Un Viaje Pt. 2 [Import]

un viaje pt. 2 [import]

Editorial Reviews
Product Description
The first single from the American R&B vocal quartet's current third album, 2001's platinum & top three 'Jagged Little Thrill'. This import disc features five tracks, four of which are previously unreleased non-album cuts that don't even appear on Sony's

Un Viaje Pt. 2,Cafe Tacuba,Latin Pop/Rock

Un Viaje Pt. 2 [Import]
Cross
Average customer rating: 4.5 out of 5 stars
  • Let There Be Justice!
  • AMAZING DEBUT! (4.6 stars)
 Cross
Justice
Manufacturer: Vice Records
ProductGroup: Music
Binding: Audio CD

GeneralGeneral | Dance & DJ | Styles | Music
ElectronicaElectronica | Dance & DJ | Styles | Music
HouseHouse | Dance & DJ | Styles | Music
GeneralGeneral | Dance Pop | Dance & DJ | Styles | Music
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Pop RockPop Rock | Pop | Styles | Music
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ASIN: B000QCUB8I
Release Date: 2007-07-10

Tracks:

  1. Genesis
  2. Let There Be Light
  3. D.A.N.C.E.
  4. Newjack
  5. Phantom
  6. Phantom Pt II
  7. Valentine
  8. The Party
  9. Dvno
  10. Stress
  11. Waters of Nazareth
  12. One Minute to Midnight

Amazon.com

Justice is the moniker of the Paris-based production duo Gaspard Augé and Xavier de Rosnay. Their approach to crazy-quilt dance-pop hybridism is infectious, if a tad off-putting here and there. The duo rose to fame due to an MP3 single and super smart video for the excellent, kiddy-chorused house-pop number "D.A.N.C.E." in 2007, and they soon thereafter signed to the suitably named label Banger. They manage to make really silly and fun music in a way that frequently comes off in a pretentious manner. It's ridiculous to name your album after a symbol, especially if it's †. This is not meant derogatorily. Really. Justice does appear to be that rare breed of dance artist equally capable of stimulating the body and the mind, though neither Richard James nor the Basement Jaxx need fear this act. After just one listen to "Waters of Nazareth," it's very difficult to avoid wondering "how the hell did they mix and match noise and pop so beautifully" while also dancing furiously. --Mike McGonigal

Album Description

Justice's monster beats, massive hooks, thunderous drums, and near-religious determination to demolish dance floors cast them in a light no contemporary can catch. The group's US debut single, "Waters Of Nazareth" arrived in 2006 and solidified their sound: huge slabs of beats, brutal strings, and cathartic release. That record sets the stage for this, their debut full-length, boasting the already ubiquitous disco pop anthem "D.A.N.C.E.", which features the best English children's choir since "Another Brick In The Wall Pt. 2".

Customer Reviews:

4 out of 5 stars Let There Be Justice!.......2007-07-10

If the opening seconds of Justice's debut album, " ," don't tell you a thing about what you're in store for, you aren't listening. The mudded brass come marching in like they are coming to destroy, and in a way they are. Justice is a dance/electronica group, to be sure, but to label them as such is travesty in and of itself. Like that imperial death march, Justice is here to destroy. In this case, they have come to demolish your preconceived notions about what dance music is and what it can be. Now, until recently I have avidly campaigned against the genre which I feel is cluttered with mundane "artists" who rely on bad samples and horrendous loops to captivate a somewhat dimwitted audience. My opinion is slowly starting to change as I am introduced to artists who are challenging this perception. Justice is one of them.

From the opening track to the very last second of "," I found myself, not only captivated, but amazed, entertained, and energized. Justice comes off as a bull charging towards its victim, with so much momentum and energy that attempting to slow it down would be a fruitless endeavor. Their songs are constantly changing, never relying on a single loop or phrase for too long. And these songs are not lite, easy-listening electronica songs either. They're harsh and brash, with the mids turned up too high for comfort. It's not your average dance album, it is a revelation!

"Let There Be Light" begins with a near-unlistenable melody, but adds in drums, a thumping bassline, and so many cuts and glitches that you'll be in love with it before you know it. It concludes with an absolutely awesome composition that harmonizes synths with synths in a way that sounds like it'd be better suited for the closing credits of a Super Mario Bros. game than a dance record. "D.A.N.C.E." is one of the few songs on " " with actual vocals, and while I found them a bit childish and annoying at first, I was shocked to find the song stuck in my head hours after I first encountered. The song sounds like the Jackson 5 on methamphetamines, if only for the lyrics, "Do the D.A.N.C.E., stick to the B.E.A.T." The disco-esque strings and sing-along quality of the song make the song a sure-fire hit, which is probably why it is the album's first single.

Elsewhere on the album, there's the cut-filled "New Jack," the completely overpowering, yet satisfying "Phantom Pt. I" (and it's more audience friendly second part), and the 100% guilty pleasure "The Party." The latter features such terrible rap-lines as "Let's get drunk and freaky-fied," and if you actually find yourself liking it, then you may want to see if pigs grew wings. It's the one low point on an otherwise flawless album.

The best part about "" is the fact that it never gets boring, an attribute clearly made possible by the group's insistence on keeping the songs fresh around every corner and their refusal to use one loop or riff for any extended period of time. The quality of the songs is through the roof, and the genres touched upon in each song are too numerous to mention. While "D.A.N.C.E." is clearly your crowd-pleaser, songs like "Stress" (which envokes serious Requiem for a Dream soundtrack memories) and "Waters of Nazareth" are designed for the sole purpose of making you nod your head in approval while simultaneously scratching it, thinking "What the heck am I listening to?" " " is an achievement in electronic music that should be listened to by fans and naysayers of the genre alike. Finding a true definition for the music contained on this album is impossible, so I'll just call it this: amazing!

Recommended for fans of electronic music and anyone who wants to experience shock and awe firsthand.

Key Tracks:
1. "Let There Be Light"
2. "D.A.N.C.E."
3. "Phantom Pt. I"
4. "DVNO"
5. "Stress"

7 out of 10 Stars

5 out of 5 stars AMAZING DEBUT! (4.6 stars).......2007-07-10

I'll say it. The electronic/dance record of 2007 has arrived. The long-awaited, super amazing full length from French duo, Justice, breathes life once again into your neighborhood dance floor and come June 11, 2007, also in your favorite record shop. Justice is made up of Xavier de Rosnay and Gaspard Auge, two men that have become famous for mixing a bit of religion with their incredible and righteous beats. It seems wherever they turn up, they make any club/festival into their own private house of worship, and the faithful have been eating it up. Barely visible during their live sets, the two stand behind their giant glowing cross that adorns the decks. Its an ironic twist on the idea of a religious experience. After hearing this album in full, you might be a follower of what they've laid down as well.

Mixing some Daft Punk with early Chemical Brothers gets you about halfway there. Cross's strength is a flawless mix of dance and electronic styles, delivered with amazing production and energy to spare. It follows on the heels of a few well received singles, like 2006's Waters of Nazareth (which is smartly included here). Also catching buzz has been their fun graphically inspired video for the lead single, D.A.N.C.E. The song is great, with or without said video, it's a weird hybrid of Daft and Michael Jackson, with some children's vocals thrown in. It will be one of your favorites this summer, if isn't already.

