Comments:
DJ David Holme's sophomore release is sophomoric in the least. In fact, it is almost too mature for me, and not playful enough.

Born in Belfast, Holmes has worked his way up the music food chain to become a soundtrack artist, working as both a film composer and compilist for the retro remake of the movie "Oceans 11."

In light of Holme's latest work, "Come Get It, I Got It," I find it quite impressive how DJs turned master mixing rip-off artists are composing revivals of 30 year old records to retroactively befit our tastes today. The sole problem I have with this album is that it is more of the same-old same-old formula MCs are using these days—diggin' into wax bins for a special snippet of that LP perhaps played once-upon-a-radio.

The cumulative product is worthy enough of playing at a club between sets of the live act upstairs or before the DJ launches his rocket downstairs. But if you extracted the gratuitous foul language, it would also be good enough for Starbucks, and that surely ain't good enough for me, at least not sufficient to merit a "must buy" from this reviewer.

I say that with enough of these albums I would be able to compile a collection to span the history of American popular music without ever having to worry about keeping up with the new stuff, because they're barely producing any.

Not even the transitions between tracks on this album proved original. The "Free Association" interludes are just as droll as anyone else's fancy spoken word transitions.

As a final note, I must add that the use of Hitchcock's trademark image for his film Vertigo (1958) on the cover of this CD is interesting, but doesn't seem to befit the essence of this compilation. The cultural time frame represented by the 60's funk and R&B is about as close as they get to each other. Perhaps, Holmes and his producers thought no one would notice, much like the music on their album.