Brain Damage - Dub Sessions Meets Sir Jean

http://brain-damage.fr

https://www.myspace.com/braindamagedub





Origine du Groupe : France

Style : Electro Dub

Sortie : 2012

 

From http://brain-damage.fr

Après plus de 12 ans d'existence, une nouvelle fois, Brain Damage est en pleine refonte, prêt à prendre le contre pied, à surgir là où on ne l'attend pas...
Suite au départ du bassiste Raphaël Talis, c'est désormais seul que Martin Nathan donne une nouvelle direction au projet.
Si le son de Brain Damage semble toujours rester personnel et identifiable, il se teinte ici d'une couleur résolument plus "roots".
Testée grandeur nature depuis quelques mois dans le cadre de la tournée High Damage, la formule live Brain Damage Dub Sessions apparait radicalement consacrée à une certaine vision du Sound System.
Pour la création de ce nouveau set, de nombreux intervenants ont été sollicités : Sir Jean, Brother Culture, Madu Messenger, Zeb McQueen, Learoy Green, M. Parvez, ainsi que la section cuivres ArtDeko, pour de puissantes et fructueuses sessions de studio.
Enfin, comme il se doit, plusieurs productions discographiques voient le jour, avec notamment un premier maxi vinyl en compagnie de Sir Jean,
en attendant la sortie du prochain album en octobre prochain, toujours sur Jarring Effects.
Après s'être tant éloigné du modèle dub anglo-jamaïcain, Brain Damage Dub Sessions en propose donc finalement sa version en 2012.



After more than 12 years of existence, once again, Brain Damage enters into a complete overhaul, ready to rethink everything and to rise where we do not expect.
After Raphaël Talis, the bassist, left, Martin Nathan goes on solo and prompts the project into new directions. Even if Brain Damage’s sound always had its personal and identifiable signature, it becomes here definitely more tinged with « roots ».
Already experienced during this recent « High Damage » tour (High Tone meets Brain Damage), Brain Damage Dub Sessions‘ new live set appears to be more sound-system orientated than ever.
To build this new set, many artists have been invited: Sir Jean, Brother Culture, Madu Messenger, M. Parvez, Zeb Mc Queen, Learoy Green, as well as ArtDeko brass section, for some powerful and fruitful studio sessions.
Then, as is proper, one first vinyl EP just came out on Jarring Effects « Brain Damage dub sessions meets Sir Jean », introducing the release of a brand new LP on the next month of october.
After straying away from the UK-Jamaican dub style, Brain Damage Dub Sessions offers actually its own version of it in 2012.


Tracklist :
01. royal salute
02. royal salute (sound system version)
03. tans for life
04. tans for life (unplugged version)

 

Brain Damage - Dub Sessions Meets Sir Jean

http://brain-damage.fr

https://www.myspace.com/braindamagedub





Origine du Groupe : France

Style : Electro Dub

Sortie : 2012

 

From http://brain-damage.fr

Après plus de 12 ans d'existence, une nouvelle fois, Brain Damage est en pleine refonte, prêt à prendre le contre pied, à surgir là où on ne l'attend pas...
Suite au départ du bassiste Raphaël Talis, c'est désormais seul que Martin Nathan donne une nouvelle direction au projet.
Si le son de Brain Damage semble toujours rester personnel et identifiable, il se teinte ici d'une couleur résolument plus "roots".
Testée grandeur nature depuis quelques mois dans le cadre de la tournée High Damage, la formule live Brain Damage Dub Sessions apparait radicalement consacrée à une certaine vision du Sound System.
Pour la création de ce nouveau set, de nombreux intervenants ont été sollicités : Sir Jean, Brother Culture, Madu Messenger, Zeb McQueen, Learoy Green, M. Parvez, ainsi que la section cuivres ArtDeko, pour de puissantes et fructueuses sessions de studio.
Enfin, comme il se doit, plusieurs productions discographiques voient le jour, avec notamment un premier maxi vinyl en compagnie de Sir Jean,
en attendant la sortie du prochain album en octobre prochain, toujours sur Jarring Effects.
Après s'être tant éloigné du modèle dub anglo-jamaïcain, Brain Damage Dub Sessions en propose donc finalement sa version en 2012.



After more than 12 years of existence, once again, Brain Damage enters into a complete overhaul, ready to rethink everything and to rise where we do not expect.
After Raphaël Talis, the bassist, left, Martin Nathan goes on solo and prompts the project into new directions. Even if Brain Damage’s sound always had its personal and identifiable signature, it becomes here definitely more tinged with « roots ».
Already experienced during this recent « High Damage » tour (High Tone meets Brain Damage), Brain Damage Dub Sessions‘ new live set appears to be more sound-system orientated than ever.
To build this new set, many artists have been invited: Sir Jean, Brother Culture, Madu Messenger, M. Parvez, Zeb Mc Queen, Learoy Green, as well as ArtDeko brass section, for some powerful and fruitful studio sessions.
Then, as is proper, one first vinyl EP just came out on Jarring Effects « Brain Damage dub sessions meets Sir Jean », introducing the release of a brand new LP on the next month of october.
After straying away from the UK-Jamaican dub style, Brain Damage Dub Sessions offers actually its own version of it in 2012.


Tracklist :
01. royal salute
02. royal salute (sound system version)
03. tans for life
04. tans for life (unplugged version)

 

New Primitives - American Nomad

http://www.newprimitives.com





Origine du Groupe : North America

Style : Indie , Alternative , Reggae

Sortie : 2012

 

From http://www.newprimitives.com

Stanley Kipper:
lead vocals, timbales, trap drums and percussion

Stanley returned to Minneapolis in 1989 after nearly 20 years in Los Angeles touring and recording with such artists as Minnie Riperton, Bill Withers, Joe Walsh, Jay Ferguson, Andrew Gold, Randy Meisner, Barry Gibb, Little Richard, Bo Diddley and Karla Bonoff. Stanley has composed songs for several films and commercials, and has also won top honors in the Coors Light National Song Contest.

To know more about Stan and his musical background, please check out his full-length bio.

Chico Perez:
percussion and backing vocals

Chico has been an active percussionist for many years, touring with such groups as Crow Cola, Gypsy, Jump Street, and 7th Wave. His professional career includes numerous studio projects, as well as keeping busy as a drum-maker and teaching African and Afro-Cuban percussion at the Minneapolis Drum Center.

Matthew (Mateo) Stevens:
bass guitar, backup vocals

Matthew grew up in a musically rich environment, learning his first blues lines on bass guitar at age 14 from his father. Soon, he began playing with brother, Nate, and Javier Trejo in The Beads. Matt has studied and played with Gary Hede and Jeoffry Baily and played Jazz at the U of M School of Music. He also played with his group, The Jazz Bastards, and with Hip-Hop group, United States of Consciousness. In 1999, he and Mason Hozza re-formed The Beads. Soon after winning the Cabooze's contest for �Best Unsigned Band in the Twin Cities�, The Beads released their 2003 CD, "Ordinary Sunday People." After The Beads' run, Matt formed the Stevens Brothers Band with longtime friend, Dave Libman (aka Juice), brother, Sam, on drums, and Nate on Vox and Harp. In the spring of 2005, Matt began performing with Wookiefoot, adding another dimension to his repertoire.