The really amazing thing about this record is that it holds up through the entire tracklisting. I might have to go back to Underworld's Beaucoup Fish for the last time that happened (ok, maybe Milo's Destroy Rock n Roll, or MSTRKRFT's The Looks). It opens super strong with (appropriately titled) Genesis. As the perfect opener, it's a pulsing surge of fuzzy beats mixed with some over the top drama and a setup found usually in hollywood blockbuster movies, not dance records. never loses steam after Genesis fades into Let There Be Light, in fact it might even get stronger as the record chugs along. I found stuff like Phantom, The Party and New Jack, being as enjoyable as the singles. Stress, a song which backs the final third of the record, is unbelievably grand and just as in-your-face awesome. Vocals and vocal samples on Cross are kept to a minimum, appearing on just a few tracks, The Party (featuring foul-mouthed bass gal, Uffie), D.A.N.C.E., and DNVO. Its a perfect amount of vocals, in fact, everything on this record is pretty much spot on, even the T-Rex-esque album art is terrific.

If you like house/electro/club/Miami bass/trance/breakbeat/dance...whatever, it really doesn't matter. Justice aims to please, and happens to do much more than that. A must have.
Miami Vice
Average customer rating: 3.5 out of 5 stars
  • This soundtrack is awesome
  • Great Movie, Great Soundtrack!
  • love this
  • Original Miami Vice is much better!
  • great listening
 Miami Vice
Original Soundtrack
Manufacturer: Atlantic / Wea
ProductGroup: Music
Binding: Audio CD

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  1. Miami Vice (Unrated Director's Cut)
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  3. Collateral
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ASIN: B000GH3CWA
Release Date: 2006-07-25

Tracks:

  1. In The Air Tonight - Nonpoint
  2. One Of These Mornings - Moby
  3. We're No Here - Mogwai
  4. Sinnerman (Felix Da Housecat's Heavenly House Mix) - Nina Simone
  5. Auto Rock - Mogwai
  6. Arranca - Manzanita
  7. Ready For Love - India.Arie
  8. Strict Machine - Goldfrapp
  9. Pennies In My Pocket - Emilio Estefan
  10. New World In My View - King Britt
  11. Sweep - Blue Foundation
  12. Anthem - Moby
  13. Blacklight Fantasy - Freak Chakra
  14. Mercado Nuevo - John Murphy
  15. Who Are You - John Murphy
  16. Ramblas - King Britt
  17. A-500 - Klaus Badelt

Amazon.com

Like the film itself, the soundtrack to Miami Vice is no 1980s retro-ride. Sure, it opens with "In the Air Tonight," but it's a cover by nü metal band Nonpoint taken from their 2004 album Recoil. Director Michael Mann's slick revisionist aesthetics are confirmed on two types of tracks. First, there are the dancefloor-friendly ones like "One of These Mornings" (a collaboration between Moby and Patti Labelle) and a house remix of Nina Simone's "Sinnerman" by Felix da Housecat. Then there are the more atmospheric offerings, such as a couple instrumentals by Scottish band Mogwai and the last four tracks, that suggest the kind of steel-blue ambiance Mann is so good at creating (especially John Murphy's "Mercado Nueva" and Klaus Badelt & Mark Batson's "A-500"). Odder is the lack of local flavor: there's only a pair of Latin-flavored tracks, Arranca and Emilio Estefan, for instance. Not to mention that if ever there was a soundtrack that should have included at least one Miami bass song, it's this one. As for those who still associate Miami Vice with pastel colors and the 1980s, they're better off checking out the soundtrack to Grand Theft Auto: Vice City--a video game that's actually more faithful to the spirit of the TV series than the movie that bears its name. --Elisabeth Vincentelli

Customer Reviews:

5 out of 5 stars This soundtrack is awesome.......2007-06-16

My favorite song I think is Autorock. The whole album just really keeps in line with the theme of the movie.

Great for cruising at night or if you need to just veg-out on some good tunes. Pick it up you want regret it!

5 out of 5 stars Great Movie, Great Soundtrack!.......2007-03-14

This was a great movie, and an even better soundtrack! The music really captures the feel of the movie, and you can almost see the action in the movie when the songs are playing!

I especially loved Nonpoint's cover of In the Air Tonight originally done by Phil Collins. Amazing!

5 out of 5 stars love this.......2007-03-13

I have a lot of soundtracks, and this is one my favourites. Great driving music!

1 out of 5 stars Original Miami Vice is much better!.......2007-02-05

This soundtrack is not as nice as the original Miami Vice. The artists listed on this soundtrack are not familiar to me since I've grown up listening to Genesis & Phil Collins Etc. I believe this movie would've been much better with the same characters such as Don Johnson, Philip Michael Thomas, Edward James Olmos, Saundra Santiago Etc. After growing up watching Miami Vice on TV, I can honestly say that this movie & the music on it has no spirit of the original Miami Vice.

4 out of 5 stars great listening.......2007-01-21

I was impressed by the variety of different kinds of music on the CD. I bought it with only one or two songs in mind but now I must say I enjoy the whole disc.
5:55
Average customer rating: 4 out of 5 stars
  • good, bad, ok...
  • Secret Doors and Delicate Whispers
  • Like father, like mother, like daughter...!!
  • KAY ARE A PEE
  • 5:55 Charlotte Gainsbourg
 5:55
Charlotte Gainsbourg
Manufacturer: Vice Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B000NQR7UC
Release Date: 2007-04-24

Tracks:

  1. 5:55
  2. AF607105
  3. THE OPERATION
  4. TEL QUE TU ES
  5. THE SONGS THAT WE SING
  6. BEAUTY MARK
  7. LITTLE MONSTERS
  8. JAMAIS
  9. NIGHT-TIME INTERMISSION
  10. EVERYTHING I CANNOT SEE
  11. MORNING SONGUS BONUS TRACKS
  12. SET YOURSELF ON FIRE
  13. SOMEWHERE BETWEEN WAKING AND SLEEPING

From Amazon.co.uk Review

Even without Charlotte Gainsbourg's musical heritage, the prospect of an album written and performed by Air, with lyrics by Jarvis Cocker (ex-Pulp) and Neil Hannon (The Divine Comedy) would be enough to entice most sensible music fans. But as a combination, 5.55 is far better than probably even the participants imagined it would be.

The combination of Air's trademark glide complements Gainsbourg's voice (which is less singing and more melodic, breathy recitation), to the point where, had the lyrical input been less than stellar, this could easily have sent the listener to sleep. Instead, the emotional detachment in Gainsbourg's delivery acts as a foil to the passion presented in the lyrics. For their part, Cocker and Hannon excel with their trademark darkly humourous input- the passenger on a doomed flight in "AF407105", the surgery/seduction metaphor in "The Operation", or the venomous "Jamais" being particular standouts.

Even though 5.55 bears all the hallmarks of its creators (if so inclined, one could see this as a new Air album, or imagine Cocker or Hannon singing the lyrics), it's even more than the sum of its parts and is almost certainly one of the best albums you'll hear in 2006 or beyond. --Thom Allott

Amazon.com

This collaboration has produced a perfect result, wherein all involved have raised the finished work to spectacular heights. Interspersing her recordings into her acting career, Charlotte Gainsbourg has come out with her second full-length release. The music was written and performed by Air, with lyrics by Jarvis Cocker and Neil Hannon. All 13 tracks (two more than on the European release which appeared in 2006) are finely wrought in every regard, with the arrangements and production moving liquid-like across the set, making for a gorgeously seductive whole. Though significantly different-sounding, Gainsbourg shares with her father Serge an approach to singing that uses speaking tones and timbres. Her whispered voice adds a powerful intimacy to the songs, while Air's musical structures create landscapes and cityscapes through which she wanders, purposefully, suffused with mystery and secrets. The melodies, built for her voice, move with ethereal precision. Gainsbourg's human-scaled singing and Air's unassumingly grand settings create an emotional tension throughout. The album offers atmospheric reveries, pop smarts, and sly invention. --David Greenberger

Album Description

International movie star, fashion icon, and music royalty (daughter of French pop icon Serge Gainsbourg) makes her US debut. Already platinum in France with worldwide sales of over 500,000. The US CD release includes two previously unavailable bonus tracks, two music videos, and a video interview with Charlotte. Music by Air, lyrics by Jarvis Cocker and The Divine Comedy's Neil Hannon, and produced by Nigel Godrich (Radiohead, Beck).

