Dirty Vegas

1	I Should Know 6:09
2	Ghosts 5:18
3	Lost Not Found 4:05
4	Days Go By 7:07
5	Throwing Shapes 6:52
6	Candles 3:12
7	All or Nothing 4:55
8	Alive 3:21
9	7am 6:13
10	The Brazilian 3:53
11	Simple Things, Pt. 2 6:44
12	[Untitled Track] 2:43

Barnes & Noble

Even before the release of their debut album, British deep house-pop trio Dirty Vegas had made significant inroads into the American living room via their groovy tune "Days Go By," which made a big splash as the soundtrack for Mitsubishi's TV ad campaign for the Eclipse. And to the group's credit, the song -- a Top 20 single in England that lays folky, effects-laden vocals over a pumping bass line and a chilled house groove -- is only the first thread in a coat of clubby colors. Dirty Vegas's self-titled debut takes the design of late-period Everything But the Girl, trance's catchy side, and Bedtime Stories-era Madonna and fashions a stylish mélange of dance hits and cloudy head-nodders that will appeal to dance-music experts and novices alike. Spurred by former Ministry of Sound DJ Paul Harris, the trio are obviously fluent in the language of dance-floor sounds, mixing and matching these dialects to suit each radio-ready tune. "Burning the Candles" sounds like a Radiohead ballad on an ambient-soul trip; the twofer of "7 AM" and "The Brazilian" is a progressive anthem underpinned by samba drums; and "Throwing Shapes" makes an old-school M/A/R/R/S-style stadium house roar. Their biker-like big beat name misrepresents their easygoing style, but Dirty Vegas is far from the emperor's new clothes. Piotr Orlov

All Music Guide

Capitalizing on the nearly ubiquitous "Days Go By" (courtesy of a Mitsubishi auto advertisement), the Dirty Vegas trio released their self-titled debut in mid-2002. The album is largely made up of rocktronica, but just consider the band's crossover potential; it's conceivable this album could be accepted by fans of Paul Oakenfold, the Verve, and *NSYNC -- all at the same time. The beats are up-tempo, but the atmosphere is nocturnal; singer Steve Smith is detached but slightly confessional, poised midway from Richard Ashcroft to Justin Timberlake. The band opens up later on the album, with a few imaginative productions slanted either toward a very smooth version of classic acid house ("Throwing Shapes") or Urban Hymns-type ballads ("Candles"). John Bush