| | Deep Forest Essence Of The Forest CD Deep Forest Discography of CDs
 (1 Customer Review)
With tracks from each of their first five albums, this is essentially a Deep Forest best-of, leading off with their 1993 hit "Sweet Lullaby." Note that "Sweet Lullaby," "Night Bird," and "Desert Walk" are each presented in a "2004 Version," though it's not made clear in the packaging how these are different than the ones that had been previously released on Deep Forest albums. It's an adequate overview of an act whose music is probably too diluted for either world music fans or electronica specialists, but whose blend of those styles together with production approaches friendly to middle-of-the-road radio has far more appeal to mainstream pop listeners than most world music or electronica. ~ Richie Unterberger
Deep Forest: Eric Moquet (keyboards, programming); Michel Sanchez.
Additional personnel: Neneh Cherry, Angela McCluskey, Youssou N'Dour, Beverley Jo Scott, Chitose Hajime.
Essence Of The Forest Music | List Price | $7.99 (You save $0.40) | | Category | Rock/Pop Albums, World CDs, Electronica, Ambient, Rock, Dance | | Label | Legacy | | Orig Year | 2004 | | All Time Sales Rank |  27343  | | CD Universe Part number | 6754017 | | Catalog number | 86472 | | Discs | 1 | | Release Date | Apr 13, 2004 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Jerry Rappaport (Compilation) | | Personnel | Eric Mouquet - keyboards, programming
Michel Sanchez
Also: Youssou N'Dour, Neneh Cherry, Angela McCluskey, Beverly Jo Scott, Chitose Hajime |
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The two producers who are Deep Forest are folklorists with keyboards and samplers and visions of one world. Instead of traveling back-country roads and recording native singers on their home turf, they comb the world of recorded music and sample the natives; and instead of presenting them as they are, they mix and match them and supply the beats themselves. Following a debut that was based on Pygmy music from Central Africa, BOHEME scans the landscape of Eastern Europe and Asia for the exotic sounds of throat singing, cantorial chanting and Hungarian folk melodies. Add in ambient dance tracks and keyboards blips, and ...
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Little Charlie And The Nightcats: Little Charlie Baty (guitar); Rick Estrin (harmonica, vocals); Brad Lee Sexton (bass); Dobie Strange (drums).
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Texan trio Los Lonely Boys (comprising siblings Henry, JoJo, and Ringo Garza) garnered plenty of attention when their self-titled debut (recorded with and championed by Willie Nelson) was released on Epic Records in 2004. The group's 2006 follow-up, SACRED, expands upon the first album's powerful roots-rock sound, adding additional elements of soul, R&B, country, and Tejano to the mix, while fleshing out the sound with accordion, electric organ, and horns.
The album's lead-off single, "Diamonds," encapsulates everything exciting about the band with its muscular guitar attack, high-flown harmonies, and inescapably catchy refrain. But there are plenty of highlights here, including the album's opener, "My Way," and the stirring ballad "I Never Met a Woman." Guest appearances by Willie Nelson and the Boys' father Enrique Garza boost the album's profile while simultaneously keeping it all in the family.
Finally! After three years, four different editions of their self-titled debut, a couple of live outings, a handful of singles, and the radio smash hit "Heaven," San Angelo, TX, wunderkinds Los Lonely Boys drop Sacred, their second studio album. The Garza brothers -- Henry (guitar), JoJo (bass), and Ringo (drums) -- up the ante on this slab; it's a big production number that includes additional keyboards, horns, and extra percussion muscle. Does it take away from the immediacy of their debut? Nope. This is not the ill-fated sophomore slump. Sacred is, for the most part, an uptempo, rollicking, streetwise Texas rock record with many surprises. The Garza brothers' lyric writing is still developing, but the tightknit arrangements, popping grooves, and focused musicianship more than balance. The album's first single is "Diamonds," and true to corporate rock standards, it's an utterly catchy, infectious little track, but it's far from the best thing here. Henry's blistering guitar offers a beautiful hook for the trio to sing off of; it's a simple, hooky midtempo love ballad, played on stun, with two organs (played by Reese Wynans and Mike Finnegan) and producer John Porter lending a second guitar. All mixed up, it creates a big swirling danceable pop noise that will be instantly memorable to anyone who encounters it. That said, there are other cuts here that reveal the depths of the bandmembers' musical knowledge and ideas that they are capable of pulling off. Take "Roses" as an example. Henry's Jimi Hendrix-cum-Stevie Ray Vaughan-cum-Albert Collins guitar style flat out creates a groove for the trio to sing from -- its melody is sophisticated, entrancing, ...
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