Customer Reviews:

3 out of 5 stars good, bad, ok..........2007-06-08

Some really horrifyingly great songs with catchy riffs, ambient sounds, mildly interesting instrumentation. Some mediocre singing that doesn't bother me all that much. Overall pretty O.K.

5 out of 5 stars Secret Doors and Delicate Whispers.......2007-06-02

"I feel you all around me
You are everything I cannot see
As the ocean crawls onto the shoreline
So you lap at the edges of me"

Charlotte Gainsbourg's vocals are whispers of silky perfection. With a delicious French sensuality, she merges breathy lyrics by Jarvis Cocker, Neil Hannon and AIR with music by AIR. It is true to say she could sing anything and sound sexy.

At times the music does overtake her velvety vocals and in "Night-Time Intermission" she almost seems invisible except for giggles and silken nuance. At times the moods of her voice seem more important than the lyrics. The highlight is "Tel Que Tu Es" which is breathtaking.

Wistful and creative poetic lyrics make Charlotte Gainsbourg seem wise beyond her years and at times she reminds me of her mother, Jane Birkin on her Fictions album. Charlotte's shyness in singing, which is very attractive in a delicate way, will in no doubt give way to a full range of vocal ecstasy in future albums.

~The Rebecca Review

P.S. If you love electronica you may also want to check out
the debut album by Evening Ocean - The Attraction.

4 out of 5 stars Like father, like mother, like daughter...!!.......2007-05-16

Her mother Jane Birkin added her breathy, orgasmic tones to her father Serge Gainsbourg's "Je T'Aime... Moi Non Plus".

And the family resemblances are unavoidable in Charlotte's album, that voice hesitant, barely a whisper at times, but shimmering with sexiness.

What saves this album from being a lot of Gallic mumblings bound up in its own self-importance is the heavweight help the family name commanded.

Jarvis Cocker and Neil Hannon are involved in the writing, those Parisian maestros of wafting electronica "Air" are on board, as is "Radiohead" producer Nigel Godrich and Nigerian percussionist Tony Allen, lauded by Brian Eno as "the greatest musician on the planet".

We get the mildly erotic, such as the teasing "Beauty Mark", and we get something like beat poetry in "AF607105", with its stark lines about air travel.

There's also big helpings of the kind of wistful balladeering only the French can muster.

4 * * * * and 1/2.

Jane Birkin et Serge Gainsbourg
The Originals
Songs That We Sing
L'Effrontee

1 out of 5 stars KAY ARE A PEE.......2007-05-10

Um, hello? Has anyone noticed that this woman doesn't know how to sing? Most songs are an over-baked litany of melodramatic metaphors that add up to ... what? Others appear to be some sort of short story told in the past tense. All are whisper-talked by the artist in her faux Gallic/Brit accent that wears poorly as the CD progresses. The few times when the producers require her to actually hit a note are cringe-inducing.

I wanted to like this record and spent $15 of hard-earned cash on it. But I guess there's a good reason why she's only dragged out of storage every ten years.

5 out of 5 stars 5:55 Charlotte Gainsbourg.......2007-05-07

What a great album!!! I never knew she sang as well. I have seen her in French movies and enjoyed greatly her acting in those movies. Now I even adore her more, because not only can she act, but she can sing as well!!!
Go Charlotte Go!!!! Can't wait for her next album.
A Weekend in the City
Average customer rating: 4 out of 5 stars
  • don't believe the naysayers, this album is an amazing feat.
  • A Solid, but Less Upbeat, Sophomore Album
  • Is It So Wrong to Crave Recognition?
  • Just so so (In my opinion)
  • THAT TOUGH SECOND ALBUM
 A Weekend in the City
Bloc Party
Manufacturer: Vice Records
ProductGroup: Music
Binding: Audio CD

GeneralGeneral | Alternative Rock | Styles | Music
Indie RockIndie Rock | Indie & Lo-Fi | Alternative Rock | Styles | Music
BritainBritain | British Isles | Europe | International | Styles | Music
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ASIN: B000M06K5C
Release Date: 2007-02-06

Tracks:

  1. Song For Clay (Disappear Here)
  2. Hunting For Witches
  3. Waiting For The 7:18
  4. Prayer, The
  5. Uniform
  6. On
  7. Where Is Home?
  8. Kreuzberg
  9. I Still Remember
  10. Sunday
  11. SRXT

Amazon.com

Bloc Party may have arrived in an outbreak of like-minded British bands set upon shooting holes in the Union Jack while knocking out a sharp post-punk soundtrack, but it didn't take long for the foursome to set itself apart from the pack. Fronted by Nigerian-born singer Kele Okereke, the group's 2005 debut, Silent Alarm, soared as much on crystal ambition as it did on ridiculously danceable pop melodies. This follow-up is darker, more cluttered, and harder to digest. That doesn't make it less striking. Exploring themes of racism, terrorism, sexuality, addiction, and death--the usual fodder for a cosmopolitan three-day bender--Weekend in the City is an album that plays to Bloc Party's strengths: tempo-shifting rhythms, inventive art-rock arrangements, and lyrics that twist and turn on a whim. "The Prayer" and "Uniform" are particular standouts, capturing moments when Okereke lets self-importance fade and majestic beats take charge. --Aidin Vaziri

Album Description

The follow-up to their smash debut, "Silent Alarm", is every bit as bright, powerful, and catchy, with the addition of more muscle, attitude, depth, and a bit of polish courtesy of their producer, Jacknife Lee (U2, Snow Patrol). Inspired by lead singer Kele Okereke's interest in what he calls "the living noise of a metropolis", this record captures every detail of daily life in a modern city from the ebullient to the mundane. From the quiet desolation of commuting to casual sex, from going out on a Friday night to the long ride home early in the morning, these are songs desperate to understand the meaning that pulses under the moments of our every day.

Customer Reviews:

5 out of 5 stars don't believe the naysayers, this album is an amazing feat........2007-06-29

if you take music your music seriously, you'll feel the strong steady pulse that beats below this killer sophomore album.

seriously. fingers out. put it on the cd sleeve. keep still and wait a few seconds...

okay. maybe if you have an imagination in hyperdrive but still, my point is that while "Weekend in the City" may lack the dancier and poppier aspects "Silent Alarm" posessed, the fact they've gone DEEPER into the instrumentals and textures and ambient noises make it so much more fulfilling! anyone can dish out some drum machine beats and a catchy guitar hook, and while this album definitely has that (hello? "Sunday" anyone?), I love how they took the direction of my personal favorite from "Silent Alarm" ("So here we Are") and just built so much on that.

Is "Weekend in the City" an album full of club-banger hits for the indie kids who still call themselves "hipsters" without irony? Probably not. Is it an album good for introspection while wandering around at 2am downtown in the city (not smart, but appealing!)? Most definitely. buy this album. you won't regret it.

