HYD 832 GODFATHER DON Properties of Steel CD

Total Page:16

File Type:pdf, Size:1020Kb

HYD 832 GODFATHER DON Properties of Steel CD 01. Stuck Off The Realness 02. Status 03. Burn (Original Version) 04. Styles By The Gram 05. World Premiere 06. Properties Of Steel 07. Piece Of The Action 08. Seeds Of Hate 09. Life Ain't The Same featuring Sir Menelik & Mike L 10. On The Other Side 11. Fame 12. Da Bomb Prelude 13 Da Bomb Baby 14.. 3 The Hard Way featuring Prince Po & R.A. The Rugged Man All Tracks Produced By Godfather Don THE DEFINITIVE GODFATHER DON SINGLES COLLECTION INCLUDES EVERY HYDRA 12” SINGLE 10 of 14 TRACKS APPEAR FOR THE FIRST TIME ON CD Properties of Steel contains every Godfather Don 12” single on Hydra Records, originally released individually in the late 90s and early 2000s. Ten of these tracks have never-before been available on CD or digitally, and three of the tracks [“Stuck Off The Realness”, “Status” and “Burn (Original Version)”] are from a legendary test pressing for a single that never made it to market, which fetches $300 plus on the auction market. This album is as much about the label, Hydra, as it is about the artist – Don’s impeccable string of singles, released in the heyday of independent NewYork Hip Hop, was entirely recorded at the Hydra / Sneak Tip bunker, a subterranean fortress that housed a state of the art studio, and was frequented / favored by the Groove Merchantz, The Beatnuts, Joel Ortiz, Lakey the Kid (41st Side), Mobb Deep, Cormega, Screwball, Prince Poetry (Organized Konfusion), and many others. The studio / label had a string of 60+ releases, distribution deals with Tommy Boy and LandSpeed Records, a gold album (Screwball’s Y2K) and rates high as an accurate document of the Queensbridge “sound” – streetwise and slang-rich, aka Cormega’s The Realness. Properties of Steel features guest rappers Sir Menelik, Mike L, Big Lance, Prince Po, and RA the Rugged Man, and the album is entirely produced by Godfather Don. ORDER CUT OFF DATE FOR THIS ITEM: AUG 10th Format: CD Cat. No: HYD 832 Label: Hydra Records Available: AUGUST 31st Distributed in the USA by The Orchard, 23 E. 4th St, NY, NY 10003 • tel: 212-979-6410 • fax: 212-979-7372 PART 8 of 12: MADLIB’S ONCE-A-MONTH SERIES Madlib follows High Jazz with the eighth installment in Marketed and his Madlib Medicine Show, a mix of the multiple facets of jazz music: Advanced Jazz. promoted by Madlib’s been busy this year. And while his recorded Stones Throw Records output always spans the gamut, he often returns to recurrent themes, spread across the genres that serve as Publicity by Score Press home base – or bases, as it were. Jazz is one such base. High Jazz, the previously released Madlib Medicine Show album, showed a marked development in Madlib’s craft: Limited edition every element of jazz was encapsulated in that eighty-minute opus. What better way to follow such an Format: CD album than with a companion-piece culled from the Cat. No: MMS 008 thousands of jazz albums that inspired Madlib’s first forays Label: Madlib Medicine Show into the genre? Available: August 31st, 2010 The resulting mix, Advanced Jazz, is, as the title hints, a step (or three!) deeper than the Steve Kuhn and Weldon Irvine albums that he first enjoyed as he was first delving into his Yesterdays New Quintet project Angles Without Edges in 2001. Some of this music – to the untrained ear – might not seem to be “jazz” at all. But rest assured – this is a jazz mix through and through, as exhilarating a ride as Madlib’s Brain Wreck Show and Flight To Brazil. It’s a celebration of this great American music and while it focuses on the past forty years, it clearly heralds every innovation – both domestic and international - of this century-old musical form. The Madlib Medicine Show series is a combination of Madlib's new hip-hop productions, remixes, beat tapes, and jazz, as well as mixtapes of funk, soul, Brazilian, psych, jazz and other undefined forms of music from the Beat Konducta's 4-ton* stack of vinyl. *4-tons of vinyl, this is true. It’s all in his studio. A1. What They Doin? A2. Walk On By A3. Merry Go Round A4. Santana Part 1 A5. The Touch Of You B1. Santana Part II B2. Ain’t No Sunshine B3. Cicso Fare B4. Where Is Love? Lost dark soul/funk masterpiece from Hampton, Virginia high school champions of Pepsi’s “New Sounds Of 1972” challenge The stories of great high school funk bands are, thanks to an This official reissue was licensed by the Equatics’ abundance of reissues, commonplace. The tales of great high bandleader, bass player Benjamin Crawford. school soul-bands are still rare. A ballad or two on the Packaged in a deluxe cardboard “paste-on” sleeve random Douglass High School Stage Band album or Timeless that mimicks the original album jacket, Now-Again’s