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Diddy feat. Christina Aguilera: "Tell Me"
Good hip-hop producers create hot beats, beats you can dance to, rhyme over, remember.Great hip-hop producers, however, create a sound. They have a point of view. If you didn't know that before, you will definitely know that now, once you catch any of the fourteen tracks that make up Press Play, Diddy's dazzling new Bad Boy/Atlantic Records release. As Diddy and guest stars Ciara and Big Boi intone on Wanna Move, it's a CD that will get you high on music while you enjoy the vibe.
The longer versions of these tracks, featuring Jack DeJohnette and Foday Musa Suso will be available on the album by "The Ripple Effect" :"Hybrids" released October 4th 2005 on Jack's label "Golden Beams Productions".
The Project: The Ripple Effect was conceived of as a project to blend some of the elements of modern electronica/dance music with previously recorded music by Jack DeJohnette and some of his collaborators. All of the music on this album was taken from multitrack recordings. Some elements were added, sometimes overdubbed and edited, while other parts were omitted. The structure and composition were altered, but the musicality was retained. While staying true to the original?s feel, a new piece of music was created.
We believe this hybridization of styles is a part of the natural developmental flow of music. Enjoy.
The Artists: As a leader, composer and drummer, Jack DeJohnette has supported some of the most important and innovative musicians of our time, including Miles Davis, John Coltrane, Sonny Rollins, Carlos Santana, Keith Jarrett, Herbie Hancock and Pat Metheny. Widely regarded as one of jazz music?s greatest drummers, DeJohnette?s playing has long drawn on sources beyond "jazz." Never willing to sit still long enough to be categorized, he was already describing his work as "multi-directional music" thirty years ago. See http://www.jackdejohnette.com for more information.
Foday Musa Suso is an internationally recognized kora (West African 21-stringed harp lute) virtuoso and a Mandingo griot.Born in The Gambia, Suso grew up in a society where griots function as walking libraries, singing their stories for the community while providing history, wisdom and entertainment. Suso has performed and recorded worldwide with many prominent musicians including Herbie Hancock, Philip Glass, Pharoah Sanders, Ginger Baker and Bill Laswell. See http://www.fmsuso.com for more information
Composer/multi-instrumentalist John Surman is one of the key figures in a generation of European musicians who have crucially expanded the international horizons of jazz. He is acknowledged as an improvisor of world class, and composer of a body of work which extends far beyond the normal range of the jazz repertoire. He has performed and recorded with musicians including Elvin Jones, Gil Evans, Karin Krog, John Taylor and Dave Holland. See http://www.johnsurman.com for more information.
Remixer/Musician Ben Surman is involved with electronica projects including Third Zomby and Mind over Rhythm. He is also currently working on remixes for Karin Krog, Colin Walcott and various other artists. As an engineer he has worked with many artists including Herbie Hancock, Bobby McFerrin, Dave Holland, Hermeto Pascoal and Jim Hall.
Marlui Miranda is the most acclaimed and recognized performer and researcher on music from the Brazilian Indians. She has interpreted and adapted traditional chants and songs from many Brazilian Indian nations. Miranda worked with Hector Babenco in the film At Play in the Fields of the Lord. She is a recipient of several grants including a Guggenheim and the Cultural Merit Medal and has recorded and performed with leading Brazilian musicians including Milton Nascimento, Gilberto Gil, Egberto Gismonti and Nana Vasconcelos.
Producer/Engineer Big Al is best known for his work with various projects including Mind Over Rhythm, Clone Theory and Clip. His recording studio "The Sonic Kitchen" is responsible for some of the highest quality electronica and dance music to come out of the UK in the past 15 years including work with Plaid, The Black Dog, John Holt, Youth, Dennis Bovell and Zomba Records.
"Ancient Techno" and "Ocean Wave" appear in their original form on Jack's previous release on "Golden Beams Productions": "Music From the Hearts of the Masters."
For more information please visit http://www.jackdejohnette.com
Mood Ruff featuring Lisa Bell: "Blow the Bins"
Mood Ruff's new studio album called "I Do My Own Stunts," a classy collection of Hip-Hop filled with fine malt lyrics, butter beats and off the wall tactics. Singles include Rocketship, a cool breezy blend of funk and jazz that makes it the feel good song of the year; and Blow The Bins, the essential throw-back tune geared to keep the attention span of any age with an 80's style and today's flare. The entire album is ram packed with personality and an abundance of musical flavors.