4 out of 5 stars A Solid, but Less Upbeat, Sophomore Album.......2007-06-29

There was a time, about a year and a half ago, when I considered Bloc Party to be one of my favorite bands. I listened to their debut, Silent Alarm, almost obsessively and still consider it one of my favorite albums - whether I needed something energetic or pensieve, I could, and still can, find it on that album.

Naturally I was excited about A Weekend In The City before I ever heard it, and upon hearing it I wasn't sure what to think. The first six of the album's eleven songs grew on me immensely, while the second half of the album blurred together without any of the songs making an impression on me. Upon revisiting them, I realized that the immediately listenable songs didn't necessarily have longterm playability; conversely, the five final songs reflect just as much, if not more care than the other tracks -unfortunately, when listened to consecutively, they do tend to sound similar. Listen to them separately, and they really do shine: particularly, 'I Still Remember' and 'Sunday' didn't really grab me when I first heard them, but now rank among my favorites by the band.

All in all, AWITC is a slower album to enjoy than its predecessor, with more of a focus on setting soundscapes than writing hooks for catchy choruses. If you enjoyed the more contemplative parts of Silent Alarm, you'll love A Weekend in the City. Otherwise, expect to spend more time becoming acquainted with the work here.

5 out of 5 stars Is It So Wrong to Crave Recognition?.......2007-06-16

I saw this band on Late Night with Conan O'Brian and I was very impressed with their live performance of "The Prayer." The singer was Black, but his style was somewhere between, Robert Smith, of The Cure, and Feli Kuti, the Nigerian singer and Afrobeat band leader. Turns out the band was fronted by Nigerian-born singer Kele Okereke. The rest of the band looked like a lot of post-punk limey slackers, and by gum, they were exactly that.

From London and South East United Kingdom, this latest deconstruction and reassembly of the modern sound is astounding, indeed. "The Prayer" sounds like some kind of Gregorian chant, or possibly the throat singing of Tibetian monks. The ominous hum builds and is joined by the coolest guitar riff since Satisfaction, a crisp Telecaster riff, at once primative and modern. When Kele Orereke begins to sing, a similar mixture of modern and primative ensues, as electric guitars, bass, and drums, fraternize with an African chant. Lots of shifting tempos, noise and melody, melody OF noise, dance tempos, irresistable beats.

I found their page on MySpace and watched the video for "The Prayer" and some other songs. "The Prayer" video is very good, and it just shows some modern urban kids out for a night on the town, trying to find a cool club in which to dance. Kele is a face in the crowd, lost in the shuffle, but he knows if they would only give him a chance, they would see that he is really a unique phenomenon, worthy of their attention and patience. The lyrics are really very powerful.

Another video shows the band playing on a train, and is like one long pan from car to car of a moving train. Some kind of special effects technique was involved, because it seems like the eye of the camera dollys through the entire train, from engine to caboose, and the band and Kele keep popping up on every car.

Other videos show band members as animated cartoon characters. Shades of Scoobey Doo, or at least The Gorillaz.

I have just discovered this band, but from what I have seen so far, I am very impressed, and will pursue hearing more of their excellent music. A good place to start is on their MySpace page, and if you are intrigued like I was, you can get this album, A Weekend in the City, or else try their first album, Silent Alarm.

3 out of 5 stars Just so so (In my opinion).......2007-06-07

The album starts off very softly but then the opening song progresses into something you can really get up and move to. It's exhilerating an spectacular.

"Hunting for Witches", while still an extremely good songs, reminds me a little too much like "Helicopters" from the band's original album "Silent Alarm". The fact that it's also the 2nd track (same position as Helicopters) is slightly jarring. If you own both albums take a listen, you'll be shocked and slightly annoyed. To me, while "Hunting for Witches" does stand as a marked improvement from "Helicopters" the fact that the two songs are soooo similar, is slightly annoying, but I digress.

"The Prayer" is quite possibly one of the best songs on the album. You can practically feel the artist pleading for the power to be a star and then feel the emotion as he imagines his own future greatness. Really inspiring stuff.

"Uniform" stands well but tends to go off on awkward tangents at time that one fines a little unnecesary.

All the other tracks save for the last one, seem mediocre at best. Just not all that great, but still not necessarily bad either.

The very last album, which describes a real drug for antidepression is one of those song that can really get to you. One of the band's former detractors, who name escapes me at the moment, said that this is the song that made him cry into a cushion for about 15 minutes.

3 out of 5 stars THAT TOUGH SECOND ALBUM.......2007-05-28

That tough second album. We've all heard it before, a band has a great debut only to stumble and fall flat on its face when they release the follow up. Bloc Party was one band I thought was quite immune to the notion of stumbling. After all, 2005's Silent Alarm was one of my favorites that year. Alas, 2007 has brought us Weekend In the City, that tough second album that really is, that tough second album.

It starts out extremely promising with Song For Clay, a song that, after an erie opening, quickly shotgun blasts into the familar guitars found on Silent Alarm, it's punchy, direct and a whole lot of fun to boot. The next few numbers, including Waiting For The 7.18 and Uniform, aren't as memorable. When we hit the record's fourth track, The Prayer, we can finally hear some new direction. The Prayer, which was the lead UK single, sounds off and devoid of a melody. This is mainly for the experimental road Kele and co. have taken rhythmically. He has said in many interviews that the drum track for The Prayer came from listening to an old Busta Rhymes song, the one with the elephants in the video, I'm sure you know it. I applaud them for trying something new, but the song's pacing is annoying, even after a few listens you can only start to hear a melody. The chorus, when it finally kicks in, is actually very good and it almost saves the tune... almost. Which brings us to the last half of the record and the main problem with the entire offering. It seems in the struggle to expand one's sound, Bloc Party have lost the one thing they did well, hook friendly melodies. Even the single, I Still Remember, would be one of the skippable tracks if it appeared on Silent Alarm. Other songs don't fare even that well. Again, the melodies and hooks are non-exsistant, making a song like Sunday, just passable, but just barely, much like this record as a whole. Its good, but in the end, it should've been better and a little bit more fun to listen to.
Miami Vice (1984-89 Television Series)
Average customer rating: 4.5 out of 5 stars
  • Hottest cop show's of the eighties
  • miami vice
  • Miami Vice still as nice
  • Standing the test of time
  • Nice
 Miami Vice (1984-89 Television Series)
Jan Hammer
Manufacturer: Mca
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Miami Vice II: New Music From The Television Series Miami Vice
  2. Miami Vice
  3. Miami Vice - Season One
  4. Miami Vice - Season Two
  5. The Best of Miami Vice

ASIN: B000002O4W
Release Date: 1990-10-25

Tracks:

  1. The Original Miami Vice Theme (Instr)
  2. Smuggler's Blues
  3. Own The Night
  4. You Belong To The City
  5. In The Air Tonight
  6. Miami Vice (Instr)
  7. Vice
  8. Better Be Good To Me
  9. Flashback (Instr)
  10. Chase (Instr)
  11. Evan (Instr)

Customer Reviews:

5 out of 5 stars Hottest cop show's of the eighties.......2007-05-13

Best dance, funk, rock, soul etc. music ever used in a TV action series

5 out of 5 stars miami vice.......2007-02-21

i have wanted to get this for awhile now..so i figured i ordered something for my husband i may as well order this one for me..
there is nothing like the original miami vice.....love it...

5 out of 5 stars Miami Vice still as nice.......2007-01-26

When you listen to this CD, it brings back the actual feeling of the 80's, as well as the program itself. The songs are relevant even in today's world. The instrumentals by Jan Hammer are truly masterpieces!

5 out of 5 stars Standing the test of time.......2006-09-13

I first got this on LP and listened to it often. I later got it on CD because it is a classic soundtrack and an essential piece for an 80's music collection.

