderings on that song are so great. They take the song to a new level. It is hard to pick a favorite from such a diverse, yet equally good album, but "the Staunton lick," and "page one" are two of my personal favorites. But, seriously, this album maintains it's excellence from track one all the way to nine! It will take you on a rollercoaster of thoughts, and feelings that will surely leave you gaping and drooling for more sweet lemon jelly!

KY That feels good
Another groovy disc from the chillmeisters. One cannot be sad at all listening to these happy peppy people producing positively
wunderful wundertunes. Put on and float on a cloud.

The Super Sunshine Plastified Jelly Treatment
oh yeah! hoorah everybody, it is lemon jelly in their debut cd, lemonjelly.ky / whether the title be a clever jab at what most of the internet is, or relating to a life of super swanky gratification or whatever- I choose to view this album in a way similar to Boards of Canada's Music Has the Right To Children. This is aural healing, as spiritual as it is material. As another reviewer put it, "Aural Elation." yah. It is. Fresh, relaxing, visionary, utopian stuff. Rinse off yr dirt and worldly cares in a bathtub full of lemon jelly. hoorah. ... Read more

Amazon.com

Exciting, edgy, and energetic, Community Service, the Crystal Method's debut DJ mix release, is an instant success. Method men Scott Kirkland and Ken Jordan have molded 15 cuts from the likes of Orbital, Rage Against the Machine, and Evil 9 into their own futureshock soundscape, with a result that sounds like an after-hours electronic speed-romp through a postapocalyptic Playstation mega city. At times, Community Service sounds like the sister of German techno-chase film Run Lola Run, nowhere more so than during Koma & Bones' pulsating "Morpheus (Meat Katie and Dylan Rhymes Mix)" and Force Mass Motion vs. Dylan Rhymes's "Hold Back." Add some nice funky flashes to the overall techno-based energy, and Community Service is an entertaining reminder that these boys still know their way around decks as well as desktops. --Steffan Chirazi ... Read more

Reviews (21)

Not what I thought it would be
The reason I purchased this album was the mix of "Wild, Sweet & Cool". Which in retrospect was a mistake. That song is the only song on the album which reminds me that this a Crystal Method CD. I liked Vegas & Tweakend but they are not "Dance Mix CD's". This album is pretty much only a dance mix, very repetitive and boring unless you are actually dancing.

Not for the commercialized fan..
This cd is not for fans who listen to Crystal Method on the radio! It is for the fans who go to raves and are into the electronic scene. I for one am quite happy with this cd, since there are no other dj's that I have found that capture this style. I have seen them live twice, once playing a dj set, the other their own music and this cd comes quite close to a real dj set show. Hell they even played red pill at the show I was at. Anyways if you are into the scene and like breakbeats, drum & bass etc... you will absolutely love this album, which I do. The reason I rated it 4 stars instead of 5 is because they did a much better job live, in-terms of song selection and overall feel. This album is a teaser to the real thing, it wets the appetite but never really draws you in fully, something that they are more than capable of. So the moral of the story is: GO SEE THEM LIVE!

...But It's Not Ken & Jordan...
CAUTION!
THIS ISN'T A TRUE TCM CD!

this is a mix cd, and everything a mix cd should be.

it starts out spookily with "No Soul" and doesn't start to get upbeat until the third track, "Breakin' On the Streets". then it drops down again for "Morpheus" and continues to rise and fall throughout.
but once you've heard "...how deep the rabbit-hole goes" for the final time, you know it's solid.

recommended if you like techno (that's a rather big prerequesite), and you should be ready to fall in love with the Method again.

UBER-PHAT DANCE GROOVES
Crystal Method takes up where Prodigy or Orbital left of. This album has the sort of trance/technofunk that one'd love to hear at raves -- gut-quiveringly powerful yet garnished with enough voice and surprises to suggest a spirit in the machine. Stuffed with variety and changes in tempo and dynamics, I expect at least 100 listens before I remove it from my player (assuming that my ears can last that long attached to my head). Shut your eyes, look into the flashing lights, let your body move and hold onto your ears. Great stuff.

Better than TWEAKEND.
Cool disc if you like TCM. Better than TWEAKEND though not as wicked as VEGAS, COMMUNITY SERVICE is a continuous mix of great electronic music with very little vocal disruptions. These guys create the best remixes and are top of the heap in techno. Cool, cool stuff. ... Read more

Album Description

Ravin, the celebrated French DJ responsible for the highly acclaimed "Buddha Bar III", presents a sexy new compilation that enchants and inspires. Featuring a vast array of artists, including Femi Kuti, Riccardo Eberspacher, Bliss, and Nicos, "Siddharta" truly captures the spirit and essence that has made the "Buddha Bar Presents" series unforgettable. ... Read more

Reviews (3)

A 10 star double album!
I have all of the buddha-bar albums(three and four being my favorites)and I recently purchased dj Ravin's Siddhartha:spirit of buddha-bar, volumes one and two. Without a moments hesitation, I would rank the first disc of the set "Emotion" as one of the finest compilations of world music I have ever heard. From begining to end it is flawless in technical and aesthetic qualities. It is a true journey of delight - for all the senses. "Passion", the second disc of this set is great too, but "Emotion" is my favorite. If asked to give a recommendation to a first time buyer of ethnic/world music, this uni-album is where I would begin and if you are a long time admirer of the buddha-bar series - buy this album without fear of disappointment. DJ Ravin has proven - once again - he is masterfull.

Gobsmacked
If you're into music from the likes of Claude Challe, the Buddha Bar series, Thievery Corporation, Blue Six, Nitin Sawhney, etc. then this outing from Ravin, the genius behind Buddha Bar 3, is quite probably the BEST asian-inspired lounge CD that I have ever heard.

The choice of tracks and their order are superlative: this is one album that you can genuinely say that there's not a bad track on there. Superb stuff, highly recommended.

(shame about "Spirit of Buddha Bar Vol 2" however...but that's another story)

Seductive
From the opening Qawali wail through the final passionate work out from Femi Kuti, this is a very seductive disc, ambient, techno inspired and otherworldly in every respect. I'm way too old to do ecstacy, but, as I listen to this I get that Peter Gabriel sense of "I love to be loved." Indeed, this is all mood enticingly seductive and relaxing. This sets you in a very different fram of mind and should never, never be listened to while driving a car, or operating heavy machinery. Get yourself parked on a sofa, a bed, the bloody floor for that matter with someone you want to squeeze, and take the ride.
Techno culprits Ben Hassan and Riccardo Eberspacher and Mars Lasser are featured, and whoever this DJ producer is has done an intoxicatingly good job blending the sirens' calls. I emerged from listening to this for 2 hours like Woody Allen in SLEEPERS with his orgasmatron. This is non essential all the way, but if you have the [$$] to blow on some fun, this is great. ... Read more

Amazon.com

To follow up their bombastic 1995 album Exit Planet Dust, the Chemical Brothers fine-tuned their bombastic beats and produced a rock-solid pop album (pun intended). Dig Your Own Hole finds the common ground between rock & roll and techno, both in spirit and substance. Singles like "Block Rockin' Beats," "Elektrobank," and "Setting Sun" (featuring vocals by Oasis's Noel Gallagher) may lack the big hair and pomposity of rock music, but they make up for it in spades, with sampled and real guitars battling for space with sirens and distorted hip-hop drums. The album reeks of pure enthusiasm and energy, evoking a crowd-pleasing exuberance that makes Dig Your Own Hole a Back in Black for the late 1990s. Pure stadium techno. --Matthew Corwine ... Read more

Reviews (107)

Where do I begin?
I enjoy the music on this CD very much. It is primarily a rock 'n roll album featuring repetitive rhythms with a heavy beat supporting tape loops, distorted sounds and occasionally vocals, either natural or modified. A common complaint from those unfamiliar with a genre is that, "all the songs sound the same." Perhaps, your parents were more enlightened, but this is often what mine told me. ;) While this may apply to other CDs of the techno-dance-acid-whatever genre, that generalization is without substance for the Chemical Brothers, in general, and specifically, DIG YOUR OWN HOLE. Please allow me to direct your attention to the first and last tracks. BLOCK ROCKIN' BEATS and THE PRIVATE PSYCHEDELIC REEL are each distinctive and unique from each other, regardless of how similar the basic rhythm structure may appear. BRB is a dynamite dance number driven by the bottom end. The drum carries the beat front and center while the bass provides the requisite bridge between rhythm and melody. The entertaining sounds drive the song forward by maintaining interest. TPPR, on the other hand, is "tripey" piece. The beat is in the upper registers, now, as a synthesized metallic melody works its mesmerizing influence until it is joined by snare and cymbol. TPPR also showcases an interesting treatment on a clarinet played by Jonathan Donahue. Lastly, BRB has lyrics and TPPR doesn't. ;D Comparing the title track with WHERE DO I BEGIN also reveals the range of composition. DYOH is, again, a dancehall number driven by the bottom end. This time, a synthesizer replaces the bass guitar. Interest and tension are maintained by adding and postponing the introduction of new phrases and/or sounds. While DYOH is an aggressive song, WDIB is a delicate, ethereal song. WDIB features Beth Orton, who was awarded the title of Best British Female Vocal for the year 2000, sings in hypnotizing, yet detached voice. Delay is used to harmonize. Accoustic and backward guitars accompany. It is only after 3'10" that a drum is introduced which grounds the original melody until the five minute mark when a coda, of sorts, finishes the song. The bass playing by Seggs on LOST IN THE K-HOLE is indeed "amusing." It resembles the progressive rock of the early seventies enough for me to expect a commentary on lawnmowers. ;D I enjoy this CD, not only because of the heavy, high energy beat of the more popular numbers, but also, because of the variety of approaches. If you are interested in techno-whatever-this-is with a heavy driving beat, or in a wide range of song styles within that genre, this CD will be interesting to you.

