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Jul 31, 2012

Brain Damage - Dub Sessions Meets Sir Jean

http://cd1d.com/en/sites/default/files/imagecache/300x300/imageupload/image_square/197258-drain-damage-dub-sessions-meets-sir-jean-03042012-1805.jpg

http://brain-damage.fr

https://www.myspace.com/braindamagedub





Origine du Groupe : France

Style : Electro Dub

Sortie : 2012

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From http://brain-damage.fr

Après plus de 12 ans d'existence, une nouvelle fois, Brain Damage est en pleine refonte, prêt à prendre le contre pied, à surgir là où on ne l'attend pas...
Suite au départ du bassiste Raphaël Talis, c'est désormais seul que Martin Nathan donne une nouvelle direction au projet.
Si le son de Brain Damage semble toujours rester personnel et identifiable, il se teinte ici d'une couleur résolument plus "roots".
Testée grandeur nature depuis quelques mois dans le cadre de la tournée High Damage, la formule live Brain Damage Dub Sessions apparait radicalement consacrée à une certaine vision du Sound System.
Pour la création de ce nouveau set, de nombreux intervenants ont été sollicités : Sir Jean, Brother Culture, Madu Messenger, Zeb McQueen, Learoy Green, M. Parvez, ainsi que la section cuivres ArtDeko, pour de puissantes et fructueuses sessions de studio.
Enfin, comme il se doit, plusieurs productions discographiques voient le jour, avec notamment un premier maxi vinyl en compagnie de Sir Jean,
en attendant la sortie du prochain album en octobre prochain, toujours sur Jarring Effects.
Après s'être tant éloigné du modèle dub anglo-jamaïcain, Brain Damage Dub Sessions en propose donc finalement sa version en 2012.



After more than 12 years of existence, once again, Brain Damage enters into a complete overhaul, ready to rethink everything and to rise where we do not expect.
After Raphaël Talis, the bassist, left, Martin Nathan goes on solo and prompts the project into new directions. Even if Brain Damage’s sound always had its personal and identifiable signature, it becomes here definitely more tinged with « roots ».
Already experienced during this recent « High Damage » tour (High Tone meets Brain Damage), Brain Damage Dub Sessions‘ new live set appears to be more sound-system orientated than ever.
To build this new set, many artists have been invited: Sir Jean, Brother Culture, Madu Messenger, M. Parvez, Zeb Mc Queen, Learoy Green, as well as ArtDeko brass section, for some powerful and fruitful studio sessions.
Then, as is proper, one first vinyl EP just came out on Jarring Effects « Brain Damage dub sessions meets Sir Jean », introducing the release of a brand new LP on the next month of october.
After straying away from the UK-Jamaican dub style, Brain Damage Dub Sessions offers actually its own version of it in 2012.


Tracklist :
01. royal salute
02. royal salute (sound system version)
03. tans for life
04. tans for life (unplugged version)

 

Jul 30, 2012

New Primitives - American Nomad

http://ecx.images-amazon.com/images/I/5108ev8fy6L.jpg

http://www.newprimitives.com





Origine du Groupe : North America

Style : Indie , Alternative , Reggae

Sortie : 2012

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From http://www.newprimitives.com

Stanley Kipper:
lead vocals, timbales, trap drums and percussion

Stanley returned to Minneapolis in 1989 after nearly 20 years in Los Angeles touring and recording with such artists as Minnie Riperton, Bill Withers, Joe Walsh, Jay Ferguson, Andrew Gold, Randy Meisner, Barry Gibb, Little Richard, Bo Diddley and Karla Bonoff. Stanley has composed songs for several films and commercials, and has also won top honors in the Coors Light National Song Contest.

To know more about Stan and his musical background, please check out his full-length bio.

Chico Perez:
percussion and backing vocals

Chico has been an active percussionist for many years, touring with such groups as Crow Cola, Gypsy, Jump Street, and 7th Wave. His professional career includes numerous studio projects, as well as keeping busy as a drum-maker and teaching African and Afro-Cuban percussion at the Minneapolis Drum Center.

Matthew (Mateo) Stevens:
bass guitar, backup vocals

Matthew grew up in a musically rich environment, learning his first blues lines on bass guitar at age 14 from his father. Soon, he began playing with brother, Nate, and Javier Trejo in The Beads. Matt has studied and played with Gary Hede and Jeoffry Baily and played Jazz at the U of M School of Music. He also played with his group, The Jazz Bastards, and with Hip-Hop group, United States of Consciousness. In 1999, he and Mason Hozza re-formed The Beads. Soon after winning the Cabooze's contest for �Best Unsigned Band in the Twin Cities�, The Beads released their 2003 CD, "Ordinary Sunday People." After The Beads' run, Matt formed the Stevens Brothers Band with longtime friend, Dave Libman (aka Juice), brother, Sam, on drums, and Nate on Vox and Harp. In the spring of 2005, Matt began performing with Wookiefoot, adding another dimension to his repertoire.

Matthew first met New Primitives in 2003 when they co-billed a show with The Beads. A few months later, Matt was invited to fill-in for Tommy Peterson while he was away on his honeymoon. During a practice/jam session before the gig, Matt remembers his feeling of glee over the rhythmic differences and all the possibilities of playing with this group. He finished the show, but did not hear from them about playing until 2005. This is when Javier called to say that Tommy was working on a new endeavor with his business partner and would he be interested in filling in regularly?

Since then, Matt has played many gigs with New Primitives. His experience playing jazz, hip-hop, reggae, and world beat converges with New Primitives� style: multi-genre, percussion-driven music at its finest.

Joel Schann:
guitar

Joel Schaan started music at age 5 when his family moved into a house with a piano to big to get out of the basement. By age 14 he talked his brother Toby into buying a bass and soon they formed their first band together. They played the northern North Dakota barn circuit in the late eighties, then reformed as Wallace Hartley and the Titanics in the early nineties. As a ten piece Funk/R&B group they traveled the midwest bar scene playing original music, as well as recording with Tom "Bones" Malone, and Paul Shaefer. In early 2000, they co-founded Test Site 67, where Stan Kipper became a regular member of their weekly house gig at famous NE bar Mayslacks. The band released one CD, followed up in '06 with a solo effort by Joel entitled "Accoustic." After years of sharing stage with Stanley in each others' bands, Joel finally joined the New Primitaves in the spring of 09.

