Ultra is proud to release Electric Daisy Carnival Experience, a documentary on the most prestigious electronic musicfestival on the planet. The film features all the highlights from Electric Daisy Carnival, starring performances by (in alphabeticalorder): 12th Planet, Above & Beyond, Afrojack, Benny Benassi, Boys Noize, David Guetta, deadmau5, Duck Sauce,Fedde Le Grand, Kaskade, Laidback Luke, Maj…
Clara’s Christmas eve dreams come to life as snowflakes, sugarplum fairies, and her treasured toy nutcracker dance with her and her family.Genre: Performing Arts – Ballet/DanceRating: NRRelease Date: 28-SEP-2004Media Type: DVD…
It’s easy to forget that superstars are real people, but when Hannah Montana (Miley Cyrus) shows signs of forgetting her roots as Miley Stewart, her father Robbie Ray (Billy Ray Cyrus) puts his foot down. Miley has always strived to live a relatively normal teenage life, but when late stage entrances, exclusive shopping trips that end in brawling catfights, and ditching friends and family in favor…
On his evening commute, bored accountant Sugiyama (Koji Yakusho) always looks for the beautiful woman who gazes wistfully out the window of the Kishikawa School of Dancing. One night he gets off the train, walks into the studio, and signs up for a class. Soon Sugiyama is so engrossed in his dancing he practices his steps on the train platform and under his desk, and becomes good enough for competi…
With no fewer than eight couples vying for our attention, Love Actually is like the Boston Marathon of romantic comedies, and everybody wins. Having mastered the genre as the writer of Four Weddings and a Funeral, Notting Hill, and Bridget Jones’s Diary, it appears that first-time director Richard Curtis is just like his screenplays: He just wants to be loved, and he’ll go to absurdly appealing le…
With each passing year, video gaming has become an exclusive experience. The complexities of some of the newest games have alienated those who used to play games with their entire families. Wii changes all that. Nintendo has created the most inviting, inclusive video game system to date. Thanks to this unique controller, anyone of any age or skill level can pick up and play games on Wii. And they …
This book is a 648 page expose about Led Zeppelin and a Magick/Satanic cult in England called the Argenteum Astrum, which means “Silver Star.” The founder of this cult is Aleister Crowley, whose books are for sale on Amazon.com. The major doctrines of this cult are presented in the most famous songs in the Led Zeppelin catalog. The cult’s agenda is the destruction of the Christian faith. Very c…
The five lengthy improvisations by the three veteran masters of the AACM range from airy sound explorations to stretches of extroverted interplay. The former does sometimes goes on way too long as one waits for the latter. Best are the episodic “Dramaturns” and the intense group improvising on “Streaming.” While one appreciates George Lewis’ exploration of his computer, it is in his trombone yelps that one gets to hear the joy of freely improvised jazz. Decades have passed since the debut of these three musicians, yet they have lost nothing of their musical curiosity and desire to take risks. The enthusiastic interaction between pianist Muhal Richard Abrams and saxophonist Roscoe Mitchell with Lewis is the real reward of this esoteric outing. ~ Scott Yanow, Rovi Performers: Muhal Richard Abrams – Bamboo Flute, Bells, Piano, Percussion; George Lewis – Voices, Trombone; Roscoe Mitchell – Sax (Alto), Sax (Soprano), Percussion
Enjoy a wealth of entertainment options with this 2400D Roku LT streaming media player that streams movies, TV shows, music and more to your TV so you can experience your favorite media on the big screen.
The lights streaming through the sounds is a solo project by guitarist and soundscape artist Shinpei Kusuzaka of Yokohama, Japan. He started releasing his music through online labels in 2000 and also started performing live in Tokyo about the same time. H
UK twelve inch vinyl pressing of the 2007 single from this outfit who are spearheading the new French Dance revolution. Features three versions of ‘D.A.N.C.E.’: Jackson Remix, MSTRKRFT Remix and Alan Braxe And Fred Falke Remix. Because.