Matthew first met New Primitives in 2003 when they co-billed a show with The Beads. A few months later, Matt was invited to fill-in for Tommy Peterson while he was away on his honeymoon. During a practice/jam session before the gig, Matt remembers his feeling of glee over the rhythmic differences and all the possibilities of playing with this group. He finished the show, but did not hear from them about playing until 2005. This is when Javier called to say that Tommy was working on a new endeavor with his business partner and would he be interested in filling in regularly?

Since then, Matt has played many gigs with New Primitives. His experience playing jazz, hip-hop, reggae, and world beat converges with New Primitives� style: multi-genre, percussion-driven music at its finest.

Joel Schann:
guitar

Joel Schaan started music at age 5 when his family moved into a house with a piano to big to get out of the basement. By age 14 he talked his brother Toby into buying a bass and soon they formed their first band together. They played the northern North Dakota barn circuit in the late eighties, then reformed as Wallace Hartley and the Titanics in the early nineties. As a ten piece Funk/R&B group they traveled the midwest bar scene playing original music, as well as recording with Tom "Bones" Malone, and Paul Shaefer. In early 2000, they co-founded Test Site 67, where Stan Kipper became a regular member of their weekly house gig at famous NE bar Mayslacks. The band released one CD, followed up in '06 with a solo effort by Joel entitled "Accoustic." After years of sharing stage with Stanley in each others' bands, Joel finally joined the New Primitaves in the spring of 09.

Park Evans:
guitar
Park Evans is a Minneapolis based guitarist, composer, and music educator. Originally from Ithaca, New York he grew up studying with classical guitarist Karl Wolff and British fingerstyle master Martin Simpson.  He moved to Minnesota to further his study of classical guitar and composition at Saint Olaf College. Upon discovering the rich music scene in the twin cities and studying with local jazz guitarists Dean Magraw and Kevin Daley he became a permanent resident.  In addition to working with New Primitives for the past 10 years and joining them full time in 2010. Evans also performs in his solo project, the genre-bending jazz quartet Parker Paisley, He has released 2 cd’s of his original music; 'Impossible Party' (2003), and 'Surviving Desire' (2006); with his 3rd release, 'Satori for a Hungry Ghost', coming out in early 2012. He works as a studio musician and can be heard on numerous recordings including jazz, rock, alt-country, and folk albums. He has taught guitar lessons for the past 20 years with tenures as a faculty member of the Music Connection and the Rymer-Hadley center for the arts.
 
http://myspace.com/parkevans

Daryk Durwood:
saxophone

Daryk Narum (a.k.a. Durwood) has floated around the periphery of the New Primitives voodoo landscape since first meeting
Stan and Chico when they were in One World and just forming the New Primitives. Before joining the band, Durwood played in multiple projects with different members of the New Primitives. Since moving to the Twin Cities in 1994, Daryk has performed in Test Site 67, Inspirado, Wallace Hartley and the Titanics, Slow Motion Walter, and Rhythm Jones, as well as adding his signature bari and tenor sound to other bands in the area. Daryk has been enjoying being a permanent member of the New Primitives since 2007.


Tracklist :
1. Love Walks In                   0:31
2. Didn't I Tell You               4:37
3. Must Be Love                    5:05
4. Average                         3:02
5. What You Want To Hear           4:06
6. Rogues Moon                     5:08
7. Brand New Day                   4:09
8. Love Is All I Need              4:20
9. Primative Road                  0:24
10.Working Man                     4:05
11.Give It All Away                4:05
12.Sally Go Round The Roses        3:22
13.Holding On To Yesterday         4:44
14.Cakewalkin West                 1:02

New Primitives - American Nomad

http://www.newprimitives.com





Origine du Groupe : North America

Style : Indie , Alternative , Reggae

Sortie : 2012

 

From http://www.newprimitives.com

Stanley Kipper:
lead vocals, timbales, trap drums and percussion

Stanley returned to Minneapolis in 1989 after nearly 20 years in Los Angeles touring and recording with such artists as Minnie Riperton, Bill Withers, Joe Walsh, Jay Ferguson, Andrew Gold, Randy Meisner, Barry Gibb, Little Richard, Bo Diddley and Karla Bonoff. Stanley has composed songs for several films and commercials, and has also won top honors in the Coors Light National Song Contest.

To know more about Stan and his musical background, please check out his full-length bio.

Chico Perez:
percussion and backing vocals

Chico has been an active percussionist for many years, touring with such groups as Crow Cola, Gypsy, Jump Street, and 7th Wave. His professional career includes numerous studio projects, as well as keeping busy as a drum-maker and teaching African and Afro-Cuban percussion at the Minneapolis Drum Center.

Matthew (Mateo) Stevens:
bass guitar, backup vocals

Matthew grew up in a musically rich environment, learning his first blues lines on bass guitar at age 14 from his father. Soon, he began playing with brother, Nate, and Javier Trejo in The Beads. Matt has studied and played with Gary Hede and Jeoffry Baily and played Jazz at the U of M School of Music. He also played with his group, The Jazz Bastards, and with Hip-Hop group, United States of Consciousness. In 1999, he and Mason Hozza re-formed The Beads. Soon after winning the Cabooze's contest for �Best Unsigned Band in the Twin Cities�, The Beads released their 2003 CD, "Ordinary Sunday People." After The Beads' run, Matt formed the Stevens Brothers Band with longtime friend, Dave Libman (aka Juice), brother, Sam, on drums, and Nate on Vox and Harp. In the spring of 2005, Matt began performing with Wookiefoot, adding another dimension to his repertoire.

Matthew first met New Primitives in 2003 when they co-billed a show with The Beads. A few months later, Matt was invited to fill-in for Tommy Peterson while he was away on his honeymoon. During a practice/jam session before the gig, Matt remembers his feeling of glee over the rhythmic differences and all the possibilities of playing with this group. He finished the show, but did not hear from them about playing until 2005. This is when Javier called to say that Tommy was working on a new endeavor with his business partner and would he be interested in filling in regularly?

Since then, Matt has played many gigs with New Primitives. His experience playing jazz, hip-hop, reggae, and world beat converges with New Primitives� style: multi-genre, percussion-driven music at its finest.

Joel Schann:
guitar

Joel Schaan started music at age 5 when his family moved into a house with a piano to big to get out of the basement. By age 14 he talked his brother Toby into buying a bass and soon they formed their first band together. They played the northern North Dakota barn circuit in the late eighties, then reformed as Wallace Hartley and the Titanics in the early nineties. As a ten piece Funk/R&B group they traveled the midwest bar scene playing original music, as well as recording with Tom "Bones" Malone, and Paul Shaefer. In early 2000, they co-founded Test Site 67, where Stan Kipper became a regular member of their weekly house gig at famous NE bar Mayslacks. The band released one CD, followed up in '06 with a solo effort by Joel entitled "Accoustic." After years of sharing stage with Stanley in each others' bands, Joel finally joined the New Primitaves in the spring of 09.