Park Evans:
guitar
Park Evans is a Minneapolis based guitarist, composer, and music educator. Originally from Ithaca, New York he grew up studying with classical guitarist Karl Wolff and British fingerstyle master Martin Simpson.  He moved to Minnesota to further his study of classical guitar and composition at Saint Olaf College. Upon discovering the rich music scene in the twin cities and studying with local jazz guitarists Dean Magraw and Kevin Daley he became a permanent resident.  In addition to working with New Primitives for the past 10 years and joining them full time in 2010. Evans also performs in his solo project, the genre-bending jazz quartet Parker Paisley, He has released 2 cd’s of his original music; 'Impossible Party' (2003), and 'Surviving Desire' (2006); with his 3rd release, 'Satori for a Hungry Ghost', coming out in early 2012. He works as a studio musician and can be heard on numerous recordings including jazz, rock, alt-country, and folk albums. He has taught guitar lessons for the past 20 years with tenures as a faculty member of the Music Connection and the Rymer-Hadley center for the arts.
 
http://myspace.com/parkevans

Daryk Durwood:
saxophone

Daryk Narum (a.k.a. Durwood) has floated around the periphery of the New Primitives voodoo landscape since first meeting
Stan and Chico when they were in One World and just forming the New Primitives. Before joining the band, Durwood played in multiple projects with different members of the New Primitives. Since moving to the Twin Cities in 1994, Daryk has performed in Test Site 67, Inspirado, Wallace Hartley and the Titanics, Slow Motion Walter, and Rhythm Jones, as well as adding his signature bari and tenor sound to other bands in the area. Daryk has been enjoying being a permanent member of the New Primitives since 2007.


Tracklist :
1. Love Walks In                   0:31
2. Didn't I Tell You               4:37
3. Must Be Love                    5:05
4. Average                         3:02
5. What You Want To Hear           4:06
6. Rogues Moon                     5:08
7. Brand New Day                   4:09
8. Love Is All I Need              4:20
9. Primative Road                  0:24
10.Working Man                     4:05
11.Give It All Away                4:05
12.Sally Go Round The Roses        3:22
13.Holding On To Yesterday         4:44
14.Cakewalkin West                 1:02

Jul 29, 2012

Black Roots - On The Ground

http://static.unitedreggae.com/music/disc/disc-3048-black-roots-on-the-ground.jpg

http://www.blackrootsreggae.com

https://en.wikipedia.org/wiki/Black_Roots





Origine du Groupe : U.K

Style : Reggae

Sortie : 2012

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From http://www.cicadelic.com

The Morning Dew Story (continued from the previous CD release "No More").  The next recording sessions by The Morning Dew were done during the dates of July 24-25, August 6 to 11, and August 25 to 26, 1968.  Ten songs were recorded, eight of them penned by Robinson.  He reflected on the songs of The Morning Dew by saying "We're the Morning Dew twenty four hours a day, so we've got plenty of time to do this".  Regarding the suggestive drug and sex references in song lyrics by many bands Robinson said that "anyone can write a dirty song, besides, if you're not high on drugs, it's hard to write about it". The changes from their previous singles could be explained in one word “psychedelic”.  The influence of The Beatles’  “Sgt. Pepper” album is evident on the opening band playing that segues into what becomes “Sycamore Dreamer” with its eerie John Lennon phased vocals and lyrics. “Then Came The Light” features Robinson on the wah-wah pedal while guest Lou Rennau plays the weird sounding oscillator.  Dubbed over the break is a message from Robinson, similar to the Jimi Hendrix monologue in his psychedelic masterpiece “If 6 was 9”.  “Then Came The Light” , “Cherry Street” and “Something You Say” would all show up later on The Morning Dew’s highly collectible Roulette album, issued in 1970 (albeit in different versions).  “Lady Soul” was The Morning Dew’s sarcastic reply to the fans at their shows that asked the band to play some soul music.  Robinson’s clever use of a double tracked fuzz guitar sound blended with help from the Missouri University Marching Band on horns turns the song into a odd blend of psychedelia and soul.

The ten-song demo tape was circulated around to record labels and A & R men.  Sligar stated “What helps so many other groups is the fact that they are in big cities, nobody from a record company is going to come to Topeka to hear a band somebody tells them is pretty good, you’ve got to take it to them”.  A stroke of good luck occurred when a local agent, was able to secure The Morning Dew a contract with Roulette Records.  This occurred in the fall of 1968.  A promoter/investor from Columbia, Pete Shanaberg (an affiliate of Lou Rennau) took the ten song demo tape with recordings from other Midwest acts (Don Cooper, Morgan Mason Downs) to New York and peddled these tapes to record companies. Consequently, Shanaberg was successful in obtaining record deals with Roulette Records for all the acts. Due to the time that had expired from the 1968 Fairyland recordings, Roulette wanted to hear some current recordings of the group so The Morning Dew recorded “Get Together” and “Young Man” in May of 1969 but both tracks were never released (although “Young Man” was later issued on the Roulette album, it was a different recording).  Unfortunately, Shuford had already left the band due to the draft and was replaced by former Burlington Express member, Blair Honeyman on the two recordings.
 
 A producer for Roulette, Fred Munao came to Topeka in June 1969 to hear The Morning Dew perform live. He was so impressed with the band that a recording contract was signed the day he came to hear them in Topeka. In August of 1969, The Morning Dew drove their van up to New York for the Roulette album recording sessions. The album was recorded in three days.  Three of the 11 songs recorded for Roulette had been previously done the year before at Fairyland Studios, “Cherry St.”, “Then Came The Light”, and “Something You Say”.  Seven other songs were new Mal Robinson originals. The band submitted to Roulette a proposed album cover but it was rejected in favor of a photo of a hippie couple in the nude on the verge of making love or finding the answer to life’s mysteries.  Unfortunately the album was delayed for unknown reasons and released in September 1970, over a year since its inception.  The album received little promotion from Roulette and sold poorly, but today is recognized as a classic with original copies going for over a hundred dollars.


Tracklist :
01. I believe 03:45
02. pompous way 03:53
03. long long ago 03:45
04. militancy 03:55
05. earth land 04:05
06. i am flying 04:29
07. slavery 04:30
08. oh mama africa 03:41
09. hide out 04:40
10. on the ground 04:15
11. call me out 03:04
12. no fee 03:22
13. struggle 04:44
14. landscape 03:41
15. without direction 03:58
16. capitalism 03:49
17. come and sing 03:46

Jul 28, 2012

Morning Dew - Morning Dew

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOh3l-81ZnA8BRwTMJ3Od-u9dLUWD9Q2keOMZYMezQjtWQ0aIRzdsn0ME0Avxu2peLgVZOgkf5sOF4vj5fPc0khrE3oMO33QW1hScp1am7UPbQID_upo3DI2xPARp8B53DIeQuqk47f_Ze/s400/front_cover_small%5B1%5D.jpg

http://www.morningdewband.com





Origine du Groupe : North America

Style : Rock Psyché

Sortie : 1967

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From http://www.cicadelic.com

