is used loosely, because most of the tracks on this bear only the vaguest comparison to the original. And while the urban jazz of 'The Lovers' and the faux Hendrixisms of “Wooden Ships' undoubtedly make for some prime bedtime listening. selling this collection on the back of an earlier classic is unnecessary and orin detracts from the overall credibility. (David Pollock)

l-Ltc l noNicA VARIOUS

ARTISTS Listen Now! Mixed by

DJ Food (Ninja Tuner .00.

DJ food breaks .vlth Nllljit lune (fi()'l‘l)li£til()fl tradition by. not concentratr: g on therr own back catalogue. Instead he glues us a taste of grille, Brit hip hop. clanking l atin. pulsing electro. surging breaks. so'i-e old schoof funkis'rts Ztl‘tl even a smattering of Detroit techno but gerierail» sticking to the dea that fl‘lX it up keel,- lt clever

but up heat and ww're


Mr" in.” I.

r ' : ' "G p me» " rm' ."

onto a winner.

This is a woozy trip with a defined flow and some ingenious mixing: The Beats ‘Mirror In The Bathroom' cast over Mask's growling drum & bass is just one of the strokes of genius.

(Mark Robertson)

lllP HOP

BOBBY DIGITAL Digital Bullet

(Kochl COO.

The theory once was that RZA kept all his best beats for his solo Bobby Digital exctirslotis. Wu-Tang ()Ian's patchy The Wu could be held up as proof. Diglr’a/ Bu//et adds ‘urtlier fuel to that fire.

l (is unhinged rhyming style keeps R7A a little bit out in left~fie|d and

his stripped down beats.

wild vocal samples (the walls or: ‘Black \I‘ifidow'

meshing perfectly with the flipped-lid mumblings of Ol' Dirty Bastard) are better than ever. He even goes Latin at one point on ‘La Rhumba'. employing the mic skills of Method Man and Kifla Sin to bring Spanish flav0urs to play with Shaolin street talk. A diverse and considered collection bolstering Bobby Digital's futuristic hip hop armoury. (Mark Robertson)


The Great Depression (Def Jam) .00

For his fourth full-length platter. DMX keeps with the principle of giving records audaciously grim titles which belie the content. Glistening. bumping party beats are supplied by his

regular cohorts Swizz Beatz, PK and Greace and although he still sounds like a class-A grumpy bastard. much of this flows by without much grabbing yOu by the cajones like it sh0uld. Only when he takes the rock route on ‘Bloodline Anthem' and rips off DJ Premier's beats for ‘We Right Here' does he truly froth like Old Yeller. Not toothless. but a disappointment.

(Mark Robertson)


R.L. BURNSIDE Burnside On Burnside (Fat Possum) COO.

The blues is one of the few types of music that actually benefits from being recorded live. And it's the rawness. the electricity and the banter that have been captured on this recording. a

“here’s one for you”

capacity E3tl()'.'.’ at the Crystal Ballroom in Portland ‘thtOl'O the 7/1- year old Burnside demonstrates the results of a life spent Singing the blues. And not talking about a laid back. .'Yl(‘;||()‘,'.' fi'ff tii'ier sound. We a' r: M: flél"’i dune ttie 'i‘rist'“ €?'.(:-' fov‘.'.'arri ill/r:- /: ‘Jllrik o'

the "'<;'i‘.‘.'ft‘.. '3‘1‘

-’|. (“risa f)“ii"’l-’,'1

FLANGER Outer Space/Inner Space

34' a: ' 0...


Btlrriti’riet’i"a" done what fl‘lilf)’, musICIans {tlft the”. fron‘ Sun Ra fitlfi' t‘t‘i“ ‘zrtal biczzs .;T' Cottrai‘ : gent-:- cos'“ ’t.

There's oLe'i'n. '~"

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