(Music Review) Scene

Total Page:16

File Type:pdf, Size:1020Kb

(Music Review) Scene 0005.TUNERMUSAK 8/3/01 10:43 AM Page 90 SPUR OF THE MOMENT MUSIK {Spontaneous} Good Vibe Music/Atomic Pop : JOEL MARASIGAN mr Spontaneous comes at you manipulating a universal hip-hop sound the entire hip-hop community will feed 90 off of. Spontaneous, with assistance from some GoodVibe labelmates who also frontline as some of hip hop’s finest (Xzibit, Saukrates & DJ Drez, Rock From Heltah Skelter, Asthete, Roman Numeral & Xtrakdt of Dislexik, Bahamadia), puts down an album that will no doubt be a soon-to-be classic. Spontaneous sometimes seems to direct a cipher that crosses the rapstyles of the Pharcyde and Tash, (of the Alkaholiks) yet on cuts like “Reprezen’N (Featuring Xzibit, Saukrates & DJ Drez),” and “Transmit” (Featuring Roman Numeral & Xtrakdt of Dislexik) he changes up his delivery to prove he’s got the styles he claims. Additionally, cuts like “SRV1 (featuring Tash From Tha Alkaholiks & DJ Revolution),” “Rock to the Rhythm,” and especially “Krush Groove 2000” (featuring Kurtis Blow & DJ Phyz Ed) will inspire born again b-boys, and perhaps hip hop heads in general, to keep up rocking through 2000. FACE THE MUSIC {Isosceles} Thick N Thin Records The likeness of Joseph Simmons (Run of RUN DMC) to his brother Russell (of Def Jam) was as close to twins as you could get in the rap scene until Canada’s recently recognized Shrmpy and DJ Sasafras of Isosceles. These brothers along with third angle Boya D use a raw sound that incorporates long, jazzy xylo- phone, violin, cello and trumpet samples with world-class scratching which complements their dark style of verbal attack. Check songs like “Clean Slate,” “Dream Big,” “Open Wounds,” and “The Telepathic Triplet.” > SERVING MORE SUCKERS THAN DUM-DUMS The familiarity of their music is explained by the similarities to the production quality early hip-hop records bore—a refreshing, rough sound that keeps the b-boy roots alive. Isosceles is one group in a long list of Canadian rappers that forego all the commercialization to give the underground something to rap about. LANDMARKED {Various Artists} Lifted Research Group What is the Lifted Research Group? Is it a crew of underground MCs—maybe a fresh team of DJs? Possibly a new record company? Nope. LRG makes dope clothes. Seems lots of companies are getting in on this scene. The companies at the February ASR in Long Beach have shown that they want to be noticed in this (music review) scene. LRG stands out by producing an album that blends the parts of hip-hop that focus on the soul of funk and jazz. DJ Pash’s jazz-snippet scratching shows that his techniques are down-pat, but has a distinguish- able style that not many DJs strive to acquire. Primarily along the lines of turntable music, LRG chooses to accent the CD with only a couple of cuts with lyrics. Since, after all, LRG is a clothing company, it seems fit- ting (pun!) that track one, “First of All,” is about their clothing line—rappers find direction for their lyrics in most anything. If LRG is attempting to someway give their clothing a similar aura of the soul and funk depict- ed on its CD (or vice versa) it seems that they’ve done so, leaving most other clothing companies hangin’. DMT: C4 {Dj Cue} Stray records The Bay Area’s DJ Cue, famous for co-creating the DJ battle break record “Hamster Breaks Volume 1”, comes with his 13th project “DMT: C4” (DMT = Drum Machine Technician). DMT is a series of five CDs that alter- nates the music of DMTs DJ Cue and Eddie Def. Cue’s C4 is the second album in their series. In case you doubt the value of C4, I offer up Cue’s resume: Member of the Bullet Proof Scratch Hamsters, Member of the Space Travelers, owner of Cue’s records. C4 is a genre that cusps between rave scene and hip-hop break beat music. Branded a “Drum Machine” project, Cue’s subtle overlays, turntable style, and