LCD Soundsystem: "North American Scum" Video
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R&B legend Rick James was one of the most influential black musicians of all time. As an artist, songwriter and producer, James provided the funky hits that resuscitated Motown Records in the late '70s. His Punk Funk sound updated the label's style and saw it through the mid-'80s. By 1981, Rick was at the peak of his commercial success with the platinum selling Street Songs album and the hit singles "Super Freak" and "Give It to Me Baby." The following year, Rick James & the Stone City Band took the stage in Essen, Germany to open the 10th Rockpalast-Festival. This 1982 performance was the first time James played in Europe, bringing his brand of American Punk Funk to a whole new audience. Together with the Stone City Band, James did not disappoint, burning up the stage with his trademark sound and special effects. Now for the first-time, this classic performance is available on DVD. Featuring classic hits like "You and I," "Mary Jane," and of course, "Super Freak," this is Rick James at his very best. Super Freak 1982 is not only a must-have collectors item but also a fitting tribute to an R&B legend. Track Listing: 1. Intro 2. Ghetto Life 3. Big Time 4. All Day All Night 5. Freaky 6. Fire It Up 7. Love Gun 8. Guitar Solo 9. Harp Bolo (Call Me Up) 10. Big Day 11. Standing On The Top 12. Mary Jane 13. Mary Jane March 14. You and I 15. Give It To Me Baby 16. Super Freak
R&B legend Rick James was one of the most influential black musicians of all time. As an artist, songwriter and producer, James provided the funky hits that resuscitated Motown Records in the late '70s. His Punk Funk sound updated the label's style and saw it through the mid-'80s. By 1981, Rick was at the peak of his commercial success with the platinum selling Street Songs album and the hit singles "Super Freak" and "Give It to Me Baby." The following year, Rick James & the Stone City Band took the stage in Essen, Germany to open the 10th Rockpalast-Festival. This 1982 performance was the first time James played in Europe, bringing his brand of American Punk Funk to a whole new audience. Together with the Stone City Band, James did not disappoint, burning up the stage with his trademark sound and special effects. Now for the first-time, this classic performance is available on DVD. Featuring classic hits like "You and I," "Mary Jane," and of course, "Super Freak," this is Rick James at his very best. Super Freak 1982 is not only a must-have collectors item but also a fitting tribute to an R&B legend. Track Listing: 1. Intro 2. Ghetto Life 3. Big Time 4. All Day All Night 5. Freaky 6. Fire It Up 7. Love Gun 8. Guitar Solo 9. Harp Bolo (Call Me Up) 10. Big Day 11. Standing On The Top 12. Mary Jane 13. Mary Jane March 14. You and I 15. Give It To Me Baby 16. Super Freak
LCD Soundsystem: "Someone Great"
For a guy known for his laser-sharp piss-takes, Murphy also treads candid new ground with the devastating loss lament of "Someone Great" and album-closing piano-bar ode to his hometown, "New York I Love You But You're Bringing Me Down." Taken as a whole, this is the definitive sound of LCD Soundsystem.
Bonde Do Role: "Marina Gasolina"
Hailing from Curitiba, in Southern Brazil, Bonde Do Role - Marina, Pedro and Gorky, create funk carioca in a rockin' way. Their dance party electro punk is the sound of 2007, taking the Bailefunk rhythms of their homeland and mashing them up, rapping in their native tongues. Discovered by DJ/Producer Diplo in 2006, Bonde Do Role released their first domestic single "Melo do Tabaco" on Diplo's newly formed Mad Decent label. Bonde's March 2007 North American tour found them touring with Diplo once more, after taking the South by Southwest Festival in Austin by storm. Look out for dates with fellow Brazillians CSS in June and a full U.S. headline tour in September.
Kingdom Of Fear is the debut album from Glasgow?s disco kings Shitdisco. Building on a solid reputation as the ultimate dance-punk party band, the album includes Shitdisco?s two singles to date ? Disco Blood and Reactor Party ? and eight stomping new tunes.
