Amazon.com essential recording

The influence of Bristol, U.K.'s Massive crew on bringing trippy beats to the foreground is immeasurable. Not only were they the early test ground for other alterna-hop stars (ex-clansman Tricky, former songstresses Nicolette and Martina, and the lesser known productionists Smith & Mighty), they've spread their influence to everyone from fellow Bristol residents Portishead to Björk. Blue Lines is Massive's debut record and is the second musical union of Bristol's renowned collective, Wildbunch. The emotional purging and beat-driven orchestral movement of "Unfinished Sympathy" was among the first signs of life in contemporary English trip-hop culture. Other masterpieces, like "Daydreaming," which features Shara Nelson, Tricky, and other friends on the mic, throb with deep, dubby beats and soulful ambiance. Blue Lines marks the beginning of a musical legacy that is ever expanding. --Daniel Shumate ... Read more

Reviews (93)

MOTHER OF ALL TRIP-HOP ALBUMS
BLUE LINES is one of the most influential albums of the past decade. It is to dance music, what Nirvana's NEVERMIND is to grunge. For a band, whose debut album has had such an impact over music, Massive Attack is truly remarkable. This album has created a whole new genre itself: trip-hop, an offshoot of dance music. If not, this is definitely the first trip-hop album to be a big commercial as well as critical success. Though musically simple, BLUE LINES was much ahead of its time, as far as its style is concerned.

As an album, BLUE LINES is sexy, seductive and subfusc. The opening track "Safe From Harm", with its killer bass-hooks, eerie background music and Shara Nelson's mysteriously seductive vocals, is a perfectly gothic dance number. The following track, "One Love", is all orgasms galore. Instead of going overboard with sexuality like a lot of Prince's or Madonna's songs, "One Love" is as subtle and smooth as it gets, without being all loud and glaring - Only Horace Andy's vocals can be as sexy without even meaning to be.

Songs like "Blue Lines", "Five Man Army", and "Daydreaming" keep up the enjoyably livid mood built up by "Safe From Harm" and "One Love": gloomy and crazy, these three tracks wander aimlessly without any proper structure or chorus, with the band members taking turns to emcee, giving the impression of apparitions whispering mindless words in different forms - isn't trip-hop music, of the ghosts and for the dead?

Well, if BLUE LINES can be all spooky and intentionally subterranean, it can also be as positive, heavenly, and invigorated. This dual nature of this album makes listening to it even more enjoyable. "Be Thankful For What You Got", "Unfinished Sympathy", "Lately", and "Hymn Of The Big Wheel", are so unbelievably effusing with life and zest, that it is amazing that they are packed in the same album as the distressingly dark "Safe From Harm", and the others.

If "Safe From Harm" is one of the grimmest tracks ever created then "Be Thankful For What You Got" is one of the most upbeat songs ever made. With its down-to-earth vocals, and innocently simple words, this song overwhelms with its earthiness. Also, "Unfinished Sympathy", which is much more sophisticated, creates a blissful atmosphere with Shara's unassumingly sweet vocals along with the divine string-arrangement accompanying her vocals; and yes, its irresistibly foot-tapping beats are unforgettable. The closing number "Hymn Of The Big Wheel", is so unbelievably naïve and chaste, that it is only surprising that this song is in collaboration with the same person who has also collaborated in the temptingly sleazy "One Love".

An album, which is sleazy, sexy, subfusc, simple, and spirited, all at the same time, BLUE LINES is an essential album, in any collection. BLUE LINES is indeed an icon, as far as classic albums are concerned, and is undoubtedly the mother of all trip-hop albums.

Blue lines is anything but blue
Arrogant, pretentious, self-absorbed. These harsh adjectives have been used to describe Massive Attack lately. But for all of the harsh words thrown their way, they sure make one hell of a CD. This is it. The originator, the innovator, the percolator of trip-hop. And what a CD it is. At first listen, some songs are great, while others are obnoxious. Some you wish would go on forever, while others go overlong. But as you listen, the album sticks to you like white on rice.

I'm not fan of giving CD's five stars. But Blue Lines is truly a masterpeice. It takes the best elements of reggae, house, hip-hop, funk, and soul and puts them in a blender. Every song, with the help of a number of guest vocalists, sounds completely different from the last. The album has a cohesiveness that few albums share nowadays. This is truly a record that can be appreciated as an entire record, front-to-back, rather than just a compilation of songs.

High points: Too many to count. Safe From Harm is a stellar and spacey opener, with One Love following it up with a brilliant reggae vibe. Five man Army could be the mellowest hip-hop song in history, and Unfinished Sympathy evokes feelings that had not yet been seen in electronic music.

Low points: I wish I could say that there aren't any, but Daydreaming (the first single, no less) can get a little repetitive, as can Lately, but that hardly keeps it from being a perfect album. If you are a music fan and can stand to listen to equipment that's a little outdated. Do not hesitate. buy now.

Influencing the influential.
Although many have spoken of the enormous influence of 'Blue Lines' on modern music, few seem to have taken time to consider the influences that have shaped it (something the band has expressley done in the liner notes to the album). One of the major influences on the opening tracks 'Safe from Harm' and 'One Love' is Headhunters-era Herbie Hancock. The funky extended groove and the distant electric piano are classic jazz fusion sounds.

Massive attack perform their own form of fusion in harnessing Shara Nelson's classic soul-feuled vocals with the emerging sounds of British hip-hop. You can even hear the influence of Marvin Gaye on a track like 'Be Thankful For What You've Got'; or the sound of late 70's New York on 'Lately' (a time and place of obvious influence, as mention of the movie 'Taxi Driver' in the liner notes attests to).

Dub is also of major importance to the sound of 'Blue Lines', something the young Tricky uses to full effect on '5 Man Army'. Don't forget another of MA's name dropping influence, PIL. Jah Wobble's dub-heavy bass echos round the rhythm of 'Safe From Harm'. Horace Andy's vocals are just as powerful as Nelson's even if they come from a different musical genre. He gives huge emotion to the pop sensibility of 'Hymn Of The Big Wheel' and the contrast of his yearning vocal against the nocturnal background of 'One Love' is an original sound not lost on Moby.

The only thing I have to take a star off for is the dreadful monotone rapping in an English accent, which might have sounded radical in '91, but has become mildly irritating in 2004.

Unfinished Sympathy
"Bluie Lines" was Massive Attack's first album and the start of unfinnished music history. With this classic 90's album they started the UK trend Trip Hop, and lots of others were going to follow. Like all Massive album's there's a great variety of songs included, hip hop, soul, reggae, dance. Another reason to take a closer look at this album. Shara Nelson appears on this album too, the soulful voice behind "Unfinished Sympahty" her appearence makes the album even better and enjoyable. The song itself it the best of the album and perhaps the biggest hit so far for Massive Attack, it got the trip hop feeling all over it from the beats, the soulish sound and the vocals match perfect. She also sings "Safe Drom Home" which is good aswell. "One Love" is jazzy while "Five Man Army" is reggae and "Blue Lines" and "Daydreaming are hip hop. One of my favorites is the soulish pop influented "Be Thankful for What You Got" with awesome beats and scratching, very memorable song. "Lately" is slow and soulish, but passable. "Hymn of the Big Wheel" is that kind of song i can put in a specific genre, good however. Only 9 songs on this album but it's quality, not quantity. A great classic you defenitely should pick up.

Massive Attack's Track-Down Line....
It's hard to listen to Massive Attack's debut album without thinking of their extraordinary & subsequent work. Preferably, I'm a BIG fan of their collaborations with various grand artists. The real winners from this album are the tracks which feature Shara Nelson-- whom has a great yearning/vocal style which is definitely comparable to Sinead O'Connor (Another MA Collaborator)-- probably because both O'Connor and Nelson have that British mourning sound about them, plus both of them work so well with the sound of Massive Attack.

''Safe From Harm'' is definitely the best track off this album, with a over-looped and tripping atmosphere, Shara's voice sounds amazing on this track, plus there's a male vocalist over there too. As-well as the biggest hit off this album is probably ''Unfinished Sympathy'' and is undeniably one of their most popular songs along with ''Protection'' but that's on their second album.

The title track ''Blue Lines'', set's the standard for ''CLASSIC'' trip-hop. ''Daydreaming'' takes off with a sweeping pulsed beat, you hear Shara making an intro for the song, then comes more of Tricky's vocals, it takes a turn for the more rap/hip-hop side. Other great tracks are ''Be Thankful For What You've Got'', ''One Love'' and ''Lately''.