Outstanding in parts, tedious in others
This is in some ways the peak of the Chemical Brothers. "Block Rockin' Beats" still blows my mind every time I hear it. "Elektrobank" is so intense and driving it's impossible to sit still. "The Private Psychedelic Reel" is, well, psychedelic, almost epic. "Get Up On It Like This" is big-beat at it's finest. These tracks represent the highlights of the Chemicals' catalog.

However, it also shows them at their most irritating. "Setting Sun" has never been more than an annoyance for me, a failed attempt to bridge rock and dance. "It Doesn't Matter" is techno at its most repetitive with no payoff. "Where Do I Begin" tries to be both a dance song and a trip-hop ballad, and fails at both. (If you want to hear a song that succeeds at this, by the way, listen to Groove Armada's "At The River".) This isn't even mentioning the filler like "Lost In The K-Hole" or "Don't Stop The Rock".

Overall, I have to give "Dig Your Own Hole" four stars, because when it's on, it's really on. But be warned... it's a very uneven album. Buy it for the highlights and program around the rest.

Dig your own fat bottomed groove
This revolutionary ditigal techno rock artist can funk in a funny,strange way,fueled by the modern drum'n bass approach.These club organizers stepped into the rock field with a sharp knife edge that can make many people dace to their music.Also,these guys can ruthlessly whip our brain and our perception into the world unknown.This album is the crossroad between club music and what is called "ROCK MUSIC".This is the well-organized and well-woven music you have to listen to.

The Ultimate Techno CD!!!!!!!!!!!
This is one of my favorite techno CDs of all time, along with mr.deviant's "Techno Obsession".
"Dig Your Own Hole" is the Chemical Brothers greatest work to date. I can listen to this one from start to finish. Forget the one reviewer that said "It Doesn't Matter" is no good, that happens to be the best track!!!!! Many of the songs feature the Chemical Brothers signature use of 1970's style drum sounds and bass sounds to perfection.
If you're looking to buy this CD, I'm guessing it's because you dig "Block Rockin' Beats", well, I've got news for you, that is the worst track on here. So, if you dig that one, then you'll be in heaven if you buy the CD!!!!!!
A must buy for any Techno fan.

brilliant
except for "it doesn't matter" and "Where do I begin" this album is the bomb. killer singles and excellent beats on the other tracks. ... Read more

Amazon.com

Initially, the sophomore album from California beat-shiftersthe Crystal Method sounds like the same psychedelic beats and psychoticsamples that made their 1997 debut, Vegas, such a riot andestablished them as the only stateside dance act with real spunk. WhileTweekend does apply similar grooves and siren sounds, repeatedplays prove that the duo of Scott Kirkland and Ken Jordan have learnedhow to melt the mind in addition to rocking the house. With guest spotsby Rage Against theMachine's Tom Morello and Stone TemplePilots' Scott Weiland, Tweekend is both subversive anddance-friendly. In "Murder," Weiland sings over a woozy blend ofcrunching riffs, wah-wah guitars, Moog moos, and mysterious strings fora kind of twisted BT-like poppoetry. "PHD," "Wild, Sweet and Cool," and the organ-grinding "Roll ItUp" are classic beats-and-bliss Crystal Method. But "Name of the Game"is straight-up rock and rage, while "Ten Miles Back" and "Blowout" aresurreal drives into a nocturnal desert. Tweekend is so dense anddelirious, it's hard to find your way out. But you may not want to return from this lost (T)weekend. --Ken Micallef ... Read more

Reviews (129)

If it gets any better than this, I don't care.
The Crystal Method's debut album, Vegas, was a stunning work which sought to combine the frenetic pace of breakbeat techno with the hypnotic vibe of trance to simulate the drug-induced haze that has come to be associated with the genre of electronic music. That was in 1997. Fast forward four years to the summer of 2001. The electronica boom has ended, and mainstream radio is pretty much devoid of any song without lyrics. It is from here that TCM make their triumphant return with Tweekend, an album that is just as artistically successful as Vegas, and even more accessable.

On the first listen, it sounds as though TCM has been listening to the Prodigy's "Fat of the Land" albums. The guitars and guitar samples are much more prevalent than those in Vegas, and much of the album has the aggressive qualities of hard rock. However, this is probably due less to the influence of Liam Howlett, and more to the prescence of former Rage Against the Machine guitarist Tom Morello, who co-produced "PHD," "Wild, Sweet, and Cool," and "The Name of the Game," and performed on the latter two. His prescence gives TCM a sense of how to create crossover appeal with the rock crowd (particularly in "The Name of the Game" which was the obvious choice for a lead single), and this element doesn't do any harm to the album as a whole. Scott Weiland also makes a very effective contribution on vocals in "Murder."

Of course, there is plenty here to please fans of Vegas. The vocalist on "Ten Miles Back" is sure to remind anyone who owns the debut of the fantastic Trixie Reiss, and "Blowout" also stikes me as having a similar vibe to the first album.

All in all, this album is a resounding triumph for one of the best electronic acts in America.

Not shabby, but it's no Vegas.
Like many fans of CM, I nearly wore out my copy of Vegas waiting for this album to released. Once it was, I found myself a bit disappointed because it didn't capture the magic that Vegas had. I don't want them to just re-hash that formula for all eternity, but it almost seems like that's the route they took. Some of the production tricks are straight out of Vegas and they don't seem to have really pushed themselves to create some new magic.

PHD and Name Of The Game are good Crystal Method tracks and many of the others are listenable as well. The low point, in my opinion, is Murder which features Scott Weiland (of Stone Temple Pilots) on vocals. I like Scott Weiland and I like Crystal Method, so I fully expected this track to be a favorite. Then I listened to it... ugh. Too repetitive and the vocals just don't let Weiland do what he does best -- intimate vocals with lyrics that have several layers of meaning.

If someone told you to check out Crystal Method, don't start with this one... go directly to Vegas. But if you liked Vegas and want to see where they went from there, this one's not bad. There's certainly a lot worse out there on the scene.

A strong second album.
The Crystal Method's debut album, Vegas, is widely hailed as a classic, and appropriately so. The gritty and hip yet epic CD redefined what the "American techno" sound was, and made quite a name for the Method. Tweekend is their follow-up.

It's no Vegas, but as another reviewer here aptly put, "Did you really want it to be?" Tweekend is all attitude, something the opening track PHD makes sure you're VERY aware of from the get-go. The Method seems to have developed a love affair with the electric guitar and bass during their time since Vegas, and they wail throughout this entire album. Tweekend seems to follow a louder, stronger, harder doctrine, only really slowing down during Over The Line and Ten Miles Back (and even then, just barely). Fans of Vegas need not worry, however. Despite the massive changes to their sound during the first half of the CD, the second half drops into a more "classic" and electronic sounding style akin to Vegas. Never sounds like Vegas, mind you, but it sounds a bit more familiar to those looking for it.

Hip, aggressive and in-your-face, Tweekend is the kind of album that gives neighbors serious headaches. Tracks like The Winner, Roll It Up and Blowout scream to be driven (quickly) to, and would be very at home in a BMW, Audi, or Mitsubishi commercial. Ready For Action and Name Of The Game pump enough adrenaline into your speakers to make you want to start doing push-ups or shadow-box in your living room. Tweekend is Vegas' evil little brother, the one who wants amps that go to 11 on a volume scale of 1 to 10, and the one who has no problem throwing a major big beat party, with or without you.

The CD That Doesn't Stop Giving
This CD is by far my favorite CD to go running to and I really enjoy it. This CD has The Name of The Game, And Murder featuring Scott Weiland of Stone Temple Pilots. Other lesser known songs are Over The Line and Wild Sweet Cool. The whole CD is amazing but those songs truly stand out. This CD is an excellent rainy day CD, it will truly make you feel like you are sitting out in the sun somewhere. This Cd never stops giving, the more you listen to this CD the more it will grow on you and become a permanent part of your stereo. The Crystal Method has truly outdone themselves.