Sly & the Family Stone came into their own with their second album, Dance to the Music. This is exuberant music, bursting with joy and invention. If there’s a shortage of classic material, with only the title track being a genuine classic, that winds up being nearly incidental, since it’s so easy to get sucked into the freewheeling spirit and cavalier virtuosity of the group. Consider this — prior to this record no one, not even the Family Stone, treated soul as a psychedelic sun splash, filled with bright melodies, kaleidoscopic arrangements, inextricably intertwined interplay, and deft, fast rhythms. Yes, they wound up turning “Higher” into the better “I Want to Take You Higher” and they recycle the title track in the long jam “Dance to the Medley,” but there’s such imagination to this jam that the similarities fade as they play. And, if these are just vamps, well, so are James Brown’s records, and those didn’t have the vitality or friendliness of this. Not a perfect record, but a fine one all the same. ~ Stephen Thomas Erlewine, Rovi Performers: Sylvester “Sly Stone” Stewart – Vocals, Keyboards, Guitar
This extraordinary performance uses the simple idea of dance to link music from the late nineteenth and early twentieth centuries, from eastern and western Europe, from the Old and New Worlds. British pianist Kathryn Stott selects music by composers usually classified as modern (Stravinsky, Bartók), as late Romantic (Brahms, Tchaikovsky), as nationalist (Dvorák, Albéniz, Villa-Lobos), and as semi-popular (Ernesto Lecuona, Astor Piazzolla, and Camargo Guarnieri, whose name is misspelled in the tracklist), as well as several composers who do not fit any of these categories. All of these composers wrote music rooted in the popular dances of the times in which they worked, and the continuity of the dance tradition, in Stott’s hands, comes to seem as important as the various “watershed” moments generally thought to define the music of the early twentieth century. The placement of Chopin’s Mazurka in A minor, Op. 17/4, at the end of the program has an exquisitely nostalgic feel, suggesting the sensation of a glance back at a venerated ancestor for all the music. Stott moves effortlessly between famous pieces like the Sibelius Valse Triste, Op. 44, and oddities like Graham Fitkin’s Old Style, which here receives its first recording. The idea of the dance is certainly pushed in different directions by these composers: toward the minimal by Satie, toward the geometric by Stravinsky, and toward the satirical by Shostakovich. Stott arranges the program in such a way that a new perspective on the same kind of basic material appears at every turn, and she seems equally comfortable with diverse kinds of material. Especially noteworthy is her version of Astor Piazzolla’s Milonga del Ángel, in an arrangement for solo piano by Kyoko Yamamoto: Stott creates a fair facsimile of Piazzolla’s bandoneón rolls and his general sensuously grim mood. This disc is easy enough on the ears, but it will keep you coming back again and again. Chandos’ sound is superb. ~ James Manheim, Rovi Performers: Kathryn Stott – Piano
The Parrot MKi9100 is a Bluetooth handsfree system with an OLED screen. A wireless remote control can be positioned on the steering wheel or dashboard and allows the driver to control all the functions of the MKi9100. In addition to conventional telephony functions pick up hang up dual calls the Parrot MKi9100 boasts cuttingedge telephony functions: automatic phonebook synchronisation trainingfree multispeaker voice recognition speech synthesis of the names in the phonebook contact management (up to 2 000 per phone) and call records. Its OLED screen displays the phonebook caller ID phone information and user settings. The menus and phonebook are also audible for easier more intuitive use. The Parrot MKi9100 is also gifted for music. Supplied with a specific cable it is compatible with all music sources such as iPods iPhones USB flash drives Bluetooth stereo (A2DP) phones MP3 players and any other analogue players. For ideal music navigation the screen of the MKi9100 displays the playlist along with the name of the artist and the title (iPod/iPhone connection or USB). Music is delivered through all the car s speakers giving the driver and passengers exceptional sound quality and the breathtaking (Virtual SuperBass.).
A full system dedicated to conversation and music in car with Color TFT 2.4′ dot matrix Screen. Made for iPod and Works with iPhone. The Parrot MKi9200 is a Bluetooth handsfree system with a 2.4inch highresolution TFT colour screen. A wireless remote control can be positioned on the steering wheel or dashboard and allows the driver to control all the functions of the MKi9200. The Parrot MKi9200 is also gifted for music. Supplied with a specific cable it is compatible with all music sources such as iPods iPhones USB flash drives Bluetooth stereo (A2DP) phones MP3 players and any other analogue players. The Parrot MKi9200 also features an SDHCcompatible SD card reader on the side of the screen. The MKi9200 displays the full playlist along with the name of the artist the title and even the corresponding album cover in colour when available on the iPod iPhone or USB flash drive.Music is delivered through all the car s speakers giving the driver and passengers exceptional sound quality and the breathtaking Virtual SuperBass and Sound Spatializer effects.
