Tricky: Council Estate Video
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Attrition: "A Girl Called Harmony"
A new video for this Attrition classic directed by acclaimed Russian film maker edward209. A girl called harmony was originally released in 1991 on the Tricky Business album on Projekt records in the USA. It is now available again as part of the best of collection "Tearing arms from Deities". Attrition. 1980 - 2005. released march 27th and is the debut release for the bands own Two Gods label. www.attrition.co.uk www.myspace.com/danteskitchen
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
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)
Santogold, Julian Casablancas & Pharrell: "My Drive Thru"
Produced By Pharrell - Santogold, Julian Casablancas, N.E.R.D.
The Southern Electrics: "Electric Superhighway"
"Sounds like a bunch of dirty, psychedelic, messed up crazies from 'Planet Give-A-F**k'." - Clint Boon, DJ / Inspiral Carpets "Coruscating sounds from South London's psych sucessors to The Creation" - The Guardian "A new hero and sound to supersede Radiohead and Muse" - Glasswerk "Electric Superhighway", the first UK single release from The Southern Electrics' debut album, was produced by modern rock maestro and Muse producer Paul Reeve, and was released as a three track CD single and download on April 11th, 2005. The track has already received extensive radio airplay, including BBC Radio, RTE2 FM (Ireland), Today FM (Ireland), Totalrock and XFM. In April they also recorded a live BBC Television Session. To accompany the single, a Video Shoot for "Electric Superhighway" took place at Pinewood Studios, directed by Vincent Lewis from Ignite Productions. Watch for The Southern Electrics' new single "Save You" (MUK015). The debut album "Electric Superhighway (MUK008)" is out now on Mi5 Recordings UK through Universal distribution.
2000 is (not) the year of NOFX! But don't listen to the hype; listen to the record. Pump Up The Valuum is more clever, more irreverent and more crude than NOFX has ever been: and hot on the heels of the unprecedented The Decline, an amazing 18 minute punk-a-thon, NOFX come slamming back with 14 instant classics (in about 32 minutes). Pump Up The Valuum combines some of NOFX's most outrageous (and curiously thought provoking) lyrics like in "Louise," "Herojuana" and "My Vagina" (a first-person account of becoming a transsexual), as well as some of their most poignant lyrics like in "Total Bummer." This, their eighth album for Epitaph contains some of the most barefaced drug references and sexual in-your-endos (innuendoes is the wrong word because that means that sexual acts are only "implied"). From day one, NOFX has been all about having a good time, regardless to whose expense it came. In the liner notes of 1996's Heavy Petting Zoo, NOFX blasted the music industry circle including major labels, print media, radio, and especially MTV. This time, NOFX bring their despise of major labels into the songwriting with "Dinosaurs Will Die." Lyrics like "Parasitic music industry" and "Music created from devotion / not ambition / not for fame / zero people are exploited / there are no tricks up our sleeves" refers to the death of the 5 remaining majors, and being glad they are independent.
2000 is (not) the year of NOFX! But don't listen to the hype; listen to the record. Pump Up The Valuum is more clever, more irreverent and more crude than NOFX has ever been: and hot on the heels of the unprecedented The Decline, an amazing 18 minute punk-a-thon, NOFX come slamming back with 14 instant classics (in about 32 minutes). Pump Up The Valuum combines some of NOFX's most outrageous (and curiously thought provoking) lyrics like in "Louise," "Herojuana" and "My Vagina" (a first-person account of becoming a transsexual), as well as some of their most poignant lyrics like in "Total Bummer." This, their eighth album for Epitaph contains some of the most barefaced drug references and sexual in-your-endos (innuendoes is the wrong word because that means that sexual acts are only "implied"). From day one, NOFX has been all about having a good time, regardless to whose expense it came. In the liner notes of 1996's Heavy Petting Zoo, NOFX blasted the music industry circle including major labels, print media, radio, and especially MTV. This time, NOFX bring their despise of major labels into the songwriting with "Dinosaurs Will Die." Lyrics like "Parasitic music industry" and "Music created from devotion / not ambition / not for fame / zero people are exploited / there are no tricks up our sleeves" refers to the death of the 5 remaining majors, and being glad they are independent.
2000 is (not) the year of NOFX! But don't listen to the hype; listen to the record. Pump Up The Valuum is more clever, more irreverent and more crude than NOFX has ever been: and hot on the heels of the unprecedented The Decline, an amazing 18 minute punk-a-thon, NOFX come slamming back with 14 instant classics (in about 32 minutes). Pump Up The Valuum combines some of NOFX's most outrageous (and curiously thought provoking) lyrics like in "Louise," "Herojuana" and "My Vagina" (a first-person account of becoming a transsexual), as well as some of their most poignant lyrics like in "Total Bummer." This, their eighth album for Epitaph contains some of the most barefaced drug references and sexual in-your-endos (innuendoes is the wrong word because that means that sexual acts are only "implied"). From day one, NOFX has been all about having a good time, regardless to whose expense it came. In the liner notes of 1996's Heavy Petting Zoo, NOFX blasted the music industry circle including major labels, print media, radio, and especially MTV. This time, NOFX bring their despise of major labels into the songwriting with "Dinosaurs Will Die." Lyrics like "Parasitic music industry" and "Music created from devotion / not ambition / not for fame / zero people are exploited / there are no tricks up our sleeves" refers to the death of the 5 remaining majors, and being glad they are independent.