Bottom line is, this album is great and it can stand up on it's own, but I vastly prefer it's successor's such as ''Protection'', ''Mezzanine'' and recently ''100th Window''...

These guys have spread their influence over to Portishead, Bjork, Madonna a.k.a (The Queen Of Pop), Tracey Thorn/Everything But The Girl, Sinead O'Connor, Shara Nelson, Elizabeth Fraser, Sara Jay, Horace Andy, Tricky, Goldfrapp, Mos Def...etc (I could go on forever naming all of the artist's)...this just show's what a FANTASTIC group this is.--- They may not have the overexposed popularity of the unsuccessful/bland artists like Britney Spears, Beyonce and Justin Timberlake...But WHO CARES?...Massive is here to make ''MUSIC''-- not to impress public relations.

Massive Attack is just ''too good'' to be compared to anything like that... Great Album, Definitely worth every cent!. ... Read more

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The bad news is that there is no "Sour Times" to equal the first album's greatness. Lead single "Cowboys" doesn't do the trick, not with its '50s sci-fi dub vibe and the Yma Sumac stylings of Beth Gibbons. The upside is that this bold sophomore release is, even at this late date in trip-hop's evolution, still startling, thanks to the mix of Geoff Barrow's soundscapes and Gibbons's haunting wail.--Jeff Bateman ... Read more

Reviews (120)

This is the essence of trip-hop
One of the best trip-hop albums. This stuff is hat trip-hop is about. Dark, noir sounds, lounge feeling with a jazzy layer and hip-hop beats will make you want to dig out old dark jazz records. From the first track to the last, there is a sense of urgency, of melancholy which is trapped between eerie sounds and in a ghostly landscape. Excellent vocal transitions for every song. You have to check out the ol-skool scratches and the dusty record effect, giving it a vintage quality.. This is no Dummy, but it doesn't mean that isn't good. Portishead continues with this album the evolution of their crime jazz. I recommend this to all novices in trip-hop. Great album.

Magnum Opus
Portishead's 1997 self-titled album is darker and more melancholy than their debut "Dummy". It is also a timeless masterpiece that ranks as one of the best trip-hop albums of all time. From the opening strains of "Cowboys", this CD transports you into a 1940s-style dimly-lit, cigarette smoke-filled Hollywood cabaret where dark-suited gangsters, buxom blonde starlets and trench-coated detectives mingle. This time around, Geoff Barrow and Beth Gibbons dig deep into film noir moxie to create a collection of songs that capture the decadence and tarnished glamor of that era, while retaining a hip postmodern sensibility. Beth Gibbons is at her best when her voice stretches to a screeching soprano, as on "All Mine", "Only You" and the centerpiece "Humming". Reportedly, Portishead recorded original background music based on film noir movies they admired, and then composed lyrics over them. This gives the album a surreal quality that, when uncovered after numerous spins on the CD changer, truly transcends time and space. Essential listening for a dark, stormy night in your house on the Hollywood Hills, with the fireplace blazing and a bottle of red wine.

Secrets too Tortuous to Endure
I turn on the CD player and I am wearing a slinky black dress, my mouth rouged with blood red lipstick, a trail of cigarette smoke wafts in the stale air, and I'm shadowed by a sinister figure down a seedy alleyway. I'm cornered in some dive but it's just some swaying, slobbering lush wanting to know where Albert is. As if I knew...as if I cared. My secrets are too tortuous to endure much longer.

Beth Gibbons voice is creeping emotion sputtering out those secrets in the twisted cabaret in my head. The mood is dark, the atmosphere thick with betrayal and yearning, strangers with glassy eyes litter the joint while their own desperate desires join the din of bereavement. All flesh is cold to the touch and no one speaks above a raspy whisper. Whiskey is the drink of choice and everyone is melting into their chairs.

While trying to escape the drunk, I stumble over someone who falls out of his chair. Another liquor-soaked refugee from planet Earth, I think, but no - it turns out to be a mannequin. Ahhh, that explains so much - those lifeless eyes, the cold skin, yet it still whispers, it whispers to me: "where is Albert?"

Second album
After an album like DUMMY, it appears it would be difficult to follow up such a great album. It took the group three years to come up with this second album, and it was worth the wait. Released in the fall of 1997, this album still gets quite a bit of airplay in my CD player. As a whole I think this album is a lot more darker than DUMMY. The music is mystical and dark, with Beth Gibbons emoted vocals, very layered. What's even more impressive about this album is the songwriting, which is stronger than on DUMMY. This isn't an album that sinks in right away, but with repeated listenings more is revealed in the intricate production. There are so many layers. Overall, it gets better with each listen, and overall a very unique and rewarding musical experience.

It's a trip.
All I can say is welcome to the "Twilight Zone". Most anyone who knows their previous album "Dummy", can pretty much expect the same thing on "Portishead". This is a bit darker, and there's no obvious stand-out tracks, but as a whole it's still very strong, and sets a nice mood. This is actually one of my favorites of the genre, along with "Mezzanine". "Beth Gibbons" continues to do an excellent job, and her voice really is a perfect match to the music. Overall, I'm not sure if I'd call it as good as "Dummy", but it's the next best thing. ... Read more

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The U.K.-based Sneaker Pimps combine standard rock guitar parts with trip-hop beats and clear white-soul vocals, and, when strumming an acoustic guitar (as on the first single, "6 Underground"), the trio is virtually indistinguishable from Luscious Jackson. While using electronica's signifiers--jungle's rattle, trip-hop's dark churn, ambient's synth washes, hip-hop's samples--Sneaker Pimps never stray far from the comfy world of the pop song. Becoming X's opener, "Low Place Like Home," is only one step from Alanis, while the rousing closer is as breathy and sunny as the Cardigans. --Roni Sarig ... Read more

Reviews (74)

Beautifully Dark
I bought this CD because I heard "6 Underground" and liked it. It turned out that every other song is good too, and the album maintains the 6 Underground feel. This is the CD that first got me hooked on the trip-hop/downtempo genre. I describe Becoming X as a melodic version of Portishead's Dummy. The CD creates a dark, moody atmosphere which Kelli (Vocallist) tops off perfectly.

Compared to the other Sneaker Pimps CD's, this is my second favorite, second to Splinter. It is the only one with a female voice, but the voice isn't what makes the band. I'd rate Becoming X a 9.5 out of 10 and Splinter a 10 out of 10. Becoming X is more bass line and drum heavy, while Splinter relies more on melodic guitar riffs and orchestra clips.

I's reccommend this album to anyone who listens to music to feel Zen. Buy it if you like Radiohead, Portishead, Hooverphonic, any other Sneaker Pimps, or any other Trip-Hop.

Uneven, hints at greater promise, still worth a listen.
I bought this CD on the strength of its second single (but the first I can recall hearing in the US) "6 Underground", which in my opinion was one of the best songs on the radio from late 1996 through Spring/Summer 1997. There are two versions of the song appearing on "Becoming X", including the "Nellee Hooper Edit" which was released as the single.

The truth is that the rest of the CD doesn't approach the level of "6 Underground", however...and in fact doesn't come close. That's not to say that there aren't worthwhile points of interest elsewhere on the album, though..."Postmodern Sleaze" being chief among them.

But the album never completely finds its own identity; the use of organic instruments such as the acoustic guitar among an electronic armada of sequencers, samplers, and other assorted synthesizers is a difficult mix to master (and very rarely executed to perfection...see "Personal Jesus" as the one standout example). "6 Underground" pulls it off well, but it's almost as if the band didn't want to push the envelope any further. Kelli Dayton's vocals are also hit-and-miss, ranging from sultry and soulful to aggressive and enigmatic. It seems she can't decide whether she's Tracey Thorn or Bjork. She doesn't seem quite comfortable with all the songs on the CD, but it has to be said that there are moments when she's quite inspired.

I will say that this isn't one of my favorite CD's, but it must have some hold on me as I also bought its pseudo-sequel "Becoming Remixed" when it was released in 1998. But so much of "Becoming X" seems as though it was remixed from a previous, more organic project that remixing it seems to be a redundancy. It's not the most shining example of trip-hop that I've ever heard, but any Massive Attack or Portishead fans won't be completely disappointed with it. Kelli's subsequent departure means The Sneaker Pimps now have a markedly different sound, so associating their latest efforts with their first would be an oversight that the curious music fans would do well to avoid; give it a shot.