Legend’s mesmerizing entry on Columbus’s 1972 1st Annual reissue of Doin’ It!!!! also comes with full liner notes, Inner City Talent Expo notwithstanding, high school bands annotation, and never-before-seen photos of this rarely struck into the realm of “grown folks” music. Enter The most impressive organization. Equatics and their brooding masterpiece Doin’ It!!!! If this is categorized as a “funk” album – and it was for the last ten years, by those few lucky enough to own an original KEY SELLING POINTS: copy – it holds its own. But it was as a soul band, one as inspired by the melancholic musings of Bill Withers as the • Tough-to-beat originals and covers of the psychedelic-pop of the self-proclaimed “Black Moses,” Issac likes of Isaac Hayes and Bill Withers Hayes – that the Equatics shone. These young souls offered • Official reissue world-weary, beat-heavy ballads that stand on par with any of the great independent organizations of the early 1970s. That a • Limited edition of 1000 units group of teenagers could offer such an angst-ridden plea as • Marketed and promoted by Stones Throw that of Leo Davis’s “Merry Go Round” not only transcends the • Comes packaged in a deluxe limitations that came from the band’s average age (seventeen, cardboard “paste-on” sleeve at the time of the album’s recording), but also the barriers the stood in front of this group of small-city hopefuls. ORDER CUT OFF DATE FOR THIS ITEM: AUG 10th Format: LP in a Paste-on jacket Cat. No: NA 5062 Label: Now Again Available: AUGUST 31st Now Again Records 2658 Griffith Park Blvd, #504, Los Angeles, CA, 90039 • www.nowagainrecords.com 1. Electric To Me Turn from The Electric Lucifer (1970) 2. Incantation from The Electric Lucifer (1970) 3. National Anthem To The Moon from The Electric Lucifer (1970) 4. Maybe This Song from Together (1971) 5. Rain Of Earth from Together (1971) 6. Rita from Single (1975) 7. Man Kind from Haackula (1978) 8. Epilogue from Haackula (1978) 9. Ancient Mariner from Electric Lucifer Book 2 (1979) 10. Stand Up Lazarus from Electric Lucifer Book 2 (1979) 11. Noon Day Sun from Electric Lucifer Book 2 (1979) 12. Lie Back from Bite (1981) 13. Snow Job from Bite (1981) 14. Program Me from Bite (1981) 15. The King from Single (1982) 16. Party Machine from Single (1982) Up until now, Bruce Haack’s legacy has only existed in the quirks, has turned his work into a virtual music library, one whose samples glitches, and audio signals of techno-luminaries such as Zapp and have already been culled by the likes of Cut Chemist. Kraftwerk, left unacknowledged and relatively unknown. But with the release of Farad Bruce Haack, the electronic music pioneer can finally Farad Bruce Haack serves as a glowing primer of Haack’s work through- be lifted out of the sooty fields of arcane knowledge and placed into a out his career. Touching on the lush, pysch-electronic grooves of the justifiable position of recognition. Electric Lucifer period and extending to his more abstract, angular works, this compilation highlights his use of the Farad, one of the first Haack’s music is rooted in the idea that humans and electronic musical vocoders invented at the time. Yet amidst echoey reverb and machines share a reciprocal relationship that manifests itself through haunting drones, Haack himself manages to create something primal sounds. In order to further explore this dynamic, Haack dropped out and human, not necessarily conflating human and electronic but posing of Juilliard to pursue a more experimental course in, surprisingly, them as compatible partners. educational children’s music. Haack released material off his own label Dimension 5 Records in 1962, which allowed him to mix kinetic “Like a number of his contempories, including Mort Garson, Gershon energy, infuse psychedelic philosophy, and pluck sounds from various Kingsley, Beaver & Krause and Jean-Jacques Perry, Haack saw a genres across the board. Adding to his musical pastiches, Haack spiritual dimension to the sounds coming out of his circuits. However, no used home-made modular synthesizers, proto-vocoders, and the one else expressed that vision in such complex terms.” — Wire heat-touch sensitive Dermatron to expand his music into the technological realm of creativity. “An autodidact who built synthesizers that spewed a panoply of After contributing to commercials, TV shows such as Mister Rogers, deliriously quirky sounds, this misfit composer is the only person to and theatre productions, Haack released the acid-rock-techno gem appear on Mr. Rogers’ Neighborhood and produce a classic acidhead LP Electric Lucifer, a conceptual masterpiece that maps out a war (The Electric Lucifer).” — The Stranger between heaven and hell, and where notions of “powerlove” are mediated through Moog synths.