Tweek-END
This is by far the worst Crystal Method CD of all time.
It is uninspired, unintelligent, and over all an hour of time that you'll want back. In short, it sucks... go buy Vegas or Legion of Boom instead. ... Read more

Amazon.com

Elektra lived through Moby's wild musical mood swings only to have him jump ship to V2 Records where, on first try, he produced a genius, groundbreaking album that made him a household name. What's a hapless major label to do? Why, put out a quickie compilation attempting to cash in on his newfound fame, of course. Moby Songs is a veiled "Best of the Elektra Years" collection of the techno wizard's singles released under the Elektra umbrella. The problem with this disc is that Moby's discography is Babe Ruthian in its homerun-to-strikeout ratio. Furthermore, his best work occurred before and after he signed with the label. That leaves Elektra pulling 6 of the 13 tracks off of Everything Is Wrong (Moby's only consistent work while signed on). The rest is culled from his famously awful alt-rock offering Animal Rights, his collection of soundtrack work I Like to Score, and the title track from the Move EP. Moby Songs only serves those who are more morbidly curious with a snapshot of the man's scattered track record. Those who are interested in his finest should stick with his self-titled debut (which includes the rave classics "Drop a Beat," "Everything," "Next Is the E," and the original version of "Go") and Play. --Beth Massa ... Read more

Reviews (32)

A good collection of Moby songs
Ok, so my last review was lame heres a new one...

First of all here is the actual track listing

1. First Cool Hive 2. Go 3. Into The Blue 4. Now I Let It Go 5. Move [You Make Me Feel So Good] 6. I Like To Score 7. Anthem 8. Hymn 9. Feeling So Real 10. God Moving Over the Face of the Waters 11. Alone 12. Novio 13. The Rain Falls And The Sky Shudders 14. When It's Cold I'd Like To Die 15. Living 16. Grace The collection consists of 8 songs from "Everything Is Wrong", the other 8 are from "Move", "Animal Rights", and "I Like To Score", If you own those or plan on buying them you should skip this collection, if you don't have any of them you should try it out, it is a good collection, most of the songs are beautiful and calm.

Moby is up there with the greatest! A collector's item.
"Songs" basically summarizes the New York DJ's efforts from 1993 to 1998, allowing listeners who are new to his music, or who might have first heard of his work through his 1999 VERY GOOD album album "Play", a chance to get exposed to his earlier work.

I would like to cover each of the songs real briefly, so it can be made evident how eclectic an artist Moby is:
1) First Cool Hive: You have heard it. Sounds a lot like some of the "Play" songs.
2) Go: first written by Moby in conjunction with David Lynch and Angelo Badalamenti (long time scorer for Lynch's movies), has certain elements from Twin Peaks 'Laura Palmer's Theme.
3) Into The Blue: sweet Mimi Goese's voice accompanies Moby's music. Song #14 has Mimi Goese as well, and both rank among the best of the album.
4) Now I Let it Go: like a celtic melody, very quiet an soothing. I let it go as well...
5) Move (You Make Me Feel So Good): very dance-oriented tune. Most likely you've heard it on some disco floor.
6) I Like To Score: a very funky down-tempo guitar-driven tune, very contagious, very hard not to tap on the floor to it if your listening to it while sitting.
7) Anthem: a trance tune with some Gregorian chants/Opera voiced over.
8) Hymn: very sweet, piano-drive tune, very "Play"-like as well.
9) Feeling So Real: a very 'pop' techno tune. Not one of my favorites from the album, in all honesty.
10) God Moving Over The Face Of The Waters: one of Moby's most beautiful compositions. You've heard it, I'm sure. If you haven't you need to.
11) Alone: just feels like walking on your own through the middle of the desert... at night... a 10+ minute epic.
12) Novio: (boyfriend, in Spanish) another beautiful Moby tune, revisiting the Gregorian chants theme.
13) The Rain Falls & The Sky Shudders: one of those songs to sit down an listen to on a rainy afternoon. Actually has the sound of the rain in the background.
14) When It's Cold I'd Like To Die: Mimi Goese interpreting yet another beautiful tune with Moby's music.
15) Living: very optimistic tune with a guitar leading it into
16) Grace: Moby's closing statement for this compilation album says it all. Incredible song. Not hard to find some Brian Eno-like influences in it.

Whether your musical preferences are along the lines of dance music, new age, Gregorian chants, or just about anything, this album deserves room in your collection. It carries incredibly beautiful as well as vey contagious songs, that will make you respect Moby (as I now do), and most likely expand your collection to contain all his albums.

Equivalent to Sonic Wallpaper
I found this CD to be pleasant, soothing, unobtrusive background music. I enjoyed "Play" and other of Moby's work; however, I found this CD to be to be the equivalent of sonic wallpaper - it's there, but it is meant to fade into the background.

Music fans can do much better
Moby's "Songs" is basically a collection of some minor work from his stint with Elektra, and as such, is an album that should not have been made. Moby as an artist is overrated to begin with, so a trip into "Songs" is especially unnecessary.

To begin with, Songs opens with "First Cool Hive", a track that is very reminiscent of the most repetitive and irritating elevator music of Enigma, a band which has become nothing but the butt of jokes. There was some hope that the album would improve as "Go" and "Into The Blue", the two most tolerable tracks on the album came on, but they still offered very little for an appreciator of music to sink his or her teeth into. Things head back downwards as sappy, unoriginal tracks like "Anthem" and bad party music tracks like the despicable "I like to Score" and the weak "Feeling So Free" started playing from my stereo. Moby seems to be trying to serve boring and pretentious music to fans that haven't bothered to try the better Stereolab albums over Moby's predictable, one layered collection of songs. In fact, the whole album feels like shallow, predictable, and uninteresting music by a minor talent. That's to bad, because Moby at his best offers up some hypnotically catchy tracks, especially when a talented vocalist backs him up, but then again, Moby at his best is few and far between, and Moby at his worst dominates in Songs.

Those who like music that doesn't challenge them to listen can add a star, and if the purchaser of the album also wants no more than a nice piano segment or a little background music while they read can add an additional star. Those who seek originality and creativity in their music can take the last star away.

Interesting
I hate techno, rave, dance music, etc...but I have found Moby's mobysongs quite interesting. I slip over the dancy, techno tracks and go to the ambient tracks. Here is where Moby connects. He is kind of like the modern version of Brian Eno with a pop flair. In fact, I wish he would become more Enoish and drop the dancy stuff altogether! Mobysongs is a good place to start for someone new to Moby like myself as is the similarly interesting (for the same reasons) Play. Give it a listen. ... Read more

Amazon.com

In a music landscape filled with slick, but predictable mix cds, we can thank the dance gods for Sander Kleinenberg. Hailing from The Hague, Holland, his willingness to venture into more cerebral material lifts This Is Everybody Too into the same tech-space dreamland that gave its predecessor, Everybody such a lovely kick. The electro and experimental tangents are more in the foreground here, as both discs in the 2-disc set are woven throughout with sparse sounds from the likes of the Junior Boys ("Birthday") and Robag Wruhme (the schizophrenic "Hugenduble"). But along with the New Wave fixations and highbrow electronics, Too gets dirty as well, especially on Kleinenberg's own ultra-funky "The Fruit" from Disc 2. And there's nothing intellectual about the big thumps and up-vibe house melodies that drop on songs from Deepsky, Ericke, among others. Few DJs, in fact, can pull off a compilation with such appeal to both the brain and the body, but that's just another day in the office for this man. --Matthew Cooke ... Read more

Amazon.com

This ambitious effort shows Mo' Wax label guru James Lavelle taking on the role of director, orchestrating a grand design, and translating it musically with the talents of studio muse DJ Shadow. Most accustomed to working solo, Shadow demonstrates here his adaptable talents in collaborating with others, whether it's on the powerful "Rabbit in Your Headlights," a track recorded in 1996 in which Radiohead lead singer Thom Yorke eerily foreshadows his later success, or in "Guns Blazing (Drums of Death Pt. 1)," the album's only traditional hip-hop track, which pairs annihilating beats to Kool G Rap's equally lethal vocal delivery. Psyence Fiction, which also features contributions from Beastie Boy Mike D and the Verve's Richard Ashcroft, is certainly one of the most epic and eclectic records to emerge from the electronic world this year, one that should not only further the efforts to bridge the musical segregation that exists among the hip-hop, alternative, and electronic camps but also introduce these cultures to a few new surprises of its own. --Tamara Palmer ... Read more

Reviews (92)

A Perfect Mark for a Completely Dark and Hearthrobbing Album
This album gets you a surristic feeling of the greatest experience and also the worst, it is a mix bag (A line from track 14 listed above.) The first song starts on most album copies with "Guns Blazing (Drums of Death pt.1)" Which I think is the rap album I ever heard even though I don't hear rap albums that often. Kool G Rap vocals along with rapid drum rhythm makes this song unbelevably addicting to listen to. Richard Ashcrofts "Lonely Souls" (A song about the question that affects most of us in our everyday lives "where do our isolated souls go when we die")I think it's DJ shadow and James Lavelle best accomplishment on this album which is over 8minutes long. The second ranked album would be the popular single "Rabbit in Your Headlights" by Radiohead's Thom Yorke singing vocals on this song. He is my favourite singer ever, his lyrics on this song gives me a feeling of hearthrobbing pain on the inside and emotional sadness on the outside. Overall the tracks on this song are excellent and for a CD that has only 100,000 copies in the world it must be excellent.

