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共17首歌曲

在网易云音乐打开

艺人
Britney Spears
语种
英语
厂牌
Jive
发行时间
2005年11月22日
专辑类别
合集、杂锦

专辑介绍

初为人母的小甜甜布兰妮·斯皮尔斯 (Britney Spears) 发行一张名为《B In The Mix:The Remixes》的全新混音版的专辑。这张专辑在即将发行之际几乎没有经过任何媒体的包装宣传,也没有过多歌迷的关注。新专辑收录了布兰妮从出道以来发行的各张专辑中的歌曲的重新混音版本。

在混音师当中,最值得关注的一位就是来自 Les Rhythms Digitales 乐队的 Stuart Price,麦当娜在11月14日发行的新专辑《Confessions On A Dancefloor》就是由他制作。其他混音师还包括:Junkie XL,Jason Nevins,Peter Rauhofer 和 Bill Hamel 等。这张专辑中还将包含有一首全新的歌曲《And Then We Kiss》,由 Junkie XL 负责混音。这首新歌目前已经可以在国外的一些网站中听到。而刚刚生完小孩才一个多月的布兰妮对这张专辑的制作投入的关注也是出奇的少,甚至根本没有亲自参与专辑的很多设计工作。

by Stephen Thomas Erlewine

Released Thanksgiving week 2005, B in the Mix: The Remixes feels like a piece of hastily assembled product. There are no photos of Spears anywhere on the CD, the artwork seems thrown together and, most of all, there doesn't seem to be any reason for it to exist other than she needs to have a new album for the holiday season. It's been two years since her last proper album, 2003's In the Zone, the longest time she's spent between studio records, and it's been a year since her greatest album, and while Spears has certainly not been missing from the spotlight -- in 2005, she had a horrific reality series ing the courtship between her and aspiring rapper Kevin Federline, plus she had a kid -- she had not been active musically for a long time. Unfortunately, the patched-together B in the Mix doesn't exactly erase the impression that Spears isn't in tune with her recording career. Her original vocal tracks -- mostly from In the Zone, but a couple of other big hits like "I'm a Slave 4 U," "...Baby One More Time," and "Don't Let Me Be the Last to Know" have been included in this 11-track package, after being handed over to a variety of producers, including Justice, Junkie XL, Jason Nevins, Peter Rauhofer, and Hex Hector, for rejiggering. They wind up with a record that comes closer to what In the Zone wanted to be -- a sleek, sexy, nocturnal club album -- but still it's just short of successful. This is partially because none of these tracks really lead anywhere, but also because these remixes point out that Spears' voice is really too thin to exist without all the trappings of a glossy pop mix. When she's married to dance mixes, her flaws stand out just a bit too much, particularly in a case like "Toxic," where the instrumental hooks have been removed from the record, leaving Spears to carry the day -- which she can't really do. There are enough cuts here that work to make this an enjoyable listen, at least as background music (also, if it's in the background, the mediocre cuts aren't quite as noticeable), but overall this album sounds and feels like what it really is: a piece of product.


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