Recommended publications
  • Brink, D.H. Van Den 1.Pdf
    Daan van den Brink s4369106 16 Aug. 2018 MA Creative Industries Rap Record for Sale - Sampling practice and commodification in Madlib Invazion. Cover image: Trouble Knows Me, Trouble Knows Me. Los Angeles: Madlib Invazion. (MMS-027), 2015. Daan van den Brink (s4369106) Email: [email protected] Rap Record for Sale – Sampling practice and commodification in Madlib Invazion. MA Thesis Creative Industries. Date of submission: 6 Aug. 2018 Supervisor: dr. Vincent Meelberg Email: [email protected] Abstract. Within our capitalistic society, much if not all the music we consume is to be regarded as commodities. Musical products are subject to numerous processes, rules and regulations, one of which being copyright. Essentially, copyright enables the musical product as commodity, and as David Hesmondhalgh puts it, has become the main means of commodifying culture. A musical practice that is particularly at odds with copyright is sampling, which makes use of previously recorded material through recombination and re-contextualisation. For the use of samples, a proper copyright license must be in place, whether the sample-based song is being monetized on or released for free. However, hip hop producers often do not comply in licensing the use of copyrighted material in their music, which challenges not only the copyright regime, but also copyright as a means of commodification. Over the years, copyright has become an extensive set of rights, resulting in the criminalization of unlicensed use of samples, but not in prevention, as technological advancements have made sampling a more widespread and accessible practice. Within this thesis, the sample-based work of Madlib as released on his Madlib Invazion label is used as a case study to map the current copyright regime, the costs of licensing and the risks of unlicensed sampling.
    [Show full text]
  • Is Hip Hop Dead?
    IS HIP HOP DEAD? IS HIP HOP DEAD? THE PAST,PRESENT, AND FUTURE OF AMERICA’S MOST WANTED MUSIC Mickey Hess Library of Congress Cataloging-in-Publication Data Hess, Mickey, 1975- Is hip hop dead? : the past, present, and future of America’s most wanted music / Mickey Hess. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-275-99461-7 (alk. paper) 1. Rap (Music)—History and criticism. I. Title. ML3531H47 2007 782.421649—dc22 2007020658 British Library Cataloguing in Publication Data is available. Copyright C 2007 by Mickey Hess All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2007020658 ISBN-13: 978-0-275-99461-7 ISBN-10: 0-275-99461-9 First published in 2007 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.praeger.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10987654321 CONTENTS ACKNOWLEDGMENTS vii INTRODUCTION 1 1THE RAP CAREER 13 2THE RAP LIFE 43 3THE RAP PERSONA 69 4SAMPLING AND STEALING 89 5WHITE RAPPERS 109 6HIP HOP,WHITENESS, AND PARODY 135 CONCLUSION 159 NOTES 167 BIBLIOGRAPHY 179 INDEX 187 ACKNOWLEDGMENTS The support of a Rider University Summer Fellowship helped me com- plete this book. I want to thank my colleagues in the Rider University English Department for their support of my work.