Worthy
Although U.N.K.L.E. is indeed James Lavelle and DJ Shadow, this album is, in essence, the product of an artists' collective. As a result, it's a fairly mixed bag. There is a running theme about aliens that attempts to lend some cohesion to the proceedings with in-between bits and spacey sounding music, although the boys don't entirely pull it off.

The rap songs (the opener "Guns Blazing" and "The Knock") rock hard with heavy drums. But I often skip these along with the rocking "Nursery Rhyme" because I'm in the mood for (and I prefer) the lower key stuff like "Unkle Main Theme" and "Blood Stain," the latter being a great song & beat with really downer lyrics I can relate to. Also, "Unreal" is a pretty trippy instrumental. "Celestial Annialation" is another vocal-less track that's a bit more ominous sounding.

"Chaos" is primarily a female vocal and guitar that I don't care for and always skip. And track 6 is a mock commercial intended to be a comment on the music industry that need not be heard more than once.

The album's themes are decidedly negative. That's certainly true of the standout tracks "Lonely Soul" and "Rabbit In Your Headlights."

"Lonely Soul" is sung by Richard Ashcroft of Verve fame and it's powerful. The String section sounds fantastic. DJ Shadow wrote the music (or constructed it?) on this song as on most of the album. I must say, this is perhaps the most musical music he's done.

"Rabbit In Your Headlights" alone makes this CD worth getting. Amazing that Tom Yorke kept this, one of his best songs, from his Radiohead mates. Those opening piano chords just kill me, and then comes Tom's angelic voice with those poisonous words," . . . fat bloody fingers/ sucking your soul away." Whew! This guy really sounds like he's been to some harrowing place! And that beat . . . this track is just incredible.

Despite some real shortcomings, I feel "Rabbit" and the other great songs hear elevate the album to 4 1/2 stars (or in this case 5). The rating is meant to reflect its worthiness for purchase. Even the lesser material is at least interesting and the album stands as something pretty unique.

Some beautiful moments...
As a die hard Radiohead fan I bought this album after hearing the track "Rabbit in Your Headlights", sung by their front man Thom Yorke. However, I was not sure what to expect from the rest of the album, and I must say, I was not disappointed... well, not completely. The album contains some truly amazing highpoints, such as the track "Lonely Soul" and "Blood Stain", which alone make the price of this album (used) more then worth it (you should be able to acquire this CD [...] used on this site).

Some of the reviews claim the album lacks a flow of togetherness, but this is simply false. All the tracks flow one from the other beautifully, and I felt there was no detachment or inconsistency between the songs... albeit the various genre influences. But its on this regard, genres, that you will either think this is a masterpiece or just so so. Not being a rap fan, I found the albums rap/hip hop tracks to be rather dull and seemed much less thoughtful then the high standard set by "Lonely Soul" and "Rabbit in Your Headlights". I think the hip hop elements could have worked well in this, but they were just presented poorly here. For example, the lyrics too "Knock" seemed to be painfully old tired cliché lines.

However, despite some less then inspired moments, "Psyence Fiction" is an impressive work overall, and well worth the beautiful moments it presents, which are many considering the best songs are easily over 5 minutes each. And if you do have a higher tolerance of rap/hip hop then I, you will most likely find even more to love in this album.

Brilliant integration of stylez
What happens when alt-rock and Joe Satriani ("Unkle Main Title Theme") meet Massive Attack ("Blood Stain", "Unreal"), Craig Armstrong ("Celestial Annihilation"), and you pour a little straight-up Public Enemy-like hip-hop into the mix? Sounds like science fiction? Fatboy Slim, you say? Not really. How about Psyence Fiction, U.N.K.L.E.'s ultimate definition of the future of music in 1998, and one that certainly goes beyond 2004?

Granted that this work as a whole is a masterpiece (haven't taken it off my jukebox in over two weeks now), the pinnacles of the album (it has two) come when the voice of The Verve's Richard Ashcroft breaks the silence in track #5, singing "God knows your Lonely Soul..." and when the unmistakable voice of Thom Yorke embraces you in "Rabbit in Your Headlights" close to the end.

What more can you ask for? This album is as close as it comes to perfection in blending musical styles. Listening to it six years after its original release sounds every bit as fresh as it did back then. Indeed, I dare to say it sounds better today, because a lot of these sounds have sunk in, to become a part of mainstream culture, something that says a lot about how far ahead of their time these guys were back then.

SAY "U.N.K.L.E."!
DJ Shadow never ceases to amaze me! After getting Psyence Fiction (several years late, of course) I can see why folks give him his props for "saving Hip-Hop". The man can make music sound melancholic while at the same time nerve racking to the point where you have to love it! This impressive effort with James Lavelle, shows that Shadow is just as good with a partner as he is doing it solo. In fact, Shadow contributes more to Psyence Fiction than Lavelle does (being that Lavelle can't write music). With the proper mix of vocals from males and females on Psyence Fiction, this has got to be one of the most eclectic bunch of songs produced by Shadow. Hypnotically groovey songs like "Bloodstains", "Unreal," "Lonely Soul" and "Celestial Annihilation" are why this CD makes it to the top of my list. ... Read more

Amazon.com

Continuing the highly popular Mushroom Jazz series, Mark Farina goes for late-night purple velvet and downtempo 2 a.m. atmospheres on this third installment, resulting in an electronic release for lounge lizards the world over. A basic hip-hop loop is the canvas throughout this 19-track mix, and on it Farina paints a series of smooth, sometimes shady but always sassy portraits that result in a thoroughly credible, electronically glazed slow-jam record. Opening with the wholly seductive cruise control of "California Sauce" byKing Kooba, Farina goes on to introduce the silky-smooth, French lounge of Raw Instinct's "De la Bass," the late-night Manhattan flavors of Herb Alpert's "Flirtation," and the warm Philadelphia evening breeze of Slide Five's "Streamline." In deftly fusing jazz and hip-hop with downtempo beats, Farina has produced a mix that works for thoughtful driving, romantic evenings, and hip soirées. --Steffan Chirazi ... Read more

Reviews (20)

Packed with variety and groovy to no end
This is one to get your foot tapping, your head nodding, and your body moving. Right off the bat, Mark Farina dips into jazzy house of his particular flavor. I have never really been much for house music, but this album really does it for me. The groove is in full swing, and the funky beats are jazzed up the gills. Prehaps something that belongs at a lively jazz restraunt, this album keys you into downtempo groove and keeps you there throughout the compilation.

Vocal samples from a recurring track are sprinkled throughout the mix. You dont catch it at first, but when youre halfway through the disc and it hits you again you can only do a double take at how much it does to pull the album into a unified work.

To say the track selection is varried is not enough. This mix pulls a huge number of songs together, and to have it still do justice to the individual track while adding to the full album is a feat in an of itself. When you have finished listening, you have the feeling of having completed a two disc set, and yet Mark gets it into one jamming CD. From housey groove beats to jazzed up downtempo funk to hip-hop MCing, this disc brings house together in a very unique way.

This is a staple album in that it might grab someone who is not into the genre and pull them in headfirst. It sure did for me. House wasnt ever my first choice, but this album had me doing double takes at just how well it can be executed. It sets the mood down superbly and guides you through Mark's world of jazzed house. If you are looking for a quality sample of house music's best, or if you are a house junky looking for a fix, Mark Farina has you hooked up. A very solid four, if not reaching five for some. It works for me in every sense, therefore getting a five.

Can it be done better than this?
I got into Mark Farina as a house connoisseur. I consider him to be one of the very best house DJs out there, and I try to catch his act live whenever possible.

I've only heard him play his signature "Mushroom Jazz" a couple of times. I picked up Volume 3 to get an idea of what he could do with a whole different genre of tunes.

It's flat out stunning. I'm a DJ myself, and I couldn't even *notice* many of the mixes. With a few others I could notice that they had happened, but couldn't pinpoint the beginning or the end. And with a very small few I could tell exactly what was happening; in these few cases, it occurred to me that it's amazing he was able to fit those two songs together at all, much less make it sound good (which he did). He's in a whole different realm of smooth, one most DJs can only dream of reaching.

Not only have I never heard these downtempo, jazzy tracks mixed better than this before; I have trouble believing that they *could*be mixed any better.

Buy it. Period.

The best of the MJ collection
This one says it best - a triptifying blend of jazz, soul, and R&B elements. I am amazed this is being mixed - it sounds studio-edited - but it really doesn't matter either way. Stick in the player and chill, man.