and beat-juggling and looping techniques shine as well as the mixing. Cue says, “DMT is not something you listen to. It is some- thing you take”. Cue’s C4 truly provides the explosion to burst into a different realm of musical psychosis— all without the use of any mind altering drugs. C4 will be the most economical natural-high you’ll ever get. INFINITE POSSIBILITIES {Amel Larrieux} 550 Music/Epic Records The voice of Groove Theory is back with her self-titled debut album. Infinite Possibilities is aimed in a slightly different direction than the 1995, Bryce Wilson (formerly of Mantronix) produced Groove Theory album. Amel steps away from the hip-hop tracks, seemingly drawing her eclectic style rhythmically from jazz, R&B and African influences; vocally from the likes of Erykah Badu, and Janet Jackson. Don’t get it twisted—Amel’s style is all her own. The transition from the up-tempo, jazz-club styled “Down” with its 90 IMPORT TUNER MAY 2000 0005.TUNERMUSAK 8/3/01 10:43 AM Page 92 double-time snare and high-hat, strumming bass, and banging piano com- first release “Do you want my love” with its funk guitar licks has a styled plements to the gentle and soulful yet jazzy, “Infinite Possibilities” R&B dance flavor that shows her Carey influence. The theme of “love” is acquaints a range that accentuates Amel’s ever-smooth style. From the saturated throughout six of the 11 song playlist—making this one of listeners point of view, Amel Larrieux falls into the funk-jazzy style artists those CDs you pick up so that you could dub its songs for the cheesy slow jam tape for your girl. Her slower tracks rustle up the vibe of mid- like Ms. Badu, D’angelo and good ol’ Soul to Soul attune to. ’90s by touching upon the aura’s of, among others, Boys to Men, Total, Groove Theory and, of course, Mariah. On the flipside, the uptempo’s OSIRIS SHOES PRESENTS DJ MIKE CZECH & DJ SMOKY take different turns in a proboble water-testing plan, bouncing between {DJ Mike Czech & DJ Smoky} Alias Distribution/Osiris Shoes the sounds of hip-hop inspired R&B and club-fashioned house. What I mentioned before that companies outside the music industry are getting into Sony will find is that CoCo performs exceptionally well at both speeds. this scene. The first time I saw a clothing company produced product I thought to myself “instant fall-off.” Damn, I was wrong. Osiris holds the level of dope- SUPREME CLIENTELE {Ghostface Killah} Epic Records ness that most good mixtapes do. Czech and Smoky fall into the pit a lot of WU-TANG! WU-TANG! Ghostface (A.K.A. Ironman) gives me a reason to DJs do by ultra-looping the sh** ot of some tracks. Both Czech and Smoky do believe that the Wu could come with solo projects that do damage. a nice job in music selection, but Czech gets props for putting together Dr. However, the CD is as cryptic as the Wu themselves. The song list declares Oop’s “Run This”, Zion I & Planet Asia’s “Critical Remix,” Rascalz’ “Gunfinger” 14 tracks but when popping this CD in my computer I get a screen chock- and the Sticky Fingaz vs. 50 Cent update of Cube’s “Jackin 4 Beats”. In what full-o-tracks...OK, 7 unlisted, untitled tracks. Geez, I like cake but I still want would be side two, Smoky mixes it up leading off with hits like ‘Def’s “Ms. Fat to know the flavor. One of the seven has a two-and-a-half minute fronting- Booty”, Pharoahe Monch’s “Simon Says”, “Nastradamus” and remixes of Mary style *hit-talking session that refers to rap artist 50 Cent. The cut “Buck J.’s “I’m Going Down” and Mobb Deep’s “Quiet Storm”. Osiris is putting this CD 50” features a five-sided attack featuring four of Wu’s best: Cappadonna, out as a promo...my imagination runs wild when thinking about the day they Method Man and Masta Killah. The fifth vocalizer, Redman, rounds out the take music distribution full power. Pretty damn good for a skateboard-shoe track giving it a familiar sound MTVers will fall