Prophet Omega: "The Right Thing"
Until recently, Joe Magistro was an affable, unassuming rock drummer who could often be seen manning the traps in the rock clubs of New York City. Then he underwent a startling metamorphosis into multi-tasking one-man D.I.Y. mastermind Prophet Omega, who makes an appropriately visionary entrance with his Astralwerks debut The Natural World. Recorded in makeshift home studios in a Brooklyn apartment and a rented cabin in the rustic isolation of New York's Catskill mountains, The Natural World is a one-of-a-kind magnum opus whose 13 lovingly crafted tracks combine a freewheeling sonic sensibility with abundant melodic hooks and generous doses of old-school rock and soul beats. Magistro mines an array of real and sampled instruments and a ramshackle assortment of found sounds, stitching disparate elements into seamlessly funky epics that combine over-the-top sonic inspiration with tightly constructed, lyrically thoughtful songcraft.
Granny gamers have a ball with Wii bowling
It's all strikes and smiles at one senior center in Northern California as grandmas and grandpas play Nintendo's Wii bowling to stay in shape, keep sharp, and have some fun. CNET News.com's Kara Tsuboi rolls a few herself and reports on this latest cross-generational video game trend.
Go to enough extremes and you'll find a kind of balance. Until now, The Frames' music favoured bi-polar swings, violently loud on one song, violently quiet the next. On Burn The Maps, their fifth studio album, the band have reconciled their various personalities into one volatile organism, synthesizing gorgeous melancholy with full-blown anger. If 2000's For the Birds seemed to capture the Dublin/Chicago quintet playing in a small room with nobody watching, Burn The Maps turns on the arc lamps. Served by their most faithful production job yet (courtesy of ex-guitarist Dave Odlum and new guitarist Rob Bochnik, who formerly spent eight years working at Steve Albini's Electrical Audio Studio) and recorded in Black Box studios in France, the new record is a skilful mix of widescreen scale and magnifying-glass detail, sort of like putting a Herzog still under a microscope. So, you get the self-questioning psychodrama and martial rhythms of the single 'Finally', featuring a hackle-raising vocal from Glen Hansard and typically panoramic string arrangement from Colm Mac An Iomaire. You get spiky, nasty pop songs like 'Fake' and 'Underglass', with its dum-dum bassline worthy of Kim Deal. You get the seraphic boy soprano melodies of 'Happy' and 'Sideways Down' and the graphic 4am truth-or-dare drinking games of 'Caution'. And you get epics like 'Keepsake', distinguished by the sort of sea change dynamics associated with Mogwai or the Dirty Three. In short, here's a world where Spector collides with Steve Albini, Arvo Part with Sparklehorse, open-heart surgery songs that deal in love and hate, mourning and ambition, art and blood.
The Pharcyde emerged on the hip hop scene in 1992 with their debut, Bizzare Ride II the Pharcyde, on the Delicious Vinyl label. The Californian quartet consisting of Tre Slimkid Hardson, Romye Booty Brown Robinson, Derrick Fatlip Stewart, and Imani Wilcox came together to make a splash on the hip hop scene breaking the mold of the West Coast gangsta rap of its time, by producing rhymes and beats narrating hilarious skits, clownish antics, and stoned perceptions. With their unique style of rap, their light hearted lyrics, and diverse sound The Pharcyde established themselves quickly among the listeners as a legitimate hip hop force. And a force they were to keep their fan base so hooked that they waited three years before releasing their much anticipated sophomore album LabCabinCalifornia. Unleashed in 1995 this album made evident the growth of a band that had endured the realities of the music industry and fame. Manifesting a stronger lyrical content, LabCabinCalifornia showed the rap world that the Pharcyde were not just the playful cats on Bizarre Ride II, but they were musicians growing and exploring their talents. With different producers, The Pharcyde ventured into a jazzier, more sophisticated sound. LabCabin displayed the abilities of the Pharcyde as clever lyricists, as well as gifted musicians dappling in both the worlds of hip hop and jazz. In 1997, the ride began to get bizarre. While on the heels of completing their third album, Plain Rap, and in the middle of enjoying the fruits of labor as struggling artists who had impacted the world of hip hop, Fatlip decided that he