Fan at 1st Listen
I became aware of this group about 6 years ago when I saw the video for "6 Underground." I instantly became a fan! This album infuses the lead's voice over bass, drums, synthesizers, etc. The songs make you feel something deep within your soul like "Post-Modern Queen" and "No Place Like Home." I recommend this album as an introduction to anyone who wants to know what electronica and trip hop is about.

kelly dayton
Sneaker pimps f'ed up when they kicked Kelly Dayton
now they have stupid vocals and ok beats
this is without a doubt the best album ever released by them
dispite lame attempts to progress as seen in ALL other sneaker pimps albums splinter and bloodsport and i think 1 more?? hmmm i guess it doesnt matter since I know they all SUCK

maybe one day they will work with kelly again and moke a second jewl but till then this is the 1 to get

Becoming X
I've only heard 2 songs from this album, but both are excellent. i find my self often adicted to the electronic sound, and Kelli Dayton's haunting vocals in "Becoming X". And "6 Underground" has the feeling of regret to it, and the lyrics are amazing. THIS IS THE ONLY GOOD SNEAKER PIMPS ALBUM. THEY SUCK WITHOUT KELLI DAYTON. she started a solo career i believe, and changed her name to Kelli Ali. (im not sure why) but i highly recommend this cd. ... Read more

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Air's debut, Moon Safari, solidified the French duo's position among fickle electronica music fans and earned them critical accolades throughout the press. Yet one of their most important fans turned out to be Sofia Coppola (daughter of Francis Ford), who, inspired by their moody ambiance, asked them to write the soundtrack for her directorial debut. The Virgin Suicides--adapted from the novel by Jeffrey Eugenides about the Lisbon sisters and their quest for answers in a turbulent American adolescence--includes stars such as Kirsten Dunst and Kathleen Turner, and Air make a deeply impressionistic subliminal appearance as well. Gordon Tracks sings the lush and romantic "Playground Love"; the rest is a throbbing score of somber synths and thick washes of modest psychedelic touches that recall the tranquil buzz that comes from too much staring at the lava lamp. The only complaint is that this 13-track album is only 40 minutes long; some of the cuts should have been longer. The meditative quality practically demands it. --Rob O'Connor ... Read more

Reviews (101)

Spooky, very spooky
Fans of AIR might be disappointed with this album if they buy it with the preconception that it will sound like 'Moon Safari.' In actuality, though, this album is nothing like its predecessor. While still a great album in its own right, 'The Virgin Suicides' is very dark and trippy, whereas 'Moon Safari' was more lush and dreamy. One thing AIR is great at doing is creating a sort of visual music. The kind of music that invokes scenes in your mind. 'Virgin Suicides' performs this job with ease. All the songs flow well together and you just kind of forget that you're listening to something. 'Clouds Up,' 'Highschool Lover,' and 'Empty House' are personal favorites. Even if you've never heard AIR before, I recommend this album to you. The dark feeling doesn't subside as the album plays on, either. Instead it stays consistent, then it gets deeper in the last three songs. Everyone should buy this album, then 'Moon Safari,' then 'Premiers Symptomes.' And the next album, too, when it comes out.

Soothing, yet dark, provacative and somewhat disturbing
I was quite excited to hear that AIR came ot with a new album. This time, it is for the movie (which I now want to see) Virgin Suicides. AIR puts together an absolutely perfect musical score...one can picture the mood and tone of the movie just by listening to the dark, melancholy music. Every song is distinctive, yet they all flow together, which creates an eerie, haunting effect. The last track summarizes in words what the previous songs already conveyed, which creates a very fitting end....sorrowful, provacative, haunting, with a hint of desperation. AIR has not once let me down with their quality of music and this soundtrack is certainly no exception.

Good Soundtrack for Anime
I first heard this album a couple of weeks ago, when a new girl entered our office, a design department, and brought this music. I didn't know who they where or what the name of the album or the songs where, and my first impression was: This is excellent. Such desertic landscapes and situations as those in "The End of Evangelion" (when nobody was left in planet Earth and the only survivor cried for his beloved Asuka) came to my mind. The feelings of loneliness and drama are so hard you think this is the end of the world's perfect soundtrack. Excluding the first track (which is much better in the free downloadable version available right here in Amazon), this is perfectly coherent music. They sound as if they had been Pink Floyd's padawans. I felt extremely relaxed and thinked: This is Floyd's line resurrection. However, when I knew the title of this album the true meanings came very clearly. I really really love this music and would highly recommend it to any die-hard fan of Pink Floyd's "Echoes" and "Shine On". However, it is much better if you don't know the title. Do this experiment to someone: Make him/her hear this without telling what it is. Perception is much clearer when it is not obstructed by prejudices.

playground love is my first dance
I am getting married this June, and Playground Love will be the first dance for my husband and I. It is the most beautiful, elegant song I have ever heard. It fits our romance perfectly, I get all teary eyed listening to it, oh, I just love it.

Good music, but too dark for Air...
The Virgin Suicides is a really well composed album, and the music bears undeniably Air's mark, however, I was expecting something more relaxed, like Moon Safari. The foreboding tones of this album are hard to get around and let me down. However, if you can stand dark music, this album will be perfect for you! ... Read more

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After years of postmodern pop posturing from dozens of would-bePortisheads andBjorks, it'ssomething more than a relief to see Ivy's third album, LongDistance, get a U.S. release. The New York-based trio's languid butrichly emotional meld of trip-hop, classic French-pop touches (singerDominique Durand is a Paris native), and indie adventurousness shinehere, even while displaying the outfit's deepest melancholic vibe. Fewsinger-songwriters could put across a sentiment like that of"Disappointed"--Durand explains that she's bound to leave aguy--without coming off defensive or taunting. "While We're in Love" offersa similarly bleak, if enticing, future. Long Distance neverburrows so far into its own melancholy as to render the effect merelyselfish or cold; even if your situation is hunky-dory, you'll be hardpressed not to revel in the subtle empathy of these numbers. The solenonoriginal, the Blow Monkeys' 1986single "Digging Your Scene," demonstrates Ivy's ability to render alate-summer dayscape replete with slowly pushed merry-go-round andintimation of oncoming loss, all with a wink. --Rickey Wright ... Read more

Reviews (46)

Ivy - professors of Pop 101
I saw Ivy open for Kitchens of Distinction six years ago. I didn't know who the hell they were. But I consider them one of the best opening bands I've seen. I immediaitely went out and bought their debut "Realistic"(1995), one of *the* best albums of the '90s. First off, in my opinion, Ivy slips a tad from that release and "Apartment Life"(1997). Having said that, this is still one of the best CDs of 2001. Half of the album grabs you on the first listen. "Edge of the Ocean", "Disappointed", "Lucy Doesn't Love You"(great horns by Eric Matthews) keep the wonderful tradition of breezy Ivy pop going. Then other songs quickly become more prominent - "One More Last Kiss", "Undertow", and "Let's Stay Inside" to name a few. Ivy is branching out and going to more sampled and synth effects on "Long Distance" but, don't worry, the melodies are still there. Dominique's vocals also sound warmer. The thing is that there's no *spectacular* track with the effect that "Best Thing" (from "Apartment Life") or "15 Seconds", "No Guarantee", or "Don't Believe A Word" (from "Realistic") had. Those are classic pop songs - tunes that stay in your head for months. That's why I give this album 4 stars instead of 5. Buy it but make sure to buy the other two soon after!!

Digging Ivy's scene
Long Distance is a gorgeous CD, combining the lightest electronica touches with nice musical arrangements and lyrics about relationships, crumbling and otherwise ("Disappointed," "Lucy Doesn't Love You," "While We're In Love"). Other highlights include "Undertow" and "Edge of the Ocean," two songs that will sweep you away. Lead singer Dominique Durand has a sweet, sleek voice, and the songs are all incredibly catchy yet textured. I highly suggest checking out Ivy; I fell in love with every song on the album--it's soothing, and much more than background music.

Oh, and for those of you who saw "Shallow Hal," if you heard a few songs throughout the film that left you wondering "Who *was* that?": It was more than likely Ivy. The songs aren't on the "Shallow Hal" soundtrack, though, but they can be found on Long Distance.