?The intensity. The drama. The emotion. The colors. The darkness. The melodies. The anger. The honesty. The drive. The new. All of the above and more.? According to Stone Sour frontman Corey Taylor, those are the things that define Stone Sour?s passionately pulsing second album, Come What(ever) May (Roadrunner). Stone Sour?s first album in four years finds the band firing on all cylinders, and primed to capture the attention and the hearts of the rock ?n roll masses.Stone Sour?s self-titled debut was twice Grammy-nominated and RIAA Certified Gold. It was an eclectic album, propelled by the band?s busy tour schedule, the contemplative smash single ?Bother,? and a series of groovy, melodic metal numbers. In 2002 and 2003, Stone Sour established itself as a multi-faceted hard rock force of nature.While Taylor is one of the most recognized figures in rock music, thanks to his role as the frontman for Slipknot, a Grammy winning, multi-platinum act, Stone Sour is anything but a side project. It?s a full-time band that all members are fiercely dedicated to. Taylor spent much of 2004 and 2005 supporting his other band, but will spend 2006 and 2007 focusing on Stone Sour and Come What(ever) May. Also comprised by guitarist James Root, who does double duty in Slipknot, bassist Shawn Economaki, guitarist Josh Rand and new drummer Roy Mayorga, Stone Sour is armed with an album that expands beyond the palette of its predecessor. The band was afforded more time to craft songs, and it shows. The album, produced by Nick Raskulinecz (Foo Fighters, Velvet Revolver), is tight, crisp, and full of rowdy rockers and melodic numbers.?With Stone Sour, I loosen up and show more of myself,? Taylor reveals. ?As soon as the fans hear this new record, they?ll see it?s different than anything that we have ever done. It gives me a chance to do the singing that I love to do, the type of singing that I do when I?m walking around my house.? Taylor, a self-described extrovert, may be the mouthpiece for Stone Sour, but he insists the band is a truly collaborative effort, and that?s something he thoroughly enjoys. ?I?ve been able to blend into the background if needed, you know? You grow up thinking being recognized all the time will be sweet, but sometimes you just want to be one of the guys. I think I balance it fairly well, without killing people.?Guitarist Josh Rand, who ran 3-5 miles a day during the recording process to clear his mind for each day?s highly creative atmosphere, believes that the diversity of Come What(ever) May, which features guest appearances from The Wallflowers? Rami Jaffee and Godsmack drummer Shannon Larkin, will be what hooks fans, and what keeps them. ?This album?s content will fit any mood you may be in,? the guitarist says. ?If you?ve had a shitty day at work, you could crank ?Hell And Consequences.? If you need a little optimism, you could listen to ?Through Glass.? If you are feeling depressed, you could listen to ?Zzyzx Road.??Obviously, Come What(ever) May is a sensory experience, encompassing a wide spectrum of emotions. ?30/30-150? and ?Reborn? are bruisers that?ll get the blood coursing through listeners? veins, while the first single, ?Through Glass,? takes up real estate in your brain for days at a time, thanks its unforgettable melodic twists and chorus. Try and purge your brain of Come What(ever) May?s melodies, and you?ll fail miserably. Taylor concurs, ?So many bands are so genre-specific these days. No bands cover the middle ground. If they try, it?s lifeless and limp. Our album has such a pulse. The cool thing is that when we write stuff, it turns out catchy whether we want it to or not. It?s just something that we do.? He?s right. Crafting melody and mixing it with metallic maelstrom is definitely something that Stone Sour does better than most.Jim Root, who contends that ?life? itself influenced this album and who claims he consumed nerve-shattering, tooth-staining amounts of coffee during the recording process, sees Come What(ever) May as a necessary evolution in the band?s sound. ?We?re taking every aspect to the next level. As an artist, no matter what you do, you must evolve. That?s very important to me. Some people fear change. I embrace it. This record is a testament to where I am at, musically and spiritually. Life is a learning experience and so is song writing. As with everything I try to improve. I can sit back and listen to these songs and know that I have.?Taylor understands that as his career goes on, he will be less and less understood and he likes it that way. ?I?ve lost a little sleep over the fact that people don?t get what I do and how I do it. I do everything I can to entertain, educate and infuriate the status quo. If I give the mainstream a headache once in a while, that works for me.? It?s that attitude that attracts the disaffected youth, the kids, the anti-conservative thinker, as well as the casual rock fan to Stone Sour. ?I have a conscience,? Taylor says about his songwriting style. ?I have a respect for the music and I have an agenda. I have an individualistic mind to botch the ?product? mentality, and I am not out to further myself in a spotlight that knows no favorites. This could all be gone tomorrow. If all you?re doing is trying to build your Q points, what are you going to do when no one wants to see you anymore? At least I?ll be happy about the music I left behind.?The songs and music on Come What(ever) May ensure that Stone Sour?s legacy will endure for a long time to come.