So Lovely.
DJ Mark Farina did a wonderful job with this third compilation of jazzy hip-hop tracks. It's such a delight to listen to and it easily floats from one song to the next, and all the tracks are good. I find myself playing it over and over, it's impossible for me to get tired of this album. It offers a wide variety of tempos but it's mainly an album one would play for any type of activity, such as: Cruising in your car at night, cleaning the kitchen, just kicking back in your recliner chair and meditating, or simply providing chilled out background music for a party. You can't go wrong with buying this volume, there is something for everybody on this, trust me.

oh my god!!!
best in the series yet, if you've heard the others. this mix just goes to show that mark will never fail to make [heineys] shake no matter what his bpm counter reads. if you are into anything mark does - buy this!

p.s. mushroom jazz four is coming... - i nearly wet myself when i heard it has a strong chicago influence. ... Read more

Amazon.com

The Best of Groove Armada charts the success of one of the UK's most popular dance acts. Featuring the biggest hits from their last three albums, this anthology of their time on the Jive label is packed with downbeat and upbeat anthems, and an array of music as heard in film, television and radio.

The subdued intro and trombone melody of "Superstylin" opens the collection softly with the now legendary bassline kicking in for a perfect euphoric moment. Other upbeat anthems include the piano house of "If Everybody Looked the Same," the Fatboy Slim mix of Gramma Funk's "I See You Baby" (both of which have been used to sell cars) and the more recent disco hit, "Easy." However, although Tom Findlay and Andy Kato pack dance floors every weekend, it's their downbeat soul that receives most attention, partly due to the "chillout" explosion of 2000 that made "At the River" a classic of the genre. With their last album Lovebox, GA showed a more versatile, band-influenced side with songs like the Status Quo sampling "Purple Haze," the rocky "Madder," and fun-loving ska of "But I Feel Good".

The Best of Groove Armada is a great selection of songs showing the diversity and musical progression of the band, a perfect introduction for the un-initiated and a good collection for those already converted. --Georgina Collins ... Read more

Amazon.com essential recording

Moby is an ambitious man, both musically and philosophically, and that quality seeps into every aspect of Everthing Is Wrong, from the wunderkind DJing that stretches the genre limits of techno to the angry, antiestablishment manifesto on the CD sleeve. The record's opening salvo of dancey club music sets the listener up for "All That I Need Is to Be Loved," which, out of nowhere, bludgeons would-be club kids with tuneless, mad vocals and punked-out guitar solos. The same bait-and-switch formula repeats twice on the CD at almost regular intervals in the industrial shriek of "What Love" and the sudden, slow, and acoustic bent and folksy vocals of "Into the Blue." All three shifts are jarringly abrupt. However, dance-floor continuity is in Moby's blood, and he uses these songs as parts one, two, and three of the underlying rage that drives the record's concept. Without these three tracks, in fact, you'd have a moody yet convincingly cohesive danceathon, bouncing between house breakbeats ("Feeling So Real," "Bring Back My Happiness") and blissed-out trance ("God Moving Over the Face of the Waters"). Instead, Moby expresses his bewildered and desperate view of modern life by periodically yanking away the escape of blind, danceable ecstasy, using that discontinuity to express the eyes-wide-open ruminations of a furious idealist. --Matthew Cooke ... Read more

Reviews (65)

One of the essential dance pop albums of all time
Alot of techno artists often decry Moby's lack of innovation or genuine craft, but that was never really Moby's agenda. Moby built his name on his ambient work, which is frankly some of the moving, inspirational music you will ever hear in pop. Ambient as a form of chamber/soundtrack music, melancholy melodies, Baroque fills, and epic dynamics. Really very beautiful stuff.

Using ambient as his foundation, he forms 12 great pop tunes that run the gamut of styles -- house, classical, trance, jungle, punk, hip-hop, and world-beat -- map[ing an emotionally wild journey into the heart of Moby's faith. At parts, you'll be hurled into pits of rage. At others, you'll be moved to tears. And frequently, you'll feel a pure ecstatic joy that exceeds most house music.

His Christian faith informs almost all of Everything Is Wrong, for in a sense, most of the tracks are really gospel songs, put to his ambient "orchestra", and mixed in with beats. Ear candy and chicken soup for the soul.

To judge Moby's music on purely dance terms is to ignore that Moby is a modern soul man. And this is truly a great soul record in a genre often assumed to have none.

such a letdown
... i had a single from this album and a song called IN MY LIFE completely rocked my world...
MY MISTAKE. do not call this album techno. call it top 40, or electronic but not techno and do not call it punk rock inflenced or even rock oriented. there is little rock on this album. this album is the predeccesor to play. if thats your bag then by all means this is for you but it is a bland mix of top 40 wanna be music.
i also bought animal rights by moby. THAT is quite electic with a good mix of musical styles...
yes i did like the soothing intro of hymn, the funky beat of lets go free (song is 37 seconds long) and the blues of what love but this is not a reason to keep this overrated mess...

Yo! Fo' Real though....
This sh** is the BEST! MOBY RULES. Long LIVE M to the O to the B to the Y!!! YESS.

This is not so wrong!
Moby is probably one of the most influentual dance artist to date, this album however was released before his big breakthrough in America. The music is a little diffrent to what it sounds today, but if you listen to it you can hear that certain songs are simular to what moby is making today. "Anthem" reminds me alot of "Why does my heart..." but it's more of a house song. "Into the blue" and "First cool hive" are also something for newer Moby fans. There are many slow and beautiful songs on the album like the piano song "Everything is wrong" and "God Moving Over The Face Of The Waters". my favorutes are the uptempo techno songs "Feeling so real" and "Everytime you touch me" those are simply wonderful. A few songs are almost punk-rock, they are very noisy and should be ignored. Moby is in the middle of his progress. A very good album with a great mix of diffrent flavors. Must have.

Moby's OTHER Defining Album
Long before there was Play, 18, the Gwen Stefani duets, or videos in spacesuits, there was Everything is Wrong, the album where Moby slid in under the radar and came into his own. It's an ambitious and groundbreaking album, that goes from piano laced ambient ("Hymn" and the seminal "God Moving Over the Face of the Waters") to infectious get-on-your-feet techno ("Feeling So Real") to trance like investigations into deeper musical channels ("First Cool Hive" and "Anthem", which is a personal favorite). Though a bit uneven, this is by far a defining album for Moby, and an extremely worthwhile listen for anyone who enjoyed "Play" or "18". ... Read more

Reviews (22)

Demonstration disk for a future that turned out a dead end
The early 1980s was dominated by synthetic and sampling technology. Brands like New England Digital's Synclavier, the Fairlight and Ensoniq could be found in many hi-tech recording studios. Crisp, thudding electronic drum sounds appeared on so many of the single of the time.

This album received a lot of critical attention on its 1984 release. A production genius -- Trevor Horn -- was on the march, and this LP was expected to give more insight into his methods. Up to this point, he had done some staggering work for Yes with '90125', Frankie Goes to Hollywood ('... Pleasuredome') and, I think, Grace Jones. Compressed orchestral samples -- as in Yes's 'Owner of a Lonely Heart' single -- were his trademark.

The Art of Noise was his backing band / production staff / co-composers -- call them what you will -- and this was their first showcase. Every sample is polished until it shines and sparkles. In the UK, 'Close (to the edit)' was the single that drew the record-buying public to the album, and 'Moments in Love' provided the justification for buying it. But the rest, although a couple of years ahead of its time, now sounds dated. The album provided a great demonstration of one possible musical future -- a future centred on sampling technology.

'Moments in Love' is a classic track that deserves all the praise heaped upon it by other reviewers here. Much credit is due to Anne Dudley, who went on to write material such as the soundtrack for 'The Full Monty'.

Fantastic, energetic and powerful sounds!
You can't help but feel the rhythm in this wonderful work of Art. Ever since I heard "Close to the Edit" for the first time I have been a loyal fan of the Art of Noise. Every cut on this CD is a trip to another world. You put on a set of headphones and you can't help but groove to the beat. If your music collection contains any new wave, techno, or synth; then this is a must buy for you. The title "Moments in Love" is a nice relaxing intermission in between the bouncing rhythms of the other songs. There's only one other group that has moved me the way these guys do: The Chemical Brothers -- Dig your own hole. Every time I hear the Art of Noise now, I get a rush.

Brilliance and Excellence
This was the second Art of Noise cd I bought. Unlike most reviewers so far, I had never even heard of "Moments in Love" prior to purchasing this album. ALL the songs are meaningful, and create a "mood". The first time I listened to the whole album, I was dissapointed by the whole last half. Once I listened to it more, I got the same feeling one gets when they are attempting to interpret a painting, or any work of art for that matter. The more I litstened, the deeper I delved, and the more I realized that The Art of Noise are musical geniuses. Give it a chance, and you will see that this noise is really art.

Can I Say Something?!
My mother purchased this album (LP format) for me in 1984. I played it so much that I literally wore out the label, the album cover and some parts of the vinyl itself. Luckily I was able to get another copy and my only disappointment was that the label design was not of the style that was on the vinyl when the album was initially released (Island Records had gone to a new graphic design). This was the beginning of my fascination with England (I had seen the music video for "Beat Box" before getting the album and was amazed!) At the risk of sounding just like the other reviewers "Moments In Love" has to be one of the greatest slow songs ever made. I would be keen to use the song at my wedding! The awesome thing about the album is the group's ability to take ordinary sounds and generate really good musical compositions. My other favorite is "Who's Afraid (Of The Art Of Noise)". It is so much fun to listen and dance to! The same goes for "Realization".