Park Evans:
guitar
Park Evans is a Minneapolis based guitarist, composer, and music educator. Originally from Ithaca, New York he grew up studying with classical guitarist Karl Wolff and British fingerstyle master Martin Simpson.  He moved to Minnesota to further his study of classical guitar and composition at Saint Olaf College. Upon discovering the rich music scene in the twin cities and studying with local jazz guitarists Dean Magraw and Kevin Daley he became a permanent resident.  In addition to working with New Primitives for the past 10 years and joining them full time in 2010. Evans also performs in his solo project, the genre-bending jazz quartet Parker Paisley, He has released 2 cd’s of his original music; 'Impossible Party' (2003), and 'Surviving Desire' (2006); with his 3rd release, 'Satori for a Hungry Ghost', coming out in early 2012. He works as a studio musician and can be heard on numerous recordings including jazz, rock, alt-country, and folk albums. He has taught guitar lessons for the past 20 years with tenures as a faculty member of the Music Connection and the Rymer-Hadley center for the arts.
 
http://myspace.com/parkevans

Daryk Durwood:
saxophone

Daryk Narum (a.k.a. Durwood) has floated around the periphery of the New Primitives voodoo landscape since first meeting
Stan and Chico when they were in One World and just forming the New Primitives. Before joining the band, Durwood played in multiple projects with different members of the New Primitives. Since moving to the Twin Cities in 1994, Daryk has performed in Test Site 67, Inspirado, Wallace Hartley and the Titanics, Slow Motion Walter, and Rhythm Jones, as well as adding his signature bari and tenor sound to other bands in the area. Daryk has been enjoying being a permanent member of the New Primitives since 2007.


Tracklist :
1. Love Walks In                   0:31
2. Didn't I Tell You               4:37
3. Must Be Love                    5:05
4. Average                         3:02
5. What You Want To Hear           4:06
6. Rogues Moon                     5:08
7. Brand New Day                   4:09
8. Love Is All I Need              4:20
9. Primative Road                  0:24
10.Working Man                     4:05
11.Give It All Away                4:05
12.Sally Go Round The Roses        3:22
13.Holding On To Yesterday         4:44
14.Cakewalkin West                 1:02

Black Roots - On The Ground

http://www.blackrootsreggae.com

https://en.wikipedia.org/wiki/Black_Roots





Origine du Groupe : U.K

Style : Reggae

Sortie : 2012

 

From http://www.cicadelic.com

The Morning Dew Story (continued from the previous CD release "No More").  The next recording sessions by The Morning Dew were done during the dates of July 24-25, August 6 to 11, and August 25 to 26, 1968.  Ten songs were recorded, eight of them penned by Robinson.  He reflected on the songs of The Morning Dew by saying "We're the Morning Dew twenty four hours a day, so we've got plenty of time to do this".  Regarding the suggestive drug and sex references in song lyrics by many bands Robinson said that "anyone can write a dirty song, besides, if you're not high on drugs, it's hard to write about it". The changes from their previous singles could be explained in one word “psychedelic”.  The influence of The Beatles’  “Sgt. Pepper” album is evident on the opening band playing that segues into what becomes “Sycamore Dreamer” with its eerie John Lennon phased vocals and lyrics. “Then Came The Light” features Robinson on the wah-wah pedal while guest Lou Rennau plays the weird sounding oscillator.  Dubbed over the break is a message from Robinson, similar to the Jimi Hendrix monologue in his psychedelic masterpiece “If 6 was 9”.  “Then Came The Light” , “Cherry Street” and “Something You Say” would all show up later on The Morning Dew’s highly collectible Roulette album, issued in 1970 (albeit in different versions).  “Lady Soul” was The Morning Dew’s sarcastic reply to the fans at their shows that asked the band to play some soul music.  Robinson’s clever use of a double tracked fuzz guitar sound blended with help from the Missouri University Marching Band on horns turns the song into a odd blend of psychedelia and soul.

The ten-song demo tape was circulated around to record labels and A & R men.  Sligar stated “What helps so many other groups is the fact that they are in big cities, nobody from a record company is going to come to Topeka to hear a band somebody tells them is pretty good, you’ve got to take it to them”.  A stroke of good luck occurred when a local agent, was able to secure The Morning Dew a contract with Roulette Records.  This occurred in the fall of 1968.  A promoter/investor from Columbia, Pete Shanaberg (an affiliate of Lou Rennau) took the ten song demo tape with recordings from other Midwest acts (Don Cooper, Morgan Mason Downs) to New York and peddled these tapes to record companies. Consequently, Shanaberg was successful in obtaining record deals with Roulette Records for all the acts. Due to the time that had expired from the 1968 Fairyland recordings, Roulette wanted to hear some current recordings of the group so The Morning Dew recorded “Get Together” and “Young Man” in May of 1969 but both tracks were never released (although “Young Man” was later issued on the Roulette album, it was a different recording).  Unfortunately, Shuford had already left the band due to the draft and was replaced by former Burlington Express member, Blair Honeyman on the two recordings.
 
 A producer for Roulette, Fred Munao came to Topeka in June 1969 to hear The Morning Dew perform live. He was so impressed with the band that a recording contract was signed the day he came to hear them in Topeka. In August of 1969, The Morning Dew drove their van up to New York for the Roulette album recording sessions. The album was recorded in three days.  Three of the 11 songs recorded for Roulette had been previously done the year before at Fairyland Studios, “Cherry St.”, “Then Came The Light”, and “Something You Say”.  Seven other songs were new Mal Robinson originals. The band submitted to Roulette a proposed album cover but it was rejected in favor of a photo of a hippie couple in the nude on the verge of making love or finding the answer to life’s mysteries.  Unfortunately the album was delayed for unknown reasons and released in September 1970, over a year since its inception.  The album received little promotion from Roulette and sold poorly, but today is recognized as a classic with original copies going for over a hundred dollars.