Worry About You
I just watched The 4400 on USA network... that is where I heard Worry About You. An absolutely haunting piece of music with a magnificent musical arrangement. I only had the words to this song as the credits were so small as to not be seen while they hyped the show itself. The series seems to be good .. but this music is way way excellent. A search engine and an unrelenting will to know who sang this song and get my hands on it took on a life of it's own. I see from the picture that young miss Dominique Durand is a handsome looking woman.. if the other songs are as 'clear' as Worry About You.. this album is worth having... July 12, 2004 0345

Little known, excellent rock-dream pop
I found these tracks on Rhapsody. It was quite a revelation. This is a fun, well-put together collection. Well worth checking out if you like alt-rock-dream pop.

One Great, Mellow Album
The relaxing, mellow sounds of Ivy have gained broad commercial appeal, literally. The soporific, lo-fi dreamy "Edge of the Ocean" has been used to great, hypnotic effect in numerous commercials, and the farcical Jack Black/Gwynith Paltrow hit Shallow Hal. It's difficult to draw comparison to any contemporary artist, and even more difficult to determine how Dominique Durand has flown under the radar for so long, and not gained a prodigious following.
With that being said, this is one album for which to melt all of your troubles away. ... Read more

Album Description

U.S. edition of downtempo/trip hop duo's 1996 debut with 5bonus tracks added, 'Transcendence', 'Scene At The Open Air Market', 'Encounter In Bahia', 'Assault On Babylon' &'One'. Note - some import editions contained some but notall of these bonus tracks. ESL Records. ... Read more

Reviews (43)

Not as good as THE MIRROR CONSPIRACY, but solid
Rob Garza and Eric Hilton, a.k.a. Thievery Corporation, released SOUNDS FROM THE THIEVERY HI-FI, their debut LP, on their Eighteenth Street Lounge label. Picked up for international distribution by the influential British label 4AD, SOUNDS gained world attention. And it deserved it, this album is an impressive survey of Jamaican dub rhythms, chill-out ambience, and breaks.

Coming from Washington D.C., which has the largest Rastafarian community in the United States, Garza and Hilton are quite influenced by Jamaican traditional music and belief. Several tracks, most notably the tellingly titled "2001 Spliff Odyssey" and "Walking Through Babylon", use vocal samples from RASTAFARI ELDERS, a spoken-word CD that presents Rastafari that was issued in conjuction with the trip of seven Nyabinghi sect elders to the Smithsonian in 1991.

"Shaolin Satellite" is reminiscent of Massive Attack's PROTECTION-era work. Other tracks like "Universal Highness" and "Incident At Gate Seven" are chill-out tracks, with soothing female vocal samples relaxing the listener.

While I'm partial to the upper-class lounge of Thievery Corporation's second LP, THE MIRROR CONSPIRACY, I'd recommend SOUNDS FROM THE THIEVERY HI-FI to anyone who enjoys Jamaican-inspired dub or chill-out.

Definately A Crime
As a DC resident, I have avoided the Eighteenth Street Lounge like the plague. I like downbeat, trip-hop, and acid jazz music just fine. But it is the home of Garza and Hilton, the duo that has largely soured my taste for downbeat with this release and its many undeserved praises. I reluctantly purchased the album, as I am not one to keep a closed mind regading former opinions. I was a victim of thievery, indeed..."Sounds..." is lackluster and all hype.

Poorly programmed drum machines tinker on behind sparse samples and pseudo-reggae banter. Further adding insult to injury, the album borders on a rather immature approach to the studio, best left to the masters: Kosma, Tobin, Irresistable Force, STC and K&D. Thievery's attempt to engage the listener in so-called-ecclectic rhythms cashes in with more of a late-80's MC Hammeresque feel to it around the time that he filed for bancrupcy) while trying to go gangstah.

Downtempo fans beware! While some tracks are tolerable replicas of cool jazz, most of the CD bites the corporate dustbowl and ends up with blacklung. No originality or thought went into this piece. DC is not known for its ambient music scene, however; if this aids as an excuse for Garza and Hilton.

If you enjoy the "Band-of-the minute" or trendy music that will disappear under the passenger side of your car after two weeks, then this is the album for you. These guy should stick to what they know best...owning a lounge, not writing the music to be played in it...Thievery, indeed.

Chillout staples offer a near-masterpiece
For anyone new to chillout, World lounge or Brazilectro, "Sounds from the Thievery Hi-Fi" is as good a place to start as any. Still low-key while maintaining a driving sense of rhythm, Thievery Corporation prove themselves an essential electronica act on their first collection of original material (the band is also well-known for their remix and compilation work).

Tracks like "2001 A Spliff Odyssey" and "The Oscillator" beg for a sofa and a shaker of martinis at 2 a.m., and more insistent groovers like "Shaolin Satellite" and "Univeral Highness" are sure to breathe some life into any social gathering. Other cuts aren't so easy to peg; "The Glass Bead Game" spends almost four minutes as a mystical Bossa Nova before introducing a head-bobber of a drum loop, and "Incident at Gate 7" casts an ethereal spell that almost puts a sustaining effect on its funky rhythms.

The only thing that could have been shaken up a bit is the disc's range of tempo...sometimes the tracks are better appreciated when played in a changer rather than taking on all sixteen at once. But either way, "Sounds from the Thievery Hi-Fi" is solid proof that between their own fantastic work and their forward-thinking Eighteenth Street Music label, Thievery Corporation are clearly here for the long haul.

The Beginning of a Legacy
This is the first Thievery Corporation CD, and a monumental one at that. A groovy blend of Dub, Jazz, and Drums is the only way I can describe this CD. Thievery Corp nowadays has added more instruments and progressed their sound more but still; any Thievery Corporation fan should pickup this classic. Lay back and enjoy this amazing CD.

You'll be hooked...
...on Thievery. It is rare to find an album where every single track is equally AWESOME. There are few tracks in the whole of the chillout genre that are of the same quality as Thievery Corp's, and this album shows their very best work. If you liked "Mirror Conspiracy", this is a must-have. I cannot say enough good things about this album! ... Read more

Amazon.com

Bristol's Massive Attack released a classic with their first album, Blue Lines, but only those who were paying careful attention noticed; soon, they were overshadowed by the likes of Tricky and Portishead, who were colleagues. But not so after the release of Protection, which sported a massive hit and was just as critically acclaimed as their first album. (The hit was the title track, for which Everything but the Girl's Tracy Thorn lent her divine pipes--a move that made the act's name, and also presaged EBTG's move to the dance floor.) Eschewing the showmanship of their scene mates, Massive prefer subtler soundscapes and using a diverse range of vocalists (including Horace Andy, Nicolette, and Tricky) who give them a number of flavors and moods with which to work. Protection is an understated album with a rich palette; it reveals more of itself on repeated listens, growing better--and deeper--each time. --Randy Silver ... Read more

Reviews (73)

"Protection" left vulnerable by high expectations
When you release one of the most influential and unique releases of the past 20 years, what do you do for an encore? This is the no-win situation that Massive Attack had to face with their follow-up to 1991's seminal Blue Lines debut. Whereas that album simultaneously combined smoky hip-hop, inspired soul, and laces of "rasta", this album eschews many of those hip-hop and reggae elements in favour of soft jazz ('Weather Storm', 'Better Things', 'Heat Miser') and electronic-pop (such as the title track and 'Spying Glass'). Soundwise, it's a slightly uneasy mid-point between the raw urban flavour of Blue Lines and the unsettling bleakness of Mezzanine. Overall, Protection is another high-quality release, but it falls well short of these two benchmark albums. Musically and creatively, it is solid as expected (with the exception of their grating cover of 'Light My Fire' - but I didn't like the original either so there you go). However the combined danger and sensuality that marks Blue Lines and Mezzanine is conspicuously absent on Protection. Even Nicolette's raspy voice on 'Three' and 'Sly' rings somehow hollow. The album also fails to set a consistent groove: of the 10 songs, there are 2 jazzy instrumentals (both of them superb), 2 poppier tunes sung by Tracey Thorn, 2 eclectic cuts rapped by 3D and Tricky, 2 loungy rhythm-based grooves by Nicolette and 2 disappointingly un-reggae tracks by Horace Andy. This grab bag of vocalists and styles overall simulates the disjointed feel of a compilation disc. It not only lacks the cohesive flow of Blue Lines and Mezzanine, but is a bit bumpy in terms of quality as well. The cuts by 3D/Tricky, Tracey Thorn and the instrumentals are absolutely ace, while Horace Andy's usually amazing voice grates on both 'Spying Glass' and 'Light My Fire'. Nicolette's tracks are kind of in the middle, highly listenable but not the CD's bread and butter. Overall this is not the Massive's strongest release, but mediocre Massive Attack is better than 90% of other bands at the top of their game. It's a very good album that, however unfair it may be, is forced into comparison with their near-untouchable debut. If taken on its own merits, Protection will not disappoint.