“Music and dance are important in our society,” explains Evans Edem Doe. He depicts a woman seemingly in a trance as she gives all of her being to her dance. In the background, images of fertility dolls emphasize her beautiful femininity.
The long awaited Manual double CD Lost Days, Open Skies and Streaming Tides – a collection of rarities, remixes, covers, unreleased pieces and brand new tracks – including a new collaboration with Cocteau Twins main man Robin Guthrie. Spanning the period from 2002, around Ascend, up to now, this is a collection that covers the entire spectrum of Jonas Munks stylings; from the minimalist drone soundscapes, to the over-the-top 1980s influenced shoegazing electronica ? la his masterpiece Azure Vista, from the sweet pop-influenced gems to abstract blissed-out timeless ambient. Munk’s trademarks are all over the 19 pieces on this double disc set: the highly adventurous sense of composition that is still so unheard of in electronic music – always taking the listener on a colorful journey instead of relying on repetitions like pretty much every other electronic artist – the mix of well-programmed beats and electronics against surreal, shimmering, heavily treated guitars, and the sunbathed 1980s romantic melancholia that has become Jonas Munk’s signature sound. It is hard to think of a more perfect introduction to Munk’s music, and for fans of his work this is simply a must! All in all, Lost Days, Open Skies and Streaming Tides includes almost an hour worth of previously unreleased music. Disc 1 represents the grandiose, super-layered, mesmerizing sounds that is familiar to fans of Azure Vista, Isares and Ascend, where firm, occasionally complex, beats melts together with moist and dreamy guitars, heavenly female vocals and head spinning old-school synths. Disc 2 represents the more minimal, guitar-drone side of Manual. These pieces, based on treated guitar work, blends classic ambient with minimalist classical music and processing experiments to create very unique sounds that are surreal yet warm and organic, and maintains Jonas’ insist on the compositional element.
Anthony Branker directs his sextet Ascent in this stunning collection of originals. “The Renewal” is an insistent post-bop vehicle with fiery solos by alto saxophonist Tia Fuller and trombonist Clifford Adams, Jr. and tenor saxophonist Ralph Bowen, followed by Jonny King’s driving McCoy Tyner-influenced piano. The hip “Dance Music” is a trio showcase for Bowen, bassist Kenny Davis, and drummer Adam Cruz. The hard-charging post-bop vehicle “The House of the Brotherhood of the Black Heads” contrasts with the elegance of the ballad “Truth,” which adds guitarist Freddie Bryant as a complement to Bowen’s powerful tenor. Vocalist Kadri Voorand appears on four tracks, also contributing the lyrics. She’s a modern wordsmith who isn’t interested in simplistic Tin Pan Alley rhyming, but more of a free-form poet, yet her words beautifully fit Branker’s compositions. She energizes “Asking Answers” with her spirited alto voice and adds a touch of playful scat to open the shimmering ballad “The Holy Innocent.” Recommended. ~ Ken Dryden, Rovi Performers: Adam Cruz – Drums; Clifford Adams – Trombone; Freddie Bryant – Guitar; Jonny King – Piano; Kadri Voorand – Vocals; Kenny Davis – Bass; Ralph Bowen – Sax (Tenor), Sax (Soprano); Tia Fuller – Sax (Alto)
Returning to their club roots after the understated chillout of last album To All New Arrivals, Faithless’ sixth studio album, The Dance, has been described by the band as “the danciest album they’ve ever created.” The 2010 LP, their first on their own Nate’s Tunes label, was originally only available through iTunes and grocery chain Tesco before being released in other outlets. Featuring collaborations with Blancmange, Dougy Mandagi, and regular vocalist Dido, it includes the singles “Not Going Home,” “Tweak Your Nipple,” and “Feelin’ Good.” ~ Jon O’Brien, Rovi
Toddler Favorites was certified PLATINUM by the Record Industry Association of America (RIAA). The third in the successful Music For Little People Favorite Series, Toddler Favorites relates to color, movement and music. This sing-along combines the simplicity of rhythmic language with familiar tunes, helping children between the ages of 2 through 6 develop an early love of music. Toddler Favorites…
Song titles include: Kids In Motion; The Body Rock; Animal Action I; The Freeze; Count Bounce; The Balancing Act; Beanbag Boogie I; My Shadow, Poetry In Motion; Body Talk; Animal Action II; Shadow Dancing; Tummy Tango; Show Me What You Feel; Beanbag Boogie II; and What Is Pink? Poetry In Motion….