    [Show full text]
  • DOXA Festival 2004
    2 table of contents General Festival Information - Tickets, Venues 3 The Documentary Media Society 5 Acknowledgements 6 Partnership Opportunities 7 Greetings 9 Welcome from DOXA 11 Opening Night - The Take 13 Gals of the Great White North: Movies by Canadian Women 14 Inheritance: A Fisherman’s Story 15 Mumbai, India. January, 2004. The World Social Forum. by Arlene Ami 16 Activist Documentaries 18 Personal Politics by Ann Marie Fleming 19 Sherman’s March 20 NFB Master Class with Alanis Obomsawin 21 Festival Schedule 23 Fragments of a Journey in Palestine-Israel 24 Born Into Brothels 25 The Cucumber Incident 26 No Place Called Home 27 Word Wars 29 Trouble in the Image by Alex MacKenzie 30 The Exhibitionists 31 Haack: The King of Techno + Sid Vision 33 A Night Out with the Guys (Reeking of Humanity) 34 Illustrating the Point: The Use of Animation in Documentary 36 Closing Night - Screaming Men 39 Sources 43 3 4 general festival information Tickets Venues Opening Night Fundraising Gala: The Vogue Theatre (VT) 918 Granville Street $20 regular / $10 low income (plus $1.50 venue fee) Pacific Cinémathèque (PC) 1131 Howe Street low income tickets ONLY available at DOXA office (M-F, 10-5pm) All programs take place at Pacific Cinémathèque except Tuesday May Matinee (before 6 pm) screenings: $7 25 - The Take, which is at the Vogue Theatre. Evening (after 6 pm) screenings: $9 Closing Night: $15 screening & reception The Vogue Theatre and Pacific Cinémathèque are Festival Pass: $69 includes closing gala screening & wheelchair accessible. reception (pass excludes Opening Gala) Master Class: Free admission Festival Information www.doxafestival.ca Festival passes are available at Ticketmaster only (pass 604.646.3200 excludes opening night).
    [Show full text]
  • Top R &B /Hip -Hop Catalog Albums
    OCTOBER. E Compiled by SoundScan from a national subset 2001 Billboard I Top R. H Ho Albu panel of core R &B /Hip -Hop stores. Y O C 2 W Q O z 3 G O 3 n o ARTIST TITLE á Ñ I- ARTIST TITLE ¿ (7 -' 3 M P R I N T & NUMBER /DISTRIBUTING LABEL á ° g S IMPRINT & NUMBER /DISTRIBUTING LABEL á rs° _-t NUMBER 1 % := 2 WAIMhadia1 50 37 23 JANET v:rum 10144.11298/18981 All For You 1 1 59 3 JAY -Z RorA- Fella /Del Joel 586396' /IGJMG112.98/1998: The Blueprint 1 47 42 12 LIL' ROMEO Saulja501981/F1mM,(1198/1798) LB. Romeo 5 #' HOT SHOT DEBUT # 45 35 8 GANGSTA BOO Hypnotize Minds/Loud 19z5/CRG112.93E0/17981 Both Worlds, *69 8 1 GERALD LEVERT Elektra62855/EEGnz9aId98, Gerald's World 2 © 52 41 65 NELLYA' Fo Reel 157743 /Universa1It2.9w1a98) Country Grammar 1 2 2 FABOLOUS Duo, Storm/110ton132b79' /LLG11298119981 Ghetto Fabolous 2 53 43 27 112 P,nr Boy 53039 /Arslau298/IB991 Part Ill 1 34 2 KILLARMY Wu- Tang /Loud19Z7/CRG(ts- SOE0/17.98) Fear Love & War 34 4 3 6 MAXWELL A Columbia 67136/CRG11298ED/18981 Now 1 - Roc- ell 3 1 4 MARY J. BLIGE MCA 112616.11298/1898) No More Drama 1 51 46 13 BEANIE SIGEL AF a /0et.1 ant 549538 /IDJMG11298/18NI The Reason 2 7 4 4 BRIAN MCKNIGHT Motowo014743+Universal(12.98 /18.981 Superhero 4 55 44 7 SOUUA SLIM No Linda South 2001p198/1798I The Streets Made Me 42 5 2 1C AALIYAH A En:c+.g,ound10082'11298/1899I Aaliyah 2 58 52 50 JA RULE A M, u der Inc /Dot Jam 542934./IDJMG1129w18.98) Rule 3:36 1 Anna751083/Arrem1,11298,19981 5 9 5 12 ALICIA KEYS A' J2000211198/1798) Songs In A Minor 1 60 50 10 KURUPT Space Boogie: Smoke Oddessey 3 1 0298EOi18981 t PACESETTER 4 g 0} Lit MACY GRAY Emc85200' The ID 9 cia 96 - 2 DENNIS DA MENACE 1ssAvenu woos 9scRI, The Wonderful World Of Dennis 60 12 10 7 USHER Arista 14715'112.98/18981 8701 3 40 56 38 6 VARIOUS ARTISTS Del Jam 586239/IDJMGlt98n891D The Source Hip -Hop Music Awards 2001 34 64 66 8 MR.