Hits and Misses
Well, Protection has its hits and misses. I think the female vocals and lyrics are more impressive than the male vocals (except for Horace Andy, he's always good) in this one. Tracey Thorn shines in "protection" (bold lyrics) and "better things" and Nicolette, sounding like a modern day Billie Holiday, twinkles in "three" and "sly". Craig Armstrong's piano over the rubbery, slip and drag instrumental in "weather storm" is awesome. Tricky and 3D in "karmacoma" and "eurochild" are ok but lacks something that I just can't put my finger on. Martina sings a better version of "karmacoma" on Tricky's first awesome album, Maxinquaye, but under the title of "overcome".

I think more could have been done with "light my fire (live)" or it should have been left out completely. It just sounds like a space filler. Still, this CD should not be over looked by any trip hop enthusiast. Check out Massive Attack: Blue Lines and Mezzanine, Portishead: Dummy and Tricky: Maxinquaye for a better time.

Music to take a bullet to
The only thing I got out of listening to the title track, Protection, is fleeting remembrances of the movie The Bodyguard. This was not a good film. I am a great admirer of Tracey Thorne's voice and, as I said elsewhere, would listen to her sing the phone book; but this is not the phone book. This is teenage emotionalizing. Though I resonate with the idea of self-sacrifice, the whole point of self-sacrifice is to actually DO it, not to talk about how you would or should or might do it should the situation arise. The track is basically like listening to somebody saying, "You know, I'd like totally run in front of a bus to save somebody, knowwhamsain?" The whole point of self-sacrifice is that it is difficult to do. It certainly is not difficult to talk about doing, though. I don't know Tracey Thorne, but I am not really uplifted by the thought of her hypothetically jumping in front of someone to take a bullet for them.

Underrated 90's trip hop
While "Protection" might not be as good as their first album "Blue lines" and a bit overshadowed by other albums it's far from a bad apple in any way, actually one of my favorites with a distance. It's a bit unever though, some songs are close to perfection but some feels forgettable by now. The first song, the title track "Protection" is sang by Tracy Thorn from "Everything But the Girl" it's this albums best song and was a hit back them aswell. Tracy's haunting lyrics and voice fits the hip hop beats and samples perfect. The hook is also memorably good. "Karmacoma" is the normal Horacy Andy trip hop with rapping. "Three" is rather odd, decent song sang by Nicolette but could have been better. "Weather Storm" is a song to remember since it's slow jazz, completely diffrent from the rest of the songs here, it really showed the many influents Massive got. "Spying Glass" is reggae. "Better Things" is another Tracy Thorn song, it sound like a train, it has good beats and beautiful sound. Defenitely one of the highlight to not miss out. "Eurochild" is yet another rap song. "Sly" is with Nicolette, beautiful sound. "Heat Miser" is another highlight, it starts with fast piano playing and the sound of someone breathing deep. It got this mysterious feeling, great for a horror movie. Those kind of song is partly what makes Massive so pleasant. The album closes with a live remake of the Doors "Light My Fire" quite allright actually. Overall this is a very good album, forgotten by many but it has many highlight's worth taking a look at. A very good variety of sound and genre's and many songs with the great mysterious Massive sound. Recommended for anyone that likes something diffrent.

ANOTHER M.A. CLASSIC!!!
"Protection" is another classic Massive Attack album that breaks the mold in what trip-hop/dub music is. Not as strong as their debut "Blue Lines" or the phenomenal "Mezzanine", "Protection" still impresses with its sinsiter grooves, nigh-disturbing lyrics and poignant vocals. ... Read more

Amazon.com

The U.K.-based musician, film director, andFaithless cofounder JamieCatto and producer Duncan Bridgeman coproduced this impressive multimedia CD,which boasts an eclectic array of artists ranging from Senegal'sBaaba Maal and NewZealand's Maori artist Whirimako Black to the king of ambient,Brian Eno. This project,the fruit of a six-month, five-continent recording spree, is a funky, folkloric,and futuristic mélange of sampled indigenous instruments and electronica."Braided Hair" teams the rap-country vocals of Arrested Development's Speechwith the daring pop diva Neneh Cherry. The South African mbaqanga vocalsof the Mahotella Queensprovide the Afro-rave underpinnings for vocalist Ulali's poetic pleas forAfrican unity. The tantric trances of the South Asian syncopated tabla drumspepper the synth-laden "When You Dream," which featuresR.E.M.'s Michael Stipeand the Indian star AshaBhosle. Boundaries of nationality, time, and musical genre meld into groovesfor the head, hips, and heart that need no translation. --Eugene HolleyJr. ... Read more

Reviews (24)

Brilliant Effort!
When I first got hold of this CD, I thought it would be just another off-the-shelf world music album. How wrong I was. This CD has surpassed all boundaries and contains some of the best fusioned music ever released in recent times. From Kenya to India, it fuses an array of diverse musical talents and sounds from around the world. All 76 minutes of this CD is sheer listening pleasure. Listening to each track, takes you on the journey it was intended to. And Duncan & Jamie have released & produced a superb craftmanship in 1 Giant Leap. This album truly proves that indeed there is, Unity in Diversity. And thanks to Duncan & Jamie, that gap is bridged. Let the music speak to you as the sheer delight of the great musicians and thinkers involved in this project transcend you to an elated bliss. To sum it up, 1 Giant Leap is taking it's greatest leap ever!

Spiritual & musical journey - easily the best album of 2002
1 Giant Leap is a stunningly ambitious, moving and uplifting project featuring some of the most amazing musicians on the surface of the globe. It takes you on a spiritual and musical journey, evoking and stirring emotions, bringing a sense of unity and joy for the great artistic creativity in the world. 1 Giant Leap has a message; a purpose.

The album opens with Baaba Maal evoking sunrise over his native Senegal on 'Dunya Salam'. The spiritual, prayerful, soulful vocals are stunning and truly beautiful. It then moves into single 'My Culture' featuring British popstar Robbie Williams and rapper Maxi Jazz, whose unlikely pairing results in a strangely moving track with urgent lyrics, a sense of joy and fantastic production, with funky bass, trumpets and ethnic percussion. When all the music stops and Maxi says 'If I don't see that I'm strong then I won't be' it is a spine-tingling, affirming moment.

Next is 'The Way You Dream', another amazing track which again sees an unlikely pairing in REM's Michael Stipe and Indian superstar Asha Bhosle. It begins slowly with aromatic drums, atmospheric acoustic guitar and ethereal vocals from Bhosie, then a darker sounding guitar comes in with synths giving the track a mysterious feel. Michael Stipe sounds right at home in the ambient surroundings although it sounds nothing like REM, and then the music quietens before building into full on rave with trance keyboards, very fast drums, but still the vocals of the two singers sounding perfect.

Fourth is 'Ma'Africa', beginning with Ulali's sweet backing before moving into a fast, funky global dance track with the energetic vocals of the Mahotella Queens and a beautiful poem by Moseo calling for African unity. This is very powerful. Braided Hair is next, probably the most straightforward pop song it features Speech and Neneh Cherry who offer nice vocals and fantastic lyrics. Its great though not as ambitious as other tracks.

Ta Moko opens with a sample from Tom Robbins who offers very important advice that our regrets are over not spending enough time with who we love, not over work or money. When the track proper begins its a slow-burning, darkly mysterious track with vocals from Whiri Mako Black of New Zealand. Bushes again features vocals from Baaba Maal and while not quite as stunning as Dunya Salaam his vocals are always delightful.

Passion features a beautiful poem written and read by Michael Franti in his deep voice and then spiritual vocals from Uganda. Daphne opens with the great quote 'music is proof of the existance of God' and suitably is a spiritual track with jazzy bass and guitar. When the track gets into full swing its Eddi Reader, a UK folksy singer who takes the main duties.