for. The Clan has always tried company. Correction—damn good...period. to stay cutting edge and “Wu Banga 101” restates that by with the first line: “To advance/digi-stance/make the CD enhanced/I move with the speed JUST NO OTHER WAY {CoCo Lee} 550 Music/Epic and strength of ants”. Supreme Clientele’s musical arrangements alone Chinese born. California raised. International music star. CoCo Lee’s first make Ghostface’s album one of the crews strongest solo releases in a English language album (the only one in her whopping 24-album catalog) while. Don’t be surprised if by the time you get to track 21 you start chant- is Sony’s endeavor to bring the Mariah Carey of China stateside. Her ing: “Wu-Tang Clan and Ironman, leaders in a promised land...” 92 IMPORT TUNER MAY 2000 0005.TUNERMUSAK 8/3/01 10:43 AM Page 93 UPCOMING RELEASES MARCH THE HOT BOX BROOKLYN BREAKBEATS >I’M NOT AN ACROBAT BUT SOMETIMES I FLIP IT Ubiquity Records ATOMIC POP ORKO THE SYKOTIK ALIEN CYPRESS HILL www.atomicpop.com [email protected] Ruffhouse/Columbia Records JUNGLE BROTHERS {V.I.P.} V2 CANADIAN HIP HOP ONLINE OSIRIS SHOES/ALIAS DISTRIBUTION VARIOUS ARTISTS www.hiphopca.cihost.com Dept. 2NR Machine Soul: An Odyssey Into Electronic 7130 Convoy Court Dance Music Rhino Records COLUMBIA RECORDS San Diego, CA 92111 —Double disc set featuring Moby, www.columbiarecords.com 858.874.4970 Kraftwerk, Afrika Bambaataa, Chemical www.osirisshoes.com EPIC RECORDS/550 MUSIC Brothers, Paul Van Dyk www.epicrecords.com VARIOUS ARTISTS PRIORITY RECORDS Dept.
Recommended publications
  • The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap
    Open Cultural Studies 2018; 2: 122–135 Research Article Adam de Paor-Evans* The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap https://doi.org/10.1515/culture-2018-0012 Received January 27, 2018; accepted June 2, 2018 Abstract: In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and socio- political presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society. Keywords: dromosphere, dromology, Afrofuturism, electro-rap, thirdspace, fantasy, Newcleus, Strange U Introduction During the mid-1970s, the language of New York City’s pioneering hip hop practitioners brought them fame amongst their peers, yet the methods of its musical production brought heavy criticism from established musicians.
    [Show full text]
  • Check out 8 Songs Musical Artists Have
    Search TRAILBLAZERS IN MUSIC: CHECK OUT SONGS MUSICAL ARTISTS HAVE SAMPLED FROM WOMEN OF MOTOWN By Brianna Rhodes Photo: Classic Motown - Advertisement - The Sound Of Young America wouldn’t be known for what it is today without the trailblazing Women of Motown. Throughout its 60-year existence, Motown Records made an impact on the world thanks to music genius and founder, Berry Gordy. It's important to note though, that the African- American owned label wouldn’t have reached so many monumental milestones without The Supremes, Martha Reeves & The Vandellas, Mary Wells, The Marvelettes, Tammi Terrell and Gladys Knight. The success of these talented women proved that women voices needed to be heard through radio airwaves everywhere. As a kid, you were probably singing melodies created by these women around the house with family members or even performing the songs in your school’s talent show, not even realizing how much of an impact these women made on Black culture and Black music. This is why it’s important to acknowledge these women during the celebration of the label’s 60th anniversary. The legendary reign of the Women of Motown began back in 1960, with then 17-year-old musical artist Mary Wells with her debut single, “Bye Bye Baby.” Wells, who wrote the song herself, helped Motown attain its first Top 10 R&B hit ever. Wells continued to make history with her chart-topping single, “My Guy” becoming Motown’s fourth No. 1 hit on the Billboard Hot 100 and the company’s first major U.K. single.