The Morning Dew Story (continued from the previous CD release "No More").  The next recording sessions by The Morning Dew were done during the dates of July 24-25, August 6 to 11, and August 25 to 26, 1968.  Ten songs were recorded, eight of them penned by Robinson.  He reflected on the songs of The Morning Dew by saying "We're the Morning Dew twenty four hours a day, so we've got plenty of time to do this".  Regarding the suggestive drug and sex references in song lyrics by many bands Robinson said that "anyone can write a dirty song, besides, if you're not high on drugs, it's hard to write about it". The changes from their previous singles could be explained in one word “psychedelic”.  The influence of The Beatles’  “Sgt. Pepper” album is evident on the opening band playing that segues into what becomes “Sycamore Dreamer” with its eerie John Lennon phased vocals and lyrics. “Then Came The Light” features Robinson on the wah-wah pedal while guest Lou Rennau plays the weird sounding oscillator.  Dubbed over the break is a message from Robinson, similar to the Jimi Hendrix monologue in his psychedelic masterpiece “If 6 was 9”.  “Then Came The Light” , “Cherry Street” and “Something You Say” would all show up later on The Morning Dew’s highly collectible Roulette album, issued in 1970 (albeit in different versions).  “Lady Soul” was The Morning Dew’s sarcastic reply to the fans at their shows that asked the band to play some soul music.  Robinson’s clever use of a double tracked fuzz guitar sound blended with help from the Missouri University Marching Band on horns turns the song into a odd blend of psychedelia and soul.

The ten-song demo tape was circulated around to record labels and A & R men.  Sligar stated “What helps so many other groups is the fact that they are in big cities, nobody from a record company is going to come to Topeka to hear a band somebody tells them is pretty good, you’ve got to take it to them”.  A stroke of good luck occurred when a local agent, was able to secure The Morning Dew a contract with Roulette Records.  This occurred in the fall of 1968.  A promoter/investor from Columbia, Pete Shanaberg (an affiliate of Lou Rennau) took the ten song demo tape with recordings from other Midwest acts (Don Cooper, Morgan Mason Downs) to New York and peddled these tapes to record companies. Consequently, Shanaberg was successful in obtaining record deals with Roulette Records for all the acts. Due to the time that had expired from the 1968 Fairyland recordings, Roulette wanted to hear some current recordings of the group so The Morning Dew recorded “Get Together” and “Young Man” in May of 1969 but both tracks were never released (although “Young Man” was later issued on the Roulette album, it was a different recording).  Unfortunately, Shuford had already left the band due to the draft and was replaced by former Burlington Express member, Blair Honeyman on the two recordings.
 
 A producer for Roulette, Fred Munao came to Topeka in June 1969 to hear The Morning Dew perform live. He was so impressed with the band that a recording contract was signed the day he came to hear them in Topeka. In August of 1969, The Morning Dew drove their van up to New York for the Roulette album recording sessions. The album was recorded in three days.  Three of the 11 songs recorded for Roulette had been previously done the year before at Fairyland Studios, “Cherry St.”, “Then Came The Light”, and “Something You Say”.  Seven other songs were new Mal Robinson originals. The band submitted to Roulette a proposed album cover but it was rejected in favor of a photo of a hippie couple in the nude on the verge of making love or finding the answer to life’s mysteries.  Unfortunately the album was delayed for unknown reasons and released in September 1970, over a year since its inception.  The album received little promotion from Roulette and sold poorly, but today is recognized as a classic with original copies going for over a hundred dollars.


Tracklist :
01. Crusader's Smile (3:42)
02. Upon Leaving (2:12)
03. Young Man (2:32)
04. Then Came The Light (4:15)
05. Cherry Street (4:09)
06. Gypsy (5:48)
07. Something You Say (4:29)
08. Country Boy Blue (2:39)
09. Save Me (3:40)
10. Epic: (4:33)

 

Jul 27, 2012

Aesop Rock - Skelethon

http://www.deadendhiphop.com/wp-content/uploads/2012/07/aesop-rock-skelethon-2012-e1341935094960.jpg

http://aesoprock.com

https://www.myspace.com/aesoprockwins





Origine du Groupe : North America

Style : Hip Hop

Sortie : 2012



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By Luke Winkie   From http://www.pastemagazine.com It was more than a little surreal emailing a Rhymesayers publicist for a copy of Skelethon. One, because obviously Aesop Rock’s dungeon-dark mutterings were like the Socratic ideal form of Def Jux street-rap, but also because five years after None Shall Pass, the world’s skeptics began doubting if Ian Mathias Bavitz would ever start rapping again. A new family, a dead label, a litany of oddball sidetracks, and rumblings of personal strife and loss—you couldn’t really blame Aes for an impromptu quarter-life crisis. And Skelethon is a very single-minded, sober-hearted record: entirely self-produced, dipping in gut-busting, welled-up, radically efficient rhyming all streaked with the shadow, subtly badass insulation that Aesop has built a legacy on. No feature-verses and no frills, no goofy party-cuts like “The Harbor is Yours,” Skelethon is dark, dank and dense. It’s Aesop Rock muttering to himself in a musty cellar, his vocabulary stretched across obtuse cultural debris like “cherry bomb” and “propeller hat,” and the self-designed beats are about as black as his voice. The record lives with angst, melancholy and a macabre grimness—probably the most focused Aes has ever sounded. You could never call Skelethon soft. Sure he cribs through an opening trio of forgettable setlist-filler in “Leisureforce,” “ZZZ Top” and “Cycles to Gehenna,” but it settles into itself with a lot of elegance. “Crows 1” opens with a death-knell lullaby courtesy of Kimya Dawson, which Rock promptly detonates with his “black crows shredding innards/ the silhouettes are fencing lefty scissors” slash on a sauntering, seasick bass. “Saturn Missiles,” arguably the greatest single-act of pure technical flow this year, is essentially a heavy dose of Aesop Rock mythology on a scatterbrain breakbeat. The subwoofer bleat on “Tetra” feels like a futuristic club banger for a crowd that gets off on high-impact syntax—same with the eroded, velvet big-band samples skirting under “Racing Stripes.” For a guy who’s been journeying for more than a decade, this feels like a natural habitat—building the beats he’s most comfortable with and safely assassinating them with his wit. Skelethon isn’t the sort of album you’re going to talk about in terms of weaknesses, but it certainly is clear where things have changed over the last five years. Compatriots like El-P and Blockhead painted past Aesop records with synesthesic flair, the gloomy keyboard drizzle of “None Shall Pass” or the music-box tinsel coursing through “9-5ers Anthem.” In reigning in and self-producing, Bavitz has made an album heavy on centralization and blunt-force trauma, but disparagingly lax on colors. These beats are sputtering and muddy, like primal thumps with a bad attitude—it’s tailored to fit the moody demeanor, but something is lost along the way. None Shall Pass has become the revisionist Aesop relic, simply because his grubby tones worked in exotic environments, Skelethon is digested in a single, subterranean suite. Effective, but occasionally flavorless. In some ways Aesop Rock has been marginalized, mostly because of his friends, coworkers and former, scene-famous label. He’s been sent up more as a broad representation, rather than an artist. The way Skelethon dismantles those notions might be its greatest triumph. It’s a rap album at its core, with Aesop spouting such a catalog of dizzying, powerful and impeccably professional verses; anyone who slept on him starts to look very, very silly. The true joy of Skelethon is sitting back and watching an incredibly talented and incredibly keyed-in MC run circles around your brain. It may not be his best record, but it absolutely reaffirms why his craft is so vital. Tracklist : 01. Leisureforce 02. ZZZ Top 03. Cycles to Gehenna 04. Zero Dark Thirty 05. Fryerstarter 06. Ruby ‘81 07. Crows 1 08. Crows 2 09. Racing Stripes 10. 1,000 O’Clock 11. Homemade Mummy 12. Grace 13. Saturn Missiles 14. Tetra 15. Gopher Guts