Get the album. You'll love it!

Revisiting the Art of Noise.
In the early 1980s, Trevor Horn was one of the most successful and bankable producers of his day. Years before he teamed up with Seal, Horn also produced albums from ABC, Frankie Goes to Hollywood, and this debut from the Art of Noise. "(Who's Afraid Of) The Art of Noise" is a strange yet engaging collection of dance beats, synth bleeps, and heart-stoppingly lovely arrangements. There's the hip hop swagger of their signature "Beat Box," the infectious groove of "Close (to the Edit)," and the ominous ring of "A Time for Fear (Who's Afraid)." There are also some downright strange tracks such as the title cut and "Momento," which really are collages of random noises, odd samples, and sounds. But the track that earns this album its 4 stars is the ten-minute excursion "Moments in Love," which is one of the most seductive and beautiful instrumentals ever. Proving that this album was no fluke, member Anne Dudley moved on to be an acclaimed composer, known for her work in films such as "The Crying Game." This quirky yet fun debut is recommended with my stamp of approval. ... Read more

Amazon.com's Best of 2000

Inspired by the film Dancer in the Dark's Broadwayesque emotional sweep, Björk stretches herself with orchestral mood swings and a darker, more experimental palette. The result is the most difficult record she's made since her Sugarcubes days, but a few listens reveal the thrilling heart of a truly multifaceted and immensely brave composer. --Matthew Cooke ... Read more

Reviews (148)

Almost as good as the movie
First off, if you haven't seen the movie yet don't get this cd. The soundtrack has to be listened and understood within the context of "Dancer in the Dark". It's possible for the cd to stand on its own, but it gains in emotional power if you know what happens in the movie.

With that being said I was highly disappointed that it wasn't fully faithful to the movie version of the songs. While I enjoyed hearing Catherine Denueve on 'Cvalde' I would rather have had Peter Stormare's vocals for 'I've Seen It All' and the original version of 'Scatterheart' You'll find some lyric switching between Yorke and Bjork in 'I've Seen It All' and the lyrics for 'Scatterheart' barely resemble that which was sung in the movie.

The greatest tragedy of all with this cd is the omission of 'The Next to Last Song'. A powerful moment in the movie is completely lost on this cd, rendering '107 Steps' and 'A New World' not as powerful as they were in the theater. Don't get me wrong though, you'll still find yourself moved by these tracks, but the moment is not complete without 'The Next to Last Song'.

I can only hope that somewhere down the line a more complete soundtrack will be released or the DVD will offer a music only track. While this is a terrific soundtrack and one that any movie music lover should own, it's not complete.

an original musical
Bjork's new cd Selmasongs, while only 32 minutes, is as eclectic as you would expect from the singer. A companion cd for Lars Von Trier's film Dancer In The Dark, Bjork's award-winning acting debut, Selmasongs features the songs she sings as her character Selma (well, that's sort of obvious). The movie is about Czech immigrant Selma's struggle to save her son from a disease that causes blindness while keeping her spirits up dreaming about her beloved Hollywood musicals during her work in an American factory. 'Cvalda' is an energetic mix of industrial sounds and big band flourishes, perfectly illustrating Selma's fantasy world in the factory environment, adding a John Cage quality to Bjork's already highly original songwriting, and if it weren't kooky enough, there are vocal contributions by Catherine Deneuve. 'Scatterheart''s electronic cadences sound like the closest thing to a true follow-up to Bjork's Homogenic, while 'In The Musicals' seamlessly blends stuttering rhythms (you can just picture her tapdancing) and lilting string arrangements while Bjork sings her typical wide-eyed, whimsical lyrics. Selmasongs will be most remembered, however, for the sensational duet between Bjork and Radiohead's Thom Yorke. Yorke & Bjork (now there's a catchy name for a duo!) exchange a dialogue while an orchestral score and the rhythm of a train swirl around them. The lyrics are Bjork at her usual sublime self: "You've never been to Niagara Falls?/I have seen water, its water, that's all.../The Eiffel Tower, the Empire State?/My pulse was as high on my very first date!" Dancer In The Dark is a film that has film critics split down the middle: either you love it or you hate it. However confounding or wondrous you find the film, I'm sure everyone will agree this wacky little number of a cd is excellent.

I Wept
I think the song "I've Seen It All" is one of the great classics in music. I struggle with the urge to weep every time I hear it because it is so moving.

A great album that keeps with what makes Björk herself.
I love this movie, and I was really impressed by the music. If you love Björk's sound, this will be what you know of her and a few new aspects. The way she used simple sounds to create the beats of "Cvalda" and "I've Seen It All" is amazing! "Cvalda"'s beat starts off with the sounds of noisy machinery in a factory and spirals into a beautiful song. "I've Seen It All" rests on the sounds of a train passing by. The beat you hear is the pattern of the wheels on the tracks, fixed up a little bit of course.

This album is an astonishing thing to listen to, even though there aren't many songs. It also lets you relive the movie, even the heartbreaking scene where Björk's character Selma dies. Buy it!

Amazing Soundtrack From A Mad Musical Genius
I think it's now safe to say that Bjork ranks alongside Kurt Cobain and Madonna as the artist whom I have most respect for in the music industry. Her ability to consistently produce groundbreaking, fresh and atmospheric music is a natural wonder to me. The way she proves people wrong by not making music in a sense, but making something completely different. An art form. Undiscovered. Until she creates it. That's why she's a genius, and that's why she will always succeed in making a fantastic record. In 1997 Bjork released "Homogenic," her third solo studio album to date. After listening to this masterpiece, you begin to think Bjork can't do much else in terms of creativity, yet she proved us all wrong in 2000 when she starred in the musical masterpiece "Dancer In The Dark."

Not content with having a leading role in a high-production musical, she also wrote and produced the entire soundtrack, "Selmasongs." The soundtrack is simply one of the best soundtracks that money can buy and ranks alongside Homogenic and Vespertine as Bjork's greatest work to date. Lush sweeping arrangements of orchestral bliss infuse the album with a wonderfully atmospheric and aesthetically-pleasing back drop of sounds, layered on top of each other. The production and composition is first-class and Bjork is, as ever, 100% original in her approach.

"Overture" opens the album. A deep flow of subdued and slightly anticipated instruments introduces the song, and it gradually builds up to a point of almost heart-aching passion at 2:29, and the song gains momentum and flows especially into the first proper song. It's a wonderful instrumental, incredibly dramatic and sets the tone for the soundtrack. "Cvalda" is one of my favourite songs from the album and one of Bjork's best in my opinion. The song starts off with a very interesting beat from an industrial factory. The machines clattering away at work, creating the beat. This then builds up into a gleeful and joyous musical number as Bjork sings so sweetly, "Clatter, crash, clack! Racket, bang, thump!" By the second minute it's an all-out schizophrenia of musical madness. Overall it's a marvellous song that starts off with an expected sense of disappointment but winds up being a mad musical masterpiece.

"I've Seen It All" is up next and a fantastic duet between Bjork and the genius Thom Yorke of Radiohead. The song starts off with a train on a track as its beat, before starting off slowly and in a swaying mood. The song gradually builds into a typical Bjork-esque masterpiece (Yeah, most of her songs are masterpieces!) where she sonically opens up the landscapes of the song by adding depth. It's just a pleasure to listen to such wonderful music, and the verbal-fencing style banter between the two is most humorous. "Scatterheart" is said to be the best song on the album by many who have reviewed this soundtrack. For me this is definitely not the case. There is much better on offer here, yet this is still a good song of somewhat lengthy proportions.

"In The Musicals" makes hardly any sense at all, but then again, it pays homage to musicals, so it's not really meant to! Here Bjork just appears to have picked up any objects she finds and makes a beat out of them, from a basketball at the start to many other various things towards the end. A superb string section works in complete harmony with a percussion section. Superb, as usual. "107 Steps" starts off incredibly close to the ear with a woman whispering "Five, six, seven, eight, nine, ten..." and so on, with footsteps in time with the counting. This builds up perfectly to an awesome entrance from Bjork as she sings random numbers. The beat is incredibly catchy and the lush string section that builds up after around 45 seconds is just awe-inspiring. "New World" is the seventh and final song on this brief soundtrack. It starts off subdued and quiet with the sweeping orchestral beat that opened the record. A trippy electronica beat is added in the background, dancing around to Bjork's soaring vocals. She sings with such passion, such amazement and exploration to the things around her, and a general appreciation for life and love.