All Alone on Eileen Shore is a mostly Western track, mostly because of the fact that Duncan, one of the two British instigators of the project, takes vocals. The track is the most similar to Faithless on the album (Faithless being the band that Jamie and Duncan are involved with). Although the vocals are vocoded, something I don't usually like, it makes them strangely sweet and ethereal and perfect here. The backing is mellow, ambient acoustic electronica. It the middle of the track it gets darker and we get Ram Dass, a philosopher, reading important, touching words. Parts of the track then are more ethnic. It is one of the album's best.

Racing Away is fantastic as we get the reggae vocals of Horace Andy over an ethnic electronica canvas which is amazingly effectively, and it has the spirit of peace and nature that is important in reggae. Grant Lee Phillips offers more conventional American pop-rock vocals but the melody and lyrics are still groundbreaking. Overall it is again one of the best tracks. The album closes with the eerie 'Ghosts' again featuring Eddi Reader which is haunting and a perfect closer.

Overall, this is a perfectly constructed album. It is for everyone, not just fans of world but of dance, electronica, funk, rock, pop, philosophy or just great music. Its message and ambition are so huge that it is enormously important. Its a true spiritually uplifting experience. Its the best of 2002 and one of the great world music albums ever. 5 stars.

If you buy only one DVD this year, make it this one!
Amazing. Vast undertaking, superbly realized. Spiritually moving. Shows the interconnectedness of all people, places, things. If you buy only one DVD this year, make it this one.

My only wish is that the music was available on a recording device other than CD, so that i could purchase it for my sister the luddite who eschews modern technology but would LOVE this!

The World Dreams in Music
Each friend represents a world in us, a world possibly not born until they arrive, and it is only by this meeting that a new world is born. ~Anais Nin (1903-1977)

The first time I listened to this CD, I listened to "All Alone" obsessively. I became so intoxicated with a feeling of immense completeness as every sadness in my soul dissolved into pure love.

The world could have disappeared and I would have been standing in the middle of a field of crimson roses all blooming to the sound of Duncan Bridgeman singing: "If you stay or if you go." The friend who sent me the CD said to listen to the track before I went to bed and I've never experienced such a healing gift. In life, you often meet people who will give you gifts your soul needs and then at times friends can work together to heal the world.

When Jamie Catto met Duncan Bridgeman it was a random moment in time. Like most creative friendships they found they had so much in common. Once they started talking they realized they had similar beliefs about the state of modern music. Jamie was the singer and keyboardist in the UK band Faithless and Duncan Bridgeman had been mixing albums for big-name artists. Together they have created a CD I can hardly believe exists.

I had no idea the impact it would make on me. I also didn't realize you could fall madly "in love" with a CD. ;) Once "My Culture" takes off, you are going to understand the meaning of "primal high on a soul level."

"I'm what I feel, what I'm feeling is surreal
I'm a mass of spinning wheels
Always digging in my heels
Now I've got the faith to

Fall back again
Crawl from the warm waters
Don't ever forget
You're on your feet again
Your feet again" ~My Culture

This CD is a spiritual journey into a land where you can escape from ordinary consciousness. You will feel you connect instantly with the universal wisdom in the lyrics. There is a richness of culture in the freeing dance of philosophy and world music. Multicultural voices mingle with beautiful intellectual tangents. Visual images dance through your mind as the music creates a deep soothing soul vibration that radiates through you like the most comforting feeling you have ever experienced.

"The Way You Dream" is one of my favorite songs as it blends the mysterious voice of Indian star Asha Bhosle with the completely intoxicating voice of Michael Stipe.

This CD also features Dennis Hopper, Kurt Vonnegut, Robbie Williams, Tom Robbins, Senegal's Baaba Maal, Ram Dass, Gabrielle Roth, the South African Mahotella Queens, Neneh Cherry, New Zealand's Whiri Mako Black, Revetti Sakalar and Eddi Reader.

1 Giant Leap is a fusion of sound and word captured through travels in Senegal, Ghana, South Africa, Uganda, Kenya, Bombay, New Delhi, Calcutta, Bangkok, South East Asia, Los Angeles, New York, India, Thailand, Australia and New Zealand. This CD is the result of recordings from 25 countries.

Jamie Catto and Duncan Bridgeman literally spent six months traveling across the globe with a mobile studio and crew. Together they recorded storytellers, shopkeepers, authors, artists, philosophers and even cabdrivers. Each song contains a mixture of sounds and lyrics from various parts of the globe.

The chants, ethereal cries and primal rhythms will at times send chills up your spine. When Michael Franti sings "We are alive with the spirit of our passion" you can't help wanting to live, and live for a long, long time so you can see all your dreams become a reality.

The entire CD really represents a unity humanity could strive for if they could find peaceful resolutions to the issues haunting us all. The themes of the album are death, confrontation, sex, money, blasphemy, faith, happiness, inspiration, time, masks and unity.

Healing, loving, intoxicatingly spiritual and poetic beyond words. Perhaps the most beautiful music I've ever heard. 1 Giant Leap shows our humanity, the wide diversity of cultures and the beauty of unity through music. ~The Rebecca Review.com

dreamy
I bought this cd because there are 2 members of faithless on here and i adore those folks. The music is just dreamy and add vocal cobos by the likes of Robbie Williams & Maxi Jazz(god i love his voice), Micheal Stipe & Asha Bhosle, Grant Lee Phillps & Horace Anday....What a great concept! Every track is perfect, but i have to admit i can't get enough of My Culture with Robbie WIlliams & Maxi Jazz, the guitar riff sounds almost like a sample from pink floyd, and the track The Way You Dream with Micheal Stipe and Asha Bhosle is just inspiring. Check out the track called Racing Away with vocals by Horace Andy, what a beautiful song and touching voacls. Oh, and by the way, be kind to animals, don't eat them.......go vegan! Peace! ... Read more

Reviews (36)

So rich and full of color
Well,I'm not an expert in "chill music",I'm just starting to explore it,but this cd has the quality of reminding me of a vacation I had when I was a teenager,were everything was sofisticated,wordly,charming,we would spend all day at the beach,chill out at sunset,and then spend all night in hot spots and cool nightclubs.
When I listen to this cd and close my eyes,I can see my self on a beautiful beach,having a great time,and I think that sometimes,that's more than enough to make a cd worth it's price,when you can be transported to a great place and relax a little,without leaving your place beside your stereo!!.
I recommend speacially the songs "Talking with myself '98" and "Transfatty acid".

A Must Have
This kind of CD you just need to have. Picture this: Room with dimmed lichts, fireplace,Wine,Cheese and the lady you love arround you! Cafe del Mar Collection, in total 6 cd's is a Must Have, buy without listening. Nice songs, instrumental pieces, always with the smooth sound of synths.

It's Not lounge
If you surfed your way to this page, chances are you like Downtempo, Lounge, Chill style. This CD plays in a different register. The tempo is more on the outskirt of Dance music. Jose Padilla's vocal choice on songs # 9, 13 and some others is anything but original. It even emphasize the Dance tempo. I wish if it was more subtle ...

Cult following
This is a CD that a German DJ (Caterina) gave to David Smith on the finale episode of Joe Millionaire 2 (it took a sharp-eyed viewer to recongnize the CD cover from a brief showing). Many followers of this show REALLY want to know about this woman- she is from Berlin, Germany and is involved in the DJ/music industry there. This is my introduction to this type of music and I look forward to listening to this CD many more times. I like to make my music fit my mood- not vice versa. Definitely good relaxing music!

soft chilling
Great music to unwind to on a weekend day. I own most of the Del Mar series and Volumes 3,4 and 5 are where its at. Takes me back to the poolside bars in the Greek Islands where I was first introduced to this series. ... Read more

Amazon.com

Goldfrapp's Black Cherry inhabits a dark alley, bristling with urban menace and throbbing with a deep electronic pulse--a far cry from their breezy debut, which gently led the listener to a fairytale aural utopia occupied by Parisian pop, whistling divas and baroque masters. Having given up the countryside for a neon-lit studio, Alison Goldfrapp and Will Gregory have infused Black Cherry with an intensity and brooding claustrophobia that's both exuberant and sensual. Simultaneously mellifluous and mechanical, tracks such as "Train," with its fiery industrial rhythm, steer Goldfrapp dangerously close to the ailing electro-clash scene, before veering back to more familiar territory with the likes of the sultry, downbeat "Black Cherry" and languid dreamy ambience of "Forever." Elsewhere our Hampshire-bred heroine gets deep down and dirty on "Twist," an ode to oral that finds Goldfrapp waxing lyrical to a fierce driving Kraftewerk-esque synth. No Felt Mountain to get lost in, but at least there's "Hairy Trees" to make up for it. --Christopher Barrett ... Read more

Reviews (57)

This black cherry is sweet.
Ever so the hybrid band that Goldfrapp is, they are really a success creatively (if not commercially). If you like their debut Felt Mountain, Black Cherry will definitely be on the top of your CD purchase list.

