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Mezzanine

472 customer reviews

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Audio CD, December 15, 1998
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Product Details

  • Audio CD (December 15, 1998)
  • Number of Discs: 2
  • Label: Phantom Sound & Visi
  • ASIN: B0000DEROR
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (472 customer reviews)
  • Amazon Best Sellers Rank: #493,934 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

247 of 260 people found the following review helpful By Nick Lambert on May 20, 2000
Format: Audio CD
`Mezzanine' is the third and finest album from the most important British group of the 90's, Massive Attack. Their debut, `Blue Lines', virtually redefined UK soul music and invented the much-imitated genre of Trip Hop. If it's follow up, 1994's slick `Protection' was somewhat disappointing, then `Mezzanine' recaptures the spark of creativity and genre fusion that first thrust them onto the world stage.
`Mezzanine' is Trip Hop's logical conclusion, and this new sound is harder and more confrontational than before. It's closest relative in the music world is The Prodigy's `The Fat of the Land', although whereas that album fused heavy punk with dance music, `Mezzanine' fuses Radiohead-esque prog Rock with hip-hop. Opener `Angel' is a brooding, moody track, illuminated only by Horace Andy's androgynous crooning. It is a fine introduction to this schizophrenic, guitar heavy new sound, as Led Zeppelin-esque guitars come crashing down in the climax. `Risingson' was the track Massive Attack chose to release in September 1997 to preview the new album. Built around a looping bass line over which 3d and Daddy G rap, the track is vaguely psychedelic, what with 3d's talk of `clicking shines on foreheads' and samples of The Velvet Underground. Massive Attack are actually more similar to Reed's crew than you may think; both are (or were) fiercely experimental, yet never take fore granted the ability to construct a decent song.
The next track, `Teardrop' is many people's favourite track (myself included). A sublime and simple song built around a stuttering drum beat and harpsichord riff, it also introduces us to Liz Fraser (of the Cocteau Twins) and her soothing, impossibly high vocals.
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76 of 80 people found the following review helpful By Christine Menendez on August 2, 2002
Format: Audio CD
Mezzanine was fixed, almost permanently in my car for two years. Now, it shares space with Morcheeba and Hooverphonic and Portishead, who also enjoyed semi-permanent status. Thing with Mezzanine is, there are so many levels of sound that every time you listen to it, you hear something new. That in itself is a wonder, but the vocals are simply gorgeous, the beats are hypnotic...bone conductive...and the lyrics are completely incomprehensible. With this album, it's all in the sound, which just wraps you up and takes you away. Massive Attack is a an eclectic mix of genres: jazz, pop, folk, rap, blues, even classical. They take what they need from each and create their own, unique sound. One of the best things about this album is the unique style of each cut: different vocalists, different styles, totally different sounds, but all absolutely Massive. I could not rate this album higher. I'm not a kid, I'm well past the half-century mark but always searching for really good new music and Mezzanine delivers in spades. The very first song on the album, Angel, has been in five films that I know of, including The Matrix! Why these movie guys never got past the first song is anybody's guess, but the rest of the album is just as good as the beginning. It just keeps getting better. I know Massive has a new album coming out and I'm almost afraid to hear it; equalling Mezzanine would be an amazing feat, but to best it seems impossible. Mezzanine just may be my favourite album of all time, ever, but be warned: you need a very good sound system to hear it all. There is nothing simple here.
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34 of 36 people found the following review helpful By A Customer on May 31, 1998
Format: Audio CD
With their third album, Massive Attack reclaim the "trip hop" (see Tricky, Portishead, Morcheeba, et al) throne while taking the music in a darker direction than their previous efforts (none of which are exactly "Walking on Sunshine," knowwotImean?). The core rapping duo of 3-D (sinister whispers) and Daddy Gee (deep-voiced nonsequiturs) really stand out here, especially on the title track and "Risingson." Frequent guest Horace Andy also gives a pair of great vocal contributions on the haunting opener "Angel" (which boasts some of the deepest sounding bass ever recorded)and the dubby "Man Next Door." Personally, I find myself lacking any strong reaction to Elizabeth Frasier's (ex(?)-Cocteau Twin) presence; her vocals are certainly good, but surprisingly more "there" than standing out. The main differences between this and previous Massive Attack albums are the "bigger" (read: louder!) beats (especially on the latter half of "Angel") and the greater use of guitar -- where previous songs like "Protection" found the guitar riding along rhythmically, it frequently breaks through into some great leads/breaks, as on "Group Four." So far, this is the best album of 1998.
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14 of 14 people found the following review helpful By killabean on March 25, 2000
Format: Audio CD
More than much-touted releases from Portishead or Goldie or Radiohead, Mezzanine opened my ears to the breathtaking possibilities of contemporary music and production techniques. It's definitely one of the most vividly realized albums I've ever heard, from any genre of music. At the same time, it's drastically different than the laid-back Blue Lines debut or the eclectic, dancy Protection. These are dense, lugubrious, menacingly dark tunes, perfect for cruising aimlessly in your black Beamer, looking cool. Also great headphone music--in fact, I'd say it's essential that one listens to this record through 'phones at least once, just to catch all the subtleties. The first four songs are a hypnotic series that draw you into this album entirely. Teardrop has especially entrancing, beautiful vocals from Liz Fraser. The two versions of Exchange are tinged with jazz and recall the laid-back motif of Blue Lines. The second half of Mezzanine is even darker and slower-paced than the beginnings. This album is a unique treasure that belongs in your library if you're a fan of well-produced and well-written music.
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