OVERALL GRADE: 10/10

All in all, I cannot recommend this soundtrack enough. I haven't actually seen Dancer In The Dark yet, but I do plan on doing so. I have, admittedly, been trying to pick this album for any possible flaws. I can, as always with masterpieces by Bjork, find none at all, except one - it's a little bit too short. At just over thirty minutes, it's a short and brief soundtrack, but it really is worth paying top money for it because you're sure to get years of musical enjoyment out of this. Selmasongs was the fourth album by Bjork that I bought (around a month ago), and I haven't looked back. Rumour has it she's got a new album out this year, and I am so buying it! But whilst I wait, I know I can revel in the madness and musical beauty that is Selmasongs. Buy it now and treasure it forever. ... Read more

Reviews (91)

Another masterpiece
Unlike most Air fans, I thought 10,000 Hz Legend was BRILLIANT, and that Moon Safari was simply okay. Don't get me wrong, I love Moon Safari, I just don't listen to it as much as the next two. When I heard that Talkie Walkie saw the band returning to their Moon Safari sound, I was a bit disappointed. However that comparison is completely inaccurate. Instead, Air has blended the softness and melody of Moon Safari with the electropop experimentation of 10,000 Hz Legend. The result is a near perfect album! Where Moon Safari sounds like elevator music at times, Talkie Walkie sounds fresh and intriguing.

The album's first single, "Cherry Blossom Girl" is one of the best songs I've ever heard. It's sweet Beatle-esque sound is completely uplifting. "Venus", "Mike Mills", "Universal Traveler" and "Another Day" are also gems on this record. From start to finish, this album is a slice of heaven. The only drawback is that with only 10 tracks, it's too short.

The DVD is also incredible and (if you're an Air fan) worth the price of the CD alone! It's five songs taken from their 10,000 Hz Legend tour (this page has the tracklisting wrong. The second song on the DVD is "Talisman"). Air reworks the songs for a live atmosphere, making them sound raw and energetic, especially "Don't Be Light", which sounds and looks mesmerizing. If this is what Air sounds like live, I can't wait to see them!

Great Return To Moon Safari Style
... Ok, now, with that off my chest, let's talk about Talkie Walkie.

Like most Air fans, I was rather disappointed with 10,000 HZ Legend and really wanted a Moon Safari part 2. Talkie Walkie gives us a hybrid of The Virgin Suicides soundtrack and pieces of that great Moon Safari record. For starters they went back to adding simple and heavy atmosphere on this record. They lost the useless collaborations seen on 10,000, and made the most of the electronic landscapes they so beautifully create.

There are at least 4 definite ringers on here. Starting with the lead single, Cherry Blossom Girl, a beautiful dramatic tune with coy female vocals and melodic guitars. The third track on the album is probably my favorite one. Titled Run, its a bit more futuristic in scope, a bit more fun as well with this robotic vocal that repeats the chorus, run run run run run run run. It just sounds really great when cranked up to 11. I was very happy with the inclusion of Alone In Kyoto, the song Air wrote for the film Lost In Translation. Like the film, the music has a way of setting a mood and transforming the atmosphere with it's lush yet minimal arrangement. I also like Surfin On A Rocket, a mid-tempo, single-to-be, that in ways, harks back to the always great, Sexy Boy. The rest of Talkie Walkie is equally up to the task and makes this one great piece of work.

In 1998, I listed Air's Moon Safari, #1 on my best of the year list (check out my lists in the listmania area for all my best of lists) Since then, they've missed the target a few times but always manage to produce enough quality tunes to keep me buying. Talkie Walkie is not only a return to form, but one of the best electronic records I've heard this year.

Crítica que acaricia lo aspero...
Ta bueno loco eh!
Mira vos.. franceses, que loco. Pensé que solo se dedicaban a los autos. Igual son medios chorros, ya existe Bjork.
Acá en La Plata está fresco, un saludo a todos, especialmente para vos Ricky.
El Tecla

I Love Yew
This is my favourite Air album right now. Don't compare it to Moon Safari. They're really dissimilar. But they are both really good. This is like soft electro-synth-pop. And has some really catchy tracks. Very good, if you like music. Get this.

Talkie Walkie
String theory as applied to music.

Otherworldly, ineffably refreshing. ... Read more

Amazon.com

Unlike many who enter the treacherous realm of dance that combines club rhythms with world music aesthetics, DJ Cheb I Sabbah forgets about "synergy" and trusts the source material and his own musical voice to provide the dance floor impetus. Long stretches of Krishna Lila are lifted straight from the sitar-driven classical-folk Indian traditions of Ravi Shankar, Ashwin Batish, and the Middle Eastern tabla rhythms of master percussionists like Zakir Hussain. Even more so than 1999's Shri Durga, Sabbah lends only very subtle production touches to his ragas and drones, spending Lila's running time in a confident glaze. The approach succeeds by recognizing the inherent beats already present and implied in the rich texture of Hindustani musical culture. Durga had its more mix-oriented follow-up in Maha Maya, so perhaps Sabbah will release a similar companion piece for this record. Until then, he leaves a pack of confused DJs in his wake, while he tries to liberate the tin from some of dance music's more robotically compliant ears. --Matthew Cooke ... Read more

Reviews (9)

good enough
is such a pretty CD, it takes you to a relaxation level, you start to listening the music and instantly all the bad feelings go away.... Cheb I Sabbah know how to mix indian music with modern music and at the same time it doesn't lose his indian roots

Beats and drones from another world.. marvelous.
Where can I begin here? I know next to nothing about Indian music (save the Indian/jazz hybrid of John McLaughlin's Shakti). I don't recognize any of the musicians' names, and I'm not sure how to pronounce half the instruments. I don't know a raga from a tala from a polka. (Well ok, I do know THAT much.) But I've been addicted and entranced by Krishna Lila all the same; it's hypnotic, full of earthy beats and ethereal melodies, and as calming & relaxing as.. umm, something that's really calm and relaxing. I probably shouldn't be trying to write this while listening to the album, as it has a way of clearing my head and making me want to lie down for a nap.

Where was I? Earthy beats. Cheb Sabbah's approach is to blend traditional Indian percussion & melodies with some slight electronic touches, although he uses the techno element as a subtle enhancement to the rhythm that's already there rather than making it dominant. Through this disc it's barely noticeable; I hear nothing but acoustic instruments for the first several minutes until a subdued beat creeps into "Maname Diname." Sometimes it's a quiet bass bump, sometimes it's a barely-there snare sample or light electronic beat. The focus here is on the music itself, a remarkable group of Indian selections performed with a passion that shines even through the quietly subdued trance of the whole disc. The songs never need to rise above mid-tempo, revealing their strength in easy mood-building rather than bursting energy. The singing is sometimes in foreign words and sometimes in a simple wordless chant, but when it's there it's strangely compelling.. whether it's floating along with the quiet percussive rhythm or riding over everything as if stretching to the heavens. This is devotional music after all, and it's only fitting that there's something trancelike and otherworldly about it.

If you prefer the electronic elements to be a little more prominent, Sabbah's other albums are probably better choices - Shri Durga has more propulsive beats underpinning the traditional material, and Maha Maya features (most of) the SD album remixed by various club mixers and DJs. I also heartily recommend Tabla Beat Science, but that's for a different review. If you're in the mood for something refreshingly different, something exotic or just something mind-warmingly relaxing to chill to, look no further than Krishna Lila. Now excuse me, it's time for that nap.

Thought provoking music
As mentioned in other reviews, Cheb I Sabbah released a sophomore album of equal (perhaps better) quality to that of Shri Durga.

Every song off this album creates an ethereal sensation; as if listening to authentic Hindu raga's - experiencing that which a Hindu would.

Specifically, Raja Vedalu, is my personal favourite from the album. Eerie, that mesmerizing singing.....a GREAT song. But, then again, each song is laid out with such passion and skill- Cheb I Sabbah has given his listeners a worthy album indeed.

Krishna LiLa
Well I bought this CD after reading the reviews and also listening to the samples not only from this site but from other sites as well. The listening samples actually doesn't highlight the best aspect of the music or do any justice to them.
Anyway this is a wonderful album.
This time DJ Cheb wants to experiment with South Indian Classical aswell. So the first part is South Indian Classical (Carnatic) and then part II is hindustani.
I enjoyed all of them ,my only suggestion to DJ is he could have used some more different ragas/scales esp for the Hindustani becoz some of it are on the same raga (Sindhoobhairavi)so felt like repetition to my ears they where all melodious ofcourse.
Final Note: A worthy Album and Sure buy

Very very good Hindustani music
I really cannot comment on this CD except for the fact that if you love 'fusion music', you have to go get it. Bill Laswell and Karsh Kale appear here too...what else to say? ... Read more

Amazon.com

"Heatwave," the funk-flavored track on the 1999 compilation Source Rocks, suggested Phoenix were another product of the French-filtered disco wave. However, United is suffused with breezy, retro-flavored rock numbers. Keyboard player and guitarist Branco was in Darlin--the indie act that spawned Daft Punk--but if they went one way, he surely went the other. United is reminiscent of West Coast American FM pop rock, with nods to everyone from Crosby Stills Nash & Young to "Jump"-era Van Halen. The thrilling "Too Young" and swooning "On Fire" are rattling good pop songs that fall on the right side of affectionate pastiche. "Summertime" is an enthusiastic power pop thrash, "Embuscade" a Steely Dan-styled jazz rock instrumental, and "Summerdays" a carefree country-tinged trip to the beach. Refreshing, intelligent and successful French rock--now that is a first. --Mike Pattenden ... Read more

Reviews (29)

Really cool,nostalgic rock debut by French newcomers
By listening to United , you can easily realize how much Phoenix love the music from past decades . Maybe because they come from France and english is not their mother tongue , they write their lyrics so carefully . Their first hit " If I Ever Fell Better" is an uplifting , relaxing song which at the same time though , contains some of the most mature and optimistic lines we've seen in a chart's single the last few years ( "...It's like a bad day that never ends / I feel the chaos around me / one thing i don't try to deny / i've been alone to accept that / there are things in my life i can't control" ) . Other great tracks which dezerve your attention are " Summer Days " , " Too Young " , " Party time " and " On Fire ". Bands like Phoenix never get the hype they dezerve . Their first offering though is the intellegent listener's afternoon album , a record both to enjoy and to love.

