刚刚终於弄到整张专辑来听 我只能说 他妈的真好听 下个月要去订一张来 ※ 引述《prexceed (Exceed)》之铭言： : 还有两个必须注意的人物 --- Bobby "Ross" Avila和Iz Avila两兄弟 : 他们以Avila Brothers的名义 : 决定於今年('05)试探黑人音乐市场 : The mood: Soundsational是他们的第一张专辑 : 这是一张贴近各种曲风的好专辑 同意 真的是各种味道都有 要细细品尝的好物 : 3. I Want You : 没错,完全取样马文盖的同名单曲,多样的合声,我觉得很lounge 又湿了啊啊啊 : 4. Smile - (with Little Brother) : LB再度四处现身,9th Wonder的爵士影子,阴影在歌曲末段才是高潮(试听版不晓得 : 有没有这一段)...Jazz is COMIN'!!! 嗯 总觉得後面太小品了一点 还想再多high一下 不知是不是为了接下一首的关系 : 5. Sweet Symphony : 提琴们的啭语,where's the next place to stray? : 6. Love's Mystery : 不知名的女声,对唱之中,有懽愉,有悲凄,端看心情而定罗(Stevie Wonder出现了吗?) 乍听之下 还以为是You Are the Sunshine of My Life : 9. Let It Go - (with Shelea) : 颇有neo-soul的意思,Shelea的声音,确实很"甘心"放手(吉他真的很重要,这曲子印 : 证了这说法),兄弟俩化身为musician,挑逗旋律 但是她的声音很pop 说neo-soul应该还不至於啦 : 15. Give The Horns Some : Tilt Ya Cups第四版,和缓许多,运用了小喇叭,Blue Note的韵味,而且,Roger : Troutman的talk-box也介入了这场爵士战争......wa-wa VS. Horn : 16. Nic Of Time : 专辑中最芭乐的歌非此曲莫属,简单的钢琴衬底,温煦的合声,听完整张专辑之後,需 : 要洗涤一下人心,Avilas的嗓音也真正让我们听得清楚啦!!! : 17. The Mood Pt. 2 : 彷佛祷告般的尾声,长达九分钟的The Mood Pt. 2,是另一个开始(2:10~4:15之间是 : 无声状态,与许多专辑一样,算是无单曲型式的hidden track.当然,Avila Brothers又 : 开始玩起乐器与人声了...) : 为什麽推荐Avila Brothers? : 这样的R&B(暂且这样归属老了) : 是未来的走势 : 很纯粹的美声 : 很难再开发市场了 : (不如说,这个市场停留在90年代,那里还有许多走纯粹路线的宝藏,再这麽说,现在假如 : 有人要作,也作不出90年代的质感,好比90年代也作不出80年代的意思) : 最近听了很多地下或未时兴的R&B或Hip Hop专辑 : 我发现它们有逐渐合流的现象 : 也就是 : 扣掉已经变成流行的Rap(五角啊,Cassidy啊之类的) : 对岸的黑人现在所发展的 : 是一种与较多的旋律 : 以尽量不重复的原则来创作(流行的Rap含有过多的无限回圈旋律,过几年铁定过时) : Little Brother收归大厂这件事(台湾竟然有代理?!) : 即可证明这种趋势 : 这是很复杂的问题 : 总之 : 既然台湾不可能代理Avila Brothers : 有线上试听也行 : 抛砖引玉 : 希望有谁喜欢他们 : 听说 : 周杰轮又要出新唱片? 并不是所有曲子我都觉得好听 但像这样概念的专辑我认为一定要收的 乍听之下是不是有点大杂烩呢？ 看看下面这人怎麽说的... "The Mood-Soundsational" - Avila Brothers by Michael Heyliger In the history of urban music, it's not uncommon for producers or production teams to play both sides of the board and make records. Babyface was as popular as a smooth vocalist as he was for producing everyone under the sun. Teddy Riley invented hip-hop R&B as a producer as well as a performer with Guy and BLACKstreet. Then, of course, there are the multi-artist compilations that fall under a producer's name-like Quincy Jones or Dr. Dre albums. The latest urban production team to switch over as a recording team are the Avila Brothers; Bobby Ross and Isaiah. Well-that's not entirely correct. Bobby Ross Avila made a couple of albums dating back to the early Nineties-when he was a child prodigy passed off as the Chicano Tevin Campbell. After a slammin' adult album got shelved by his record company, he and his little bro signed on as the apprentices of super-producers Jimmy Jam & Terry Lewis, and have since been responsible for some of the tastier moments on albums by Usher ("Truth Hurts" & "That's What It's Made For") and Janet Jackson ("Like You Don't Love Me"). The duo's "The Mood-Soundsational" is sort of a combination plate-there are tracks where Bobby Ross sings, tracks that contain guest singers and/or rappers, and a couple of instrumental cuts/interludes as well. Despite sounding on paper like a little bit of a mess, "Soulsational" is definitely one of those albums that has a distinct flow to it. It's one of those albums that has a mellow, vibey sort of quality. Even the club tracks fit in with the rest of the album-you can imagine hanging out with friends and lounging to it, or laying back to it, or doing the nasty to it. Bobby Ross' voice has a mellow, smooth quality