    [Show full text]
  • The Life & Rhymes of Jay-Z, an Historical Biography
    ABSTRACT Title of Dissertation: THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 Omékongo Dibinga, Doctor of Philosophy, 2015 Dissertation directed by: Dr. Barbara Finkelstein, Professor Emerita, University of Maryland College of Education. Department of Teaching and Learning, Policy and Leadership. The purpose of this dissertation is to explore the life and ideas of Jay-Z. It is an effort to illuminate the ways in which he managed the vicissitudes of life as they were inscribed in the political, economic cultural, social contexts and message systems of the worlds which he inhabited: the social ideas of class struggle, the fact of black youth disempowerment, educational disenfranchisement, entrepreneurial possibility, and the struggle of families to buffer their children from the horrors of life on the streets. Jay-Z was born into a society in flux in 1969. By the time Jay-Z reached his 20s, he saw the art form he came to love at the age of 9—hip hop— become a vehicle for upward mobility and the acquisition of great wealth through the sale of multiplatinum albums, massive record deal signings, and the omnipresence of hip-hop culture on radio and television. In short, Jay-Z lived at a time where, if he could survive his turbulent environment, he could take advantage of new terrains of possibility. This dissertation seeks to shed light on the life and development of Jay-Z during a time of great challenge and change in America and beyond. THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 An historical biography: 1969-2004 by Omékongo Dibinga Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2015 Advisory Committee: Professor Barbara Finkelstein, Chair Professor Steve Klees Professor Robert Croninger Professor Derrick Alridge Professor Hoda Mahmoudi © Copyright by Omékongo Dibinga 2015 Acknowledgments I would first like to thank God for making life possible and bringing me to this point in my life.
    [Show full text]
  • 046-49 Stonesthrow.Qxd
    046 49 StonesThrow.qxd 10/30/06 7:00 AM Page 64 STONES THROW TURNS 10 BY CHRIS MARTINS — PHOTOS BY B+ “I’VE GOT A WHOLE FRIDGE FULL OF WINE,” better known as Egon: general manager, vintage director Jeff Jank, an erstwhile graffiti artist and illus- says Eothen Alapatt with the air of a veteran busi- regional funk archivist, DJ and all-around hustler trator from Oakland who made the move south with nessman. “Going up to places like Lompoc and (though it must be mentioned that he’s much more Wolf. Photographer B+, an Irish transplant whose Buellton right outside Santa Barbara, to these wineries endearing than he is business) for Stones Throw credits include album covers for N.W.A., the Watts that are site specific…it’s just like the music I like.” Records. Of course, this isn’t to say that the label’s Prophets, DJ Shadow, and the majority of the Stones He is, after all, an accomplished record label manager. basic function isn’t happening (that previously men- Throw catalog. Rapper Medaphoar, who grew up with “I feel the same way traveling to Omaha to track a funk tioned “supposed to” about reinventing hip-hop), the label’s flagship artist Madlib in Oxnard, California, band as when I’m going to a winery seeing where they because it most certainly is. But times have changed. 60 miles northwest of L.A. Producer J-Rocc, founding grow the grapes, tasting the wine and meeting the Ten years is a lot of time for an independent hip-hop member of the seminal West Coast turntablist crew people that do it.” But Eothen isn’t an industry old- (etc.) imprint that never had dreams of pressing its the World Famous Beat Junkies (who’ve worked with, timer.