would pursue a solo career. Upon Fatlip's departure it was not long before Slimkid followed suit leaving the group, Booty Brown and Imani, to make sense of their decisions emotionally, musically, and financially. Yet as always, under a new record label, Chapter One, Imani and Booty Brown focused and clung to the Pharcyde recipe that had repeatedly delivered success - retreat into the studio for a few years, lose yourself in your music, test yourself by pushing boundaries and hustle like you never knew what a record deal was. The end result of all this hard work, The 2004 return of a Band that influences the hip hop that crowds our radio waves today. The new ride for the Pharcyde starts with their recently released, Humboldt Beginnings. The duo has proven themselves once again as key players in hip hop. The album gives their fans a trip down memory lane with the same vibe and fertile lyrics from the Pharcyde's past classics. Imani and Brown display their abilities to carry on the Pharcyde name in its original fashion, seducing their audience with the same boyish charm that founded them at the beginning, now combined with the knowledge that has been bestowed upon them as men who have taken on the rap game. Humboldt Beginnings has repeatedly been described as an album before its time. http://www.thepharcyde.com
Their first full-length CD, Datarock Datarock (Nettwerk Music Group June 12, ), takes the feel-good vibe of "Computer Camp Love," turns it up to 11, and blasts a power chord of throwback nostalgia that'll knock you straight out of your Reebok Pumps. Love letters to Laurie Anderson ("Laurie") and references to Close Encounters of the Third Kind ("Princess") are just the tip of the iceberg. The album's infectious first single, "Fa Fa Fa," pairs up dance-rock drums with funk-strummed guitars and a chorus that'll have you jonesing for the nearest copy of Talking Heads' 77. "Ugly Primadonna," meanwhile, is pure four/four Groovebox robotics and space age Casiotone melodies.†† On "I Will Always Remember You" (featuring Annie), Fredrik does his best Wayne Newton, verbally undressing you with his velvety pipes over a bed of freeze-dried strings before formally "sexing you down" on "Sex Me Up." But more so than any other track on the album, the opening "Bulldozer" perhaps best encapsulates the band's true modus operandi. Whereas Kraftwerk glorified the Trans-Europe Express and the Tour de France, Datarock prefer to sing the praises of a more proletarian method of transportation: the BMX. Which, according to the Fredrik and Ket-Ill, "is better than sex."
"No Mistakes" is such a laid-back and comforting track that director harv was right to sit Classified in a chair on the porch and show him hanging out in his room, making beats, fiddling with a guitar, and sketching honest, self-deprecating and full-on funny lyrics by the side of his bed. So appropriate! And great to watch. The shots where the camera pulls back through tubes and rings are entrancing, and the slow zooms give the thing a subtle life that keeps your eyes on the screen. Although Class mentions that some of his past videos are better viewed with the picture off and the sound up, this is not one of them ? you?re gonna want to watch. - MuchMusic
Natalie Walker. Urban Angel. Biography. Born and raised in Indiana, vocalist Natalie Walker is an artist whose lilting, melodic voice and lyrical reveries reflect a life journey of determination and self-discovery. With musical influences ranging from Alison Krauss to Portishead, Jewel to Lauryn Hill, Beth Orton to Bjork, the former lead singer of downtempo electronic group Daughter Darling now delivers her own unique, haunting sonic landscape that is at once organic, ethereal, elegant and entrancing. ?Creating music is my outlet,? says Natalie. ?I was born to sing. When I don?t, I feel empty. When I do, I feel fulfilled. It?s that simple.? Urban Angel, her solo album debut, was co-written by Natalie and two-man production team Stuhr. ?I worked with two really great producers out of Brooklyn, Dan Chen and Nate Greenberg. They?d send me the rough copy of a song and the music would just evoke emotion,? she explains. ?Its like fitting pieces of a puzzle together. When you?re in the studio recording its all very raw and real. I try to make a song new each time I sing it. I want it to be unforgettable. My producers are amazing. They forced me to develop my real voice. I?ve improved my vibrato and my tone. Stuhr delivered exactly what I asked of them. It couldn?t have happened more perfectly.?
