Track Listing

1. Quixote
2. Winter
3. Victory
4. Oceanic
5. Kismet
6. Korobushko
7. Alexander the Great
8. Duel
9. Bella Donna
10. 1812
11. Dalalai
12. Hymn
13. Victory [Mike Batt Mix]

Product Details

• Amazon Sales Rank: #34163 in Music
• Released on: 2001-03-13
• Number of discs: 1

Album Description
Asian edition of the classical crossover act's 2001 album includes one bonus track, 'Viva!', which is not included on the domestic version. Decca. 2001.

Amazon.com
Born, the debut album by four conservatory-trained young women, has little to do with classical music. It's a gimmick, fusing a string quartet of frivolous femmes, spicy girls who all want to be "Posh," with dance beats, a big production mixing their violins, viola, and cello with polished electronics. Taking themselves less than seriously--they played the James Bond theme at their Royal Albert Hall debut--pop "Victory" looks assured. This single bounces along with a dash of Rossini's Barber of Seville and a real sense of pop melodrama, in spirit little different from what guitarist John Williams did with his rather less photogenic band Sky in the late 1970s. What may surprise is that tracks such as the frenetic world-dance "Quixote" are penned by the film composer Magnus Fiennes, brother of the more famous Ralph and Joseph. "Winter" adds Jean Michel Jarre-style synth and voice-over to the ghost of Vivaldi and the infectious beat goes on, and on, and on. Sex sells, and Bond's success seems assured. This is a state-of-the-art product, but with a bonus remix of "Victory" by Mike Batt of Wombles fame, just don't expect it to be art. --Gary S. Dalkin

Customer Reviews

Simply fun to listen tto
I want to know why critics and reviewers are all worked up that Bond's "Born" cd isn't exactly classical. The Spice Girls on stringed instruments I don't think so. The girls in Bond actually had training and do actually have talent, unlike their sugary confectious counterparts who a) have no talent and b) no training in what they do which is singing. Sure the music isn't 100% classical but that is what makes this cd more interesting, the fact that it is more pop than classical. I love classical as much as the next person but sometimes it is just too dull at times. Bond really livens the whole classical genre by infusing it with pop and techno. I haven't stopped listening to this cd since I received it in the mail almost a month ago.

This is one classical/pop cd I crank my stereo to listen to at home. "Belladonna" is a sweeping 3 1/2 minute epic scored by EOS, the second violinist in the group. Very dramatic and very emotional I think. A perfect song for any soundtrack. It is probably my very, very favorite track on the cd. "Victory" is my other favorite track. The Mike Batt remix is awesome, there is a more techno edge to that track than to the original track. "Duel" and "Winter" are my other two favorite tracks. Oh heck every song on this album are my favorite songs. Very enjoyable album that does not deserve the snobby criticisms from classical music lovers. Perhaps Bond doesn't deserve to be lumped in a genre that attracts music snobs.

A fresh take on classical music
...This album offers a new take on classical music, blending orchestral music with dance beats. Hearing the same song over and over again, being played virtually the exact same way, it gets kinda monotonous (quick, name the best recording of Beethoven's Fifth...or how about Tchaikovsky's Dance of the Sugar Plum Fairy?). So it seems like four talented classical musicians got bored with their jobs one day, and after hooking up with a production team, they were ready to shock the world. And Bond was born. This album is their concept, with new interpretations of classical music. At times, the strings are covered up by slighlty too much production, but that's okay. The songs are fun, but the first two sound a little bit too generic (as far as the production goes, i.e. bland techno beats), but after that, with Victory and Oceanic, this album kicks it into gear. Oceanic is a standout, sounding like a glorious soundtrack (strangely reminiscent of the introduction to Beauty and the Beast). Track #6 builds up through the first minute and a half, and the ladies' talents really shine on this song (with an orchestra to back them up), with their sense of rhythm ringing out as the song builds and builds...Alexander the Great sounds like it could have been used in The Princess Diaries (or some similar movie), especially since the mood seems like one of awakening, or a new beginning. The rest of the album follows suit, with some more fun and interesting songs, not to mention the most unique version of The 1812 Overture...Hymne sounds a little bit like Finlandia at first, but is very nice. The second version of Victory gives the original a run for it's money, with both songs being filled with tons of energy and power. I can't say enough about the chance that these ladies took to make this album, because their careers as classical musicians might never be the same, but it was a chance well taken, and the results are rewarding. Following in the footsteps of composers and performers that took a chance and presented a new style (gee golly gosh, weren't such greats as Lizt and Gershwin, not to mention the early jazz composers, considered "wild" and "daring?" Music isn't meant to be "pure." It should be explored and experimented upon...), the ladies of Bond have leaped into the musical fray, and compared with the musical talents of most of the other groups out today (yes, musical talent is a requirement to making music...), they stand on top.

Quality throughout
A lot of the problem with Classical music is that some uninitiated believe it to be unapproachable and overly long and boring. Comparing a standard classical piece to a three and a half minute pop song, the classical piece is indeed complex, long, and perhaps far beyond the attention span of the average listener.

Bond makes a great introduction for those people. The songs, for much of the CD, are culled from classical tunes that people have at least passing knowledge of. Combining these standards with a gentle techno beat, Bond creates music that really stands out from the norm. (Who would have thought that The Barber of Seville was actually a Latin dance ditty?)

Even beyond the pieces that everyone knows and loves, Bond selects pieces that showcase their exceptional classical training. These pieces are towards the middle and end of the CD, by the time which listeners have already found themselves engrossed in the music.

The only worry that I have is that Bond has used up all their creative talent on their first CD. More often than not, this is the case with crossover classical artists. Hopefully this group will be around for a while, putting out quality CDs like their debut.