    [Show full text]
  • VAGRANT RECORDS the Lndie to Watch
    VAGRANT RECORDS The lndie To Watch ,Get Up Kids Rocket From The Crypt Alkaline Trio Face To Face RPM The Detroit Music Fest Report 130.0******ALL FOR ADC 90198 LOUD ROCK Frederick Gier KUOR -REDLANDS Talkin' Dirty With Matt Zane No Motiv 5319 Honda Ave. Unit G Atascadero, CA 93422 HIP-HOP Two Decades of Tommy Boy WEEZER HOLDS DOWN el, RADIOHEAD DOMINATES TOP ADDS AIR TAKES CORE "Tommy's one of the most creative and versatile multi-instrumentalists of our generation." _BEN HARPER HINTO THE "Geggy Tah has a sleek, pointy groove, hitching the melody to one's psyche with the keen handiness of a hat pin." _BILLBOARD AT RADIO NOW RADIO: TYSON HALLER RETAIL: ON FEDDOR BILLY ZARRO 212-253-3154 310-288-2711 201-801-9267 www.virginrecords.com [email protected] [email protected] [email protected] 2001 VIrg. Records Amence. Inc. FEATURING "LAPDFINCE" PARENTAL ADVISORY IN SEARCH OF... EXPLICIT CONTENT %sr* Jeitetyr Co owe Eve« uuwEL. oles 6/18/2001 Issue 719 • Vol 68 • No 1 FEATURES 8 Vagrant Records: become one of the preeminent punk labels The Little Inclie That Could of the new decade. But thanks to a new dis- Boasting a roster that includes the likes of tribution deal with TVT, the label's sales are the Get Up Kids, Alkaline Trio and Rocket proving it to be the indie, punk or otherwise, From The Crypt, Vagrant Records has to watch in 2001. DEPARTMENTS 4 Essential 24 New World Our picks for the best new music of the week: An obit on Cameroonian music legend Mystic, Clem Snide, Destroyer, and Even Francis Bebay, the return of the Free Reed Johansen.
    [Show full text]
  • Autotune Bc.Pdf
    MASARYKOVA UNIVERZITA Filozofická fakulta Ústav hudební vědy Teorie interaktivních médií BAKALÁŘSKÁ DIPLOMOVÁ PRÁCE Fenomén auto-tune jako projev automatizace a dehumanizace hudby Václav Římánek Vedoucí práce: PhDr. Aleš Opekar, CSc. 2016 ČESTNÉ PROHLÁŠENÍ Prohlašuji, že jsem tuto bakalářskou práci vypracoval samostatně. Ve své práci jsem použil zdroje a literaturu, které jsou náležitě a řádně citovány v poznámkách pod čarou a jsou všechny uvedeny v bibliografii této práce. V Brně, 11.5. 2016 .................................................. Václav Římánek 2 PODĚKOVÁNÍ Na tomto místě bych chtěl poděkovat PhDr. Aleši Opekarovi, CSc. za vedení, konzultace a přínosné poznámky pro danou práci. Dále bych chtěl poděkovat všem, kteří mě při psaní této práce podporovali. 3 Obsah Úvod.....................................................................................................................................................5 1. Co je to auto-tune?............................................................................................................................6 1.1. Obecná definice........................................................................................................................6 1.2. Jak auto-tune funguje................................................................................................................6 2. Historie.............................................................................................................................................8 2.1. Předchůdci auto-tune................................................................................................................8
    [Show full text]
  • Order Form Full