Brighter and more sensual than their 2000 debut, the duo comes back with an album that perfectly blends the new wave 80's sound with a touch of industrialism that's seldom seen. On the excellent debut single, a mechanical experience is created while the vocal of Alison Goldfrapp adorn the hyper rhythm. Elsewhere on the album, a dreamy landscape unravels with Forever.

On Black Cherry, you'd get a little of everything without ever losing sight of the road ahead.

Sexy, Stylish, Superb
Amazon.com's house reviewer seems to imply that Black Cherry is a weaker effort than its predecessor Felt Mountain. Not so, grasshopper! Different, well, yes, but that's the idea isn't it? Although Felt Mountain might have higher highs, it also has lower lows. You can throw Black Cherry on and listen right through without a single weak or "off" song on the entire album. ... Alison Goldfrapp vamps and vixens and uses that golden angel voice of hers to slither and sex-ate all over the place. The most powerful single song is Goldfrapp's soaring, pulse-pounding riff on Donna Summer's "I Feel Love," with Alison doing her fave Giorgio Moroder honor with the S/M anthem "Strict Machine." Following that is her best ballad to date, the ethereal "Forever." Both "Forever" and the title song "Black Cherry" give us a deeper and more direct Goldfrapp, far more affecting than anything on Felt Mountain. She's not hiding out behind lush instrumentals here. The album generally seems to revel in a kind of retro late-1970's decadence: it is straight synthesizer and drum machines from beginning to end, none of those John Barry-esque horns from the first outing. But it really doesn't matter. Black Cherry is a more mature, more stylized and, ultimately, better work than Felt Mountain. And, come on, given how good Felt Mountain was, that's really saying something. Get Black Cherry and make your ears happy!

Kinky in L.A.
There are already well written, articulate reviews here so I'll just say that Black Cherry grew to become my favorite of the two Goldfrapp albums. In fact, I made "an emergency" copy to keep in the office, for "difficult times"... Deliciously kinky and decadent (LA style) it always brings a smile to my face, all the more so since I've recently been to LA (1st time in America!) and absolutely LOVED it. Not much of a review, this, but I just couldn't resist expressing my delight and I note I'm not the only one to do so...

Sonic Excellence
This is one of the best CD's I own. If you must compare it to Felt Mountain then think of it as a comparrison between sex on bottom and sex on top, both are great. I don't even want to try and over-think this album because the sheer joy lof listening to something so powerfully transportational cannot be eclisped by fumbling analysis. Listen, just buy the record and if you want you can name your first-born after me as a small way of saying thanks fer the heads up.

Excellent Black Cherry!
Experimental ElectrobeatZ meetZ wonderful and nature talented Voice. She definetely needs no vocal coach. "Train" is a lil bit 70s glam-influenced and "Strict machine" can be a dancefloorfiller. "Black cherry" is such an great album, I love it! To see "Goldfrapp" live is also very interesting to watch. ... Read more

Album Description

'Pass In Time' is a collection of songs taken from BethOrton's three previous albums. Most noted for her subtlevocals reminiscent of 70's singer/songwriters such asCarole King & Carly Simon. Her music is a fusion ofgraceful acoustic folk, melancholy country-blues,down-tempo trip hop & dubby electronica. Includes thesingles 'She Cries Your Name', 'Someone's Daughter' &'Touch Me With Your Love', alongside B-sides, remixes,collaborations, & rarities. 24 tracks. Heavenly. 2003. ... Read more

Reviews (3)

Definitive collection?
How can you have a definitive collection of Beth Orton, she is just starting out, she is amazing and I don't see her slowing down quite yet; but whatever.

OK so the record label took Beth's greatest moments and put them all on one CD, PERFECT! Then the found 10 remixes, rarities, etc., and put them on a bonus disc, EXTRA PERFECT! All the Beth anyone could want, right? Wrongo! There is never enough Beth.

But Pass in time is perfect, for true fans and obviously for newcomers to her music. Its the perfect staring point. Once you hear this you'll run out and buy up all the other stuff. This 24 song compilation is worth the purchase though for long time fans, if just for the bonus CD alone.

You may already have her 3 previously released CD's but all her best are here, "She Cries Your Name," "Galaxy of Emptiness ," "Stolen Car," "Central Reservation."

The bonus CD includes the first-rate collaboration with "the Chemical Brothers" on "Where do I begin," She teams up with "Terry Callier" on "Dolphins," and "William Orbit" on "Water from a vine leaf." A reworking of "It's Not the Spotlight" just for this release.

But the biggest bonus here are 2 tracks from her "Superpinkymandy" album (now out of print), John Martyn's electronic "Don't Wanna Know 'Bout Evil" and the delicate "Where Do You Go?" . Both tracks give you a quick peek at her beginnings.

Beth is an undeniably gifted artist who has been copied by many (Dido and Sarah McLachlan, etc.). Her voice and vision cannot be duplicated though. I am sure this collection is far from conclusive, I eagerly await future releases from a shining star among clones.

Currently my favorite CD
I have heard of Beth Orton but never heard her music. One of her other CD's was on the listening station at the musis store and instantly fell in love with her voice. Pass In Time was on sale that week so I picked it up. This has been the only CD in my CD player for the pass two weeks. I haven't gotten tired of it yet. It a refeshing mix of folk, upbeat and very listenable tunes. Both CD's in this package are excellent. Now I need to go buy her other CD's.

Pass the time with Beth
This double CD collection of Beth Orton songs is for anyone who cannot get enough of Beth Orton's wonderful music. I guess that includes me. It can be summed up as a greatest hits record with several remixes included. Disk one includes arguably her greatest tunes of all her three preceding albums with a previously unreleased song called 'The Same Day'. Side one also includes my favorite song by Beth, 'The Sweetest Decline'. I never seem to tire of the song and every time I hear it is like listening to it for the very first time. Disk two is even better. There are several remixes of older Beth material, a completely different version of 'Central Reservation', and older stuff by Beth with William Orbit. Also, there are some songs from Beth's very first album, 'Super Pinky Mandy'. This record is super hard to find, it was released only in Japan and only in very limited copies. I would definitely recommend this CD to anyone wanting to get acquainted with Beth's music. Buy this record and you will find yourself buying all the rest of her stuff. A winner! ... Read more

Amazon.com

You might expect the debut album from a woman who has collaborated extensively with Tricky and Orbital to be both wondrous and strange--and you'd be right to. What you might not expect is the depth of Alison Goldfrapp's beguiling, distracting 21st-century noir visions on Felt Mountain. She and her fellow composer Will Gregory can mix in Brechtian cabaret; classical instrumentation; left-of-field electronics; decadent, Gainsbourg-style French pop; and the odd piece of whistling on just one track ("Felt Mountain"). "Oompa Radar" almost reaches Tom Waits heights of infamy from the way familiar instruments come together in such a simultaneously comforting and alienating style. The baroque "Paper Bag," meanwhile, uncannily recalls Joe Meek's toy-town visions of 1960s grandeur. All this and a seductive vocal to die for. --Everett True ... Read more

Reviews (82)

Layers Of Quality!
One word to describe this c.d. would be interesting.The combination of part time Orbital vocalist,Alison Goldfrapp and film music composer,Will Gregory have certainly delivered a weird and wonderful(at times) c.d.I have to say it's certainly way more film soundtrack then Orbital this c.d.

