60's Pace 007 and 001

Couldn't disagree more with people who are pious about the originals: they've recruited top producers and dj's to remix these classics, and in most instances, the results are bracingly original without doing any kind of disservice to the originals (blah blah blah). It's fun, it's innovative, and in some cases, some of the best club/dance/disco/elctronica I've heard anywhere in a long time. The Bond remixes are chilling, actually sent chills up my spine. In fact, for the next Bond movie, they would do well to get Bassey on board again and do something in this spirit. Kickin' beats and the Bassey voice. The electronic flourishes are not just blandly laid down computer beats but enhance Bassey's baritone-esque voice. I suppose it helps if you're gay or old enough to remember the originals, but don't let that stop you from spinning this head-turning disc at you next party or lounge fest.

a perfect combination

I would never have figured I'd enjoy a Shirley Bassey cd so much, but Diamonds Are Forever-The Remix Album shows that Bassey's songs lend themselves perfectly to electronic remixes. Of course, after the success of the Propellerheads' single 'History Repeating', you had to figure it was only a matter of time before someone got the idea to create such an album. awayTEAM's remix of 'Where Do I Begin?' is a great example of using techno music to enhance a tune instead of overshadowing it, with thumping bass and drum machine blending nicely with the string arrangements from the original recording. Kenny Dope's remix of Bassey's cover of The Doors' 'Light My Fire', one of two versions of the song on this album, features powerful drumming underneath Bassey's sultry vocals with minimal overdubs. The Bond theme 'Diamonds Are Forever', remixed by Mantronik, convert the song from a movie theme to a tune that sounds tailor-made for European club music, while the frenzied remix of 'Big Spender' by Wild Oscar makes the listener want to crank the volume all the way up, something many younger listeners thought they'd never do. The highlight is the Propellerheads' (who better do do it?) fabulous remix of the Bassey standard 'Goldfinger': it begins with a keyboard & acoustic guitar intro with a shuffling drum beat and scratching, then launches into the familiar horn flourishes of the original song. The shuffling beat and funky bass continues underneath Bassey's vocals, simultaneously reinventing the classic song while keeping the song's memorable arrangement intact. The album isn't perfect, with Groove Armada's underwhelming reworking of 'Never Never Never' being the low point, but for the most part, Diamonds Are Forever is a highly enjoyable listen. Watch for plenty of kids surreptitiously browsing the Adult Contemporary section of the local record store for the very first time in search of this album.

Bassey and the Bass

This is a great album. Very few of the remixes are actually innovative or inventive. Most of the reworkings are very skillfully executed however, and they make for a fabuluous Shirley Bassey album which is contemporary and fun to listen to. The most outstanding track is Big Spender, mixed by Wild Oscar. I would have liked to have heard one or two tracks with a more ambient Mark Bell/Bjork feel.