    [Show full text]
  • Top 40 Singles Top 40 Albums
    13 June 1988 CHART #620 Top 40 Singles Top 40 Albums Don't Turn Around Sweet Lovers Tiffany Wonderful Life 1 Aswad 21 Holidaymakers 1 Tiffany 21 Black Last week 1 / 5 weeks FESTIVAL Last week - / 1 weeks VIRGIN Last week 1 / 18 weeks Platinum / WEA Last week 35 / 10 weeks FESTIVAL Alphabet Street New Sensation 1987 Seventh Son Of A Seventh Son 2 Prince 22 Inxs 2 Whitesnake 22 Iron Maiden Last week 3 / 3 weeks WEA Last week 21 / 2 weeks WEA Last week 2 / 13 weeks Gold / EMI Last week 10 / 6 weeks EMI Breakaway Where Do Broken Hearts Go The Lonesome Jubilee Actually 3 Big Pig 23 Whitney Houston 3 John Mellencamp 23 Pet Shop Boys Last week 2 / 10 weeks FESTIVAL Last week 33 / 2 weeks BMG Last week 3 / 24 weeks Platinum / POLYGRAM Last week 15 / 18 weeks Gold / EMI Push It I Saw Him Standing There Bonk Miracle 4 Salt N Pepa 24 Tiffany 4 Big Pig 24 Willy De Ville Last week - / 1 weeks POLYGRAM Last week 6 / 5 weeks WEA Last week 19 / 2 weeks FESTIVAL Last week 41 / 3 weeks POLYGRAM Gimme Hope Jo Anna One Tree Hill The Lion And The Cobra Freight Train Heart 5 Eddy Grant 25 U2 5 Sinead O'Connor 25 Jimmy Barnes Last week 11 / 4 weeks FESTIVAL Last week 18 / 12 weeks Gold / FESTIVAL Last week - / 1 weeks FESTIVAL Last week 14 / 22 weeks Platinum / FESTIVAL Sweet Little Mystery Tell It To My Heart Whenever You Need Somebody The Only Game In Town 6 Wet Wet Wet 26 Taylor Dayne 6 Rick Astley 26 The Warratahs Last week 4 / 5 weeks POLYGRAM Last week 22 / 13 weeks BMG Last week 6 / 19 weeks Platinum / BMG Last week 25 / 14 weeks VIRGIN Pink Cadillac I Need A Man Phantom Of The Opera Turn Back The Clock 7 Natalie Cole 27 Eurythmics 7 Original London Cast 27 Johnny Hates Jazz Last week 7 / 9 weeks EMI Last week 30 / 4 weeks BMG Last week 9 / 45 weeks Platinum / POLYDOR/POLYGRA..
    [Show full text]
  • For It Is Above All Kinds of Sound with Which We Have Become Familiar That Define the Music Culture We Live In.”
    MAN/MACHINE Mot en åpning av soundbegrepet Eirik Askerøi Masteroppgave Institutt for musikkvitenskap Universitetet i Oslo Juni 2005 Forord Prosessen med å ferdigstille denne oppgaven har vært tidkrevende og til tider slitsom, men takket være enkelte personer har den fremfor alt vært svært lærerik. Først og fremst vil jeg få takke professor Stan Hawkins for kritisk og kyndig veiledning og et smittende engasjement i faget. En stor takk også til Jon Mikkel Broch Ålvik for effektiv og grundig korrekturlesing og konstruktive tilbakemeldinger. Jeg har også vært så heldig å nyte godt av berikende samtaler med medstudenter og medmusikere som både i teoretisk og praktisk forstand har bidratt med nyttige perspektiver til oppgaven. Sist, men ikke minst, vil jeg få rette en spesiell takk til Kaja Sjølander Bonnevie, min kjære samboer, for inspirasjon, tålmodighet og uvurderlig støtte. Oslo, juni 2005 Eirik Askerøi II INNHOLD FORORD ................................................................................................................................... II 1. INTRODUKSJON................................................................................................................... 1 1.1. INNLEDNING – BAKGRUNN FOR VALG AV OPPGAVE..................................................................... 1 1.2. PROBLEMSTILLING OG MÅL.......................................................................................................... 3 1.3. TEORI OG METODE.......................................................................................................................
