Tranceport
Tranceport
An very important collection of probably the most worlds most gifted innovative trance artists, that includes the style and ablility of Paul Oakenfold blending classic tracks through Gus Gus, Paul Van Dyk and more. 19ninety eight unlock. same old jewel case.Of the entire genres within digital music, trance most likely will get the worst rap. The music is in charge through association with the hippies that worship it with a non secular-like fervor. And if executed poorly, its dramatic crescendos sound like pretentious, pompous pap. however a pass
list price: $ 15.ninety eight
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2 Responses to “Tranceport”
July 27th, 2011 at 12:49 pm
This is the one that started it all!,
As a devoted trance aficionado, I realize that Oakenfold is the equivalent of NSYNC and Britney Spears in terms of popularity in the electronic music world. I do not realize, however, why he gets this rep. When I bought this CD in 98, I had a few trance and house CD's, but I was not truly appreciating the genre, until this jewel.
This is honestly the most outstanding mix that I have ever heard. Oakenfold is scrutinized for his supposed lack of mixing skills, but I beg to differ. Track selections like "El Nino" and "Words" and "Cafe Del Mar" each evoke a different tone. This kind of melodic trance, unlike Sasha's or Christopher Lawrence's, is difficult to mix because of each track's distinct tone and energy. For those critics of Oakey's mixing, ask yourself, "How difficult is it to mix some of the most popular and melodic tracks of the 90's without making it seem like a cheesy Ibiza mix?" I know that the mixing is not on par with Sasha's or Lawrence's, but you have to judge mixing in context of the tracks. What always set Oakenfold apart, in my opinion, is the diversity of his track selection. For example, anyone who compares the New York Global Underground to any other GU will find it very difficult because he spins trance, ambient, drum and bass, and melodies all on the NY CD. This fact may help explain why his mixing seems subpar.
Tranceport I deserves 5 STARS because of the tone each track creates. In the end, the sum of the several distinct tones on this CD creates an uplifting mood. I used to listen to this CD while I worked in an Espresso Bar, and it not only kept me moving on my feet, but it also got me through long days. But I think the real beauty of this CD is the fact that it really is the perfect introduction to trance. Many of my friends who don't particularly like trance have loved tracks on this CD like "El nino" and "Words". I have played Dave Ralph, Warren, and Sasha to these same friends, and they just view it as monotonous beats.
I hope that I do not sound as if I am jumping on the Oakenfold bandwagon, but I really have to pay homage to this CD and its maker for the introduction they both gave me to the trance world. While it may not compare to the ultimate trance/house journeys like GU:San Fran, Hong Kong, or CL's Temptation, it is the finest expression of popular trance that I have ever heard. 1999 was the year trance broke in the US, and Tranceport 1 played no small part in that, something we trance fans should all be proud of Oakey for.
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|July 27th, 2011 at 1:27 pm
Oakenfold brings European trance music to a U.S. audience,
Fans of dj Paul Oakenfold and of European trance and progressive house dance music in general will recognize nearly all of the tracks on "Tranceport" as a bit on the old side. Energy 52's "Cafe Del Mar," for example, was on practically every dance compilation issued in 1997, while Three Drives' "Greece 2000" has been similarly ubiquitous this year. Consequently, those who might have expected something as cutting edge as Oakie's recent "Global Underground--New York" 2 cd mix will be disappointed in "Tranceport." However, it seems that this release is really aimed not at those already enamored of this lively and melodic musical genre, but at an American audience that heretofore has heard few, if any, of these tracks. Oakenfold is widely known and extremely popular in Great Britain, but he's practically unknown in the U.S. This release by Kinetic Records is aimed at providing a good, well-mixed sampling of this fabulous music, in hopes that the current hegemony within the U.S. of hoary, cliched alternative rock, overblown big beat electronica, repetitious rap, and the current darling, hip-hop, might somehow get nudged just a bit so that American listeners might consider embarking upon the kind of dance music excursion that Paul Oakenfold can offer. Who knows? Popular U.S. releases by John Digweed, Sasha, Nick Warren, Ian Ossia, and Dave Seamon just might be next.
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