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Video description: The M-Audio Session Music Producer is an affordable, computer-based recording solution that is ideally suited for recording singing and spoken performances such as podcasts.

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Ray Charles: "Ray Sings, Basie Swings"

Uncover never before released Ray Charles recordings combined with new performances of the legendary Count Basie Orchestra featured on Ray Sings, Basie Swings CD in stores October 3rd. I am proud to offer copies of the CD available for review and giveaway as well as audio streams and other assets (album cover, press release, and bio). Concord Records and Starbucks Hear Music, the two Companies that co-released Genius Loves Company, announced today that they will partner again to co-release and co-market Ray Sings, Basie Swings, which marries archival, never-before-released Ray Charles recordings with brand-new performances by the Count Basie Orchestra. A painstaking labor of love that combines cutting-edge technology and musical ingenuity, Ray Sings, Basie Swings due out October 3rd, 2006 at Starbucks Company-operated locations in the U.S. and Canada and at traditional music retail, showcases the late artist at his dazzling peak. Although Ray Charles and Count Basie shared the same bill during their careers, Ray Sings, Basie Swings marks the first and only recordings in which the ?Genius? is backed by the legendary bandleader?s orchestra. John Burk, Concord Records? A&R chief and producer of Ray Charles? 2004 multiple GRAMMY? Award-winning blockbuster album Genius Loves Company, came upon the lost tapes simply marked ?Ray / Basie,? in late 2005 while surveying the label?s vaults in Berkeley, CA. While documentation about the original recordings is scarce, the archival reels that served as source material for Ray Sings, Basie Swings were apparently concert tapes made in the 1970s by legendary impresario-producer Norman Granz. Ray Sings, Basie Swings gives listeners the unprecedented experience of hearing Ray Charles at the height of his powers with the legendary Count Basie Orchestra.

Zoom H2

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Headman - "On and On"

Normally it's a great honour if a big pop band like Franz Ferdinand asks an underground producer to remix a song. If then also Royskopp, Yello, Annie, Mylo and even Roxy Music call the guy and ask for a mix you can be quite sure that the producer must be more than just one of the many new one hit club wonders. And if next this artists starts to record his solo album and people like Soulwax, The Rapture and Radio 4 want to sing on it, it's not unlikely that there is something special going on. All this is happening to Swiss born, but Berlin-based disco producer, DJ and painter Robi Insinna aka Headman. You can easily call Robi one of the leading figures of the new disco movement. His first HEADMAN album "It Rough" was released back in 2003 on the small German label Gomma and set new standards in club circles. It was immediately nominated album of the month" in Jockey Slut Magazine/ UK and called one of the most important and innovative albums of the year by DJ?s such as Trevor Jackson, Ivan Smagghe or even Hell. The title track (with a Chicken Lips re-work on the 12") caused a huge fuss in clubs around the world. Since then he has been building up a worldwide underground reputation as remixer, producer and DJ regularly playing hot clubs like Bugged out or Optimo in the UK as well as Tribeca in New York and FUN in Berlin. This year he even has been invited to play at occasions like the MTV music awards aftershow party in Lissabon or the famous Colette Shop Parties in Paris. He also is currently travelling with SOULWAX as Tour DJ all over Europe. Besides the records on his main label Gomma, Headman has also recently been asked to publish a single on London's Output records. He also started an own little inprint (Relish records) and from time to time he puts out records under his moniker Manhead. But his main project is the HEADMAN music: The Headman style is a very special version of (balearic) Disco, combining the organic sound of 70ies Leftfield Disco and Rock with the energy of 90ies house. The new album includes songs Robi recorded with Stephen Dewaele from Soulwax/2many DJs (he performed on the first single ROH), Matt Safer from The Rapture, Anthony from Radio 4 and Erol Alkan from London?s TRASH Club. The remix for the first single ROH was done by Trevor Jackson aka Playgroup. The second single MOISTURE includes two club mixes by Robi himself and the kicking MUSTAPHA 3000 remix. Robi`s projects are especially notable for their artwork. He studied painting at the famous Brera Art academy in Milan/ Italy and starts to get known also for his big Head paintings. (The ON album will include a 16 page booklet showing paintings made for every song on this CD) For more information for Insinna?s paintings please check out www.relishrecords.com/art (www.headman.org)

Sharon Jones: "100 days, 100 nights"

Sharon Jones was born Sheron Lafaye Jones in Augusta, Georgia on May 4th 1956. Her mother moved to Brooklyn soon thereafter, however Jones was sent down south for a few months every year to stay with her family. As a child, she and her brothers would imitate the songs and dances of James Brown, who shared their hometown. Like many rhythm and blues entertainers, she began performing in church at a very young age where her voice would find a lifelong home and inspiration. As a teenager in the early nineteen seventies, she began singing outside of the church in talent shows and with local funk groups. Later she would make her living with a combination of sporadic session work as a mostly anonymous voice on various dance records (sometimes credited as Lafaye Jones), singing with wedding bands, and a handful of day jobs which included stints as both a prison guard at New York’s notorious Riker’s Island, and an armored car guard for Wells Fargo Bank. In 1996 she was called in to sing back-up at a Desco Records studio session for 70’s soul legend Lee Fields.