    [Show full text]
  • Karaoke Mietsystem Songlist
    Karaoke Mietsystem Songlist Ein Karaokesystem der Firma Showtronic Solutions AG in Zusammenarbeit mit Karafun. Karaoke-Katalog Update vom: 13/10/2020 Singen Sie online auf www.karafun.de Gesamter Katalog TOP 50 Shallow - A Star is Born Take Me Home, Country Roads - John Denver Skandal im Sperrbezirk - Spider Murphy Gang Griechischer Wein - Udo Jürgens Verdammt, Ich Lieb' Dich - Matthias Reim Dancing Queen - ABBA Dance Monkey - Tones and I Breaking Free - High School Musical In The Ghetto - Elvis Presley Angels - Robbie Williams Hulapalu - Andreas Gabalier Someone Like You - Adele 99 Luftballons - Nena Tage wie diese - Die Toten Hosen Ring of Fire - Johnny Cash Lemon Tree - Fool's Garden Ohne Dich (schlaf' ich heut' nacht nicht ein) - You Are the Reason - Calum Scott Perfect - Ed Sheeran Münchener Freiheit Stand by Me - Ben E. King Im Wagen Vor Mir - Henry Valentino And Uschi Let It Go - Idina Menzel Can You Feel The Love Tonight - The Lion King Atemlos durch die Nacht - Helene Fischer Roller - Apache 207 Someone You Loved - Lewis Capaldi I Want It That Way - Backstreet Boys Über Sieben Brücken Musst Du Gehn - Peter Maffay Summer Of '69 - Bryan Adams Cordula grün - Die Draufgänger Tequila - The Champs ...Baby One More Time - Britney Spears All of Me - John Legend Barbie Girl - Aqua Chasing Cars - Snow Patrol My Way - Frank Sinatra Hallelujah - Alexandra Burke Aber Bitte Mit Sahne - Udo Jürgens Bohemian Rhapsody - Queen Wannabe - Spice Girls Schrei nach Liebe - Die Ärzte Can't Help Falling In Love - Elvis Presley Country Roads - Hermes House Band Westerland - Die Ärzte Warum hast du nicht nein gesagt - Roland Kaiser Ich war noch niemals in New York - Ich War Noch Marmor, Stein Und Eisen Bricht - Drafi Deutscher Zombie - The Cranberries Niemals In New York Ich wollte nie erwachsen sein (Nessajas Lied) - Don't Stop Believing - Journey EXPLICIT Kann Texte enthalten, die nicht für Kinder und Jugendliche geeignet sind.
    [Show full text]
  • The Top 7000+ Pop Songs of All-Time 1900-2017
    The Top 7000+ Pop Songs of All-Time 1900-2017 Researched, compiled, and calculated by Lance Mangham Contents • Sources • The Top 100 of All-Time • The Top 100 of Each Year (2017-1956) • The Top 50 of 1955 • The Top 40 of 1954 • The Top 20 of Each Year (1953-1930) • The Top 10 of Each Year (1929-1900) SOURCES FOR YEARLY RANKINGS iHeart Radio Top 50 2018 AT 40 (Vince revision) 1989-1970 Billboard AC 2018 Record World/Music Vendor Billboard Adult Pop Songs 2018 (Barry Kowal) 1981-1955 AT 40 (Barry Kowal) 2018-2009 WABC 1981-1961 Hits 1 2018-2017 Randy Price (Billboard/Cashbox) 1979-1970 Billboard Pop Songs 2018-2008 Ranking the 70s 1979-1970 Billboard Radio Songs 2018-2006 Record World 1979-1970 Mediabase Hot AC 2018-2006 Billboard Top 40 (Barry Kowal) 1969-1955 Mediabase AC 2018-2006 Ranking the 60s 1969-1960 Pop Radio Top 20 HAC 2018-2005 Great American Songbook 1969-1968, Mediabase Top 40 2018-2000 1961-1940 American Top 40 2018-1998 The Elvis Era 1963-1956 Rock On The Net 2018-1980 Gilbert & Theroux 1963-1956 Pop Radio Top 20 2018-1941 Hit Parade 1955-1954 Mediabase Powerplay 2017-2016 Billboard Disc Jockey 1953-1950, Apple Top Selling Songs 2017-2016 1948-1947 Mediabase Big Picture 2017-2015 Billboard Jukebox 1953-1949 Radio & Records (Barry Kowal) 2008-1974 Billboard Sales 1953-1946 TSort 2008-1900 Cashbox (Barry Kowal) 1953-1945 Radio & Records CHR/T40/Pop 2007-2001, Hit Parade (Barry Kowal) 1953-1935 1995-1974 Billboard Disc Jockey (BK) 1949, Radio & Records Hot AC 2005-1996 1946-1945 Radio & Records AC 2005-1996 Billboard Jukebox
