Mood Ruff featuring Lisa Bell: "Blow the Bins" Video
It all started after Charlie Tate graduated from the London School of Furniture. He was approached by the infamous Paris-based Big Cheese Records to form a funk bank, and Big Cheese All Stars were born! 2 singles, an album, and several extensive stints of touring, supporting the likes of Don Blackman, Roy Ayers, Gil Scott-Heron, Fred Wesley and James Brown put an end to a career in bespoke cabinet making. A future immersed in the funk, the soul and the jazz seemed assured. While still with the All Stars, an opportunity to play base in Neneh Cherry's band arose and the best part of the year was spent on the road touring her "Woman" album. A lot of fun was had. A lot of drinking was done. But the love of the funk, the soul, and the jazz prevailed. Unfortunately the sheer size of what the All Stars had become essentially caused its demise. Just about then, the idea of forming a record company began to take shape. King Kooba had been in existence for some time now, the first release having been on a subsidiary of the aforementioned Big Cheese Records. But the thought of an autonomous vessel for representing the Kooba and several other projects seemed too good to resist. Enter Second Skin Records, and what a productve lot they turned out to be! Roughly 30 singles and 12 albums, not a bad output from a hybrid label offering all manner of styles from drum and bass, beats, ambient, bizniss, electronica and breaks. Pretty much most of what was going on at the time, perhaps the varied style of the label, but particualrly what the Kooba were up to, appealed to San Francisco's Om Records. Several licenses, then an album, and a relationship with Om had been cemented. With the release of "Indian Summer" in the fall of 2002, a man like Charlie decided his fate lay in the Bay area...The rest as they say is history!
For its fifth release, Blackalicious has created a record of such sonic depth and breadth and lyrical ambition that it can proudly stand alongside the work of Bay Area funk fathers Sly Stone and Shuggie Otis, or hip-hop classics like Outkast's Aquemini, The Roots' Things Fall Apart and Gang Starr's Daily Operation. But The Craft is not nostalgia for some "golden era" that never existed, it represents state-of-the-art hip-hop with an expansive worldview. From its opening, the sublimely orchestrated Stereolab-esque suite of "World of Vibrations", The Craft moves from peak to peak-including the Prince-ly rush of "Powers", a sinuous funk summit with George Clinton on "Lotus Flower", and the seductive meta-futurist soul of "Automatique," which features special guest vocals from Floetry. The Craft reveals one of global hip-hop's best-loved crews achieving another artistic breakthrough. "It's my favorite of all of our albums," says the Gift of Gab. "I think that it's our best album."
Whether you're working out, throwing a party, or on a road trip, Songza picks the playlists that best match your mood.
In honor of our special guest, Micky Hoogendijk, we cover gadgets with an international flare. You might think that a show as classy as this one might not include any questionable content. You would be wrong.
“Brand New Funk 2K7” is taken from the much acclaimed The Return Of The Magnificent album by DJ Jazzy Jeff. A celebratory summer vibe is the focus as Jeff and Roc-A-Fella signing Peedi Peedi (reprising Will Smith’s role on the 1988 original) bounce though the streets of Philadelphia in a borrowed ice cream truck on their way to get busy in front of a sold out crowd. The video features clever references to the original version and “The Fresh Prince of Bel Air” along with a plethora of cameo appearances from hip-hop mainstays such as DJ Premier, J-Live, Young Leek, DJ Excel, Megan Rochelle, Young Gunz, Jay Ski, Touch Tone and Young Steff. Featured vocalist Peedi Peedi is a member of Roc-A-Fella’s State Property crew. He also recently contributed a verse to the Roots’ latest album Game Theory. Peedi’s appearance on “Brand New Funk 2K7” gives the track a sing-song bounce, adding youthful energy to the well loved beat. “Brand New Funk 2K7” has been receiving early support on top commercial radio from 103.3 The Beat in Philadelphia to 97.9 The Box in Houston, as well as nationally syndicated hip-hop stations on XM, Sirius and Music Choice. Diverse, soulful, edgy and warm, The Return Of The Magnificent is everything flavor-of-the-month rap music isn’t in 2007. Easily as substantial as its prequel, it reminds us that Jeff is as capable a producer as he is a DJ; equally proficient in playing other people’s records as he is making his own.