Jul 25, 2012

Easy Star All-Stars - Thrillah

http://lucdn.okayplayer.com/wp-content/uploads/2012/06/LargeUp_Easy-Star-All-Stars-Thrillah.jpg

http://www.easystar.com

https://www.myspace.com/easystarallstars





Origine du Groupe : North America

Style : Reggae

Sortie : 2012

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From Official Myspace :

Combining musical versatility, instrumental prowess, beautiful vocal harmonies and a superb rhythm section, the Easy Star All-Stars have established themselves as one of the top international reggae acts since their live debut in 2003. They rock every crowd they play for, whether it’s to thousands at festivals or hundreds at club gigs and private events (like the wedding of NYC Mayor Mike Bloomberg’s daughter). Thanks to their best-selling tribute album releases, Dub Side of the Moon (2003) and Radiodread (2006), as well as Until That Day (2008), an original EP, the Easy Star All-Stars have built a growing, dedicated fan base throughout the world, bringing together fans of reggae, classic rock, dub and indie rock into one big family. Their newest release, Easy Star’s Lonely Hearts Dub Band, due in April, tackles the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band in complete reggae fashion.

Originally formed in 1997 for Easy Star Records’ earliest recordings, the Easy Star All-Stars existed mostly as a studio entity until releasing Dub Side of the Moon in 2003. The group, which operates as a collective with a rotating cast of musicians and singers, was put together by Easy Star co-founders Michael Goldwasser, Eric Smith and Lem Oppenheimer. These three have directed and managed the band ever since. Goldwasser, as producer, musical director, arranger and guitarist, has been the man behind just about everything the All-Stars have done in the studio and on stage. He’s the one who spends months transforming songs by Pink Floyd, Radiohead and the Beatles into reggae tracks. As a producer, he has maintained a delicate balancing act by making albums that rock fans can embrace, without alienating the notoriously demanding hardcore reggae audience. Previous to 2003, the band made regular appearances in New York City, backing reggae legends Sugar Minott and Johnny Osbourne, and providing the live backbone for a celebrated tribute to Augustus Pablo. It wasn’t until Dub Side of the Moon’s tremendous success that a touring version of the band was assembled.

The other members of the Easy Star All-Stars, past and present, read like a who’s who of New York’s reggae, ska, dub and jazz scene. The core of the touring band has remained largely intact since 2003: Ras I Ray (bass, vocals), Ive-09 (drums), Kirsty Rock (vocals), Jennifer Hill (saxophone, flute) and Buford O’Sullivan (trombone). Menny More has handled deejay vocals since 2006. The current touring line up is filled out by Elenna Canlas (keyboards, vocals) and Shelton Garner Jr. (guitar, vocals), with either Justin Filmer or Marcos Ferrari handling dub engineering and sound. The band also rotates in Abou Diarrassouba (drums), Matt Bauder (saxophone) and Joanne Williams (vocals), depending on the tour. Other members of the collective—including vocalists Tamar-kali and Stephanie McKay, Groove Collective’s Jay Rodriguez, Antibalas’s Stuart Bogie, reggae legend Ranking Joe, trumpet player Pam Fleming (of the Burning Brass), deejay Dollarman, guitarist Junior Jazz, and keyboardists Ticklah and Jeremy Mage—all continue to make appearances or toured extensively with the group at one time. Michael Goldwasser still joins for occasional gigs, but spends most of his time in the studio working on the band’s musical output and his own outside productions for artists such as MacArthur Genius Grant recipient Corey Harris and Israel’s Hatikva 6.

The Easy Star All-Stars—in any combination of members—have been a resounding success. The band has played at major festivals and headlined shows in over 20 countries on 5 continents. Their worldwide album sales have surpassed 250,000 units since 2003, with Dub Side of the Moon spending over 5 years on Billboard’s Reggae Chart. MOJO picked Dub Side as the second best cover album of all time. Radiodread spent almost 2 years on Billboard’s Reggae Chart and earned praise from the members of Radiohead themselves.


Tracklist :
01 – Wanna Be Startin’ Somethin’
02 – Baby Be Mine
03 – The Girl Is Mine
04 – Thriller
05 – Beat It
06 – Billie Jean
07 – Human Nature
08 – P.Y.T. (Pretty Young Thing)
09 – The Lady In My Life
10 – Dub It
11 – Close To Midnight

 

Jul 24, 2012

Mounira Mitchala - Chili Houritki

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh13Lmpg4QsA5JTH99dyAHyRWO50XeNqssrqHWM7j3TR25fy1YhMIFnlINIfAIHOvYIuNivqRN3MdfgTECzy1wdvzEEZ524GTDZRBeGxYbXh4DqJF8rvKnGZJWNocMsrh1Pu6t8IpBORA/s1600/0886443354241_600.jpg

https://www.myspace.com/mouniramitchala





Origine du Groupe : Tchad

Style : World Music

Sortie : 2012

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By Matthew Forss from http://insideworldmusic.blogspot.fr

As a follow-up to Talou Lena (Marabi, 2008), Chili Houritki, which means, "independence," is an album that builds upon the traditional roots and rhythms of Chad's great musical resources. "Choukrane" is a Sai tune, while the title track is composed in the Bilala ethnic style that celebrates African female independence. A host of other tracks highlight various beats and styles, including n'gandja, guissesse, kidi kotoko, meund, kidi gourane, klaguu, nielim, gourna toupouri, mbong, toumtoum, and gourna. The overall sound is upbeat, contemporary Afro-pop that is rarely heard beyond Chadian borders. The music incorporates guitars, bass, shakers, calabash, kora, udu drum, and assorted percussion throughout the twelve tracks. Pleasant melodies, backup vocals, and sparkling instrumentation driven by historical traditions even contain some ululations and hand-clapping. At any rate, Chili Houritki is a long-awaited sophomore release from Chad's Mounira Mitchala.