YANNI: Live at the Royal Albert Hall in London presents the following:
“Desire”
“Reflections of Passion”
“To Take…To Hold”
“Dance with a Stranger”
“A Love for Life”
“Enchantment”
“Aria”
“Nostaligia”…
It’s easy to forget that superstars are real people, but when Hannah Montana (Miley Cyrus) shows signs of forgetting her roots as Miley Stewart, her father Robbie Ray (Billy Ray Cyrus) puts his foot down. Miley has always strived to live a relatively normal teenage life, but when late stage entrances, exclusive shopping trips that end in brawling catfights, and ditching friends and family in favor…
Phil Collins left Genesis following the We Can’t Dance tour and many observers expected Tony Banks and Michael Rutherford to finally call it a day. They decided to persevere instead, hiring former Stiltskin vocalist Ray Wilson to replace Collins. Given that Stiltskin was a European neo-prog band, it isn’t a total surprise that Genesis returned to their art rock roots on Calling All Stations, their first album with Wilson. The music on Calling All Stations is long and dense, but it’s given the same immaculate, pristine production that was the hallmark of their adult contemporary work with Collins. It wants to be an art rock album while still appealing to the pop audience, even if the group didn’t really write pop songs for Calling All Stations. That may be because Wilson’s voice isn’t suited for pop, but works well with languid, synthesized prog settings. [EMI/Virgin reissued the album in 2007, complete with an additional DVD of bonus material.] ~ Stephen Thomas Erlewine, Rovi Performers: Mike Rutherford – Guitar; Nick D’Virgilio – Drums; Nir Zidkiyahu – Drums; Ray Wilson – Vocals; Tony Banks – Keyboards
Phil Collins left Genesis following the We Can’t Dance tour and many observers expected Tony Banks and Michael Rutherford to finally call it a day. They decided to persevere instead, hiring former Stiltskin vocalist Ray Wilson to replace Collins. Given that Stiltskin was a European neo-prog band, it isn’t a total surprise that Genesis returned to their art rock roots on Calling All Stations, their first album with Wilson. The music on Calling All Stations is long and dense, but it’s given the same immaculate, pristine production that was the hallmark of their adult contemporary work with Collins. It wants to be an art rock album while still appealing to the pop audience, even if the group didn’t really write pop songs for Calling All Stations. That may be because Wilson’s voice isn’t suited for pop, but works well with languid, synthesized prog settings. [Rhino issued a CD/DVD edition in 2007.] ~ Stephen Thomas Erlewine, Rovi Performers: Mike Rutherford – Guitar; Nick D’Virgilio – Drums; Nir Zidkiyahu – Drums; Ray Wilson – Vocals; Tony Banks – Keyboards
When Eddie “Lockjaw” Davis and Johnny Griffin joined forces and formed a two-tenor front line, bop enthusiasts could safely assume that the sparks were going to fly. Davis and Griffin, after all, were one of hard bop’s exciting tenor teams — their saxophone battles were as legendary as the encounters of Gene Ammons and Sonny Stitt, Dexter Gordon and Wardell Gray, or Phil Woods and Gene Quill (who, unlike the other teams mentioned here, were a two-alto pair). Battle Stations, like other Davis/Griffin encounters, points to the fact that the two tenormen never had a problem finding common ground. Both had big tones; both were very extroverted, aggressive players; and both swung unapologetically hard — no one ever mistook either of them for members of jazz’s cool school, which favored subtlety, restraint, and understatement over intensity and aggression. A sense of friendly competition is evident on Battle Stations; when Davis and Griffin lock horns, the result is musical sportsmanship at its finest. And “friendly” is the operative word on this 1960 date — as competitive as Davis and Griffin could be, they had a great deal of respect for one another. Battle Stations (which employs Norman Simmons on piano, Victor Sproles on bass, and Ben Riley on drums) demonstrates that the saxmen were not only sparring partners, they were also a mutual admiration society, and the improvisers enjoy an incredibly strong rapport on hard-swinging numbers like “Pull My Coat,” “Hey Jim!,” and “What’s Happening.” Battle Stations is an album that fans of heated two-tenor exchanges shouldn’t overlook. ~ Alex Henderson, Rovi Performers: Ben Riley – Drums; Eddie “Lockjaw” Davis – Sax (Tenor); Johnny Griffin – Sax (Tenor); Junior Mance – Piano; Larry Gales – Bass; Norman Simmons – Piano; Victor Sproles – Bass
