Re: Avila Brothers

看板RnB_Soul作者Brien (B-jam)時間19年前 (2006/02/27 18:23)推噓1(1推 0噓 1→)

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剛剛終於弄到整張專輯來聽我只能說他媽的真好聽下個月要去訂一張來 ※ 引述《prexceed (Exceed)》之銘言： : 還有兩個必須注意的人物 --- Bobby "Ross" Avila和Iz Avila兩兄弟 : 他們以Avila Brothers的名義 : 決定於今年('05)試探黑人音樂市場 : The mood: Soundsational是他們的第一張專輯 : 這是一張貼近各種曲風的好專輯同意真的是各種味道都有要細細品嘗的好物 : 3. I Want You : 沒錯,完全取樣馬文蓋的同名單曲,多樣的合聲,我覺得很lounge 又濕了啊啊啊 : 4. Smile - (with Little Brother) : LB再度四處現身,9th Wonder的爵士影子,陰影在歌曲末段才是高潮(試聽版不曉得 : 有沒有這一段)...Jazz is COMIN'!!! 嗯總覺得後面太小品了一點還想再多high一下不知是不是為了接下一首的關係 : 5. Sweet Symphony : 提琴們的囀語,where's the next place to stray? : 6. Love's Mystery : 不知名的女聲,對唱之中,有懽愉,有悲悽,端看心情而定囉(Stevie Wonder出現了嗎?) 乍聽之下還以為是You Are the Sunshine of My Life : 9. Let It Go - (with Shelea) : 頗有neo-soul的意思,Shelea的聲音,確實很"甘心"放手(吉他真的很重要,這曲子印 : 證了這說法),兄弟倆化身為musician,挑逗旋律但是她的聲音很pop 說neo-soul應該還不至於啦 : 15. Give The Horns Some : Tilt Ya Cups第四版,和緩許多,運用了小喇叭,Blue Note的韻味,而且,Roger : Troutman的talk-box也介入了這場爵士戰爭......wa-wa VS. Horn : 16. Nic Of Time : 專輯中最芭樂的歌非此曲莫屬,簡單的鋼琴襯底,溫煦的合聲,聽完整張專輯之後,需 : 要洗滌一下人心,Avilas的嗓音也真正讓我們聽得清楚啦!!! : 17. The Mood Pt. 2 : 彷彿禱告般的尾聲,長達九分鐘的The Mood Pt. 2,是另一個開始(2:10~4:15之間是 : 無聲狀態,與許多專輯一樣,算是無單曲型式的hidden track.當然,Avila Brothers又 : 開始玩起樂器與人聲了...) : 為什麼推荐Avila Brothers? : 這樣的R&B(暫且這樣歸屬老了) : 是未來的走勢 : 很純粹的美聲 : 很難再開發市場了 : (不如說,這個市場停留在90年代,那裡還有許多走純粹路線的寶藏,再這麼說,現在假如 : 有人要作,也作不出90年代的質感,好比90年代也作不出80年代的意思) : 最近聽了很多地下或未時興的R&B或Hip Hop專輯 : 我發現它們有逐漸合流的現象 : 也就是 : 扣掉已經變成流行的Rap(五角啊,Cassidy啊之類的) : 對岸的黑人現在所發展的 : 是一種與較多的旋律 : 以盡量不重複的原則來創作(流行的Rap含有過多的無限迴圈旋律,過幾年鐵定過時) : Little Brother收歸大廠這件事(台灣竟然有代理?!) : 即可證明這種趨勢 : 這是很複雜的問題 : 總之 : 既然台灣不可能代理Avila Brothers : 有線上試聽也行 : 拋磚引玉 : 希望有誰喜歡他們 : 聽說 : 周杰輪又要出新唱片? 並不是所有曲子我都覺得好聽但像這樣概念的專輯我認為一定要收的乍聽之下是不是有點大雜燴呢？看看下面這人怎麼說的... "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 -- ※ 發信站: 批踢踢實業坊(ptt.cc) ◆ From: 61.229.170.144