MIME-Version: 1.0 Content-Type: multipart/related; boundary="----=_NextPart_01C9384A.79138EB0" This document is a Single File Web Page, also known as a Web Archive file. If you are seeing this message, your browser or editor doesn't support Web Archive files. Please download a browser that supports Web Archive, such as Microsoft Internet Explorer. ------=_NextPart_01C9384A.79138EB0 Content-Location: file:///C:/02723D84/Pey_Dalid.htm Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset="us-ascii" Pey Dalid

   Pey<= /span> Dalid

http://www.peydalid.com/

http://profile.myspace.com/index.cfm?fuseaction=3Duser.viewprofile&f= riendID=3D282087 12

http://jewish-music.blogspot.com/2005/09/pey-dalid-review.html

Thursday, September 15, 2005

Pey Dalid - Review

General= ly, this album falls into the Chaim Dovid, Soulfarm catergory,= whose philosophy is about "pure" music - limit the effects and the edit= ing and try to capture the "live" performance feel. This has advantag= es and disadvantages - the most severe disadvantage being that the overall tightness of the album tends to suffer. Unfortunately, this disadvantage manifests itself here too. The drummer is almost always in time, but there = are those couple of off moments which I feel really subtract from the overall f= eel of the album. Another general comment which I will refer to alot - I hate to say it, but the bass player lacks groove. He plays most of the songs like a ballad, which is only playing the bass note on the first note = of each meaure or chord change. Occasionally his r= hythm follows the melody, but he rarely gets into a groove, and he doesn't follow= the bass drum. The first song, Am Yisroel, starts o= ff with a intro full of cuts in which the bass play= er is noticeably off rhythm. I don't understand why the mixer didn't line up the parts - it's really simple, especially for bass parts. Alternatively, they could have recorded the off parts again. I don't really care for the answer-back harmonies either - it sounds like they just sang whatever came = to their mind in the studio. Also, there are times where the harmonies should = be in rhythm, but they're not. The song itself isn't very catchy, but it follo= ws an interesting chord progression. Shalom Aleichem - This song is more solid than the previous one, and the bass player even gets into a groove on the l= ow part, but not the high part. Strange, I would think it should be the other = way around. On the high part, the drummer plays a rock feel with the first two eighth n= otes on the bass. The bass player should follow this, but doesn't. Instead he pl= ays half notes with an occasional eight note anticipation. The low part is play= ed in a disco/hora/half-time rock feel, and the hi= gh part is a straight rock feel, which makes it feel like the song is speeding= up when in fact it isn't. There is also tasteful violin by Rudy Harris. The harmonies are more rhythmically in time. There is a point in the song where it's just the bass and vocals, but the vocalist sounds like he's screaming = and trying to sound edgy. I don't really go for this. Yom = Zeh Yisroel has a cool sounding intro with cuts, bu= t the rest of the low part also has these cuts. I feel that this takes away from whatever groove this song has. The drummer really gets into this song, and plays tasteful fills and grooves. There is even a little piano on this song, which sounds like a Yamaha keyboard. The next song is a niggun, so there are no words. The drummer plays a reggae feel, but the rest of the band doesn't. The high part moves into a rock groove which be so much better had the bass player simply played eight notes. This song introduces saxaphone - both alto and sorprano. I guess they're going for that Dave Matthews feel. Shabbat Shalom has a great low part. I really like the way it starts = off with just rhythm guitar and vocals. The high part doesn't paralell the low part though - it's fairly boring. Halfway through this song they do= a rap type thing. I'm not exactly sure what rap has to with Shabbos, though. I tried to decipher the words they're rapping to, but it just sounds like random gibberish, especailly after 2:30 mi= nutes of this stuff. Boi V'shalo= m is next, although the jacket says Hamalach shou= ld be next. The intro has cuts, but they're off AGAIN. There's not much to this s= ong - except for the fact that they sing "L'Cha Dodi no no no no no". I guess they're trying to copy the non-Jewish usage of "no no no<= /span> no". The problem is that in non-Jewish mu= sic it means no, here it has no meaning, it's just something to sing, I guess. The first two measures of Hamalach are a copy of th= e D'Veykus hamalach in mino= r. The drummer uses rod sticks. Mi hu Zeh has reggae style organ comping. Garden of Eden = starts off with an E Major, G Major progression and then switches to E freigish. The song ends off with = an eerie shofar blowing. To sum it up - As I menti= oned at the outset, this album is like Soulfarm and = Chaim Dovid. If you like = that style, you'll probably like this.

 

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