“They said that we were trash/Well the name is Crass, not Clash.” So goes the opening of the coruscating “White Punks on Hope,” and with Stations Crass takes things to an even more vicious level than on Feeding. The opening yelps and screams from Ignorant on “Mother Earth” over a slow-building burn show that there was already much more to Crass than simple crash and bash punk, and with the rest of the album the collective moves between full-on assault and an ever increasing agit-snarl experimentation. Originally released as two vinyl discs, the conclusion of the second consists of a live show in Islington the summer of 1979, with the band tearing through new and old cuts with passion, including such fierce anthems as “Do They Owe Us a Living?” and “Shaved Women.” The studio tracks, including versions of some cuts from the live show, all come from a one-day session four days after the concert, and while some tracks are almost fragments, surprisingly things aren’t as constantly monochrome or as rushed as one might think. Whether stripping things down to dub-tinged bass, drums, and repetitive guitar snarls or blends of staccato rhythms and found-sound noise (or even, on “Walls,” trying a bit of disco), Crass creates a unique brand of fierce, inspirational music. Libertine and De Vivre make impressive cameos alongside Ignorant’s lead vocals, making the perfect argument through performance that passion trumps technical skill when the chips are down. The sheer amount of issue tackling and blunt speaking throughout ranges from political statements of purpose over every aspect of the status quo to relentless self-examination. One running attack against the band was always that their words were better read than listened to, but hearing the seething hatred projected by Ignorant on “Big Man, Big M.A.N.” is enough to convince one otherwise. One of the funniest tracks is the vivisection of music press figure Garry Bushell, “Hurry Up Garry,” which uncannily predicts his eventual descent into right-wing tabloid idiocy. ~ Ned Raggett, Rovi
Tobin Sprout and Robert Pollard have been known to put out new projects simultaneously (their initial solo albums, for instance), and they did again with the release of the short Guided By Voices album The Pipe Dreams of Instant Prince Whippet and this CD EP from Sprout, a “taster” for the full-length to follow in 2003. For those looking for signs, what that tandem coordination could have implied was a return, of sorts, to roots. It is certainly true of Sentimental Stations. The album harks back to the basement recordings of mid-period GBV as well as Sprout’s first few tries at solo recording, complete with the tape saturation, the blanket of woolly guitars wrapped around his echoey, soft rock vocals. Not only did Sprout produce the effort on his own, and not only did he get help from some old drinking buddies (including present Voices drummer Jim MacPherson) during the proceedings, but he actually recorded it on a return trip to his Dayton, OH, stomping grounds. It’s a lively collection, and includes some of the songwriter’s finest and most varied writing, namely “Inside the Blockhouse,” the most typically Sprout-ian song here, the almost prog-like instrumental drone “Branding Dennis,” with its unsettling keyboard lines, and the title track. ~ Stanton Swihart, Rovi
UK twelve inch vinyl pressing of the 2007 single from this outfit who are spearheading the new French Dance revolution. Features three versions of ‘D.A.N.C.E.’: Jackson Remix, MSTRKRFT Remix and Alan Braxe And Fred Falke Remix. Because.