    [Show full text]
  • 0 Musical Borrowing in Hip-Hop
    MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. Williams, BA, MMus Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy September 2009 0 Musical Borrowing in Hip-hop Music: Theoretical Frameworks and Case Studies Justin A. Williams ABSTRACT ‗Musical Borrowing in Hip-hop‘ begins with a crucial premise: the hip-hop world, as an imagined community, regards unconcealed intertextuality as integral to the production and reception of its artistic culture. In other words, borrowing, in its multidimensional forms and manifestations, is central to the aesthetics of hip-hop. This study of borrowing in hip-hop music, which transcends narrow discourses on ‗sampling‘ (digital sampling), illustrates the variety of ways that one can borrow from a source text or trope, and ways that audiences identify and respond to these practices. Another function of this thesis is to initiate a more nuanced discourse in hip-hop studies, to allow for the number of intertextual avenues travelled within hip-hop recordings, and to present academic frameworks with which to study them. The following five chapters provide case studies that prove that musical borrowing, part and parcel of hip-hop aesthetics, occurs on multiple planes and within myriad dimensions. These case studies include borrowing from the internal past of the genre (Ch. 1), the use of jazz and its reception as an ‗art music‘ within hip-hop (Ch. 2), borrowing and mixing intended for listening spaces such as the automobile (Ch. 3), sampling the voice of rap artists posthumously (Ch. 4), and sampling and borrowing as lineage within the gangsta rap subgenre (Ch.
    [Show full text]
  • Larrieux's Indie Life Artist Finds Satisfaction After Leaving a Major
    IVI Rhythuin & I3Iues sic; GAIL MITCHELL [email protected] Larrieux's Indie Life Artist Finds Satisfaction After Leaving A Major or every artist damoring to sign a major-label deal, there's dent Albums. Produced and written with her husband, the album another clamoring to get off. is signature Larrieux. Not content to stay in one zone, she shakes Amel Larrieux, the vocal half of former Epic soul /hip- up her melange of R &B, soul, hip -hop and jazz with some folk and hop_ duo Groove Theory, found herself in the latter category. It was music from the Middle East, West Africa and India. 2002, two years after the release of her Epic solo debut, "Infinite While the music part comes easily, it's the business side that is Possibilities." The album reaped its share of critical acclaim but understandably challenging. Especially when it comes to secur- was largely overlooked commercially. ing good distribution. "I had signed one of these uncommonly long deals," Larrieux "Distribution was a little difficult," Lam says. "Distributors are recalls. "But we [husband /manager Laruj had a somewhat dif- happy to hear if you have some type of money yourself. It took us ferent vision that needed to be fulfilled in a different surround- three or four meetings to find the one we wanted." ing. And the major -label surrounding just wasn't working for Settling on the Alternative Distribution Alliance, Laru says us anymore." there are other acts that Bliss Life plans to develop during the Then came bliss in the form of founding Los Angeles -based in- next five years.
