nick65

I finally got the album! It's really nice, well-crafted, compact in sound but heterogeneous in beats. I really like the definition that Ghemison gives of the little man, calling him a "beatmaker," and he truly is. I don’t think this album will become an evergreen, and it’s not that easy to listen to or grasp right away, but after the first listens, it becomes easier and more essential for your moments in the car. Walking around the house with Pharrell in the background, you can't stop your legs and the snap of your fingers...

The pain of ivory remains intact and sharp in "pearls," where the mother has nothing to feed her children in Somalia. With this album, Sade further distances herself from "diamond life" and "promise," where jazz fluidifies into pop; here, there's a minimal trace of it, but it remains refined music, classy, perhaps a tad snobbish, but certainly for fine tastes... Lovi, you can tell that you enjoyed the album, but even more, you love Sade, who leads you within yourself and your emotions, in search of old and new things to bring back to light... unlike primiballi, for whom Sade only evokes TROMBATE!!!!! ahahahahahah :=)

For me, coming from the '70s disco and the early '80s electronic scene, "Diamond Life" was a revelation. Up until that point, jazz had been something mysterious and indecipherable, but this was one of the first albums where no track feels superfluous; every piece is essential. The variety of sounds and arrangements are kept compact and united by the distinctive voice (especially at that time) of Ms. Adu, a beautiful girl and model (of course, we couldn’t have known then that she would have a bit of a struggle with the bottle and driving recklessness ---> little gossip :)). The band supports her excellently, and it's an album that remains one of my favorites from that era. In fact, a few years later, I truly discovered jazz, which is a completely different music altogether, so I wholeheartedly endorse all of you when you speak of high-class pop-jazz. For all this, Grass's review is definitely good, but I absolutely cannot agree with the last sentence, "Those who seek strong sensations can safely stay away from this as from all of Sade's albums." That year, I listened to "Diamond Life" for months; every time, I discovered something new in it, and I did the same with "Promise," although I liked it a bit less... the novelty of 1984 had somewhat faded the following year, and "The Sweetest Taboo" seemed to belong to someone else. It couldn't possibly be by the same sinuous zebra-like singer of "Smooth Operator," even though it had great dignity and rhythm.

of course it takes some effort to review this ... album??? :O who knows ... and who is Pinelli? bah ... they really didn't broadcast anything on TV?

Of the album, I only know "7 seconds"... a magical piece, magical Neneh Cherry! 'Ndiour is a prominent figure in international music, better appreciated in Europe than in his homeland; nonetheless, he has the great merit of having brought "his" Africa beyond the continental borders. His collaborations with Sakamoto are absolutely exceptional! :)

I knew that Gotan Project wouldn't disappoint me; after "La Revancha del Tango," a mediocre product couldn't possibly follow, especially after five years. Indeed, I have "Lunático" spinning at home and in the office for the past three or four weeks! Extraordinary! I understand those who prefer the first CD, but this one explores uncharted territories compared to 2001. The compactness, novelty, and freshness of "La Revancha" are expanded, stretched, and extended to further contaminations, such as Spanish rap (did you see the show filmed this summer? Beautiful, and the presence of the two virtual rappers appearing at different times and in two different parts of the screen is fantastic), or the collaboration with Calexico on "Amor Porteño." Each piece carries a significant weight and value in the album's balance; the moments I insist on the most (I confess... I use the "repeat" button!) are "Notas," with its driving rhythm and impactful solo voice, "La Viguela," featuring guitar and bandoneon, with a male electronic voice that flows into that of Cristina Villalonga, and "Criminal," whose live version sends shivers down the spine... If only there were more albums like this!!! :=) Well done, Hal!

I know the version by Le Nubians (I believe it dates back 5 or 6 years, I liked it a lot and I would have loved to get the album, but if I had to buy everything that inspires me ... I took a look at your list of records, congratulations, apart from many things I don't know, I see a lot of black music and albums I have too, like jazzmatazz and roots :=)

Hi Zion, and have a good day. I know Timbaland through the rhymes of Missy Elliott, whom I have always followed, but I don't know anything about him solo. As for "sweetest taboo," I remember being let down when it came out, but as soon as I got my hands on "promise," the horns from "is it a crime" hit me and left me breathless! Every time I play "promise" again, I get emotional right from the first notes of sax :)

by the way, divodark, can you recommend something by Timbaland? or maybe you, zione??? :=) anyway, the best Sade is found in "Diamond Life," where every track is a surprise, a window that opens and lets in fresh air, and think about what it meant in 1984... I WAS THERE! :=)

Ah! Unfortunately, I've never heard it, even though the album that you consider "excellent" (lovers rock) is, in my opinion, the least beautiful of the beautiful Nigerian's works... :=) Is the remix found on the mulo?