to it, drawing favorable comparisons to vocalists like Jon B. or Chico De Barge. "I Want You" is a lush jam that nicks a little bit from the Marvin Gaye classic of the same name. Gently galloping echoing finger snaps and an enchanting melody help set a dim-lit easygoing mood. It also pops up as the instrumental coda to the album. "Love's Mystery" is a Latin-spiced duet with female vocalist Shelea Frazier and the song's woozy early-morning flavor brings me back to "Taking Book"-era Stevie Wonder. It's nice to hear a duet that sounds organic as opposed to two vocalists practically fight-singing over a track trying to outdo one another. Bobby then takes the reins for a fairly traditional pop ballad. "Nic Of Time" (misspelling intentional) boasts a tasty chorus and a melody that wouldn't sound out of place on a Lionel Richie album (one of the good ones anyway). The hip-hop oriented songs on here are well-crafted enough that even non-hip-hop fans will enjoy them. The MC's included here all perform well. Little Brother drops a quick 16 on the sunny "Smile". "Tilt Ya Cup" features MC Sly Boogie, who's no more or less embarrassing than any other MC who'd rhyme on a song called "Tilt Ya Cup"-he's just an anonymous cat-the song is saved by a hip-wiggling beat and a nice little flute solo at the end of the track. "It's Over Now" is another trunk-rattler, featuring forgotten mid-90's rapper Ahmad AKA "Back in the day when I was young/I'm not a kid anymore...". Boasting much-improved rhyme skills, Ahmad takes it back in the day again, making an intelligent plea for the skills that made the glory days of hip-hop so special. He also gets the creativity award for rhyming "razors" with "made ta" with "Stojakovic Peja"-sorry, I like silly sh*t like that. There's one hip-hop related misstep called "Something To Feel" featuring a rapper named Dirty Birdie, who tries to hard to sound like "Guilty Conscience"-era Eminem and winds up sounding like one of the lesser members of D12-not a compliment. The instrumental interludes are OK, particularly the ones that sort of pad the beginning of the album-as they mix a jazzy, mellow musical bae with some frenetic turntable scratching and vocal samples that bound in and out of the mix. Long time Jam/Lewis associate "Big" Jim Wright steps in on "Big Jim's Sonata", and the unfortunate result sounds like someone playing the 30 second intro of a Minnie Riperton ballad-for 2 minutes and 30 seconds. Thankfully, the album rebounds with jams like "Give The Horns Some". This track is like dueling instruments. Over an irresistibly funky bed, trumpets blow, people chant, and the brothers work the vocoder like Roger Troutman used to back in the day. What sticks most about this album is that these brothers obviously love music. They're able to take several genres of music and mesh them into an album that sounds like a cohesive hole. Unlike many multi-artist single-producer compilations, the album doesn't sound messy, the guest shots don't sound forced. While "Soundsational" will almost certainly fall under the commercial radar, boasting not one big name guest, it's definitely an album that will be appreciated both by the more musical hip-hop fan, or fans of soul or jazz that don't mind occasional rhyming in their music http://www.rhythmflow.net/AvilaBrothers.html --

※ 发信站: 批踢踢实业坊(ptt.cc) ◆ From: 61.229.170.144