The tracks themselves are very moody and atmospheric and they are very rich in sound and texture.Think of Portishead at their most moody meeting the grand string sweeps of John Barry.Golfrapp herself has a voice that is sometimes Beth Gibbons and on other occasions a sixties sounding Shirley Bassey.It is not a conventional c.d. this at all,I hadn't heard of half the instruments used here.So guitars,drums and bass are nowhere to be found on this c.d.You'd imagine that with music of such a vast and sweeping style that you'd have long,marathon tracks that slowly build up in atmosphere,but no most of the songs are the conventional 4/5 minutes in length.Many of the songs have absolutely no lyrics but consist of orchestral sounds to back up and enhance multi-octave vocal solo's.In fact I think a lack of lyrics actually enhances these songs as they are songs that create and build on an atmosphere,leaving the listener a very broad possible amount of moods to explore in these pieces of music.You never know are they sad or happy for instance-to take it at it's simplest level.In fact the mood of the tracks will almost certainly be dictated by the subjective mood of the listener.My own particular favourites are "Paper Bag" and "Lovely Head";yet these change regularly.This is an album of great depth and I have to say when I first heard it I thought it was pretty bad-but on each subsequent listen it was like a vast video role playing game where you constantly discover new elements and almost 'windows' to each track.

Yeah it would make the perfect film soundtrack-and this would be my only fault with this c.d..You really have to be in a certain mood to sit down,listen and appreciate this c.d.It would be a great c.d. to unwind or destress-if you ever felt the need.It certainly is not the sort of c.d. which makes you want to jump up and party!But it certainly provides for an interesting listen.Just wonder how they are going to follow this one up?

4.5 stars...float away, but beware of the undertow
It just takes one listen to Alison Goldfrapp's seductive voice to fall under her spell. It all sounds nice and comforting, but once you notice the lyrics of the songs and hear the unorthodox musical flourishes on Felt Mountain, you realise you're in for a slightly more twisted musical journey than you had expected.

A spectacular combination of myriad styles, ranging from Shirley Bassey, John Barry, Bjork, Portishead, Angelo Badalamenti, Burt Bacharach, and Kurt Weill, Goldfrapp and composer Will Gregory have put together an album that sounds oddly familiar, yet highly original. When Goldfrapp starts singing the jazzy chorus to 'Human ("are you human/or a dog"), it sounds like a lounge act from another planet.

Along with 'Human', the dark, sultry 'Lovely Head' ("Frankenstein would want your mind/your lovely head"), the bitter 'Paper Bag ("brown paper bag makes for a hat/when it rains on your head mate/cheers for that"), and the more conventional-sounding 'Pilots' kick off the record in fine fashion. However, the next three songs, the spacy, often indecipherable 'Deer Stop', the gentle, processed yodeling and dreamy scat singing on the title track, and the bizarre brass band flourishes on 'Oompa Radar' all take you into a musical twilight zone, where no musical influence, however odd, is safe.

Felt Mountain's brief sidetrack into the realm of the extremely eccentric sets you up for the album's finest moment, the utterly beautiful, yet sinister 'Utopia'. Over a steady beat and lush instrumentation arranged by Gregory with operatic backing vocals, Goldfrapp sings "I forget who I am/when I'm with you/there's no reason/there's no sense" before gently intoning "fascist baby" in the chorus. Just when you think the song is about a lover's emotional dominance, Goldfrapp returns with stranger lines like "my dog needs new ears" and "I'm super brain/that's how they made me". The song is amazing, both in the way it sounds, and how hard it is to pin down thematically.

Both Goldfrapp and Gregory shine equally bright on Felt Mountain. Gregory's musical arrangements have a definite cinematic quality to them as well sounding electronic (sans samples) while still emanating warmth. Goldfrapp's vocal talents are second to none; at times I thought wrongly that a theremin was used on the record, but it was in fact Goldfrapp's stunning voice. As she closes off the album in eerily gorgeous singsong-like "la la la"'s that slowly fade out, it's like seeing a beautiful girl run off giggling mischievously right after showing you something disturbing and grotesque. Felt Mountain overflows with unsettling beauty.

Truly an amazing experience
I had been EXTREMELY into Goldfrapp's singles Twist and Strict Machine for about 9 months before I even considered checking this CD out. People told me this album was really really strange - and while that's not a reason to avoid it, I did. However, I listened to Utopia which had originally been just ok in my opinion, and it COMPLETELY envloped me in it's beauty. I watched the video for Human and fell in love with Human. I had to buy this CD - so I did. I must say, in my opinion this CD is one of the best CD's out there. It's truly amazing.

Lovely Head (9/10) - The first single with a very strange video (it has 2 videos, both very strange). Great opening track. The whistling in the beginning really does add to the song. Overrall a great chill song.

Paper Bag (10/10) - Absolutely gorgeous song with a genius intro. This is probably tied with Horse Tears for the most emotional song on the CD. Very very chill song that could easily induce tears. One of the best on this CD.

Human (10/10) - Another genius intro (GREAT video too!) - This track really builds up over the entire course of the song, climaxing at the last chorus. It's the most upbeat song on the CD with a mix of electronica and big band sounds. The big band sounds have a very James Bond quality to them, mixed with the violins of course. It sounds like it could actually BE IN a James Bond movie. An AWESOME track and one of the best songs on this CD.

Pilots (10/10) - At first I didn't really like Pilots but now Pilots is seriously one of my favorite Goldfrapp songs. Accompanied by a very original (and great, of course) video, this song has strange lyrics that fit extremely well. Very, very chill song. The chorus on Pilots is beautiful. The violins in this song are eerie, alluring, and gorgeous all at once. Also one of the best on this CD.

Deer Stop (6/10) - One of the weirdest songs on this CD. Possibly THE weirdest on this CD. The vocals here are very... different, specifically near the end of the song. The violins here are very very nice but the rest of the song is just ok. This song is strange and not exactly in the best way... I mean the whole CD is strange but this song is strange in a VERY different way...

Felt Mountain (6/10) - This song is even weirder than Deer Stop. Yet again, strange in a VERY different way, and not exactly the best. Allison is singing on this track but it's either in a different language, or she's using her vocals as an instrument. At some parts it sounds like a different language, but during the verses it sounds more like she's using them as an instrument.

Oompa Radar (5/10) - Easily ties with Deer Stop as the weirdest song on the CD. Or maybe this one is the weirdest song by itself. Deer Stop is actually very pretty whereas this song is... very drug-induced sounding. So eclectic you may actually look at your speakers with that "wtf?" facial expression for the entire duration of the song. At least Allisons vocals are great as usual. The end of the song is actually pretty trippy too.

Utopia (10/10) - My absolute favorite song on the CD, and my favorite Goldfrapp song pretty much. This song is so AMAZINGLY gorgeous, genius, and unique. Also it has a beautiful video. Try driving around in nature during the twilight hours when the sun is setting and blast this song. It's literally an experience - a wonderful one at that. SERIOUSLY one of the BEST songs on the CD, and one of the best Goldfrapp has ever made. This song is reason enough to buy the CD in my opinion.

Horse Tears (8/10) - A piano-driven ballad that makes a great closing track. It's a really good song with a very lovely chorus. Great song - the violins make the song along with Allison's vocals.

Basically... BUY THIS CD! (if this is your kind of music that is). It's an amazing experience. This CD will continue to be constantly played in my CD player for many many many years to come.

mediocrity at its best!
Sorry to be the dissenting opinion here, but this album is not that great. Allison Goldfrapp is unconvincing, and lacks the charisma to be heard over this overproduced and highly derivative mess. High-tech glitchery and slick production (yes, even horn sections and strings) can never make up for weak songs and a weak performance. Must I remind you all of some of the formerly successful members of this lame music genre; Deep Forest, Enigma, Dead Can Dance, Enya, and Portishead, to name a few. This is commercial pop music for the middle-aged. Yawn. Skip this and go strait to Bjork's album Vespertine.

Talk About Your Androids' Dream...
I got this album after hearing one of her tracks on a TV commercial. At the first listen, I thought, "This is a nice enough album. A little eccentric in spots, but I like that." At the second listen, I already had gotten hooked on certain parts of some of the tracks. By the third listen, I was completely addicted. Now I can't stop listening to it!

It's mellow *and* dramatic without being >ahem< melodramatic. The vocals range from extremely intimate, for-your-ears-only, and childlike, to operatic and machine-filtered. The lyrics are somehow very affecting despite (or because of?) their frequent nonsensical quality.

There is a nice blend of organic and generated sound in the instrumental layers. (It's often difficult to tell which is which.) There's probably nothing that would have prepared me for the eclectic mix of styles, such as the tuba/polka sounds of "Oompa Radar."

Overall, a perfect album for summer listening. ...