New Young Pony Club: "Ice Cream"
Hot on the heals of previous limited 7" single "The Get Go" New Young Pony Club (NYPC) return with Ice Cream, a sparsely minimal punk funk jerkout that sounds like a distaff version excursion on disco-era Rolling Stones fronted by the Slits' Ari Up and produced by David Byrne and Brian Eno. Partly inspired by LCD Soundsystem and a chance meeting of like-minded band members intent on establishing something potent, Andy and Tahita formed NYPC in 2005. A five-piece comprising of Tahita (vocals), Andy (guitar), Igor (bass) Lou (keyboards) and Sarah (drums), they provide the kind of tight and bass-heavy future discoid noise currently setting hairs on end up and down the country. Ice Cream, their first single on Modular, is already causing a stir online with fans creating myspace pages with lyrics taken from the provocative song. ?A lot of [the lyrics are] about the perceived idea of how women are supposed to be, and putting my twist on it.? Says Tahita. NYPC have quietly set their world alight with a swell blend of disco, pop and punk which they are currently distilling into a debut album for Modular. Undoubtedly, one of THE bands to watch for 2007.
Following closely on the heels of their critically-acclaimed Knock Knock Knock EP, Make Up the Breakdown is Hot Hot Heat's debut full-length, recorded with Jack Endino at Vancouver, BC's Mushroom Studios. SPIN Magazine had this to say about Knock Knock Knock: "Some retro new wavers hang themselves on their own skinny ties. While their peers lip-sych to Cure 45s, these Canucks take subtler cues from early-'80s synth disco. Its not new wave worship, it's the sound of punk teaching itself to dance." And the new record delivers on the promise hinted at on the EP. Hot Hot Heat (along with peers like Radio 4 and The Rapture) blend angular post-punk twitch with danceable pop, effectively (and finally) persuading white dopes on punk to get on the good foot.
Sally Shapiro: "Jackie Jackie"
Sally Shapiro?s debut 2007 release ?Disco Romance? is set to be one of this years head turning, ear popping albums, written and produced by Johan Agebjorn and released by North America?s very own, Paper Bag Records. Shapiro?s sound is one that fuses exaggerated electro beats reminiscent of a neon, bygone era whilst preserving an understated innocence, elegance and light. Shapiro?s 2007 release marks the beginning of a journey into the depths of the cool, hollow sounds of an isolated and detached dance floor, wrapped in an abundance of warmth and character that cannot be compared.
This offering demonstrates why Radio 4 are kings of the dance-punk wave. It has a creepy Frankenstein, too.
The Juan Maclean: "Give Me Every Little Thing"
"It's been a bit of a sore spot," laughs Juan Maclean, "sitting on this album and seeing this robot stuff pop up all over the place. I have serious robot credentials that go back years and years. Like, a decade! But Daft Punk beat me to the punch." He may be joking, but the man's right. If anyone's earned the right to call their debut album "Less Than Human" and imagine a love triangle consisting of a man, a woman and the man's gay robot friend (as in "Shining Skinned Friend"), it's Maclean. He was guitarist and synth player with acclaimed but obscure, gonzo electro-punk band Six Finger Satellite, who began formulating their blend of rigidly mechanised disco beats, oddly sumptuous synth melodies and razor-shredded guitar work in the early 90s. The brutish but groovy result suggested a cross between Devo, Kraftwerk and Big Black. Then, America was mired in grunge, the famous French robots were still in short pants and the "punk-funk revival" was in the unimaginable future. Six Finger Satellite were just too far ahead of their time and perished accordingly. With "Less Than Human" Maclean has created a precision-tuned rekindling of his love affair with everything from Kraftwerk to Juan Atkins and Derrick May, Funkadelic to Giorgio Moroder and Lipps Inc, DAF to Talking Heads and Frankie Goes To Hollywood. It's full of tics (sin drums, cow bells, Bootsy Collins bass lines, Moog Liberation motifs) borrowed from dance music history, but refuses to engage with retroism, nostalgia or any notion of "the classic." Opener "AD2003" tracks back to Kraftwerk via Orbital, buoyed up by bubbles of percolating glitch. "Give Me Every Little Thing" rewinds through Underworld and Talking Heads en route to Studio 54. "Tito's Way" contrasts acid-house synth squelches and rave whistles with clattering, tribal percussion. There's a constant, though. Even the LP's euphoric epic "Dance With Me," is poignantly subdued, touched by a melancholy that reflects Maclean's own world view. "It doesn't seem incongruous to me to have a lot of that stuff in there," he says of the album's sadness, "because I made a big effort to make an album, rather than a collection of tunes with just one good track that everybody knows. So I never really set out to say, "this is a song that will played for the dance floor," or whatever. "When I started on it, I don't think I had any pre-conceived notions at all, except that I knew I'd always be operating under the same aesthetic principles that I'd held in making music my whole life."