    [Show full text]
  • Promo Discodance 80'S
    rank . 55 /60 The “1000” Best of the 80’s 5 10 15 80’s ranking HP WKS Entree >> 31 18 11 7 5 3 3 1 1 1 1 2 5 11 24 16 20 25 29 55 1 16 >> 37 Entr.Dat.> 29 Jun. 1985 DiscoDance Top50 Mercury Save your love - Rene & Angela Amerikaanse zang duo, René Moore geboren 19 Mei 1959. Los Angeles / California & Angela Winbush 18 Jan. St. Louis / Missouri. Actief als duo van 1979 / 1986, door meningsverschil ging het duo uit elkaar. Gingen beide verder als songwriter/ producer. Angela Winbush beleef nog even actief als solozangeres t/m 1994, producer/songwriter o.a. voor Sheena Easton en Stephanie Mills. René Moore zangcarriere stopte in 1988, was o.a. nog songwriter voor Janet & Michael Jackson. Zie ook > 32 . 491 . 1001 5 10 15 80’s ranking HP WKS Entree >> 45 34 28 18 9 5 1 1 1 1 1 2 2 6 10 16 20 25 29 56 1 18 >> 18 29 43 Entr.Dat.> 24 Aug. 1985 DiscoDance Top50 RCA Say i am your no. 1 - Princess Britse zangeres Desiree Heslop geboren 27 Nov. 1961 London/ Engeland. Voordat ze als solo zangeres begon was ze lid van de Ghanese afro rock band ‘Osibisa’. Haar eerste album werd geproduceerd door ‘Stock, Aitken & Waterman’, waar ook “say i am your no.1”op staat. Van haar tweede album ‘all for love’bereikte alleen het nummer ‘red hot’ de US billboard en de uk chart, album flopte. Releases van haar derde album ‘say it’ stond gepland voor 1990 maar werd nooit uitgebracht.
    [Show full text]
  • Dance Music 1985.Qxd
    THE TOP DANCE SONGS OF 1985 1. YOU SPIN ME ROUND (LIKE A RECORD) - Dead or Alive (Epic) 51. DO YOU WANNA GET AWAY - Shannon (Mirage) 2. INTO THE GROOVE- Madonna (Sire) 52. DANCING IN THE STREET - Mick Jagger & David Bowie (EMI) 3. LOVER GIRL - Teena Marie (Epic) 53. JUST A GIGOLO/I AIN’T GOT NOBODY- David Lee Roth (Warner Bros.) 4. CONGA - Miami Sound Machine (Epic) 54. TAKE ON ME -A-Ha (Warner Bros.) 5. GLORY DAYS/I’M GOIN’ DOWN - Bruce Springsteen (Columbia) 55. AXEL F. - Harold Faltermeyer (MCA) 6. DRESS YOU UP- Madonna (Sire) 56. ARE YOU FOR REAL - Deodato (Warner Bros.) 7. PARTY ALL THE TIME - Eddie Murphy (Columbia) 57. COLOR MY LOVE - Fun Fun (TSR) 8. FRESH - Kool and the Gang (De Lite) 58. SUGAR WALLS - Sheena Easton (EMI) 9. IN MY HOUSE - Mary Jane Girls (Gordy) 59. SENSE OF PURPOSE/ONE MORE TIME - Third World (Columbia) 10. DARE ME - The Pointer Sisters (RCA) 60. AND SHE WAS -Talking Heads (Sire) 11. UNEXPECTED LOVERS- Lime (TSR) 61. WE BUILT THIS CITY -Starship (Grunt) 12. OH SHEILA - Ready for the World (MCA) 62. SOME LIKE IT HOT- Power Station (Capitol) 13. FREEWAY OF LOVE/WHO’S ZOOMIN’ WHO - Aretha Franklin (Arista) 63. 19 - Paul Hardcastle (Chrysalis) 14. JUNGLE LOVE-The Time (Warner Bros ) 64. RAIN FOREST - Paul Hardcastle (Profile) 15. EASY LOVER-Philip Bailey (Columbia) 65. JUST ANOTHER NIGHT/LUCKY IN LOVE- Mick Jagger (Columbia) 16. MATERIAL GIRL- Madonna (Sire) 66. PADLOCK - Gwen Guthrie (Island) 17. WALKING ON SUNSHINE - Katrina and the Waves (Capitol) 67.
