Most Helpful Customer Reviews
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15 of 15 people found the following review helpful:
5.0 out of 5 stars
Etherial trip-hop & acid jazz electronica!, February 28, 2000
By A Customer
Upon hearing the captivating and etherial track "You're not Alone" I contemplated over and over as to if I should buy the whole cd or not as it had been the only song I had heard from Olive and absolutely LOVED it! However, it wasn't until I discovered that Ruth-Ann (Olive vocalist) contributed vocals on Enigma's "Screen behind the Mirror" cd that pushed me to give in and by this cd. I don't regret it for one moment! I have always been a huge fan of Sade and and ambient/electronica music, and this cd combines the sound of both, not to mention Olive has filled the void of Sade being absent from the music scene for several years now. I am eagerly awaiting Olive's next release, which I hope will be soon, as Ruth-Ann really has such passion and sensuality in her voice, and the rhythms and melodies of Olive are simply remarkable!
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17 of 18 people found the following review helpful:
4.0 out of 5 stars
A CD for people who think and feel dance music, July 12, 1998
By A Customer
Olive is one of those groups who should be more widely known than they are. I purchased this album back in February, during the deep freeze here in New England, and it's a perfect album to listen to if you're stressed out and want to chill and read a book or something. It's soft, hypnotic, seductive, eerie, spacey, and also gently rhythmic. It combines the spacey sounds of New Age with light (very light!) hip-hop and trance beats. Beautiful, lush soundscapes dominate the record. Best of all are "Miracle," a wonderfully constructed trancey song with sighing, longing vocals; "This Time," with a "Justify My Love (William Orbit Remix)" funk vibe that's "clearer than clarity itself"; "Safer Hands," a tribal-lite excursion; "You're Not Alone," a spacey song about trying to mend a broken relationship that has a sound and feel similar to "Frozen" by Madonna. In fact, I'd purchased this album upon hearing "Frozen" on the radio for the first time. If you liked "Ray Of Light" by Madonna, this album goes a bit more in the direction of "Drowned World" and "Little Star." This is intriguing hypnotic music intended for an audience that feels music as well as listens to it.
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16 of 19 people found the following review helpful:
5.0 out of 5 stars
Classy And Catchy, December 14, 2005
My discovery of Olive didn't happen soon enough. Years after the initial release of their debut, "Extra Virgin", I finally purchased it and my initial reaction was pure joy and intrigue. I was also left feeling slightly bummed, only because I hadn't heard of the group earlier. My first Olive experience was Ruth-Ann's airy and angelic vocals set atop one of my favorite Enigma tunes, "Gravity of Love". I proceeded to research Ruth-Ann's career history, and I found out she was a member of a group called Olive. After much deliberation, I decided to purchase both Olive's debut and their follow-up "Trickle" on a whim one day.
I consider those two purchases to be among my best this year. Initially, I was more partial to "Trickle" than "Extra Virgin", but with repeated listens, I've come to find that though I adore both albums, I particularly like the style of this one better. This album has a mystery and experimental quality. I could compare it to Madonna's "Ray of Light", but really, the two are in totally different stylistic fields. As others have so wonderfully put, this is very much a trip-hop album, emphasis on `trip': beats dominate most of the tracks with syncopation and flare. At the time of this albums release, Olive consisted of three band members: Ruth-Ann Boyle (vocals), Tim Kellet (keyboards/horns) and Robin Taylor-Firth (programming).
Very much an electronic album, many other styles come into play from track to track, including jazz influences. Olive uses an impressive array of instruments and sounds, showcasing their diversity and creativity. And while Ruth-Ann sounds nothing like Celine Dion, Mariah Carey or other powerhouse vocalists, her voice is simply gorgeous and captivating: simply put, she just sounds `pretty'.