    JAZZ ARTIST TITLE LABEL RETAIL ADDERLEY, CANNONBALL SOMETHIN' ELSE BLUE NOTE RM112.00 ARMSTRONG, LOUIS LOUIS ARMSTRONG PLAYS W.C. HANDY PURE PLEASURE RM188.00 ARMSTRONG, LOUIS & DUKE ELLINGTON THE GREAT REUNION (180 GR) PARLOPHONE RM124.00 AYLER, ALBERT LIVE IN FRANCE JULY 25, 1970 B13 RM136.00 BAKER, CHET DAYBREAK (180 GR) STEEPLECHASE RM139.00 BAKER, CHET IT COULD HAPPEN TO YOU RIVERSIDE RM119.00 BAKER, CHET SINGS & STRINGS VINYL PASSION RM146.00 BAKER, CHET THE LYRICAL TRUMPET OF CHET JAZZ WAX RM134.00 BAKER, CHET WITH STRINGS (180 GR) MUSIC ON VINYL RM155.00 BERRY, OVERTON T.O.B.E. + LIVE AT THE DOUBLET LIGHT 1/T ATTIC RM124.00 BIG BAD VOODOO DADDY BIG BAD VOODOO DADDY (PURPLE VINYL) LONESTAR RECORDS RM115.00 BLAKEY, ART 3 BLIND MICE UNITED ARTISTS RM95.00 BROETZMANN, PETER FULL BLAST JAZZWERKSTATT RM95.00 BRUBECK, DAVE THE ESSENTIAL DAVE BRUBECK COLUMBIA RM146.00 BRUBECK, DAVE - OCTET DAVE BRUBECK OCTET FANTASY RM119.00 BRUBECK, DAVE - QUARTET BRUBECK TIME DOXY RM125.00 BRUUT! MAD PACK (180 GR WHITE) MUSIC ON VINYL RM149.00 BUCKSHOT LEFONQUE MUSIC EVOLUTION MUSIC ON VINYL RM147.00 BURRELL, KENNY MIDNIGHT BLUE (MONO) (200 GR) CLASSIC RECORDS RM147.00 BURRELL, KENNY WEAVER OF DREAMS (180 GR) WAX TIME RM138.00 BYRD, DONALD BLACK BYRD BLUE NOTE RM112.00 CHERRY, DON MU (FIRST PART) (180 GR) BYG ACTUEL RM95.00 CLAYTON, BUCK HOW HI THE FI PURE PLEASURE RM188.00 COLE, NAT KING PENTHOUSE SERENADE PURE PLEASURE RM157.00 COLEMAN, ORNETTE AT THE TOWN HALL, DECEMBER 1962 WAX LOVE RM107.00 COLTRANE, ALICE JOURNEY IN SATCHIDANANDA (180 GR) IMPULSE
    [Show full text]
  • Perspectives on the Aesthetics & Phenomenology Of
    A LIBERATED SONIC SUBLIME: Perspectives On The Aesthetics & Phenomenology Of Sound Synthesis Anders Bach Pedersen IT University, Copenhagen, Den- mark [email protected] ABSTRACT of music, or we can ultimately try to fathom the sounds in their own existence and in conjunction with one another In this paper I will investigate the aesthetics of electronic to provoke a mood, emotional and/or sensory relation sound synthesis, materiality and the contemporary sub- within the listener. The objectification and paradox in the lime in an analysis and discussion of interrelated phe- effort of materializing sound becomes a personal aes- nomenological, philosophical and cultural considerations thetic judgment of timbre and Kantian aesthetics [4], but I through chosen sound and music examples. I argue that will later in this paper argue that it is in fact an active the aesthetic experience of sonic timbres that seem un- participation in a phenomenological liberation of sound earthly to us resembles that of a transcendental sublime in in continuum of the idea presented by Edgard Varèse [5] the uncanny experience of the synthesis of both known in 1936. I do acknowledge specific types of synthesis – and unknown sounds. Both experimental music and additive, subtractive, FM etc. – with regards to their dif- “switched-on” reinterpretations are addressed through ferent timbral qualities, albeit theory in this area does not explorations of sound in time, space and technology and I serve any major importance for the points made in this discuss if we as listeners are able to differentiate materi- discussion as it is mainly based on aesthetics. ality from its superficial cognates when challenged by In this paper I will firstly discuss the nature of sound sonic doppelgängers.