Sly & the Family Stone came into their own with their second album, Dance to the Music. This is exuberant music, bursting with joy and invention. If there’s a shortage of classic material, with only the title track being a genuine classic, that winds up being nearly incidental, since it’s so easy to get sucked into the freewheeling spirit and cavalier virtuosity of the group. Consider this — prior to this record no one, not even the Family Stone, treated soul as a psychedelic sun splash, filled with bright melodies, kaleidoscopic arrangements, inextricably intertwined interplay, and deft, fast rhythms. Yes, they wound up turning “Higher” into the better “I Want to Take You Higher” and they recycle the title track in the long jam “Dance to the Medley,” but there’s such imagination to this jam that the similarities fade as they play. And, if these are just vamps, well, so are James Brown’s records, and those didn’t have the vitality or friendliness of this. Not a perfect record, but a fine one all the same. ~ Stephen Thomas Erlewine, Rovi Performers: Sylvester “Sly Stone” Stewart – Vocals, Keyboards, Guitar
The plot of this spy-detective novel turns on a senior figure in British Intelligence, who is being blackmailed by an American spy. The blackmail material, a photograph showing the Intelligence man as a former Nazi officer, is concealed in a travel book called Bannerman’s Guide taken by a young British diplomat on a Danube River cruise from Vienna to the Black Sea and back. As several people are carrying other copies of the book, the story turns on who has possession of the key copy, which the American spy hopes will reach the hands of KGB agents at some undetermined point during the cruise. Various individuals are also keen to get hold of the key copy. These include an American double agent posing as a collector of folk music, and an agent of Siegfried, an organization that materially assists former Nazis. As the cruise progresses, mysterious incidents connected with the guide book occur at each of the several East European capitals along the Danube. Budapest, Belgrade and Bucharest during the Cold War era form fascinating venues and authentic background based on the author’s travel experience. An English detective, Inspector Mason, begins the cruise as a genuine tourist, but gets drawn in to investigating these incidents in considerable depth, and at considerable risk to himself, until he has gathered enough evidence to be able to solve the puzzle in London. Who is carrying the key copy of the Bannerman, the significance of the material it contains and the unmasking of the spy form the intriguing climax to the story. Something of a genuine holiday atmosphere on the boat is maintained throughout, including a romantic interest and a rivalry between Mason and the young diplomat over oneof the women passengers.
This extraordinary performance uses the simple idea of dance to link music from the late nineteenth and early twentieth centuries, from eastern and western Europe, from the Old and New Worlds. British pianist Kathryn Stott selects music by composers usually classified as modern (Stravinsky, Bartók), as late Romantic (Brahms, Tchaikovsky), as nationalist (Dvorák, Albéniz, Villa-Lobos), and as semi-popular (Ernesto Lecuona, Astor Piazzolla, and Camargo Guarnieri, whose name is misspelled in the tracklist), as well as several composers who do not fit any of these categories. All of these composers wrote music rooted in the popular dances of the times in which they worked, and the continuity of the dance tradition, in Stott’s hands, comes to seem as important as the various “watershed” moments generally thought to define the music of the early twentieth century. The placement of Chopin’s Mazurka in A minor, Op. 17/4, at the end of the program has an exquisitely nostalgic feel, suggesting the sensation of a glance back at a venerated ancestor for all the music. Stott moves effortlessly between famous pieces like the Sibelius Valse Triste, Op. 44, and oddities like Graham Fitkin’s Old Style, which here receives its first recording. The idea of the dance is certainly pushed in different directions by these composers: toward the minimal by Satie, toward the geometric by Stravinsky, and toward the satirical by Shostakovich. Stott arranges the program in such a way that a new perspective on the same kind of basic material appears at every turn, and she seems equally comfortable with diverse kinds of material. Especially noteworthy is her version of Astor Piazzolla’s Milonga del Ángel, in an arrangement for solo piano by Kyoko Yamamoto: Stott creates a fair facsimile of Piazzolla’s bandoneón rolls and his general sensuously grim mood. This disc is easy enough on the ears, but it will keep you coming back again and again. Chandos’ sound is superb. ~ James Manheim, Rovi Performers: Kathryn Stott – Piano
“Music and dance are important in our society,” explains Evans Edem Doe. He depicts a woman seemingly in a trance as she gives all of her being to her dance. In the background, images of fertility dolls emphasize her beautiful femininity.