Norma Jean: "Liarsenic"

Ask most serious bands about the recording process, and if they dont compare it to giving birth, they'll likely tell you that making an album is akin to psychotherapy. But lets be real here: How many of those bands actually take the album-as-therapy idea literally? For Atlanta quintet Norma Jean, who for all intents and purposes should be some of the most content dudes in underground music right now, the recording sessions for their third album, Redeemer, packed group therapy, boot camp and endurance test into one gnarly package. Produced by Ross Robinson (At The Drive-in, From First To Last, Sepultura), Redeemer is at once the heaviest and most personal album in this bands arsenaland thats saying something: With their 2002 Solid State Records debut, Bless The Martyr And Kiss The Child, Norma Jean established themselves as one of the noisiest and most adventurous young bands in metal today. With the 2005 follow-up, O God, The Aftermath, drummer Daniel Davison, bassist Jake Schultz, and guitarists Chris Day and Scottie Henry welcomed new vocalist and Arkansas native Cory Brandan to their lineup and took their artful, technical noise to the proverbial next level, earning critical acclaim and a 2006 Grammy nomination (for Asterik Studios awe-inspiring artwork) in the process, and embarking on a grueling tour schedule that most recently found them on Ozzfest 2006s second stage. And now, with a new, expanded edition of Aftermath in stores, the obvious question follows: When you still have past glories to coast on, why make a new album at all? Basically, we had too much material brewing inside us, and we wanted to get it out, says Davison, laughing. We probably couldve waited to record until after we cut back on what we had, but when the opportunity to work with Ross came up, it just felt like, Man, being in the studio with this guy is something Ive wanted to do since I was 12 years old; Im gonna do anything I can to make this happen now. After practicing, in Davisons recollection, pretty much ever day, for about 50 days solid, and going through rigorous pre-production at home in Atlanta, the band decamped with Robinson to Radio Star Studios in the tiny mountain town of Weed, California, to start work on Redeemer. Though some of the songs were still works-in-progress (as Brandans recalls it, Songs were changing up until 20 minutes before we tracked them) the lyrics, again written collaboratively by Brandan, Henry and Davison, really took shape once the band got into the studio. Wed rehearse a song till we felt we had it worked out, and then wed bring in Ross and sit down for another hour or two just to discuss it, Brandan says. He had us all in there as a group, talking about each songwhat the lyrics were about, where they came from, what the song meant to us personally and spiritually. It was really intense; so much stuff came out during those sessions, and in the end, it was really unifying for us as a band. While rehearsals took place in a beautiful, open-stage environment inside the studio, tracking itself was another storyall part of the intense process that would eventually shape the songs. I tracked my drums under the stage, Davison remembers, laughing. Wed get done talking about the song, and then wed head down below the stage into, like, this little dungeon. It was really small, and the drums were set up with mikes all over them; there were hot water pipes, ventilation, everywhereit was really intense. We could barely stand up because the ceiling was so low, but Ross was there the whole time, coaching us and keeping us in that mindset. Just one listen to Redeemer confirms the ferocity of the bands performances. From the discordant breakdowns and jarring time changes of The End Of All Things Will Be Televised to the newfound melodic intensity of Blueprints For Future Homes, the album packs some of Norma Jeans most unhinged, soul-baring playing into the span of 11 songs. And though the weird angles and difficult guitar figures that comprised Aftermath are still prevalent, that albums refined, very-much-studio feel has given way to raw atmospheres in which you can practically see the sweat running onto the instruments. Brandan, whos already proved himself a formidable vocalist, fully comes into his own on Redeemer with a style that veers between unhinged screaming and down-on-his-knees melodic belting. As has been the case with Norma Jeans previous albums, fans will interpret Redeemers title in a number of ways: Theres the obvious (its their shortest album title ever); the semi-obvious (the band members are Christian; the albums called Redeemeryou follow?); and the not-so-obvious (look up Redeemer in Websters Dictionary for even more possibilities). All of these, says Davison, are valid readings, but as before, its better just to listen to the whole album before settling on an opinion about what it all means. We just wanted a title that was short and simple, but also really powerful, Davison explains. Redeemer was the most powerful word we could think of, and obviously, for us, being a spiritual band, it takes on special meaning. Brandan agrees. We didnt call it Redeemer and then try to make the lyrics work around that [idea], he says. Theres some really personal stuff on this record, and even though Im seeing in hindsight that the title ties into some of that, Ive always thought its best just to let people come up with their own ideas about the songs, rather than say, This is our concept; this is what the records about. No matter how you interpret it, one things for sure: Slide it into your player, and you will feel Redeemer more than any other Norma Jean album. Emotional, spiritual, visceral, physicalthis isnt just the third album Norma Jean wanted to make; its the career-defining statement they had to.