Tracklist :
01. Haguina
02. Hourra
03. Tourabi
04. Choukrane
05. Independance [Chili Houritki]
06. Saboura
07. Al Salam Alena
08. Imane
09. Anina Nina
10. Antina
11. Hirate
12. Nadira

 

Jul 23, 2012

Cousin Joe - Bad Luck Blues

http://images.plixid.com/imager/w_500/h_/143a5b25083f23ff91c68270719c3d88.jpg

https://en.wikipedia.org/wiki/Cousin_Joe





Origine du Groupe : North America

Style : Blues

Sortie : 1971 (2003)

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By Kenneth Arnold    from http://www.amazon.com

The first time I heard "Bad Luck Blues" by Cousin Joe, it moved into the top ten of my favorite blues CD's. Cousin Joe has a great blues voice, Jimmy Dawkins and Gatemouth Brown provide the guitar work with Chicago rhythm section with Mac Thompson on bass and Ted Harvey on drums. Give it a listen; you might agree that "Bad Luck Blues" is a great blues recording.


Tracklist :
01 – I Don’t Want No Second Hand Love 00:03:31
02 – Goin’ Down Slow 00:05:16
03 – Box Car Shorty 00:02:31
04 – Life Is One-Way Ticket 00:04:18
05 – Chiken And The Hawk 00:02:52
06 – Bad Luck Blues 00:04:01
07 – Take A Lesson From Your Teacher 00:03:16
08 – I’m Living On Borrowed Time 00:03:55
09 – That’s Enough 00:02:44
10 – Levee Blues 00:03:31
11 – I’m Tore Down 00:03:17
12 – Railroad Porter Blues 00:02:43
13 – Chicken And The Hawk 00:02:45
14 – Goin’ Down Slow 00:04:37
15 – That’s Enough 00:01:46

Jul 22, 2012

Violent Public Disorderaz & Friends - Whiskey Sessions (LP)

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz0tfucTAhsKJjYWR1WxAVsvGvub53AsdHAoZUXTPbQi8ZMDVuC87HwJCCORtijfJtvLw54j5DaR4HWk5cL85LSpdsUOU_0iYwicf24N3dBsAVoVrVDX1MKZvtvUublUDx1dTSjbUjep4f/s1600/Violent_Public_Disorderaz_and_Friends_-_Whiskey_Sessions.jpg

http://www.dustedwax.org/vpd

https://www.myspace.com/violentpublicdisorderaz





Origine du Groupe : Bulgaria

Style : Abstract Hip Hop Jazz , Downtempo

Sortie : 2012

(cc) by-nc-nd

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From http://dustedwax.org

After 4 years hard work the long expected "Whiskey Sessions" album is finally ready. VPD teamed up with 10 amazing artists
from Dusted Wax Kingdom family for an incredible lo-fi samples-based jazz improvisation session.


Tracklist :
01    Introduction (Main Sample Source)
02    Whiskey Sessions
03    Whiskey Sessions (David Rinman Remix)
04    Whiskey Sessions (Mr. Moods Minding Mix)
05    Whiskey Sessions (Innereyefull Remix)
06    Whiskey Sessions (Kisszanto Remix)
07    Whiskey Sessions (Soulslept Remix)
08    Whiskey Sessions (Daakoon Remix)
09    Whiskey Sessions (Revolted Child Remix)
10    Whiskey Sessions (Dustmotes Sodden Remix)
11    Whiskey Sessions (Daakoon Uptempo Remix)
12    Whiskey Sessions (GDaddie & VPD Drunk Remix)
13    Explicit Thanks (feat. Mr. Moods)

Jul 21, 2012

Fat Jon and The Ample Soul - Wave motion

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipp7nNGSZMiyIu5w9ysMGnrIdYiUhviz8Hww239vpvMLfXkWys7wOuKC5FGhH7KZ2_I8dns31pQJQelhfkXk53nYZmYzL9qZTmq98U7vsEETu6dD9T6aEZry5PMj_M7mphOTu0QBki2UdV/s400/fat+jon.jpg

http://www.amplesoul.com

https://www.myspace.com/fatjon35





Origine du Groupe : Japan

Style : Abstract Hip Hop

Sortie : 2002

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By Paul Cooper  from http://pitchfork.com

Instrumental hip-hop is a tricky proposition. Until DJ Shadow's Endtroducing, the idea of releasing instrumental versions of rap tracks seemed ludicrous. Who'd want to listen to It Takes a Nation of Millions bereft of Chuck D's searing commentary and Flav's wisecracking? Would an instrumental version of Three Feet High and Rising be anything more than just a collection of oddball samples? Endroducing changed the rules. Shadow's curatorish crate-digging made voiceless hip-hop engaging and worthwhile pursuit. Of course, it wasn't too long before less notable and skillful beat-forgers converted Shadow's pioneering endeavor into a budget-priced bandwagon.

Dan the Automator is largely to blame for this. After resurrecting Kool Keith with the Dr. Octagon project, few Automator projects were deemed complete without an accompanying instrumental version. These albums attract me even less than remix albums. At least with a remix album, you might get an intriguing take on a tune you'd previously considered wet shit. Prime example of this is Matthew Herbert's Secondhand Sounds remix collection where he transforms putrid slurry such as Moloko's "Sing It Back" into fascinating concrète funk. But with your usual instrumental hip-hop album, it's the same album, only with the vocals excised-- and without even the expense of hiring Norman Cook to bully his engineer to rig up four samples and roll them into a wire ball of predictability.

It need not be this way! Reggae has a long tradition of released vocal and "versioned" readings of albums, like Burning Spear's Marcus Garvey with its Garvey Ghost dub version, and Johnny Clarke's Don't Trouble Trouble, and the Aggrovators' aptly-titled Johnny in the Echo Chamber. Surely, there's something that can be done about this!

Enter Fat Jon the Soul Physician, the beat creator for the Five Deez crew and a salve to all of us that have been exhausted by waiting for true instrumental hip-hop. Though the cover of Wave Motion may make blatant reference to Stevie Wonder's early 70s third-eye soul, the music is deep and dubby hip-hop cool. This ain't the stuff that'll sell K-Swiss trainers-- nor will Fat Jon be appearing on the glossy cover of Vibe. This, rather, is the stuff that discerning heads will take to their hearts, just as they did with the even more daring Soulmates by Bay Area genius Nobody.

Wave Motion opens almost programmatically with a sumptuous female vocal crying, "To the Sky! Take me home!," as some unidentified hepcat saxophonist hollows his low-down mojo. With these two contrasting elements, Fat Jon states that this record will be a celestially jazzy homecoming. A tight snare creeps in to add just the right amount of head-bobbing funk. With an opening as brazenly self-assured and soulful as this, I forget all my previous notions regarding instrumental hip-hop. "Feel the Void" adds to my enthusiasm. The track creeps up with a liberated bassline that wanders from rhythm to rhythm until a steady pattern emerges. Above these elements, a lonesome flute charts a course through heartache, only to be goaded into lovelorn desperation by occasional bass clarinet farps. Two tracks in, and I've forgotten all about Shadow's over-hyped (not to mention disappointing) The Private Press.

