Mr Vegas Damn Right CD United Kingdom

Damn Right Music

List Price	$15.98 (You save $4.29)
Category	Rock/Pop Albums, Reggae/Ska/Calypso CDs, Reggae, Dancehall / Ragga
Label	Greensleeves
Orig Year	2001
All Time Sales Rank	139080
CD Universe Part number	1911648
Catalog number	263
Discs	1
Release Date	Jul 10, 2001
Studio/Live	Studio
Mono/Stereo	Stereo
Engineer	Frenchie; Jeremy Harding; Rigo; Steely
Personnel	Mr. Vegas Also: Sean Paul, Elephant Man, Ayo, Alizade, Jackie
Additional Info	United Kingdom

Mr Vegas Damn Right Songs

1.	How About That
2.	Go Up
3.	Duppy Durex
4.	Damn Right
5.	Kokane - (featuring AYO)
6.	Girls Time
7.	Dem Fraid
8.	Feel It
9.	Easy Easy
10.	Sha-La-La - (featuring Alizade)
11.	Gal Them
12.	Bun It - (featuring Elephant Man)
13.	Rise	$0.99
14.	Oh What a Night - (featuring Jackie)
15.	Love Freak
16.	Where I Wanna Be
17.	She's a Ho
18.	Hot Gal Today - (featuring Sean Paul)
19.	I Love Dancehall - (featuring Jackie)
20.	Some-Boy
21.	Girls Time - (Remix, remix)

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Mr. Vegas has come a long way since his big breakthrough single, Heads High. The hit single showed the man was quick and skilled, but it didn't give a hint that he would be a swaggering personality, a dancehall Romeo even. There's a surprising amount of quality lovers rock on Pull Up, all of it convincing. If Vegas is being pushed into the lovers rock and the more American R&B-influenced moments on the album, he's a talented enough artist not to show it. He sounds like Bill Withers on the sweet "Thank You Girl" and captures ...

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Additional personnel includes: Robbie Shakespeare (bass); Sly Dunbar (drums). Usually a five-year hiatus spells the death of a band's career but, in Culture's case, it was if the group was merely gathering strength for the long haul. After splitting up in 1981, the trio reformed in 1986 and recorded Culture in Culture. Once again Joseph Hill would take on the production mantle, but this time he was aided by Enos McLeod and Alvin Ranglin, which saved this album from the flaws of Hill's previous effort, Lion Rock. Culture in Culture has a relaxed quality to the sound that perfectly fits the trio's own more easygoing air. In the intervening years, Hill seems to have mellowed, the emotive excesses of the past have faded, and, while his delivery remains powerful, it's now much more in keeping with the actual songs. With the return of Albert "Ralph" Walker and Kenneth Dayes, his vocals are better balanced; the pair's sonorous harmonies offset Hill, who himself returns to occasional singing. The songs themselves are equally strong, with the production and arrangements emphasizing the melodies, and the album contains a clutch of interesting elements and musical blends. ...

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Recorded in 1989 and issued simultaneously on LP and CD, the digital version features two extra cuts and thus weighs in at about 16 minutes longer than the vinyl. The first question is why an artist of Bley's restlessness and vision would record a batch of tunes like these old nuggets in the first place. Bley's trio on this date is an estimable one: Drummer Billy Hart and bassist Ron McClure join the pianist for eight standards that range from the title track by Hoagy Carmichael to Oscar Pettiford's "Blues in the Closet" to George Shearing's "Lullaby of Birdland." Bley has an interesting way of approaching standards, which is why this hard bop rhythm section is key to the performances here. While he may approach Richard Rodgers' "This Can't Be Love" as a bebop tune with a modal sensibility -- he found the mode inside the tune's architecture -- Bley's sense of phrasing falls out of all the traditional jazz boxes. His bebop style is full of angular spaces and odd half notes and his modal mannerisms suggest tonal maneuvers requiring notes that go by at a clip (16th, even a 32nd in a major seventh chord run!) in counterpoint with McClure. Of course, this is what makes the man one of the bona fide geniuses of the music -- his manner of reworking something so it is something totally different yet still sounds like itself. In a ballad like the title tune, Bley allows Hart plenty of room to explore with his brushes by creating huge spaces in the melody, not merely by syncopation but by extending the chordal reach of the tune itself and allowing the tempo to hover rather than move toward any particular measure or melodic invention (of which there is plenty). Strangely, his reading of the Carmichael number is deeply moving, and played in a manner that suggests Mal Waldron's with a lighter touch and a longer reach for harmonic structures. The trio's performance of "What a Difference a Day Makes" seems rushed at first, as the musicians slip through the melody like a breeze through a screen door -- but it's all smoke and mirrors. Bley is moving the ...