Almost half the tracks on here are instrumental, but all of them are great. Most people probably bought this CD for the first track (The Original Miami Vice Theme). "Miami Vice" is an extended remix of the original theme and is also good. "Evan" and "Flashback" are softer tunes, which are also enjoyable. But so that one doesn't get to relaxed, "Chase" is set between them and this tune really moves.

The vocal tracks are some classic tunes, as a number of them can be found on other CD's. "In the Air Tonight" is one of Phil Collins' best tunes. It was even remade for the new Miami Vice Move soundtrack. "Smuggler's Blues" & "You Belong to the City" speak clearly about the life portrayed in the Miami Vice series.

"Vice" is rap song, which can teach you one of two things. It's either a prerequisite on what you will deal with as a cop or a it's crash-course for the aspiring gangsta. "Own The Night" is a decent song, but not my favorite. I'm not a big fan of Better Be Good To Me, but liking all but 1 track on a CD is probably a rarity for most people, as I know it is for me.

Few soundtracks have lasted the way this one has. It is a must for the 80's music fan.

3 out of 5 stars Nice.......2006-03-03

I thought this CD was only Jan Hammer themes but find out there are more musics of other people, I would be more happy if this CD were only Jan Hammer musics.
Silent Alarm
Average customer rating: 4.5 out of 5 stars
  • She's Hearing Voices
  • Influential, to say the least...
  • One heck of a debut
  • Sic CD!
  • Arctic who?
 Silent Alarm
Bloc Party
Manufacturer: Vice Records
ProductGroup: Music
Binding: Audio CD

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  1. Employment
  2. The Bravery
  3. You Could Have It So Much Better
  4. Plans
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ASIN: B0007NFMDK
Release Date: 2005-03-22

Tracks:

  1. Like Eating Glass
  2. Helicopter
  3. Positive Tension
  4. Banquet
  5. Blue Light
  6. She's Hearing Voices
  7. This Modern Love
  8. Pioneers
  9. Price Of Gas
  10. Little Thoughts (bonus track)
  11. So Here We Are
  12. Luno
  13. Plans
  14. Compliments

Amazon.com

Styled more along the lines of a revolutionary cell than a band, Bloc Party approach the medium of rock'n'roll with the sort of high seriousness usually reserved for philosophy lectures. Yet on Silent Alarm, this "autonomous unit" of smart, wiry London youth don't just succeed in reinvigorating the artform--they come pretty close to reinventing it from the ground up. Whereas early singles like "She's Hearing Voices" found the band still attempting to chisel their own image out of familiar post-punk reference points--The Fall, Joy Division, and Gang Of Four, to name but three--newer tracks such as "Like Eating Glass" and the prickly "Price Of Gas" find Bloc Party pioneering a freshly-minted template of staccato percussion, expansive soundscapes, and cryptic lyrics that artfully straddle the political and the personal. Russell Lissack has forsaken that overdone hallmark of post-punk, brittle tortured-fretboard skronk, in favor of an effects-laden guitar sound that adds genuine prettiness to Bloc Party's edgy rush. But it's Kele Okereke's vocal that's the band's most flexible facet, morphing from frothing anger to breathless desperation. "Are you hoping for a miracle?" he bays, on "Helicopter". Yes? Well Silent Alarm ably fits the bill. --Louis Pattison

Album Description

Bloc Party is an autonomous unit of un-extraordinary kids reared on pop culture between the years 1976 and the present day. They eventually concluded that their own attempts to imitate what had informed them could be innovative and fresh.

Customer Reviews:

4 out of 5 stars She's Hearing Voices.......2007-07-14

And so am I, Kele and Gordon's specifically. Mixed cross-firing angular guitars, anguished vocal delivery, emotionally devastated lyrics, and danceable firework drumming Bloc Party explodes out the speakers with a cool intensity that commercial music has lost. The clean Fender guitar sound lends itself well to the alternately ambient and aggressive playing of Russell and (generally) grounded rhythm stylings of Kele. Gordon's bass playing throughout the album displays a solid rock know how in constructing parts that both hold up the rest of the song while also being individually listenable.

All the songs fire on all cylinders; even the ballends such a "Blue Light", "Complements" and "So Here We Are" hit home with intensity rather than outright speed. The rockers like Helicopter, Positive Tension, She's Hearing Voices, and Little Thoughts rush along powered forward by Matt's drumming, pulled skyward with racy guitar lines and thicked up with rich bass. The only dud is "The Price of Gas" which happens to be the only moment that Kele's ranting goes to downright annoying with the repeated yelling of phrases like "Is that a FA-CT, Is that a FA-CT, Is that a FA-CT". It really kills the momentum of the album to the extent that nine times out of ten I skip it. Otherwise this is a 5 star album, with beautiful production values and a band performing like finely tuned sports car; racing, weaving, speeding up, and slowing down with almost unimaginable hast and ease.

5 out of 5 stars Influential, to say the least..........2007-07-07

It's very rare for me to get around to writing a review for any album, let alone a British pop group. However, this album compels me to make the time to put in my two cents.

I'm under the notion that Third Eye Blind's first self-titled release in 1996 (?) was one of the most influential albums of the 90s, given its unbelievable accessibility, the amount of radio-play for at least 4 singles, and the last 4 tracks on the album which were, in my opinion, better than any of the singles, including Jumper and How's it Gonna Be. Third Eye Blind set out a different pace and track for future bands to follow. Whether or not you like their next 2 albums, just throw their first release in your player and give it a spin, beginning to end, and come back later.

Having said that, Bloc Party's 2005 release is already the most memorable output of the 21st century concerning rock/pop/dance/indie/hipster, whatever the hell you want to call the conglomerate of those different genres. I'll stake the claim that, come 2011, you'll want to keep this album in your short-list of reliable things to listen to. Spectacular, blood-pumping highs ("Like Eating Glass," "Positive Tension," "This Modern Love") and impossible-to-ignore introspective tracks ("Banquet," "So Here We Are," "Plans," "Compliments") than any album of at least the past five years.

If you already own it, pay special attention to the final 5 tracks. If you don't own it, get it, jam out to the first 6 or 7 songs for a few weeks, then throw out "Plans" and "Compliments" back-to-back for your listening enjoyment. When an album does not have a skippable track on it, you know you've found something special.

5 out of 5 stars One heck of a debut.......2007-06-27

They may be a bit over-hyped, but Bloc Party is still a group with a lot of talent and a very unique style. The whole album is very enjoyable, not just the singles.

5 out of 5 stars Sic CD!.......2007-05-17

This cd is gr8 my first purchase from bloc party & I really am enjoyin it!