"Visual Music" is not as oxymoronic as its title suggests. It's an uncomplicated, gorgeous téte-a-téte between a restrained drum kit and an array of gently chiming guitars, reeds, and keyboards. "Watch Out" possesses a distinguishing brightness, a feisty club cut after the almost contemplative vibe of the preceding tracks. "For Stress" clothes the Neptunes' tighter-than-spandex snare sound in ambient spangles and Gil Evans horn ensemble lines. "Eyes" continues the jazz without sounding anything like a Digible Planets or Tribe Called Quest clone. "Wet Secrets" vies with "Watch Out" for the club action. "Wet Secrets" will lose out, as the harmonic piano clusters lend the track a meditative quality that will be lost on the Kristal'd and Red Bull'd masses.

And that's the overwhelming thing about Wave Motion. Fat Jon is a conscientious and gifted producer with a talent for creating tracks that work on multiple levels simultaneously. The grooves here are never less than utterly accessible and smartly funky. But like the album's artwork, there's a depth and a melancholy to almost all these tracks. "Feel the Void" is a standout in this regard, but "Depths" aches, too. Wave Motion isn't an accessory or an alternative like so many instrumental albums; Wave Motion is a serious proposition and a statement not only of Fat Jon's studio abilities but also of his introspective aesthetic. With the resilience and the emotional draw to outlast much of what constitutes any variant of hip-hop these days, this record puts Fat Jon on the radar. Expect great things.


Tracklist :
01 Where?
02 Feel The Void
03 Visual Music
04 Watch Out
05 For Stress
06 1975
07 Eyes
08 Wet Secrets
09 Depths
10 Automated Life Machines
11 Surrection
12 Disgust

Jul 20, 2012

Akalé Wubé - Mata

http://www.israbox.com/uploads/posts/2012-06/1340693350_500.jpg

http://www.akalewube.com

https://www.myspace.com/akaleband





Origine du Groupe : France

Style : World Music , Ethiopic Music

Sortie : 2012

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From Official Site :

It is an improbable story: one that reunites, a group of young Parisians with the Swingin' Addis sounds of the seventies. In October 2008, five musicians got together on a wild project: to delve into the repertoire of the ethiopian golden age, discovered through “Ethiopiques”, the famous series of reissues. “The idea was to transcribe songs from this period and rearrange them to the sound of our times. First off, it eliminated the need to write songs that risked falling into ethio-jazz clichés. The aim was not to bring about some artistic revolution through our work but simply to give and take pleasure by performing this music!” Through this retro-futuristic alchemy, the Akalé Wubé quintet was born: a curious name borrowed from a song by the saxophonist Getatchew Mekurya, a bit of an old-fashioned expression which can by translated as “my beautiful” in amharic.

“Since our very first concert in December 2008 we were surprised by the audience’s enthusiasm.” Since then, Akalé Wubé have played a series of concerts, refining a retro sound which resounds perfectly with the contemporary aesthetic of a generation of musicians that juggle genres around. Funk, reggae, jazz, tango... “All of this is found in the vocabulary and aesthetic of the ethiopian productions of the sixties and seventies. It is a cross-bred style of music - so much so, that even by sticking to the repertoire, it can be taken in different directions...” A mix of stripped-down funk soul and smart pop, of garage rock and vintage jazz, this spatiotemporal collision ultimately invites us to a fresh journey in sound, guided by the good sense of groove.


C’est l’histoire d’une rencontre improbable : celle qui réunit, à quarante ans de distance, de jeunes Parisiens et le son du Swingin’ Addis des années 70. En octobre 2008, cinq musiciens se réunissent autour d'un projet fou : s’attaquer au répertoire de l’âge d’or éthiopien, découvert sur la fameuse série de rééditions « Ethiopiques ». « L’intérêt était de relever des titres de cette période et de les réarranger à l’aune de notre époque. Dans un premier temps, ça nous évitait d’écrire des morceaux qui risquaient de sombrer dans les clichés éthio-jazz. Il n’y avait pas de prétention de révolution artistique dans notre démarche. Juste prendre et donner du plaisir à jouer cette musique ! » C’est ainsi, sur la foi de cette alchimie rétro-futuriste, que naît le quintet Akalé Wubé, un drôle de nom emprunté à un thème du saxophoniste Getatchew Mekurya, une expression un tantinet désuète que l’on peut traduire par « ma jolie » en amharique.


« Dès notre première scène, en décembre 2008, on a été surpris par l’emballement du public. » Depuis, Akalé Wubé a enchaîné les concerts sans relâche, affinant un son à l’ancienne qui résonne dans l’esthétique contemporaine d'une génération de musiciens qui fait valser les étiquettes. Funk, reggae, jazz, tango…  « Tout cela se retrouve dans le vocabulaire et l’esthétique des productions éthiopiennes des années 60/70. C'est déjà une musique métissée, si bien qu'en s'attaquant à ce répertoire, on peut l’emmener dans toutes les directions.... ». Mélange de de soul funk désossée et de pop délurée, de rock garage et de jazz vintage, ce télescopage spatio-temporel nous invite au final à un voyage sonore inédit, guidé par le bon sens du groove.



Band Members :
PAUL BOUCLIER : trumpet, mélodica, percussions
ETIENNE DE LA SAYETTE : tenor sax, flutes
LOIC RECHARD : guitar
OLIVER DEGABRIELE : electric bass
DAVID GEORGELET : drums


Tracklist :
01. Marye [04:47]
02. Dodo [04:28]
03. Mata [03:50]
04. Jour de Pluie [02:22]
05. Kasalefkut Hulu [05:24]
06. Almaz Yeharerwa [04:14]
07. Asmarina [03:54]
08. Bazay [05:42]
09. Besetchet [02:39]
10. Sabye [04:37]
11. Tinchel [03:45]

 

Jul 19, 2012

Waitapu - Bassonic Lodge

http://www.fresh-poulp.net/wp-content/uploads/2011/09/Waitapu-Bassonic-Lodge-FRONT1.jpg

https://www.myspace.com/waitapu

http://www.fresh-poulp.net





Origine du Groupe : Croatia

Style : Electro Dub , Dubstep

Sortie : 2011

Creatives Comons By Nc Sa 2.0 (French juridiction)

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From http://www.fresh-poulp.net

Avant de se plonger dans des atmosphères dub, les membres de Waitapu ont commencé depuis pas mal d’années déjà, à faire leurs armes dans des univers bien différents comme le Hardcore, le Metal ou encore le Punk. Avec toutes cette expérience accumulée, ils se sont immiscés dans un dub lourd et profond. Bassonic Lodge est le résultat tangible de cette submersion. Ce premier ep des croates, où l’on retrouve deux remixes de Jah Billah (présent sur Dub Tentacles Vol3) et de Dziga (déjà un poulpe!), a été enregistré au studio Jazbina et produit par Dubolique. Les photos sont de Stela et la pochette par Dorian. Les membres de Waitapu, qui nous viennent précisément de Cakovec, dans le nord-ouest de la Croatie, tiennent à remercier toutes les personnes qui les soutienne depuis leur début.“Un obscure psychédélisme mélangé à une impulsion motorik grâces aux guitares distordues, qui lance la conscience dans un cosmos interne et le corps dans une transechamanique!(Seasplash Festival, Pula).”