Tracklist :
01. I believe 03:45
02. pompous way 03:53
03. long long ago 03:45
04. militancy 03:55
05. earth land 04:05
06. i am flying 04:29
07. slavery 04:30
08. oh mama africa 03:41
09. hide out 04:40
10. on the ground 04:15
11. call me out 03:04
12. no fee 03:22
13. struggle 04:44
14. landscape 03:41
15. without direction 03:58
16. capitalism 03:49
17. come and sing 03:46

Black Roots - On The Ground

http://www.blackrootsreggae.com

https://en.wikipedia.org/wiki/Black_Roots





Origine du Groupe : U.K

Style : Reggae

Sortie : 2012

 

From http://www.cicadelic.com

The Morning Dew Story (continued from the previous CD release "No More").  The next recording sessions by The Morning Dew were done during the dates of July 24-25, August 6 to 11, and August 25 to 26, 1968.  Ten songs were recorded, eight of them penned by Robinson.  He reflected on the songs of The Morning Dew by saying "We're the Morning Dew twenty four hours a day, so we've got plenty of time to do this".  Regarding the suggestive drug and sex references in song lyrics by many bands Robinson said that "anyone can write a dirty song, besides, if you're not high on drugs, it's hard to write about it". The changes from their previous singles could be explained in one word “psychedelic”.  The influence of The Beatles’  “Sgt. Pepper” album is evident on the opening band playing that segues into what becomes “Sycamore Dreamer” with its eerie John Lennon phased vocals and lyrics. “Then Came The Light” features Robinson on the wah-wah pedal while guest Lou Rennau plays the weird sounding oscillator.  Dubbed over the break is a message from Robinson, similar to the Jimi Hendrix monologue in his psychedelic masterpiece “If 6 was 9”.  “Then Came The Light” , “Cherry Street” and “Something You Say” would all show up later on The Morning Dew’s highly collectible Roulette album, issued in 1970 (albeit in different versions).  “Lady Soul” was The Morning Dew’s sarcastic reply to the fans at their shows that asked the band to play some soul music.  Robinson’s clever use of a double tracked fuzz guitar sound blended with help from the Missouri University Marching Band on horns turns the song into a odd blend of psychedelia and soul.

The ten-song demo tape was circulated around to record labels and A & R men.  Sligar stated “What helps so many other groups is the fact that they are in big cities, nobody from a record company is going to come to Topeka to hear a band somebody tells them is pretty good, you’ve got to take it to them”.  A stroke of good luck occurred when a local agent, was able to secure The Morning Dew a contract with Roulette Records.  This occurred in the fall of 1968.  A promoter/investor from Columbia, Pete Shanaberg (an affiliate of Lou Rennau) took the ten song demo tape with recordings from other Midwest acts (Don Cooper, Morgan Mason Downs) to New York and peddled these tapes to record companies. Consequently, Shanaberg was successful in obtaining record deals with Roulette Records for all the acts. Due to the time that had expired from the 1968 Fairyland recordings, Roulette wanted to hear some current recordings of the group so The Morning Dew recorded “Get Together” and “Young Man” in May of 1969 but both tracks were never released (although “Young Man” was later issued on the Roulette album, it was a different recording).  Unfortunately, Shuford had already left the band due to the draft and was replaced by former Burlington Express member, Blair Honeyman on the two recordings.
 
 A producer for Roulette, Fred Munao came to Topeka in June 1969 to hear The Morning Dew perform live. He was so impressed with the band that a recording contract was signed the day he came to hear them in Topeka. In August of 1969, The Morning Dew drove their van up to New York for the Roulette album recording sessions. The album was recorded in three days.  Three of the 11 songs recorded for Roulette had been previously done the year before at Fairyland Studios, “Cherry St.”, “Then Came The Light”, and “Something You Say”.  Seven other songs were new Mal Robinson originals. The band submitted to Roulette a proposed album cover but it was rejected in favor of a photo of a hippie couple in the nude on the verge of making love or finding the answer to life’s mysteries.  Unfortunately the album was delayed for unknown reasons and released in September 1970, over a year since its inception.  The album received little promotion from Roulette and sold poorly, but today is recognized as a classic with original copies going for over a hundred dollars.


Tracklist :
01. I believe 03:45
02. pompous way 03:53
03. long long ago 03:45
04. militancy 03:55
05. earth land 04:05
06. i am flying 04:29
07. slavery 04:30
08. oh mama africa 03:41
09. hide out 04:40
10. on the ground 04:15
11. call me out 03:04
12. no fee 03:22
13. struggle 04:44
14. landscape 03:41
15. without direction 03:58
16. capitalism 03:49
17. come and sing 03:46

Morning Dew - Morning Dew

http://www.morningdewband.com





Origine du Groupe : North America

Style : Rock Psyché

Sortie : 1967

From http://www.cicadelic.com

The Morning Dew Story (continued from the previous CD release "No More").  The next recording sessions by The Morning Dew were done during the dates of July 24-25, August 6 to 11, and August 25 to 26, 1968.  Ten songs were recorded, eight of them penned by Robinson.  He reflected on the songs of The Morning Dew by saying "We're the Morning Dew twenty four hours a day, so we've got plenty of time to do this".  Regarding the suggestive drug and sex references in song lyrics by many bands Robinson said that "anyone can write a dirty song, besides, if you're not high on drugs, it's hard to write about it". The changes from their previous singles could be explained in one word “psychedelic”.  The influence of The Beatles’  “Sgt. Pepper” album is evident on the opening band playing that segues into what becomes “Sycamore Dreamer” with its eerie John Lennon phased vocals and lyrics. “Then Came The Light” features Robinson on the wah-wah pedal while guest Lou Rennau plays the weird sounding oscillator.  Dubbed over the break is a message from Robinson, similar to the Jimi Hendrix monologue in his psychedelic masterpiece “If 6 was 9”.  “Then Came The Light” , “Cherry Street” and “Something You Say” would all show up later on The Morning Dew’s highly collectible Roulette album, issued in 1970 (albeit in different versions).  “Lady Soul” was The Morning Dew’s sarcastic reply to the fans at their shows that asked the band to play some soul music.  Robinson’s clever use of a double tracked fuzz guitar sound blended with help from the Missouri University Marching Band on horns turns the song into a odd blend of psychedelia and soul.

The ten-song demo tape was circulated around to record labels and A & R men.  Sligar stated “What helps so many other groups is the fact that they are in big cities, nobody from a record company is going to come to Topeka to hear a band somebody tells them is pretty good, you’ve got to take it to them”.  A stroke of good luck occurred when a local agent, was able to secure The Morning Dew a contract with Roulette Records.  This occurred in the fall of 1968.  A promoter/investor from Columbia, Pete Shanaberg (an affiliate of Lou Rennau) took the ten song demo tape with recordings from other Midwest acts (Don Cooper, Morgan Mason Downs) to New York and peddled these tapes to record companies. Consequently, Shanaberg was successful in obtaining record deals with Roulette Records for all the acts. Due to the time that had expired from the 1968 Fairyland recordings, Roulette wanted to hear some current recordings of the group so The Morning Dew recorded “Get Together” and “Young Man” in May of 1969 but both tracks were never released (although “Young Man” was later issued on the Roulette album, it was a different recording).  Unfortunately, Shuford had already left the band due to the draft and was replaced by former Burlington Express member, Blair Honeyman on the two recordings.
 