4 out of 5 stars Arctic who?.......2007-03-15

Inspired release from the British whiz kids finds a passionate, forcefully assured unity driving this impressively emulated synthesis the unit has concocted, taking everything these humble innovators have heard in their young musical lives and offered a compelling synthesis to all that is youthful and relevant in carrying that torch. For once I think the crazed British music press actually got it right with Bloc Party's compelling debut, an album looking backwards and forwards simultaneously while remaining a fascinating Rock debut on a track-by-track, note-for-note basis. Styled with a delicate, intricate and still gritty, rockable, and danceable approach, Kele and company managed to silence nearly all alarms with an admirably focused debut sprayed with enough instrumental embellishment and rhythmic/melodic knowledge to make any up and coming new-school rock bands blush. In the thick of things we do tend to see a few of Bloc Party's themes (particularly in Okereke's guitar and chorus delivery) to bog certain songs down in repetition, but overall this blistering reinvigoration to Rock still has yet to be surpassed or emulated itself.
Miami Vice II: New Music From The Television Series Miami Vice
Average customer rating: 4 out of 5 stars
  • Great collection of tunes from the show, but...........
  • Style is also great to listen to
  • Nice
  • A CD That Outlasted The T.V. Series
  • Fair
 Miami Vice II: New Music From The Television Series Miami Vice
Jan Hammer
Manufacturer: Mca
ProductGroup: Music
Binding: Audio CD

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  1. Miami Vice (1984-89 Television Series)
  2. The Best of Miami Vice
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  4. Miami Vice - Season One
  5. Miami Vice - Season Four

ASIN: B000002O54
Release Date: 1990-10-25

Tracks:

  1. Mercy - Steve Jones
  2. Send It To Me - Gladys Knight & The Pips
  3. Take Me Home - Phil Collins
  4. The Last Unbroken Heart - Patti LeBelle/Bill Champlin
  5. Crockett's Theme (Instrumental) - Jan Hammer
  6. When The Rain Comes Down - Andy Taylor
  7. Lover - Roxy Music
  8. Lives In The Balance - Jackson Browne
  9. In Dulce Decorum - The Damned
  10. Miami Vice: New York Theme (Instrumental) - Jan Hammer
  11. Original Miami Vice Theme (Instrumental) - Jan Hammer

Customer Reviews:

3 out of 5 stars Great collection of tunes from the show, but..................2006-08-05

It's missing "Voices" by Russ Ballard and "Ship of Fools" by Robert Plant. The first album disappointed me by not including "Girls with Guns" by Tommy Shaw and "I've Got a New Girl Now" by Honeymoon Suite.

5 out of 5 stars Style is also great to listen to.......2006-08-02

NOTE: Though this may appear to be a long review, keep in mind it is designed for those who want to know nearly everything about this product. Thank you.


Miami Vice II: New Music From The Television series "Miami Vice" was the second of its kind. Rather confusingly, Miami Vice II covers songs from both the show's second and third season, not just the second, as the title seems to suggest. Rather, the "II" designates it as the second soundtrack. Complicating matters more is the fact that the VHS for the second season opener is also called "Miami Vice II", and this album would seem to be the accompanying soundtrack. It actually does include some songs from the two-hour second season premiere episode, but it goes beyond that as well.

Miami Vice II opens perfectly with the whispery, shadowy "Mercy" by former Sex Pistols(!) guitarist Steve Jones. Serious and moody, the song is the musical equivalent of the visual shift to darker colors in the show at the time of this album's release. It's a great opener for the album and a great song as well. It appeared in the third season episode "Stone's War".

The next track is "Send It To Me" by Gladys Knight and the Pips. Unlike "Mercy", which appeared on another additional album apart from Vice II (Jones's 1987 solo debut), "Send It To Me" is unique to this album. Interestingly, it is never heard in the series. "Send It To Me" is a bit brighter than the first song and eases you into the album more. But it is no less slick; the smooth, synth-laced pop-R&B trappings are also one of the song's strengths. A 12" single included an extended version, an acapella, and an instrumental of the song.

"Take Me Home" follows, and, honestly, no description can do justice to this song. Abstract, rhythmic, lulling, melodic, and hypnotic, it is Phil's pinnacle achievement. At the time, Phil Collins was on top of the world. Having used his all-time classic "In the Air Tonight" for the first soundtrack, it only seemed right to have another Collins song used in the series appear on the second soundtrack. "Take Me Home" was used for the ending of the second season two-hour premiere "The Prodigal Son" in a sequence fans will remember fondly.

"The Last Unbroken Heart" may make some cringe, but this emotional roller-coaster of a love-ballad duet should speak clear to anyone who has a heart. Two powerful voices - Patti Labelle and Bill Champlin's - take turns singing the verses, then join for the all-out chorus, which has Champlin screaming at ont point. Also unique to the album. From the memorable third season premiere episode "When Irish Eyes Are Crying". The episode featured a different, partially instrumental version.

"Crockett's Theme" by the brilliant Jan Hammer makes its debut here. Hammer scored the series and, in keeping with the tradition of the first soundtrack, again supplies some songs inspired by the music he composed for the series. I say "inspired" because Hammer, ever the professional, believes in crafting his sounds to a radio-ready format, so that each of his tracks feel polished and integrate into the album well. Therefore most of contributions to the soundtracks are not what you heard on television, rather, they are redone as singles. And they work astoundingly well. "Crockett's Theme" might be the most brilliant instrumental created for a character, surprassing Harold Faltermeyer's stiff and dated Axel F. It works so well without words. It's sexy. It might be the best track on the album; it's certainly the coolest. Perfectly fitting the character Sonny Crockett.

"When The Rain Comes Down" is another track unique to Miami Vice II. This uptempo, fast-paced rocker brings some needed energy into the album midway through. Done by Andy Taylor, who released his own solo effort apart from Duran Duran shortly after. This song was featured in the third season episode "Stone's War". A rare 45 includes an extended version (by a minute).

"Lover" must have pleased Roxy Music fans and non-fans alike; fans because it had never been released on compact disc until this album, as it is an extremely rare track and non-fans because it is a great song. Dreamy, mellow, and wandering, Bryan Ferry's fluttery vocals make it all the more sweet and memorable. Though not unique to Miami Vice II anymore (it also appears on Roxy's Thrill Of It All), it did not appear anywhere in the series. It's also the oldest song here: copyright 1982.

Another 70s punk-turned-slick 80s AOR act, The Damned, turn in "In Dulce Decorum", which blends a great riff, big harmonies, sparse, soaring vocals and a complex, layered sound. It's quite different from the other selections, but it's a great song and works well nevertheless. Interestingly, the song featured in the third season episode "Walk Alone" is a vocalized version, which would make this here an instrumental version.

Jackson Browne's "Lives In The Balance" accomplishes quite a feat: it serves both a melodically haunting sound and a powerful political statement. Browne questions America's involvement in foreign wars, wars that are decided by people far removed from those who fight it. Browne's story-telling lyrics and impassioned vocals bring the material to life. It could easily apply to today's world. The only political song here, it doesn't feel awkward thanks to the Jan Hammer-like pan flutes and overall tense, mysterious feel. Appeared in the third season episode "Stone's War".

The last two tracks are additional instrumentals by show composer Jan Hammer. "Miami Vice: New York Theme" is a chaotic, energetic dance-like theme to hail the arrival of Crockett and Tubbs in New York City from the episode "The Prodigal Son". There's a lot of stuff going on, but it's Hammer and it's another great, fun track. Listen for the abrupt shift at the end. That final part is part of a longer, unreleased theme from that episode. It's a nice touch to include it. The second Hammer track and final track on the soundtrack is the original, 60 second Miami Vice Theme used for the opening credits of the tv show. This is probably the greatest TV theme ever. It is certainly the most brilliant.

Miami Vice II is filled with lush, sleek, polished, mainstream 80s pop-rock. What makes it such a terrific listen time and again are the selections and the order of the selections: all of them to flow in unison to some hidden, undercurrent of cool, yet they are all strong and unique enough to stand on their own. And that is the making of a great soundtrack album.

In comparison with the first soundtrack, this one is more interesting and enjoyable. The first soundtrack was more gritty and slightly tacky. This one is all class, first-class all the way. The soundtrack producers succeeded: it's cooler. And that's hard to top in the world of "Miami Vice".