Before diving into dub dimensions, members of Waitapu gathered strength and experience for many years in various spheres of hard underground sound such as stoner rock, hard core, hair metal and punk. Taking all that weight with them, they have submerged into deep dub sounds. Bassonic Lodge is tangible result of this submergence. The songs were recorded at Jazbina studio and produced by Dubolique, and ‘remixes are work by Jah Billah (already on Dub Tentacles Vol3) and Dziga (already a Fresh Poulp activist!!). Photos are by Stela and cover by Dorian. Thanks to all who helped and supported Waitapu in any way . The band’s headquarters are in Čakovec, Međimurje county, northwestern part of Croatia.

“This darkened psychedelia blended with a motorik pulse erupts through distorted guitars, launching the consciousness into the internal cosmos and the body into a shamanic trance!“(Seasplash festival, Pula)

Godinama prije poniranja u dub dimenzije članovi Waitapu čeličili su se u raznim sferama života lokalne underground scene i čvrstog zvuka hardcore/punk/metal/stoner glazbenih stilova. Bassonic Lodge je kondenzat skupljan na dodirnoj točki iskustva i otvorenosti novim utjecajima. Kompozicije su snimljene u studiju Jazbina, Dubolique mu je dao dodatnu mračnu nijansu, a remikseve potpisuju Jah Billah (Zagreb) i Dziga (Torino). Fotografiju je snimila Stela, a dizajn napravio Dorian. Zahvala ide svima koji su nam pomogli i bili podrška na bilo koji način. Bend djeluje u Čakovcu, Međimurju, na sjeverozapadu Hrvatske.

‘Mantre dubokih bas linija upletenih u čvrsti linearni ritam i susret zatamnjene psihodelije s motoričkim pulsom dovodi do izboja energije distorziranih gitara, koje lansiraju svijest u bespuća unutarnjeg svemira, a tijelo u šamanski trans’. (Seasplash festival, Pula)


Tracklist :
1 Jeux 3:26
2 Geiger 3:27
3 Truckin’ 3:55
4 Chrom Dioxid 6:21
5 Jeux (Jah Billah’s Dub Reconstruction) 3:23
6 Truckin’ (Remix – Dziga) 4:12

Jul 18, 2012

Mabataki - Hokui 39do Kara No Enkei

http://images.junostatic.com/full/CS1697468-02A-BIG.jpg

https://www.myspace.com/djshunmelt

http://www.last.fm/music/MABATAKI





Origine du Groupe : Japan

Style : Abstract Hip Hop

Sortie : 2010

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Tracklist :
1 tokyo
2 eye
3 oboroge lamp remix ft. PG The Budori
4 NAUMEN
5 gio
6 色 ft. 牛込謙治
7 RIZING
8 woods
9 sonzai remix ft. lee
10 boon
11 girl
12 タラフ・ドゥ・カバル
13 roma
14 piano nostalzia
15 TOKI ft. ジャンベ ナリテツ
16 brain

Jul 17, 2012

Dead Can Dance - Anastasis

http://c438342.r42.cf2.rackcdn.com/wp-content/uploads/2012/06/Dead-Can-Dance-Anstasis.jpg

http://www.deadcandance.com

https://www.myspace.com/deadcandance





Origine du Groupe : Australia

Style : World Music , Alternative , Dark Wave , Trip Hop

Sortie : 2012

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From Wikipedia :

Dead Can Dance (sometimes referred to as DCD) are a music band formed in Melbourne, Australia, in August 1981, by Lisa Gerrard and Brendan Perry. The band relocated to London in May 1982 and disbanded in 1998. Their 1996 album Spiritchaser reached No. 1 on the Billboard Top World Music Albums Chart. Australian music historian Ian McFarlane described Dead Can Dance as having an ambient style of world music that "constructed soundscapes of mesmerising grandeur and solemn beauty; African polyrhythms, Gaelic folk, Gregorian chants, Middle Eastern mantras, and art-rock."


Tracklist :
01 - Children Of The Sun
02 - Anabasis
03 - Agape
04 - Amnesia
05 - Kiko
06 - Opium
07 - Return Of The She-King
08 - All In Good Time

Jul 16, 2012

Tha Blue Herb - Total

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheGpbSOfIM7EQuIPYBQCEjlZNGf4po1CxaKk9Kbz4atHRHOu6apr2NPaJx_C7iTcJ3E5cfjdWs0R-M-tGGdva1gicQq1W1PYqjADRgFovjiaQCAZ3cEiiTmVs6dL74NBNxXNHA6SWipuq-/s320/ph_1_t+%282%29.jpghttp://www.tbhr.co.jp





Origine du Groupe : Japan

Style : Hip Hop

Sortie : 2012

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By Ryo   from http://risingsunfreestyle.blogspot.fr

At first glance TOTAL looks like the beginning of a work of art in a studio or perhaps an obscure piece of art in a museum, either way there is no way to judge it by it's cover.

It's been five years since  THA BLUE HERB last released an album and besides a few singles they've been mostly quiet except for touring extensively and releasing two live/tour documentaries. TOTAL has been five years in the making and BOSS has had a lot of inspiration for his lyrics, but can it match their previous albums?



TOTAL starts off with an INTO RAW, an intro that as the title says, has a lot of  raw energy with a mixture of instrumentals that could easily be in any video game or film, it's that good at conveying emotion Definitely worthy of a battle scene in any period film. After INTO RAW we're sent into BOSS's world with WE CAN...

This song makes you feel like you're on a train going through Sapporo in the dead of winter, perfect traveling music with a great vibe. I can see why this played during the TOTAL CM and it showed the perspective of someone on a train in the Hokkaido winter. This song is totally about BOSS repping his home town, lyrics such as "This is Sapporaw. 47 Prefectures ROCK ON ROCK ON Susukino South 7th street At Home. From platform no.5 to the new Chitose Airport" This song is definitely about where Boss comes from and his perspective on life coming from a working class town in the isolated island of Hokkaido.