    [Show full text]
  • Representations of Blackface and Minstrelsy in Twenty- First Century Popular Culture
    Representations of Blackface and Minstrelsy in Twenty- First Century Popular Culture Jack HARBORD School of Arts and Media University of Salford, Salford, UK Submitted in Partial Fulfilment of the Requirements of the Degree of Doctor of Philosophy, June 2015 Table of Contents List of Figures iii Acknowledgements vii Abstract viii Introduction 1 1. Literature Review of Minstrelsy Studies 7 2. Terminology and Key Concepts 20 3. Source Materials 27 4. Methodology 39 5. Showing Blackface 5.1. Introduction 58 5. 2. Change the Joke: Blackface in Satire, Parody, and Irony 59 5. 3. Killing Blackface: Violence, Death, and Injury 95 5. 4. Showing Process: Burnt Cork Ritual, Application, and Removal 106 5. 5. Framing Blackface: Mise-en-Abyme and Critical Distance 134 5. 6. When Private goes Public: Blackface in Social Contexts 144 6. Talking Blackface 6. 1. Introduction 158 6. 2. The Discourse of Blackface Equivalency 161 6. 3. A Case Study in Blackface Equivalency: Iggy Azalea 187 6. 4. Blackface Equivalency in Non-African American Cultural Contexts 194 6. 5. Minstrel Show Rap: Three Case Studies 207 i Conclusions: Findings in Contemporary Context 230 References 242 ii List of Figures Figure 1 – Downey Jr. playing Lazarus playing Osiris 30 Figure 2 – Blackface characters in Mantan: The New Millennium Minstrel Show 64 Figure 3 – Mantan: Cotton plantation/watermelon patch 64 Figure 4 – Mantan: chicken coup 64 Figure 5 – Pierre Delacroix surrounded by African American caricature memorabilia 65 Figure 6 – Silverman and Eugene on return to café in ‘Face
    [Show full text]
  • A Big Back to School Music Reviewjjlqwout^
    h 1 m , I f I . » W* * i l # a • 3 A BIG BACK TO SCHOOL MUSIC REVIEWJJLQWOUT^ m '¿{o x v v * * * % r < r j r ^ r ~ , ------------------- £ . - i M * V v • N 4 * f < % v t 4 2C Thursday, September 23,1999 Daily Nexus AVEDA ^Nightli) Specials! THE ART AND SCIENCE OF PURE FLOWER AND PLANT ESSENCES* < S u s k t c l *Q o -G o Monday Night: Footboii Brazilian Nights Tuesday Night: so* Night Drink Specials Prize for best outfit! Wednesday Night: $3 Monster Beers and Karioke Need A New Do? > > Be among the first to discover new talent. Book an appointment with our Thursday Night: Might Happi| Hour new stylist. With a quick head and neck massage to relieve everyday stress. And a great wash, cut and style with an Aveda professional who I price drinks knows all the trends and techniques. This kind of expertise is available only from 9-11 at Darin Jon Studio, an Aveda concept salon. So hurry and schedule an appointment today - before everyone else does ($20.°° new clients only). Hair Care | Skin Care | Makeup | Plant Pure-Fume™ | Body Care d û H f" f r v\ù i—' \rb bf~ \rb Ç f A T U N J O N j| tl. % ^ S tu d io Hair Cu||* Color Services C." |19 Chapala St • 962-1884 Sushi tZ'Qo Qo i . Horn Internet Servi N O W A V A I L A i n I s l a V i Downloads Internet information up to 100 times faster than a 28.8K modem!* Blazing download speeds up to 3,000 Kbps! f 3 0 D ay Money Back j Instant Access all the Time! ( ^ Guarantee!1 ' No phone lines, no busy signals, no waiting! Always on, always ready (t o The Best Buy on the Internet Cox@Home - your connection and ISP all in one! Three email accounts, up to 15 MB total of personal web space, remote access from any Internet connection, and unlimited usage, ¡ 5 ® all in one low monthly fee! mm « ¡ P i m S H ISS « Call 683-6651 to Order TODAY! Also available in San Roque, the Mesa, and the Westside! ¡ S ? rHSerViC8 T ü ? be aVaUabtein.aH areas C?g68S^ St ÏS iliïS S it for $l5/month.
    [Show full text]