Teach ALL your friends the Funky Squaredance
The debut album from indie rockers Phoenix marks a welcome return to the guitar sound that surely I'm not the only one to have missed over the last few years. Since radio waves have been swamped by the girlish harmonies that boybands and teen-idols shriek, we've seldom had an upbeat guitar and keyboard band to caress our starving ears.

From the heavy opening chords you can sense that this is a band with an altogether traditional take on rock music. But as the album progresses, there's a sense that something out of the ordinary (in a good way) is pouring out of your speakers.

United combines up-tempo tunes such as 'Too Young' and If I Ever Feel Better' (thier UK single relases - so far, surely destined to become anthems for the year) which boast flavours of 70's disco, with off-the-wall melodies and franky undecipherable lyrics such as 'Funky Squaredance'.

At only 38 mins of play time, it's hardly overlong, but there's not a flat tune on the playlist and you'll never take it out of the cd player.

It's gotta be bought - simple.

Additionally, as a live act they live up to the promise of the album, with the bonus of extended versions of their songs, and acrobatics from the lead (who has a thing for climbing amplifiers). Check them out as soon as you get the chance.

Brilliant American Music, From A Euro Band
This CD is amazing. The disc, is very short, sadly. However, the songs here show very grown up songwriting, tight grooves, and an amazing sound. There is not a dead spot, except maybe to middle of Funky Squaredance. It's slow but its ok, it's not their fault. I cannot wait to hear Alphabetical. Get this record as soon as humanly possible

God Bless the French
Describing this album to one of my friends I said, "it's kind of a frech-disco-pop-rock album. Honestly, that's a pretty good descriptions. There are two songs "Too Young" and "IF I ever" that are strong catchy little numbers. For the U.S. version they even included a remix of "Too Young," which is of Lost In Translation fame.
All in all, this is a great album to chill out to. You know those laid back Sea and Cake tracks that are just perfect for laid-back Sunday afternoons? There is a track here, I think #8, that is so close to that, you just can't help but imagine yourself the recluse of some deserted island. Somewhere time seem to reverse itself and, as opposed to the continually quickening pace of the rest of the world, actually seems to slow itself to the point that each thought seems like an entity unto iself so that, yes, you can finally, SLOW DOWN. Now, given, that is just one song, but nonetheless the record works well, I recommend it wholeheartedly.

Lost and Forgotten
I found this album from the track in Lost in Translation which I really really liked. I then went out and bought the album and have been a happy man ever since. I really feel strongly that this band can and will get much bigger. Yea its pop and somewhat simple, but its got an undercurrent and just simply makes me feel good. I spoke to Astralwerks who supposedly will release a new album in July, buy this one then buy the new one. ... Read more

Amazon.com's Best of 2000

Featuring house-music savvy and gospel-tinged samples among the big beats, Fatboy Slim's first record of the new millennium strays into meatier territory than the more pop-oriented material for which he's known. Importing help from the likes of Macy Gray and Bootsy Collins, as well as an irresistible, posthumous turn from Jim Morrison, Slim burns his colossal stamp on the dance/DJ landscape once again. --Matthew Cooke ... Read more

Reviews (81)

Okay Follow-up to You've Come a Long Way, Baby
Fatboy Slim's follow-up to his highly successful You've Come a Long Way, Baby falls a little short. It's still a good album, but both his previous album and Moby's Play are stronger efforts. As a matter of fact, it seems that Fatboy tries everything he can to top these 2 great electronica albums, and HBTGATS comes off as an album that presses too much or is trying too hard. There are still some great tracks on here including Sunset (Bird of Prey) which samples a Doors song and is a song that I like more and more every time I hear it. Ya Mama and Retox are both funky tracks that reminds us how talented Mr. Cook can be sometimes. However, my 3 favorite tracks are Weapon of Choice (with Bootsy Collins and the one most closest to something on YCALWB), and the 2 Macy Gray tracks, Love Life and Demons. I don't care for her, but somehow she fits in perfectly with what Fatboy is doing here. Demons is especially a good track.

Fatboy Slim had alot of pressure on him in trying to equal the success of You've Come a Long Way Baby plus Moby definitely raised the bar with the success of Play. For the most part, he answers the challenge with some pretty strong tracks. It's the tracks that sorta wander and lose their focus that causes this album to get 4 stars instead of 5. Still, a must-own album for any fan of this genre of music.

(2-1/2 stars) You've gone the wrong way, baby!
Fatboy Slim's third album is surprisingly bad. From his first two albums, it was clear that he had a knack for mixing hard-to-find samples and making them sound like his own songs, and the songs always made you get up and dance. But this album makes you do the opposite.

The only song really worth listening to is the second single, "Weapon Of Choice", which features vocals from Bootsy Collins. And that's the song that really made people buy this album because I don't think people were running to get it because of the first single, the boring "Sunset". Another all right song is "Demons" with Macy Gray, but it seems like it should be on Macy's album.

Most of the rest of the album is uncreative. Electronica and dance artists are supposed to mix verses and beats, not lift whole songs like in "Ya Mama" and "Talking Bout My Baby". Then there's "Star 69", which features verses that should have never been sampled: "They know what is what/But they don't know what is what/They just strut/What the F." My sentiments exactly.

The rest of the songs...actually, ALL of the songs (except for "Weapon Of Choice") sound like generic remixes of "Acid 8000", the last song on his last album. And the 12-minute song "Song For Shelter" is a little hard to get into. I don't know what Slim was doing on this album; it doesn't really sound like he was doing anything. I seriously hope he does better on his next album.

Get It For Weapon Of Choice
The best song on this album is 'Weapon Of Choice'. In fact, it's the only song that's really good. The others are okay, but nothing to go nuts over. Weapon Of Choice is the real great song that makes you want to dance and do stuff. Also the music video for it is simply hilarious.

An instant classic
This is one of my favorite techno CDs, along with mr.deviant's "Techno Obsession".
A lot of people say this is not another "You've Come Along Way Baby", so what?! What do you want to do, buy the same CD from an artist every time they put a disc out?! "Halfway Between the Gutter & the Stars" stands on it's own as a techno/dance classic. Some of my favorite Fatboy Slim tracks are on this disc. Stand out tracks include: "Weapon of Choice", "Star 69", "Retox" and the classic "Drop the Hate". "Drop the Hate" features a sample of a preacher speaking to his congregation, causing chills to run up my spine when Fatboy adds his dark sounds and killer beats to this one.
There's something for everyone on this one, big beat, techno and emotional songs that pack a punch. Great stuff, I may be in a minority here, but I think it's Fatboy's best CD to date.
Not to be missed!

Fatboy Slim's worst!
On this album, Norman Cook decided that he should go for a change of style, thus he worked with Macy Gray and Bootsy Collins, to give the album a more experimental feel. The result is Norman's worst album. His unique style gets lost on many of the tracks on this album, but still a few carry the energy that "you've come a long way, baby" had. Thus, it's nice to go through this track by track:

1. Talking 'Bout My Baby - starts off originally, but it is an average track, very strange too (3/5)
2. Star 69 - easily my favourite, keeping the fatboy vibe created by the presceding album (5/5)
3. Sunset (Bird of Prey) - first single, great video, enjoyable track, but still it could have been better (4/5)
4. Love Life (feat. Macy Gray)- this is what ruined Norman on this one, macy gray is great, but she spoils his stuff (1/5)
5. Ya Mama - fourth single off the album, a great track, very catchy, very fatboy-like (4.5/5)
6. Mad Flava - another great track, fatboy keeps his style on this one (4.5/5)
7. Retox - this track is similar in quality to the above, a bit more weird though (4.5)
8. Weapon of Choice (feat. Bootsy Collins) - third single off the album, incredible video, the song however, does not represent fatboy, it is experimental and pretty bad (2/5)
9. Drop The Hate - a dissapointing track, very hard to listen to it, very strange, boring and lame (1/5)
10. Demons (feat. Macy Gray) - second single, again a great video, but a terrible track, same comment as the above macy collab, she and norman do not fit together (1/5)
11. Song For Shelter (feat. Roland Clark)- a very long and awful track (1/5)
Thus, it is worth buying if you are a Fatboy Slim fan, but if you want to get an album, representative of Norman Cook to sort of get into his music, get any other album but this. ... Read more