    [Show full text]
  • BK-SAGE-BENNETT WAKSMAN-140471.Indb 3 1/20/2015 9:37:55 PM 22
    BK-SAGE-BENNETT_WAKSMAN-140471.indb 3 1/20/2015 9:37:55 PM 22 Popular Music, Race and Identity Jon Stratton INTRODUCTION and popular music is nothing if not modern. In this chapter I will discuss the history of the Race has been central to the discourse of idea of race, its connections with the state popular music: to its performance, reception and with popular music as a part of national and, indeed, to the ways that popular music cultures. For reasons of space I will mainly and its genres have been thought about. This focus on the Anglophone world. I will dis- is most obvious in the US where the distinc- cuss race and popular music in the US and in tion between ‘black’ and ‘white’ music is Britain, and I will also have something to say generally acknowledged. As we shall see, about the ways that American black music this distinction closely relates to the prob- has been utilised in countries with British lematic position of African Americans within colonial histories, such as South Africa and the American nation-state. The nation-state, Australia. as will be discussed, legitimated itself in In 2001, Ronald Radano and Philip terms of an homogeneous population. Bohlman published an edited collection titled Nation-states that had large populations of Music and the Racial Imagination. Radano people identified as different who it was and Bohlman began their Introduction by accepted were exceptions. This means that echoing Karl Marx and Friedrich Engels’s African Americans have always posed a very Communist Manifesto but also pointing out particular problem for the American nation- that it is no longer the spectre of commu- state.
    [Show full text]
  • Artist Song Album Blue Collar Down to the Line Four Wheel Drive
    Artist Song Album (BTO) Bachman-Turner Overdrive Blue Collar Best Of BTO (BTO) Bachman-Turner Overdrive Down To The Line Best Of BTO (BTO) Bachman-Turner Overdrive Four Wheel Drive Best Of BTO (BTO) Bachman-Turner Overdrive Free Wheelin' Best Of BTO (BTO) Bachman-Turner Overdrive Gimme Your Money Please Best Of BTO (BTO) Bachman-Turner Overdrive Hey You Best Of BTO (BTO) Bachman-Turner Overdrive Let It Ride Best Of BTO (BTO) Bachman-Turner Overdrive Lookin' Out For #1 Best Of BTO (BTO) Bachman-Turner Overdrive Roll On Down The Highway Best Of BTO (BTO) Bachman-Turner Overdrive Take It Like A Man Best Of BTO (BTO) Bachman-Turner Overdrive Takin' Care Of Business Best Of BTO (BTO) Bachman-Turner Overdrive You Ain't Seen Nothing Yet Best Of BTO (BTO) Bachman-Turner Overdrive Takin' Care Of Business Hits of 1974 (BTO) Bachman-Turner Overdrive You Ain't Seen Nothin' Yet Hits of 1974 (ELO) Electric Light Orchestra Can't Get It Out Of My Head Greatest Hits of ELO (ELO) Electric Light Orchestra Evil Woman Greatest Hits of ELO (ELO) Electric Light Orchestra Livin' Thing Greatest Hits of ELO (ELO) Electric Light Orchestra Ma-Ma-Ma Belle Greatest Hits of ELO (ELO) Electric Light Orchestra Mr. Blue Sky Greatest Hits of ELO (ELO) Electric Light Orchestra Rockaria Greatest Hits of ELO (ELO) Electric Light Orchestra Showdown Greatest Hits of ELO (ELO) Electric Light Orchestra Strange Magic Greatest Hits of ELO (ELO) Electric Light Orchestra Sweet Talkin' Woman Greatest Hits of ELO (ELO) Electric Light Orchestra Telephone Line Greatest Hits of ELO (ELO) Electric Light Orchestra Turn To Stone Greatest Hits of ELO (ELO) Electric Light Orchestra Can't Get It Out Of My Head Greatest Hits of ELO (ELO) Electric Light Orchestra Evil Woman Greatest Hits of ELO (ELO) Electric Light Orchestra Livin' Thing Greatest Hits of ELO (ELO) Electric Light Orchestra Ma-Ma-Ma Belle Greatest Hits of ELO (ELO) Electric Light Orchestra Mr.
    [Show full text]