 A producer for Roulette, Fred Munao came to Topeka in June 1969 to hear The Morning Dew perform live. He was so impressed with the band that a recording contract was signed the day he came to hear them in Topeka. In August of 1969, The Morning Dew drove their van up to New York for the Roulette album recording sessions. The album was recorded in three days.  Three of the 11 songs recorded for Roulette had been previously done the year before at Fairyland Studios, “Cherry St.”, “Then Came The Light”, and “Something You Say”.  Seven other songs were new Mal Robinson originals. The band submitted to Roulette a proposed album cover but it was rejected in favor of a photo of a hippie couple in the nude on the verge of making love or finding the answer to life’s mysteries.  Unfortunately the album was delayed for unknown reasons and released in September 1970, over a year since its inception.  The album received little promotion from Roulette and sold poorly, but today is recognized as a classic with original copies going for over a hundred dollars.


Tracklist :
01. Crusader's Smile (3:42)
02. Upon Leaving (2:12)
03. Young Man (2:32)
04. Then Came The Light (4:15)
05. Cherry Street (4:09)
06. Gypsy (5:48)
07. Something You Say (4:29)
08. Country Boy Blue (2:39)
09. Save Me (3:40)
10. Epic: (4:33)

 

Morning Dew - Morning Dew

http://www.morningdewband.com





Origine du Groupe : North America

Style : Rock Psyché

Sortie : 1967

From http://www.cicadelic.com

The Morning Dew Story (continued from the previous CD release "No More").  The next recording sessions by The Morning Dew were done during the dates of July 24-25, August 6 to 11, and August 25 to 26, 1968.  Ten songs were recorded, eight of them penned by Robinson.  He reflected on the songs of The Morning Dew by saying "We're the Morning Dew twenty four hours a day, so we've got plenty of time to do this".  Regarding the suggestive drug and sex references in song lyrics by many bands Robinson said that "anyone can write a dirty song, besides, if you're not high on drugs, it's hard to write about it". The changes from their previous singles could be explained in one word “psychedelic”.  The influence of The Beatles’  “Sgt. Pepper” album is evident on the opening band playing that segues into what becomes “Sycamore Dreamer” with its eerie John Lennon phased vocals and lyrics. “Then Came The Light” features Robinson on the wah-wah pedal while guest Lou Rennau plays the weird sounding oscillator.  Dubbed over the break is a message from Robinson, similar to the Jimi Hendrix monologue in his psychedelic masterpiece “If 6 was 9”.  “Then Came The Light” , “Cherry Street” and “Something You Say” would all show up later on The Morning Dew’s highly collectible Roulette album, issued in 1970 (albeit in different versions).  “Lady Soul” was The Morning Dew’s sarcastic reply to the fans at their shows that asked the band to play some soul music.  Robinson’s clever use of a double tracked fuzz guitar sound blended with help from the Missouri University Marching Band on horns turns the song into a odd blend of psychedelia and soul.

The ten-song demo tape was circulated around to record labels and A & R men.  Sligar stated “What helps so many other groups is the fact that they are in big cities, nobody from a record company is going to come to Topeka to hear a band somebody tells them is pretty good, you’ve got to take it to them”.  A stroke of good luck occurred when a local agent, was able to secure The Morning Dew a contract with Roulette Records.  This occurred in the fall of 1968.  A promoter/investor from Columbia, Pete Shanaberg (an affiliate of Lou Rennau) took the ten song demo tape with recordings from other Midwest acts (Don Cooper, Morgan Mason Downs) to New York and peddled these tapes to record companies. Consequently, Shanaberg was successful in obtaining record deals with Roulette Records for all the acts. Due to the time that had expired from the 1968 Fairyland recordings, Roulette wanted to hear some current recordings of the group so The Morning Dew recorded “Get Together” and “Young Man” in May of 1969 but both tracks were never released (although “Young Man” was later issued on the Roulette album, it was a different recording).  Unfortunately, Shuford had already left the band due to the draft and was replaced by former Burlington Express member, Blair Honeyman on the two recordings.
 
 A producer for Roulette, Fred Munao came to Topeka in June 1969 to hear The Morning Dew perform live. He was so impressed with the band that a recording contract was signed the day he came to hear them in Topeka. In August of 1969, The Morning Dew drove their van up to New York for the Roulette album recording sessions. The album was recorded in three days.  Three of the 11 songs recorded for Roulette had been previously done the year before at Fairyland Studios, “Cherry St.”, “Then Came The Light”, and “Something You Say”.  Seven other songs were new Mal Robinson originals. The band submitted to Roulette a proposed album cover but it was rejected in favor of a photo of a hippie couple in the nude on the verge of making love or finding the answer to life’s mysteries.  Unfortunately the album was delayed for unknown reasons and released in September 1970, over a year since its inception.  The album received little promotion from Roulette and sold poorly, but today is recognized as a classic with original copies going for over a hundred dollars.


Tracklist :
01. Crusader's Smile (3:42)
02. Upon Leaving (2:12)
03. Young Man (2:32)
04. Then Came The Light (4:15)
05. Cherry Street (4:09)
06. Gypsy (5:48)
07. Something You Say (4:29)
08. Country Boy Blue (2:39)
09. Save Me (3:40)
10. Epic: (4:33)

 

Aesop Rock - Skelethon

http://aesoprock.com

https://www.myspace.com/aesoprockwins





Origine du Groupe : North America

Style : Hip Hop

Sortie : 2012



LINK REMOVE DMCA REQUEST

By Luke Winkie   From http://www.pastemagazine.com It was more than a little surreal emailing a Rhymesayers publicist for a copy of Skelethon. One, because obviously Aesop Rock’s dungeon-dark mutterings were like the Socratic ideal form of Def Jux street-rap, but also because five years after None Shall Pass, the world’s skeptics began doubting if Ian Mathias Bavitz would ever start rapping again. A new family, a dead label, a litany of oddball sidetracks, and rumblings of personal strife and loss—you couldn’t really blame Aes for an impromptu quarter-life crisis. And Skelethon is a very single-minded, sober-hearted record: entirely self-produced, dipping in gut-busting, welled-up, radically efficient rhyming all streaked with the shadow, subtly badass insulation that Aesop has built a legacy on. No feature-verses and no frills, no goofy party-cuts like “The Harbor is Yours,” Skelethon is dark, dank and dense. It’s Aesop Rock muttering to himself in a musty cellar, his vocabulary stretched across obtuse cultural debris like “cherry bomb” and “propeller hat,” and the self-designed beats are about as black as his voice. The record lives with angst, melancholy and a macabre grimness—probably the most focused Aes has ever sounded. You could never call Skelethon soft. Sure he cribs through an opening trio of forgettable setlist-filler in “Leisureforce,” “ZZZ Top” and “Cycles to Gehenna,” but it settles into itself with a lot of elegance. “Crows 1” opens with a death-knell lullaby courtesy of Kimya Dawson, which Rock promptly detonates with his “black crows shredding innards/ the silhouettes are fencing lefty scissors” slash on a sauntering, seasick bass. “Saturn Missiles,” arguably the greatest single-act of pure technical flow this year, is essentially a heavy dose of Aesop Rock mythology on a scatterbrain breakbeat. The subwoofer bleat on “Tetra” feels like a futuristic club banger for a crowd that gets off on high-impact syntax—same with the eroded, velvet big-band samples skirting under “Racing Stripes.” For a guy who’s been journeying for more than a decade, this feels like a natural habitat—building the beats he’s most comfortable with and safely assassinating them with his wit. Skelethon isn’t the sort of album you’re going to talk about in terms of weaknesses, but it certainly is clear where things have changed over the last five years. Compatriots like El-P and Blockhead painted past Aesop records with synesthesic flair, the gloomy keyboard drizzle of “None Shall Pass” or the music-box tinsel coursing through “9-5ers Anthem.” In reigning in and self-producing, Bavitz has made an album heavy on centralization and blunt-force trauma, but disparagingly lax on colors. These beats are sputtering and muddy, like primal thumps with a bad attitude—it’s tailored to fit the moody demeanor, but something is lost along the way. None Shall Pass has become the revisionist Aesop relic, simply because his grubby tones worked in exotic environments, Skelethon is digested in a single, subterranean suite. Effective, but occasionally flavorless. In some ways Aesop Rock has been marginalized, mostly because of his friends, coworkers and former, scene-famous label. He’s been sent up more as a broad representation, rather than an artist. The way Skelethon dismantles those notions might be its greatest triumph. It’s a rap album at its core, with Aesop spouting such a catalog of dizzying, powerful and impeccably professional verses; anyone who slept on him starts to look very, very silly. The true joy of Skelethon is sitting back and watching an incredibly talented and incredibly keyed-in MC run circles around your brain. It may not be his best record, but it absolutely reaffirms why his craft is so vital. Tracklist : 01. Leisureforce 02. ZZZ Top 03. Cycles to Gehenna 04. Zero Dark Thirty 05. Fryerstarter 06. Ruby ‘81 07. Crows 1 08. Crows 2 09. Racing Stripes 10. 1,000 O’Clock 11. Homemade Mummy 12. Grace 13. Saturn Missiles 14. Tetra 15. Gopher Guts