To be honest, serious fans of the show may be disappointed; especially when looking back, it feels as if something more could have been included, considering how many other fine songs were featured in Miami Vice that were never released on the soundtracks (or never released at all) but could have been here. Especially frustrating are the Jan Hammer selections. Two of the three of them were released on other albums around the same time. Considering the myriad of gorgeous mini-themes Hammer created for exclusively for the show, it's a little bit of a let-down several additional new tracks were not included.

That said, fans of 80s pop-rock in general who are not necessarily into the show will find a lot to enjoy here, and they will find themselves coming back to Miami Vice II over and over. It may not be for everyone, but it is certainly the finest of its genre and perhaps of its era too.

Note there are three different versions of this CD. Two are North American releases with differing cover poses, and the third is a German release with a different rear insert design. All have the same song content.

3 out of 5 stars Nice.......2006-03-03

I thought this CD was only Jan Hammer themes but find out there are more musics of other people, I would be more happy if this CD were only Jan Hammer musics.

4 out of 5 stars A CD That Outlasted The T.V. Series.......2004-08-19

Seeing Miami Vice in re-runs really made me wonder what I saw in the T.V. show in the first place. The music from the T.V. show is a different story. I originally bought this sound track for Andy Taylor's "When The Rain Comes Down". After hearing the entire CD I was quite surprised that it transcended my expectations. A nice merge of divergent music styles.

3 out of 5 stars Fair.......2003-08-21

Following the massive success of the first Miami Vice soundtrack, this album feature some new songs that are fair but have nothing memorable about them. It also was not liked by the audience that much either b/c it only charted at 82 on the billboard 200, unlike the original which was number 1 for 11 weeks. If youre a die hard Miami Vice fan, I recommend it, but if youre not just skip over this and buy Miami Vice The Complete Collection.
Fancy Footwork
Average customer rating: 3 out of 5 stars
  • chea
  • Do You Like 80s Music, Stripped of Creativity? If So, Buy This Album!
  • Did you like the last one?
 Fancy Footwork
Chromeo
Manufacturer: Vice Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B000PSJCO2
Release Date: 2007-06-19

Tracks:

  1. Intro
  2. Tenderoni
  3. Fancy Footwork
  4. Bonafied Lovin' (Tough Guys)
  5. My Girl Is Calling Me (A Liar)
  6. Outta Sight
  7. Opening Up (Ce Soir On Danse)
  8. Momma's Boy
  9. Call Me Up
  10. Waiting For You
  11. 100%

Customer Reviews:

4 out of 5 stars chea.......2007-07-14

its cheesy but if you really care about the integrity of these grooves youre missing the point. this one has tons more production than shes in control (that one feels flat after listening to this one). takes all the best of GAP band and Kleeer mashes it with some electro and you got a great, fun album

1 out of 5 stars Do You Like 80s Music, Stripped of Creativity? If So, Buy This Album!.......2007-07-13

This is the worst farking shiat that I have ever heard in my life. My company was sent this CD to promote via in-store play at a number of our locations and I have not heard anything close to this terrible in the last three years of promotion. To me this CD is what would happen if you took every bad song from the 80s, stuck it in a blender, added 3 cups of reverb, and let it purée. This might make a good gift to a friend who still sports a mullet or any type of "big hair." I hope God has mercy on the souls of everyone involved in this release.

4 out of 5 stars Did you like the last one?.......2007-06-27

You will like this album EXACTLY as much as you liked the last one. Don't get me wrong, I am not saying it's a repeat by any means...in fact, they've come correct with an updated version that's pushed the appropriate boundaries without compromising their unique SMASH-A-DELIC FUNK. Kudos.

I saw them live at last year's Intonation Music Festival in Chicago.. righteous (*even though the promoters put them on WAY too early) If you get the opportunity to support them live, don't hesitate.

P.S. This is a real review from a real reviewer...beware company admen masquerading....
A Grand Don't Come for Free
Average customer rating: 4 out of 5 stars
  • A Real Musical Treat
  • Funny, fresh, different
  • Excellent CD transcends genre boundaries
  • Ain't that the truth
  • OK AMERICANS, TIME TO WAKE UP
 A Grand Don't Come for Free
The Streets
Manufacturer: Vice/Atlantic
ProductGroup: Music
Binding: Audio CD

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ElectronicaElectronica | Dance & DJ | Styles | Music
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  1. Blinded by the Lights
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ASIN: B0001XARU4
Release Date: 2004-05-18

Tracks:

  1. It Was Supposed To Be So Easy
  2. Could Well Be In
  3. Not Addicted
  4. Blinded By The Light
  5. I Wouldn't Have It Any Other Way
  6. Get Out Of My House
  7. Fit But You Know It
  8. Such A Twat
  9. What Is He Thinking
  10. Dry Your Eyes
  11. Empty Cans

Amazon.com

With beats that mix hip-hop, R&B, and UK garage, A Grand Don't Come For Free, like its impressive predecessor Original Pirate Material (2002), transforms the everyday and the mundane into the terms of an epic. British rapper Mike Skinner captures the simple details of a simple existence that inhabits the lower levels of the middle class. But whereas Original Pirate Material was more about everyday life on the streets, this follow-up is more about everyday life in the flat--mom's kitchen, my mate's living room, my girl's couch. The Streets has fallen in love, and his raps narrate the adventures and misadventures of this romance. In all, it is a concept album that places greater emphasis on storytelling rather than on the music, which is often spare with little or no enhancements. With some songs expressing the beauty of love and others expressing the pleasures of drugs, the Streets is still holding it down for the UK. --Charles Mudede

Album Description

Mike Skinner, the musical mastermind behind The Streets, once again melds hip-hop, dub, ska, UK garage beats, and his unique rhyme style to deliver a sound like nothing else. Instead of the snapshot imagery of the last album, "Original Pirate Material", "A Grand..." is one continuous narrative, following Skinner through a day of victories, defeats, and battles.

Customer Reviews:

5 out of 5 stars A Real Musical Treat.......2007-06-27

This work is original and very good. I recommend it to anyone interested in unique talents like Streets. I have noticed a trend with English groups that represent a poetic sense coupled with a feel for Anglo hiphop.
Dry your eyes mate!

4 out of 5 stars Funny, fresh, different.......2007-04-05

I like The Hardest Way album even better but A Grand is very good, too. Some songs made me laugh out loud and still I can't help but grin when I hear them. I appreciate it when an artist has a unique way of looking at everyday experiences and Mike certainly does that.

5 out of 5 stars Excellent CD transcends genre boundaries .......2007-01-24

The Streets, effectively rapper Mike Skinner's vehicle, come into their own on "A Grand Don't Come for Free". While Skinner's debut, "Original Pirate Material", got by on unique beats and Skinner's unusual delivery, "A Grand Don't Come For Free" works just as well on a song-by-song basis, but is also a surprisingly cohesive and moving concept album about relationships and friendship. The album tells the story of the beginning and end of a relationship, matched thematically by the loss and search for a thousand pounds. Sound dull?

Quite simply, it isn't. Skinner's take on the mundane is both familiar and insightful. Highlights abound, from the humorous and catchy "Could Well Be In" to the heartbreaking (and only single) "Dry Your Eyes". Trying to characterize Skinner in a particular genre (hip-hop, garage, etc.) is useless - no CD in 2004 was as funny, melodic, or moving as "A Grand Don't Come for Free". No music lover should miss it.

4 out of 5 stars Ain't that the truth.......2006-12-21

Some of my friends really like it, some really don't. Good stories in the songs. I like it.