The vast majority of great GBV releases, whether they be full-lengths or singles, are notable for at least one or two classic Robert Pollard pop anthems — the kind of instantly memorable, undeniably rousing crowd-pleasers he writes with a frequency and proficiency unmatched by any of his contemporaries. Get Out of My Stations is the exception: an abrasive, experimental outing (befitting its release on the abrasive, experimental Siltbreeze label), its seven songs favor minor-key melodies, musique-concrete sound effects and fragmented arrangements, yet unlike GBV’s more misguided leaps of faith, the music here is consistently compelling and listenable. While the McCartney-esque “Melted Pat” is the closest thing to a conventional Pollard composition, the clear highlight is the opening “Scalding Creek,” an impressively weird stab at penning a campfire folk ballad. ~ Jason Ankeny, Rovi Performers: Robert Pollard – Vocals
Anthony Branker directs his sextet Ascent in this stunning collection of originals. “The Renewal” is an insistent post-bop vehicle with fiery solos by alto saxophonist Tia Fuller and trombonist Clifford Adams, Jr. and tenor saxophonist Ralph Bowen, followed by Jonny King’s driving McCoy Tyner-influenced piano. The hip “Dance Music” is a trio showcase for Bowen, bassist Kenny Davis, and drummer Adam Cruz. The hard-charging post-bop vehicle “The House of the Brotherhood of the Black Heads” contrasts with the elegance of the ballad “Truth,” which adds guitarist Freddie Bryant as a complement to Bowen’s powerful tenor. Vocalist Kadri Voorand appears on four tracks, also contributing the lyrics. She’s a modern wordsmith who isn’t interested in simplistic Tin Pan Alley rhyming, but more of a free-form poet, yet her words beautifully fit Branker’s compositions. She energizes “Asking Answers” with her spirited alto voice and adds a touch of playful scat to open the shimmering ballad “The Holy Innocent.” Recommended. ~ Ken Dryden, Rovi Performers: Adam Cruz – Drums; Clifford Adams – Trombone; Freddie Bryant – Guitar; Jonny King – Piano; Kadri Voorand – Vocals; Kenny Davis – Bass; Ralph Bowen – Sax (Tenor), Sax (Soprano); Tia Fuller – Sax (Alto)
Returning to their club roots after the understated chillout of last album To All New Arrivals, Faithless’ sixth studio album, The Dance, has been described by the band as “the danciest album they’ve ever created.” The 2010 LP, their first on their own Nate’s Tunes label, was originally only available through iTunes and grocery chain Tesco before being released in other outlets. Featuring collaborations with Blancmange, Dougy Mandagi, and regular vocalist Dido, it includes the singles “Not Going Home,” “Tweak Your Nipple,” and “Feelin’ Good.” ~ Jon O’Brien, Rovi
Does anyone know a site where you can buy ringtones without a subscription?
I try to get the ringtone for "A Fist Full of Dollars "- The Spaghetti Western theme, not the gangsta rap-thingy. But virtually all the site I'm gone I want to give" free "tones for a membership. No thank you! I just want to buy a single ringtone.
is.you I think he can also do a Google search for music or ringtones.
Ray has trouble at school and trouble at home. But when his school permanently expels him and his friends, Prem and Tyrone, it takes the courage of the adults who believe in these boys, and the boys’ own passion to make music, to turn their lives around. Will the rap band they form make it? And they all survive the violence of the world they’ve chosen?
Rated: RSynopsis: The hardest group you’ve never heard of is back. In the mid to late eighties, Gangsta Rap ran the west coast underground with such classics as Beat Yo Mamma With A Hammer and “In My House Shoes”. In the early nineties Gangsta Rap fell into obscurity after several run ins with the law, shady business management, failed comeback attempts and countless child custody cases. But now, they re back. They ve just inked a deal with gangster rap powerhouse Innersounds Records and are the subject of a documentary film entitled Gangsta Rap: The Glockumentary.