Aesop Rock - Skelethon

http://aesoprock.com

https://www.myspace.com/aesoprockwins





Origine du Groupe : North America

Style : Hip Hop

Sortie : 2012



LINK REMOVE DMCA REQUEST

By Luke Winkie   From http://www.pastemagazine.com It was more than a little surreal emailing a Rhymesayers publicist for a copy of Skelethon. One, because obviously Aesop Rock’s dungeon-dark mutterings were like the Socratic ideal form of Def Jux street-rap, but also because five years after None Shall Pass, the world’s skeptics began doubting if Ian Mathias Bavitz would ever start rapping again. A new family, a dead label, a litany of oddball sidetracks, and rumblings of personal strife and loss—you couldn’t really blame Aes for an impromptu quarter-life crisis. And Skelethon is a very single-minded, sober-hearted record: entirely self-produced, dipping in gut-busting, welled-up, radically efficient rhyming all streaked with the shadow, subtly badass insulation that Aesop has built a legacy on. No feature-verses and no frills, no goofy party-cuts like “The Harbor is Yours,” Skelethon is dark, dank and dense. It’s Aesop Rock muttering to himself in a musty cellar, his vocabulary stretched across obtuse cultural debris like “cherry bomb” and “propeller hat,” and the self-designed beats are about as black as his voice. The record lives with angst, melancholy and a macabre grimness—probably the most focused Aes has ever sounded. You could never call Skelethon soft. Sure he cribs through an opening trio of forgettable setlist-filler in “Leisureforce,” “ZZZ Top” and “Cycles to Gehenna,” but it settles into itself with a lot of elegance. “Crows 1” opens with a death-knell lullaby courtesy of Kimya Dawson, which Rock promptly detonates with his “black crows shredding innards/ the silhouettes are fencing lefty scissors” slash on a sauntering, seasick bass. “Saturn Missiles,” arguably the greatest single-act of pure technical flow this year, is essentially a heavy dose of Aesop Rock mythology on a scatterbrain breakbeat. The subwoofer bleat on “Tetra” feels like a futuristic club banger for a crowd that gets off on high-impact syntax—same with the eroded, velvet big-band samples skirting under “Racing Stripes.” For a guy who’s been journeying for more than a decade, this feels like a natural habitat—building the beats he’s most comfortable with and safely assassinating them with his wit. Skelethon isn’t the sort of album you’re going to talk about in terms of weaknesses, but it certainly is clear where things have changed over the last five years. Compatriots like El-P and Blockhead painted past Aesop records with synesthesic flair, the gloomy keyboard drizzle of “None Shall Pass” or the music-box tinsel coursing through “9-5ers Anthem.” In reigning in and self-producing, Bavitz has made an album heavy on centralization and blunt-force trauma, but disparagingly lax on colors. These beats are sputtering and muddy, like primal thumps with a bad attitude—it’s tailored to fit the moody demeanor, but something is lost along the way. None Shall Pass has become the revisionist Aesop relic, simply because his grubby tones worked in exotic environments, Skelethon is digested in a single, subterranean suite. Effective, but occasionally flavorless. In some ways Aesop Rock has been marginalized, mostly because of his friends, coworkers and former, scene-famous label. He’s been sent up more as a broad representation, rather than an artist. The way Skelethon dismantles those notions might be its greatest triumph. It’s a rap album at its core, with Aesop spouting such a catalog of dizzying, powerful and impeccably professional verses; anyone who slept on him starts to look very, very silly. The true joy of Skelethon is sitting back and watching an incredibly talented and incredibly keyed-in MC run circles around your brain. It may not be his best record, but it absolutely reaffirms why his craft is so vital. Tracklist : 01. Leisureforce 02. ZZZ Top 03. Cycles to Gehenna 04. Zero Dark Thirty 05. Fryerstarter 06. Ruby ‘81 07. Crows 1 08. Crows 2 09. Racing Stripes 10. 1,000 O’Clock 11. Homemade Mummy 12. Grace 13. Saturn Missiles 14. Tetra 15. Gopher Guts

Bibi Tanga And The Selenites - 40 Degrees Of Sunshine

http://www.bibitanga.com

https://www.myspace.com/bibitanga





Origine du Groupe : Republic Central Africa , France

Style : Alternative , Funk

Sortie : 2012

From Official Site : 

Parisian groove theorists Bibi Tanga and The Selenites return in 2012 with 40 ° of Sunshine, their second release for the Nat Geo Music label. Due out on late spring 2012, 40 ° of Sunshine was recorded in the studio after a two month African tour, and it’s the group’s most warm, relaxed and deeply poetic recording yet.

“The whole band was in a more sunny and happy place for the recording of this album,” says frontman/bandleader Bienvenu (Bibi) Tanga, “which took place after an African tour that brought us to 12 hot countries. Our relationships as musicians and as friends were reinforced by this long tour, and the album is more sunny than the previous ones. On the first two albums, the moon was our central symbol figure, this time it’s the sun”.

The album’s title track, “40 ° of Sunshine”, was also inspired by this experience, as Bibi explains: “40 ° of Sunshine takes some poetic license. It’s a story that imagines what would happen if alcohol were replaced by liquid sunshine; 40 ounces of bottled sunshine”.