SILK'S "ALWAYS AND FOREVER" CD TAKES "BABY-MAKING MUSIC" TO THE NEXT LEVEL "Always And Forever" is not a phrase usually associated with a fickle music business, especially in recent times when one-hit wonders and manufactured artists have been especially prevalent. But for Silk, one of the few vocal groups to breakthrough in the hip-hop era, the phrase applies not only to their own longevity--seventeen years and counting with the current line-up featuring the four original members who have been together throughout--but also to the quality of their music which features finely crafted harmony singing and lyrics that deal with timeless issues of love, romance and sex. With the release of their seventh album "Always And Forever", their debut release on Shanachie Entertainment on October 17th, Silk brings their vocal artistry to a hand-picked selection of songs that have inspired them as simultaneous homage to artists who they respect and musical statement of the ultimate quality of Silk's music. "It all comes full circle on this album," relates Gary Glenn. "A lot of these songs were ones we were already familiar with so it was easy for us to step in and emulate people we have a lot of respect for. It's a chance to show off our own artistry. If someone has the audacity to do a Michael Jackson number or a Prince tune and do it well, or to really do justice to"The Secret Garden" , then they walk away with respect from the audience. That's what we want." The album, which features Silk's interpretations of major hits by Blue Magic, Switch, Shalamar, Prince, Michael Jackson, Quincy Jones, Heatwave and others, simply builds on something Silk had already been doing. ""We've done a re-make on almost every album anyway so it was like time to do this--a full serving of what we've been doing throughout. Like (Blue Magic's classic) "Sideshow", we've been doing that in our shows and people love it. We were doing (Switch's) "There'll Never Be" at shows and people start to "step" when we do it...and it's a beautiful thing. It even happened in Aurora, Colorado, which is the last place I thought people would be steppin'!" The young men who formed Silk grew up in Atlanta. Three of them met each other in the late Eighties in the course of working at a particular McDonald's. Soon --Gary "Big G" Glenn, Jonathan "John John" Rasboro, Tim "Timzo" Cameron and Jimmy Gates (Tim and Jimmy were cousins)--got together around their mutual love of singing. They sang whenever and wherever they could ("I don't think there's a church in Atlanta we DIDN'T sing at," laughs Gary) at talent shows, clubs, churches and in the streets. Louise Ferguson, who is their manager today, was determined to get them a shot with Keith Sweat who didn't particularly want to audition the unknown wanna-be's. So when Keith came to a barbeque at Louise's house, she invited Silk to come over and they discreetly went down in the basement and started singing for the kids there. Keith heard them and liked what he heard enough to make Silk the first group signed to his Keia label in 1992 and they were featured on "two of Keith's tracks on his "Keep It Coming" album. Silk's first single, "Happy Days" was garnering radio play but then "Freak Me", another cut from their first album, starting generating radio play spontaneously and when released a single became a Number 1 R&B hit and Number 1 pop hit. It was quickly followed by two Top Ten R&B hits--"Lose Control" and "Girl U For Me, which grew into a string of hits throughout the Nineties including "Hooked On You", "I Can Go Deep", "If You ("Lovin' Me")and "Meeting In My Bedroom". Their signature sound was dubbed "baby-making music." "At the time we came up," Gary Glenn notes, "producers were putting groups together but when Keith met us we were already Silk. That may be part of the reason why we have been able to stand the test of time. We didn't just get together to get a deal; we got together to sing. We had to find our own niche. You had Boyz II Men with their harmonies and Jodeci with their "from the gut" sound, so we were kind of in the middle. We went from high school stages to arenas very quickly--that was due to Keith." Silk's audience has grown up along with them and some of the children who were the result of "baby-making music" are now teenagers. "People are always telling us," John adds, "I made my first child to your music." That's just a blessing! That someone created a child with our music. We know what people are looking for from our music so as long as we honor and respect that we can keep going in that vein, like The Isley Brothers and Keith Sweat." It's a difficult challenge for even a solo artist to survive in the cut-throat music industry and even more so for a group to stay together. Fourteen years together since the release of their first single, what's Silk's secret? "I think a lot of prayer, patience and understanding," says Gary Glenn. "We don't always realize how important our commitment to each other has been. It's like being in a marriage that you REFUSE to leave. It's like "I got this ring and I ain't going NOWHERE!" But we all bow down to what's important to Silk. And in the end, we just love singing together."
Does Gnarls Barkley's album "St. Elsewhere" shed light on his mysterious personage, or does it further obscure him? It's a complex record, to be sure. It employs the full spectra of pop music and human emotion. The warm, breezy single "Crazy" and the spry finger-snapper "Smiley Faces" recall "Songs In The Key Of Life" and "Good Vibrations" in equal measure. "On Line," a lament for the lonely and ambitious, could be a tricked-out G-funk holdover. Often dark and unpredictable, "St. Elsewhere" nevertheless retains its sense of joy throughout. Even Cee-Lo's darker moments, his introspection on "Necromancer," and the chilling "Just A Thought," on which our hero fights off suicidal ideation, flourish in their lush, funky surroundings. It constantly shifts its shape and never sacrifices momentum. And it contains a mess of contradictory clues about just who Gnarls Barkley actually is. Perhaps Gnarls Barkley will never fully reveal himself. But if "St. Elsewhere" is any indication, his music bears Marvin Gaye's depth of feeling, Jeff Buckley's emotive theatrics, and wild courage not seen since Prince's prime. Behold the most exciting debut of 2006. A psychedelic soul masterpiece.
The video has arrived for the first single from the forthcoming album by The Bumblebeez. The track is called Dr. Love, the video was directed by Tom Kuntz and it will BLOW YOUR MIND.
Taken from the Critically Acclaimed Album "The Healing" released on OM Hip-Hop
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."