5 out of 5 stars OK AMERICANS, TIME TO WAKE UP.......2006-11-21

Reading Americans reviews of brittish albums really gets on my nerves. This is a great album and Americans need to understand one thing about Mike Skinner : HE'S NOT A RAPPER, so please stop saying he can't rap. Everybody on this side of the sea know that. And why do ye dismiss albums because ye find it hard to understand the accent? Thats just plain ignorance. Time for Americans to open their minds. I'm Irish and we have no trouble understanding any accent, whether it be brittish or american, but Americans seen to always have a hard time understanding people that are not american, I bet most americans wouldn't have a clue what I'm sayin if they heard me speak, I'm from Limerick in Ireland and any american that we meet we have to slow down our accent like we're talking to somebody that speaks a different language or a child.
You're a Woman, I'm a Machine
Average customer rating: 4.5 out of 5 stars
  • I don't need this album, but I want it
  • Not Bad, Not Great Either
  • Energetic premise wears thin
  • One Of My Favorites!
  • If Only I Were German
 You're a Woman, I'm a Machine
Death From Above 1979
Manufacturer: Vice Records
ProductGroup: Music
Binding: Audio CD

GeneralGeneral | Alternative Rock | Styles | Music
Indie RockIndie Rock | Indie & Lo-Fi | Alternative Rock | Styles | Music
GeneralGeneral | Rock | Styles | Music
Pop RockPop Rock | Pop | Styles | Music
Similar Items:
  1. The Looks
  2. LCD Soundsystem
  3. Show Your Bones
  4. Pieces of the People We Love
  5. Thunder, Lightning, Strike

ASIN: B0003JAHBA
Release Date: 2004-10-26

Tracks:

  1. Turn It Out
  2. Romantic Rights
  3. Going Steady
  4. Go Home, Get Down
  5. Blood On Our Hands
  6. Black History Month
  7. Little Girl
  8. Cold War
  9. You're A Woman, I'm A Machine
  10. Pull Out
  11. Sexy Results

Album Description

This duo is engrained in the lexicon of Simon and Garfunkel, The Chemical Brothers, The Carpenters, and Sonny And Cher. It's hard to believe the only instruments on this album, aside from the odd flute sample or moog oscillation, are the bass and drums. "This is your album--whether you're a metalhead, suburban stoner, glue-sniffing gutter punk, electroclash fashionista, new wave spazz, hoodie skate-rat, indie rock academic, geriatric Deep Purple fan, or whether you've just been jonesin' for an intelligent, uncompromising but accessible rock record to rival Queens Of The Stone Age's 'Songs For The Deaf' or the first Foo Fighters album"--The Eye.

Customer Reviews:

4 out of 5 stars I don't need this album, but I want it.......2007-03-15

Here's a quick look at You're a Woman, I'm a Machine by the numbers:

Power ballads: None

Whining: None

Lyrics about feelings: None

Acoustic guitars: None

Guitars, period: None

Socially redeeming value: none

Pretentiousness: None

Percentage of this album's running time that makes me bang my head, tap my foot, or even make me attempt something bearing a passing resemblance to dancing: 100

With a breakdown like that, it's easy to see why Death From Above 1979 were able to lend a brief injection of vitality to the too-often dull and self-important world of rock. There may not be any guitars on this album, but the atomic riffs and screeching feedback of Jesse F. Keeler's bass and the relentlessly frenetic drum patterns of Sebastian Granger intertwine to create some of the most infectious, memorable, and downright enjoyable music released so far this decade, regardless of genre. Sure, every song sounds basically the same, with some faster and thrashier and some slower and more pummeling, but at 11 tracks covering about thiry minutes You're a Woman, I'm a Machine isn't around long enough to wear out its welcome. From opening to closing, Death From Above's debut full-length (and apparently their valedictory as well) is populated exclusively with sweaty, swaggering, libidinous tunes, topped by suggestive lyrics delivered in styles ranging from falsetto crooning to fearsome, confrontational shouts.

One could, if one were so inclined, go ahead and analyze the individual songs on this album, but that would miss the point. This is not an album to be analyzed; it's an album to be felt, enjoyed, experienced, and remembered; an album whose songs will bounce around in your head for days after hearing it and bring a grin to your face; an album that even had my wife banging her head upon hearing it. It's a reminder to the sorry likes of Nickelback and Staind that rock music can, even should, be fun, not an excuse for mopey whining about feelings and relationships. And even beyond all that, it's just a good time, something that's too rarely had for everybody. You could do a lot worse than to put away your complaint rock and give this album a spin.

3 out of 5 stars Not Bad, Not Great Either.......2006-10-20

Ok, first off, whether it's a trend or not to have 2 musicians or not, I don't care, that in itself does not affect how I approach a group. The music after all is what does matter.

That said Death from Above 1979 isn't bad. They're not great either. I agree they're very energetic, and You're a Woman, I'm a Machine is a very fun album. And it's very reminescent of old hardcore punk, where if you can pick up an instrument you can play it. (If they can do it, you can do it)

A bass guitar as a lead would seem preposterous. But you only think that when you hear about it or see them setting up. Upon starting to play you would think it's just like any other guitar. And for the most part you will be jumping around to this music, moshing even, if you like.

But for those that are really in tune with music you'll notice that the music is very repetitive and recycled. The same chord arrangements and strumming over and over. It almost seems as though, the guy couldn't cut it playing a guitar (or couldn't learn it fast enough) and decided to just plug in some distortion into a bass.

It's a good thing this album isn't long and most of the tracks don't clock in longer then 2 mins on average. Otherwise more ppl would notice this. The drumming of course is a major compliment to this. Otherwise it would have fallen apart before it started. So I applaud them for that.

But the good thing is that the majority of the tracks don't sound too alike and can equally keep the pace of the album which is FAST. The singing isn't bad either, it's a bit screechy (I can tell emo kids would be into this) and the lyrics won't make you think much which is good cause if you do the song will already be over. It's interesting how these two are paired together, they almost seem as they wouldn't be a part of the same clique if they were in HS. Least from what I've seen live. Which are definitely fun to watch, but as openers. I wouldn't see them if they headlined.

So if you don't mind any of those facts and just really want a feel good, poppy raw album to jump around too, this is definitely it.

And if you want to move towards more eclectic and far more talented musicians with amazing playability, I suggest you check out the Black Keys. Not only because they're another 2 piece band, but because they can definitely keep up and surpass groups that have more then 3 players, and the music is fast and fresh, and just as great to knock back a few and rock out.

3 out of 5 stars Energetic premise wears thin.......2006-09-10

Flashy, splashy, though extremely minimal with a mere two members, this debut definitly got noticed last year, if not for every single standout track, for the overall fuzzed panic attack that was more danceable then anything compatriots Queens of the Stone Age put out. Though the melodic language does become repetetive and monotonous, standout tracks lets this simple formula shine without all the unassertive derivations found throughout.

5 out of 5 stars One Of My Favorites!.......2006-07-15

DFA1979 has such a good thing going. So what if they only have two people with just a bass and drums. They show that you don't need guitar. They have enough energy and sound to do without anything else. If you critisize them for being "another band with only two people" that's like saying "Oh, wow another band with four people, or three"; K.D. "jackass". The lyrics rule, and the music will make you dance, headbang, get down, and just about everything else. It may not be for everyone but it is for most.SO GOOD!

5 out of 5 stars If Only I Were German.......2006-07-13

Makes me wish I owned an F1 McClaren and spent my days tearing up the Audobahn.

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  4. Americana A Go-Go
  5. Another One for You to Hate
  6. Answering Machine Music
  7. Answers to Nothing [Extra tracks] [Import]
  8. Appointed Hour
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  10. Assault & Battery [Import]

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