The next song called Everyday New Dawn starts off like a Herbest Moon song usually would (Herbest Moon is BOSS's side project of nothing but DUBSTEP and Dance music along with Calm), but with BOSS's trademark rapid fire rapping. It's a very good song to dance to, but don't let the mood fool you, this is about the road ahead and Phase 4 is about to begin. (For clarity please see their EP Phase 3 and their latest DVD Phase 3.9). The next song titled FULL MENTAL JACKET is BOSS's attempt as telling us who is he as an artist and his beginnings from B-BOY to rapper. The beat is very catchy and the piano is beautiful.

The 5th track is called Saturday Night, Sunday Morning & Afternoon and it truly makes one think of partying all night and into Sunday. If there's anything Boss loves it's party music and this song is definitely a hommage to that. SNSM is a brillaint mixture of BOSS's rapping skills and the instrumentals of a HERBEST MOON song. You could definitely hear the first half on a DUBSTEP mixtape anywhere in the world. Halfway through it stops abruptly with a crowd cheering and goes into another side of TBH with O.N.O.'s entrancing melodic beats and BOSS's soft and slower rapping.

The next track is called My Loves Town and it's exactly as it says. Boss loves Sapporo. This song has a very soft, but old school hip hop beat to it. His love is very evident with the line " "welcome back" i smile and say "good to be back" MY LOVE TOWN/ DOWN TO LOVE TOWN"

Track 7 is called THA NORTH FACE and it is by far the deepest song in terms of lyrical content especially when BOSS says "BACK IN THE DAYS/'97/serving meals to my customers but I was always hungry. Thanks to friends who didn't ditch me. We were bluffing our best. Nobody had any expectations from the unnoted north. This is how I wanted to be so I don't feel any pain. I don't conform. Took or taken said or not said it's what has fed me these past 15 years"

The next song UNFORGIVEN talks about how the Japanese music business is a very unforgiving place and how one day you're on top and the next day you're not. A perfect example of this is the line "3,000 album sales make it a hit. What a miserable scene it has turned into, not like 15 years ago"

The next song is called LOST IN MUSIC BUSINESS and it's very much like RAGING BULL and it's entirely about how the music executives are greedy and don't care about the musicians or the music they make. Exactly why BOSS started THA BLUE HERB RECORDINGS. The next song GET READY is an extremely deep account of life in 1945 during World War II which very few people in Japan remember these days or will acknowledge, the past is the past after all.

Track 11 is called Stand on the Word and it's a very almost militant track that starts off saying "I'm not your typical Japanese" It's clear from the lyrics that this song is about standing up for what you believe in and being true to yourself.

Track 12, (there's 13 songs) I guess BOSS doesn't believe in superstition, don't blame him (lol) is called BRIGHTER and it's a very optomistic song especially when BOSS says "I don't know when it will be but my friend it will be brighter. I don't know if there will be salvation my friend it will be warmer. I don't know when the end arrives my friend you are still in time. We don't know anything but we wont be afraid. Brighter."

The final track is called RIGHT ON and it's the longest song on the album at roughly 8 minutes long. It starts off with a very upbeat, but deep instrumental, a trademark of O.N.O. as a producer, but once BOSS starts there are periods where it picks up a lot and becomes a very uplifting song and you can feel the emotion pouring out of BOSS as he raps about things he wanted to do but never got the chance and things he wants to do in the future and the beginning of PHASE 4. RIGHT ON has one key subject and that is DON'T STOP! No matter how much life gets you down and people put you down, just get right back up and keep going. I especially love when Boss says "I hear FUCK YOU'S from somewhere far away. I'll just give them a FUCK YOU TOO"

TOTAL has been five years in the making and it shows. It's a very well polished album with the sound you've come to expect from TBH, but with a few new twists to show that they are ever evolving. BOSS has had a lot of time to reflect on his 40 years on the earth and the lyrical content shows. TOTAL is exactly that. Complete. TOTAL could very well be their best album ever or at least equal to the rest of their extensive catalog of real hip hop from the streets of Sapporo.

A little note for people who don't know the group. All of their music is mostly in Japanese, but the physical copies of their music feature translated lyrics. Their website also has an english section wtih links to lyrics, audio samples and interviews. http://www.tbhr.co.jp

4.5/5 A Definite Buy. The only disappointment is that their latest single STILL RAINING, STILL WINNING/HEADS UP is not on the album, but it was a limited release so I guess that makes sense, just a little disappointing for fans though I would think. That is the only reason I could see this not getting a 5.


Tracklist :
01 - INTO RAW
02 - WE CAN
03 - EVERYDAY NEW DAWN
04 - FULL MENTAL JACKET
05 - SATURDAY NIGHT, SUNDAY MORNING & AFTERNOON
06 - MY LOVE TOWNS
07 - THA NORTH FACE
08 - UNFORGIVEN
09 - LOST IN MUSIC BUSINESS
10 - GET READY
11 - STAND ON THE WORD
12 - BRIGHTER
13 - RIGHT ON

 

Jul 15, 2012

¡Cimarrón! Joropo Music From the Plains of Colombia

http://www.theorchard.com/images/lg_coverart/885686934531.jpg

http://www.cimarroncolombia.com





Origine du Groupe : Colombia

Style : World Music

Sortie : 2011

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From http://www.worldmusicstore.com Percussive strings and maracas, dynamic vocal expression, and full-throttle pace earned the joropo of the Orinoco plains of Colombia and Venezuela its place among the most exciting regional musics of Latin America. On this, its second Smithsonian Folkways album, the GRAMMY-nominated and internationally acclaimed Colombian ensemble Cimarrón distills this excitement into a tightly arranged, even more explosive rendition of their tropical tradition. Through their powerful, moody, and unbridled sound, they live up to the meaning of their name Cimarrón—“wild bull.” This album is part of the Smithsonian Folkways Tradiciones/Traditions series of Latino music albums, produced with support by the Smithsonian Latino Center. Tracklist :1     Joropo quitapesares (Joropo Quitapesares) - 5:31 2     Vine a defender lo mío (I Came to Defend My Own) - 3:24     3     El cimarrón (The Wild Bull) - 3:16     4     Zumbaquezumba tramao (Planned Zumbaquezumba) - 4:19     5     Llanero siente y lamenta (Plainsman Feels and Laments) - 3:00     6     El gavilán (The Sparrow Hawk) - 5:08     7     Llanero soy ( I Am a Plainsman) - 2:18     8     La tonada (The [Milking] Song) - 3:08     9     Mi sombrero (My Hat) - 3:38     10     El guate (The Outsider) - 3:20     11     Tierra negra (Black Land) - 3:16 12     Mi llano ya no es el mismo (My Plains Are No Longer the Same) - 3:25 13     Cimarroneando (“Cimarrón-ing”) - 4:27

 

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