The Gangsta Rap Coloring Book is just as it sounds: a series of images in thick black lines of the most popular gangsta rappers from hip-hop. The juxtaposition of hard-core thugs portrayed through a children’s medium made this book an underground hit in Aye Jay Moreno’s first, self-published edition. Now expanded from 20 to 48 pages to include even more of the music’s superstars, this collection is a witty hall of fame of gangsta rap.
My Baby’s Daddy co-screenwriter Damon “Coke” Daniels goes back to his hip-hop roots with this mockumentary detailing the fall and subsequent comeback attempt of fictional West Coast rap trio “Gangsta Rap.” Murder Mike, Du Rag, and DJ Ballistics like to keep it old school. A shady threesome whose musical career has taken a back seat to constant run-ins with the law and multiple child custody cases in recent years, the self-proclaimed “godfathers of gangsta rap” scheme to save their fast slide into irrelevance by staging a triumphant return to the microphone. After bursting onto the scene with such tracks as “In My House Shoes” and “My Momma’s a Bitch” in the mid-1980s, Gangsta Rap remained a sizable fixture on the West Coast rap scene for nearly a decade. Now, after years of setbacks and self-destructive in-fighting, Gangsta Rap is finally prepared to show the new school just what the original gangstas have to offer. With special appearances by Too Short, Howie Bell, Clifton Powell, Leslie, and Gerald Johnson, Gangsta Rap: A Glockumentary offers a seamless blend of hip-hop humor and street smart satire. ~ Jason Buchanan, Rovi
My Baby’s Daddy co-screenwriter Damon “Coke” Daniels goes back to his hip-hop roots with this mockumentary detailing the fall and subsequent comeback attempt of fictional West Coast rap trio “Gangsta Rap.” Murder Mike, Du Rag, and DJ Ballistics like to keep it old school. A shady threesome whose musical career has taken a back seat to constant run-ins with the law and multiple child custody cases in recent years, the self-proclaimed “godfathers of gangsta rap” scheme to save their fast slide into irrelevance by staging a triumphant return to the microphone. After bursting onto the scene with such tracks as “In My House Shoes” and “My Momma’s a Bitch” in the mid-1980s, Gangsta Rap remained a sizable fixture on the West Coast rap scene for nearly a decade. Now, after years of setbacks and self-destructive in-fighting, Gangsta Rap is finally prepared to show the new school just what the original gangstas have to offer. With special appearances by Too Short, Howie Bell, Clifton Powell, Leslie, and Gerald Johnson, Gangsta Rap: A Glockumentary offers a seamless blend of hip-hop humor and street smart satire. ~ Jason Buchanan, Rovi
This book is a critical review of the highly explosive and widely discussed musical art form called gangsta rap. Kitwana examines the ways Black culture, male-female relationships, sexism, white supremacy (racism), and gun violence converge in this controversial music form.
Track Listing: 1. Gangsta Rap, 2. Ridin’ Low – (featuring Feddi De Marco), 3. New Life, 4. Dear God Can You Hear Me – (featuring Chryst), 5. Please Believe Me – (featuring Smoothe Da Hustler), 6. Pimp or Die, 7. Pray – (featuring Coco), 8. Step Your Game Up – (featuring Mark Live), 9. Real Talk – (featuring Chryst), 10. Walking in the Rain, 11. Games Real, The – (featuring Mark Live/Trigga The Gambler/Smoothe Da Hustler), 12. It’s All Love – (featuring Chryst), 13. Code of the Streets, 14. Everything Is Going to Be Alright – (featuring Chryst/Smoothe Da Hustler), 15. My Baby, 16. Twice the Game
Track Listing: 1. Intro (2Pac, Hollwood Guce), 2. We Bang, 3. About Me, 4. Roll Deep, 5. Fia Water 2 (Da Fia), 6. What It Do, 7. Ta This, 8. Back 2 Back, 9. Black Mafia Life, 10. What It Is, 11. Thug Life, 12. Please Believe It, 13. All Right, 14. Last Banger, 15. Kings of Gangsta, 16. Thug World – (remix), 17. That’s Gangsta, 18. Da Family Part 1 / Da Family Part 2 , 19. Outro (Coming Attractions)