It’s been two years since the world was introduced to Bibi and Selenites on Dunya, their 2010 release for Nat Geo Music, but the group’s unique retro-futurist vision and smooth, Afro-Parisian sound remain intact on 40 Degrees of Sunshine. And their longtime producer and collaborator, le Professeur Inlassable, was once again at the controls in his studio near the banks of the Seine on the left bank of Paris, polishing the group’s sound to a luxurious sheen.

For those who missed out on Bibi Tanga’s international debut, here’s the recap: Born in Bangui in 1969,the dusty capital of the Central African Republic, Bienvenu (Bibi) Tanga didn’t see his homeland until the age of 2, when his parents brought him back from Paris where they moved just after he was born. Growing up, Bibi was one of 7 children and spent his earliest years shuttling from Paris to Africa to Moscow to Washington, D.C., and Brooklyn, thanks to his father’s diplomatic postings. Eventually Bibi’s family ended up living in the suburbs of Paris, where he became a musical omnivore – devouring British new wave, African pop, and American blues and R&B in equal doses. As a teenager, Bibi learned guitar, bass and saxophone – and even took up tap dancing.
In 2000 Bibi – by now fronting his own band – teamed up with Professeur Inlassable (the tireless professor), and never looked back. A student of early decades of French popular music, Le Professeur adds a whole new dimension to Bibi Tanga’s sound, recreating lost musical soundscapes that invoke echoes of Edith Piaf, Jacques Brel and Serge Gainsbourg. Together with Bibi’s band The Selenites – Arthur Simonini on violin and keyboards, Rico Kerridge on guitar and Arnaud Biscay on drums – Bibi and Le Professeur craft an otherworldly sound.
On 40 Degrees of Sunshine the Selenites are tighter than ever, and Bibi stresses that “This record is an even more collective effort than the previous one” stressing that the albums songs emerged spontaneously and naturally from the bands’ informal studio jam sessions.

“The album was recorded over a few weeks in the summer of 2011, during nightly jam sessions,” Bibi explains. “All the tracks emerged from collective jams based around le Professeur Inlassable’s sample techniques. He set the mood with his loops and then the band joins in to create musical background for me to write songs or sing poetry.”

That relaxed, collective approach paid off with funky synchronicities and poetic couplings on tracks like “Poet of the Soul” – built around a slippery funk groove married to lines from poet Walt Whitman’s masterpiece “Leaves of Grass” – and “Laughing Song” – based around a poem by canonical English poet William Blake.

Two of the album’s tracks, “Kangoya” and “Banda a gui koua” are sung in the Sango language of Bibi’s ancestors. Bibi explains that “kangoya is the name for palmwine in Sango, and the song deals with the beverage in a positive way, as a social and familial means to bring people together. While banda a gui koua is the name of a traditional dish of greens from Central African Republic. The song deals with immigrants’ love of recipes from their native countries.”

“Banda a gui koua” also introduces guest singer Emma Lamadji, who appears on seven of the album’s tracks. A fellow immigrant to France from the Central African Republic, Bibi and the band saw Emma singing with an Afrobeat band while on tour and a friendship was soon forged.

One track, “My Heart Is Jumping.” has a darker backstory than the rest, as Bibi recounts: “the track is built around Professeur Inlassable‘s loops of an obscure 1930s recording, which had a woman singing the words, ‘my heart is jumping’. Two days after le Professeur made the loop he had a little heart attack of his own.”

“Don’t worry” Bibi adds. “He feels better now and this event even had some positive influence on his life. But these kind of magic synchronicities happen frequently when the band is creating, because of our improvised/ free composition process that implies a lot of unconcsious and irrational attitudes.”

It’s this kind of fearless embrace of the creative mysteries that makes 40 ° of Sunshine such a surprising and satisfying listen – you never know where your head will roam, but your feet will always be firmly planted on the dancefloor.


Tracklist :
1. Poet of the Soul (03:28)
2. My Heart Is Jumping (03:48)
3. Banda a Gui Koua (03:34)
4. Can't Handle This (03:53)
5. Laughing Song (03:36)
6. Kangoya (03:01)
7. Do What You Wanna Do (03:29)
8. Dark Funk (04:00)
9. Happy Dustman (04:58)
10. People Are Working (02:24)
11. 40 of Sunshine (02:50)
12. Attraction (01:47)

Bibi Tanga And The Selenites - 40 Degrees Of Sunshine

http://www.bibitanga.com

https://www.myspace.com/bibitanga





Origine du Groupe : Republic Central Africa , France

Style : Alternative , Funk

Sortie : 2012

From Official Site : 

Parisian groove theorists Bibi Tanga and The Selenites return in 2012 with 40 ° of Sunshine, their second release for the Nat Geo Music label. Due out on late spring 2012, 40 ° of Sunshine was recorded in the studio after a two month African tour, and it’s the group’s most warm, relaxed and deeply poetic recording yet.

“The whole band was in a more sunny and happy place for the recording of this album,” says frontman/bandleader Bienvenu (Bibi) Tanga, “which took place after an African tour that brought us to 12 hot countries. Our relationships as musicians and as friends were reinforced by this long tour, and the album is more sunny than the previous ones. On the first two albums, the moon was our central symbol figure, this time it’s the sun”.

The album’s title track, “40 ° of Sunshine”, was also inspired by this experience, as Bibi explains: “40 ° of Sunshine takes some poetic license. It’s a story that imagines what would happen if alcohol were replaced by liquid sunshine; 40 ounces of bottled sunshine”.

It’s been two years since the world was introduced to Bibi and Selenites on Dunya, their 2010 release for Nat Geo Music, but the group’s unique retro-futurist vision and smooth, Afro-Parisian sound remain intact on 40 Degrees of Sunshine. And their longtime producer and collaborator, le Professeur Inlassable, was once again at the controls in his studio near the banks of the Seine on the left bank of Paris, polishing the group’s sound to a luxurious sheen.

For those who missed out on Bibi Tanga’s international debut, here’s the recap: Born in Bangui in 1969,the dusty capital of the Central African Republic, Bienvenu (Bibi) Tanga didn’t see his homeland until the age of 2, when his parents brought him back from Paris where they moved just after he was born. Growing up, Bibi was one of 7 children and spent his earliest years shuttling from Paris to Africa to Moscow to Washington, D.C., and Brooklyn, thanks to his father’s diplomatic postings. Eventually Bibi’s family ended up living in the suburbs of Paris, where he became a musical omnivore – devouring British new wave, African pop, and American blues and R&B in equal doses. As a teenager, Bibi learned guitar, bass and saxophone – and even took up tap dancing.
In 2000 Bibi – by now fronting his own band – teamed up with Professeur Inlassable (the tireless professor), and never looked back. A student of early decades of French popular music, Le Professeur adds a whole new dimension to Bibi Tanga’s sound, recreating lost musical soundscapes that invoke echoes of Edith Piaf, Jacques Brel and Serge Gainsbourg. Together with Bibi’s band The Selenites – Arthur Simonini on violin and keyboards, Rico Kerridge on guitar and Arnaud Biscay on drums – Bibi and Le Professeur craft an otherworldly sound.
On 40 Degrees of Sunshine the Selenites are tighter than ever, and Bibi stresses that “This record is an even more collective effort than the previous one” stressing that the albums songs emerged spontaneously and naturally from the bands’ informal studio jam sessions.