Miracle: This song leaves me with the same impression Bjork's "All Is Full of Love" does. It's beautiful and enticing with sugary warm chord changes and a strong persistent drumbeat. Ruth-Ann's vocals echo lightly around the deep chords. She sings with a jazzy disposition and an easygoing attitude. An electronic harmonica-like instrument jumps down arpeggios throughout the song. This may very well be my favorite Olive tune: I repeat it at least once. Luckily, the song is over 7 minutes long, which makes for a very relaxing and sustained listen. One gets the feeling of walking alone through a dark and hazy wood while listening to this: there's a spooky quality that I absolutely love. 6/5*
This Time: More of a generic pop tune, this song still doesn't lack for innovation and style. The chorus is particularly catchy, and once again, Ruth-Ann's vocals command attention. What amazes me is that Olive's work leaves such an impression with so little substance: except for a constant bassline, occasional electric guitar echoes and the shuffle drumloop, there isn't much else. This isn't one of my favorite Olive songs, but it's fun to sing along to and is impressive, nonetheless. 4/5
Safer Hands: This is what I like to call a trippy ballad. A song dedicated to possibly Ruth-Ann's father, it's a sensitive and memorable tune, including thoughtful guitars and sweeping strings. It took more than several listens to fall in love with this song, but it's now another one of Olive's pieces I usually repeat. As the song progresses, the drumbeats build and become more intricate. Like the previous track, there aren't a lot of instruments to be heard here, but it's a beautiful declaration. 5/5
Killing: Even though I enjoy this song a lot, I tend to forget about it. It's the most experimental track on the entire album. Two simple phrases make up the entire lyrical structure of the song, and a distorted beat carries the melody along persistently. The lyrical concept of this song and its music fit together beautifully. What truly takes center stage is the heavy bassline and warped chords. There isn't anything particularly memorable, but somehow I enjoy it a great deal. It's one of those songs that make a new impression every time you hear them. 5/5
You're Not Alone: Olive's masterpiece, or so they call it. At first, I found nothing about it fascinating and it seemed a little slow to me. Not in tempo, mind you, but in progression: I wanted to hear louder and more climactic instrumental moments. It was almost (dare I say it) boring to me. Eventually, I came to find that this is actually a musical piece of candy: you constantly come back to have more, and each time you discover something new that you love. Previously heard instruments including strings and soothing electronic hums echo in the chorus, and as usual, syncopated drumbeats carry on in the background. There's a rather innovative pulsing echo heard in the song opening, and throughout the rest of the track. 6/5
Falling: This is an absolute perfect audible example of someone feeling the bliss of love. It opens with Ruth-Ann's angelically sung vocals and is joined later by a simple, but effective drumloop. What really shines here is the constant reverb effect, and the fact that somehow it doesn't overwhelm the song and make it sound like a mess of notes. Light, airy and welcoming: you could listen to this on a lazy day. It's gorgeous enough to listen to while kissing (or more, as a matter of fact). For the first time, a flute and piano make appearances. 5/5
Outlaw: Another one of Olive's great songs, the now-familiar blend of catchy beats and jazzy strings takes us into a musical realm rich in harmonies and various other instruments. This is Olive's most radio-friendly song, and it struck a chord with me the first time I heard it. It's very fun and enlightening musically, and after several listens, I can guarantee you'll be humming the chorus for a while. This is just a very well done piece of work: highly enjoyable and memorable. 6/5
Blood Red Tears: More laid back than other tunes on this album, I really enjoy Ruth-Ann's confident vocals here. Also worth mentioning is the flugelhorn, skillfully played and beautifully blended. Again, Olive has successfully worked several instruments so well that not much is needed, and minimal drumbeats with simple chord changes do the trick well. This is another lazy day tune. 5/5
Curious: After reading several other reviews, I can safely say that you will either love or hate this song. Personally, I love it. It's more upbeat and quicker than most other songs on the album, and the jazzy strings in the bridge are extremely impressive. The percussion bounces everywhere, and Ruth-Ann's harmonies lead the listener to believe that she's extremely addicted and intrigued. I always have to repeat this once it's finished. The last bridge before the conclusion of the song is just fantastic. Whether you like this or not, you have to admit that it's extremely well done, despite its repetition. 6/5
You Are Nothing: This song is generally viewed as a low point on the album, but I tend to disagree with gusto. It's a sad declaration to a former lover, so I could see the reason one might think this to be less than impressive. But it's tastefully done. The style of this song is a bit out of nowhere compared to the rest of the album. I'm actually reminded of Bjork's song "Possibly Maybe" when I hear this. It's definitely not as innovative as other tracks, but I find it heartfelt and soulful nonetheless. There's a glass-sounding instrument that gets my attention. 5/5
Muted: This is an instrumental break. It's sort of like an interlude. Slow and sneaky, this reminds me of a Sasha remix: changes in sound and melody are so minor it takes your ears a bit to finally realize a change has taken place. This is my least favorite track on the album, simply because there are no vocals and no moments of instrumental glory. Though the editing and programming is superb and the horn has a wonderfully luscious tone, this just doesn't do it for me. 4/5
I Don't Think So: With a bit of reggae flare and jazzy undertones, the introduction to this song is very classy and stylish. Again, the flugelhorn makes an appearance. This is a very polished song: it sounds very complete as it is, and I mean this to be a compliment when I say that this would not work well remixed. It's one of those songs that you shouldn't touch, because it's perfect enough just as it is. I'm usually a fan of dance mixes, but when it comes to sly and perfect songs like this one, I couldn't justify it. It's a nice closing piece for an innovative album. 5/5
You're Not Alone (Remix): If you let track 12 play through several minutes of silence you'll hear the true last song of the album, a remix of Olive's hit "You're Not Alone". Personally, I prefer the original version with percussion much more than this one, though without drums and a bassline, it's still enchanting and magical. 5/5
I highly recommend this album, especially if you're a fan of electronica and trip-hop. Olive's sophomore effort "Trickle" is the more melody driven album, so if you're heavily into drum and bass music, I'd advise to stay away from it. However, "Extra Virgin", with its jazz-tinged numbers and catchy hooks, might be right up your alley. As far as debut albums go, this is a great effort.
*denotes an absolutely fantastic piece of work
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