“The album was recorded over a few weeks in the summer of 2011, during nightly jam sessions,” Bibi explains. “All the tracks emerged from collective jams based around le Professeur Inlassable’s sample techniques. He set the mood with his loops and then the band joins in to create musical background for me to write songs or sing poetry.”

That relaxed, collective approach paid off with funky synchronicities and poetic couplings on tracks like “Poet of the Soul” – built around a slippery funk groove married to lines from poet Walt Whitman’s masterpiece “Leaves of Grass” – and “Laughing Song” – based around a poem by canonical English poet William Blake.

Two of the album’s tracks, “Kangoya” and “Banda a gui koua” are sung in the Sango language of Bibi’s ancestors. Bibi explains that “kangoya is the name for palmwine in Sango, and the song deals with the beverage in a positive way, as a social and familial means to bring people together. While banda a gui koua is the name of a traditional dish of greens from Central African Republic. The song deals with immigrants’ love of recipes from their native countries.”

“Banda a gui koua” also introduces guest singer Emma Lamadji, who appears on seven of the album’s tracks. A fellow immigrant to France from the Central African Republic, Bibi and the band saw Emma singing with an Afrobeat band while on tour and a friendship was soon forged.

One track, “My Heart Is Jumping.” has a darker backstory than the rest, as Bibi recounts: “the track is built around Professeur Inlassable‘s loops of an obscure 1930s recording, which had a woman singing the words, ‘my heart is jumping’. Two days after le Professeur made the loop he had a little heart attack of his own.”

“Don’t worry” Bibi adds. “He feels better now and this event even had some positive influence on his life. But these kind of magic synchronicities happen frequently when the band is creating, because of our improvised/ free composition process that implies a lot of unconcsious and irrational attitudes.”

It’s this kind of fearless embrace of the creative mysteries that makes 40 ° of Sunshine such a surprising and satisfying listen – you never know where your head will roam, but your feet will always be firmly planted on the dancefloor.


Tracklist :
1. Poet of the Soul (03:28)
2. My Heart Is Jumping (03:48)
3. Banda a Gui Koua (03:34)
4. Can't Handle This (03:53)
5. Laughing Song (03:36)
6. Kangoya (03:01)
7. Do What You Wanna Do (03:29)
8. Dark Funk (04:00)
9. Happy Dustman (04:58)
10. People Are Working (02:24)
11. 40 of Sunshine (02:50)
12. Attraction (01:47)

Easy Star All-Stars - Thrillah

http://www.easystar.com

https://www.myspace.com/easystarallstars





Origine du Groupe : North America

Style : Reggae

Sortie : 2012

 

 

From Official Myspace :

Combining musical versatility, instrumental prowess, beautiful vocal harmonies and a superb rhythm section, the Easy Star All-Stars have established themselves as one of the top international reggae acts since their live debut in 2003. They rock every crowd they play for, whether it’s to thousands at festivals or hundreds at club gigs and private events (like the wedding of NYC Mayor Mike Bloomberg’s daughter). Thanks to their best-selling tribute album releases, Dub Side of the Moon (2003) and Radiodread (2006), as well as Until That Day (2008), an original EP, the Easy Star All-Stars have built a growing, dedicated fan base throughout the world, bringing together fans of reggae, classic rock, dub and indie rock into one big family. Their newest release, Easy Star’s Lonely Hearts Dub Band, due in April, tackles the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band in complete reggae fashion.

Originally formed in 1997 for Easy Star Records’ earliest recordings, the Easy Star All-Stars existed mostly as a studio entity until releasing Dub Side of the Moon in 2003. The group, which operates as a collective with a rotating cast of musicians and singers, was put together by Easy Star co-founders Michael Goldwasser, Eric Smith and Lem Oppenheimer. These three have directed and managed the band ever since. Goldwasser, as producer, musical director, arranger and guitarist, has been the man behind just about everything the All-Stars have done in the studio and on stage. He’s the one who spends months transforming songs by Pink Floyd, Radiohead and the Beatles into reggae tracks. As a producer, he has maintained a delicate balancing act by making albums that rock fans can embrace, without alienating the notoriously demanding hardcore reggae audience. Previous to 2003, the band made regular appearances in New York City, backing reggae legends Sugar Minott and Johnny Osbourne, and providing the live backbone for a celebrated tribute to Augustus Pablo. It wasn’t until Dub Side of the Moon’s tremendous success that a touring version of the band was assembled.

The other members of the Easy Star All-Stars, past and present, read like a who’s who of New York’s reggae, ska, dub and jazz scene. The core of the touring band has remained largely intact since 2003: Ras I Ray (bass, vocals), Ive-09 (drums), Kirsty Rock (vocals), Jennifer Hill (saxophone, flute) and Buford O’Sullivan (trombone). Menny More has handled deejay vocals since 2006. The current touring line up is filled out by Elenna Canlas (keyboards, vocals) and Shelton Garner Jr. (guitar, vocals), with either Justin Filmer or Marcos Ferrari handling dub engineering and sound. The band also rotates in Abou Diarrassouba (drums), Matt Bauder (saxophone) and Joanne Williams (vocals), depending on the tour. Other members of the collective—including vocalists Tamar-kali and Stephanie McKay, Groove Collective’s Jay Rodriguez, Antibalas’s Stuart Bogie, reggae legend Ranking Joe, trumpet player Pam Fleming (of the Burning Brass), deejay Dollarman, guitarist Junior Jazz, and keyboardists Ticklah and Jeremy Mage—all continue to make appearances or toured extensively with the group at one time. Michael Goldwasser still joins for occasional gigs, but spends most of his time in the studio working on the band’s musical output and his own outside productions for artists such as MacArthur Genius Grant recipient Corey Harris and Israel’s Hatikva 6.

The Easy Star All-Stars—in any combination of members—have been a resounding success. The band has played at major festivals and headlined shows in over 20 countries on 5 continents. Their worldwide album sales have surpassed 250,000 units since 2003, with Dub Side of the Moon spending over 5 years on Billboard’s Reggae Chart. MOJO picked Dub Side as the second best cover album of all time. Radiodread spent almost 2 years on Billboard’s Reggae Chart and earned praise from the members of Radiohead themselves.


Tracklist :
01 – Wanna Be Startin’ Somethin’
02 – Baby Be Mine
03 – The Girl Is Mine
04 – Thriller
05 – Beat It
06 – Billie Jean
07 – Human Nature
08 – P.Y.T. (Pretty Young Thing)
09 – The Lady In My Life
10 – Dub It
11 – Close To Midnight