DOCSLIB.ORG

Rock Climbing : Buffalo Daughter LEE BASFORD WRITER

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rock Climbing : Buffalo Daughter LEE BASFORD WRITER music rock climbing : Buffalo Daughter LEE BASFORD WRITER H34 35H GRAPHER YN PHOTO L ND A L AR THIS PAGE: G THIS PAGE: Originally connected with the upsurge of great new bands emerging from Tokyo’s Shibuya scene during the mid-nineties, the three members that make up Buffalo G-son in the early nineties, and enabled them to generate work at their own pace They wanted to create a Daughter have worked hard at pushing new forms of music that straddle multiple genres. They create huge sonic landscapes filled with everything that’s good in without having to rush due to costs. music, a sound emanating from what seems on the surface to be a standard three-piece band; it’s when you find that they also use their guitars with short-wave Collaborations and remixes are something that Buffalo Daughter are dedicated to. psychedelic feeling, but not radio, classic Moog synthesisers, a tb-303 and one of the most innovative DJs around that you realise where their distinctive sound comes from. They’ve created two remix albums with collaborators including U.N.K.L.E., Alec based on acid or other drugs, Empire, Money Mark, Cornelius and Stock, Housen and Walkman. They’ve also remixed a wide variety of other artists from around the globe such as Air, Underworld, more on a sports, athletic type suGar Yoshinaga, Yumiko Ohno and moOog Yamamoto signed to the Beastie Boys at this as a truly beneficial part of their development because they didn’t have to Luscious Jackson, Kahimi Karie and Shar Dara Par. For the initial release of their first of high. “As we were already record label, Grand Royal, after an introduction to Mike Diamond, the company’s worry about the singer becoming bored. It was much easier to play songs that remix album Socks, Drugs, and Rock and Roll, moOog continued the theme of President, by Jill and Kate of Luscious Jackson. (This was after they handed the girls involved long meandering instrumentals, in many ways the core of their sound. remixing by stepping down as designer and handing it over to one of his own high and toxic on high-tech one of their original CDs and a live video back in 1995 when Luscious Jackson were One of the band’s biggest influences is late seventies new wave – bands like Devo, favourite creators, Mike Mills. touring Japan.) The first release on Grand Royal was Captain Vapour Athletes in Talking Heads, Television and the Flying Lizards. They originally described their sound moOog Yamamoto was originally Buffalo Daughter’s designer, but somehow got computer world full of 1996, a remarkable collection of their previous Japanese domestic releases. The as ‘denshi rock’ (electronics rock) which evolved into New Rock, their second album. himself involved as their DJ. His mixing and personal styles, like his design, are slightly electromagnetic wave, we album is a true sonic pastiche, up there with Beck and the Beastie Boys. It displays The sound they produce is something that is constantly evolving, so it’s likely – left of centre. He’ll randomly put the needle on the record, but set the record itself at some of the wide-eyed excitement a child has, just wanting to try everything. The probable even – that the sound of the new album will be described as something a propped angle to distort the way it plays. He’s also known to incorporate bouncing didn’t need sugar cubes.” result is an amalgamation which blends and overlays a huge variety of samples, entirely new. needles and a mixture of scratching with shouting. In one of their live performances, analogue synth, surf guitar, hip hop and seventies funk into a style that cannot be New Rock was a definitive step forward for Buffalo Daughter, still providing an he jammed with suGar’s guitar with a guitar loop of his own. Design work is clearly defined. At the time of this release they were heavily in to Silver Apples and amalgamation of music from all eras and genres; however, it is a more accomplished something he’s done from the very beginning, even in the Havana Exotica days. The NEU!, pioneers of early avant-garde electronic music. The comparisons musically are piece of work than Captain Vapour Athletes. The whole journey is through an process always begins by trying to get inside the sounds and titles involved, then, self evident when you listen to them, but the creation of the music varies dramatically. exquisite landscape of sound. One minute it’s pulsating electronica with a nice acting on his imagination, he takes it to the computer. “I adopt about thirty percent glitches to follow through with, as they could become annoying. When Buffalo Daughter listened to this electronic music in the nineties, the whole breakbeat, while the next could be a funky metal number or an engrossing love song of these unexpected ideas,” moOog explains when talking about the unexpected The creative process for all members of the band is often influenced and inspired by social structure of the world was totally different to that in which the original music articulated through a vocoder. After listening to some of the more sprawling visuals you can get when designing on a computer. events of everyday life, such as people, movies and novels. The hardest thing to developed. They wanted to create a similar psychedelic feeling, but not based on instrumentally led tracks you can clearly understand why Link Wray is one of suGar’s This is also true when playing live. The band don’t simply try to recreate what they’ve create is some emotional attachment people can really feel and tap into. “You can put acid or other drugs, more on a sports, athletic type of high. “As we were already high all-time guitar heroes. (Link Wray is honoured with creating and developing what is put down in the studio; Grand Royal tags them as “the greatest live band in the musical tones on to a score sheet or you can input notes on a computer however and toxic on high-tech computer world full of electromagnetic wave, we didn’t need known as ‘the rumble’ – you may remember it from Pulp Fiction, the scene where world!” If you read any review of the band’s performance, it’s almost certain that you’ll you like, but its not good enough if you want music that attracts people,” suGar sugar cubes.” Vincent Vega shoots up – which helped a whole evolution of new guitar music.) be reading that it was one of the best you are likely to come across. They consider continues. “Some kind of emotion or something that brings imagination or memory Yumiko and suGar have been friends since high school and have played together in In the summer of 1999 the band started recording their new album at G-son studios themselves a traditional rock band that love to show their real ability on stage, and are necessary as well as a good melody or feeling.” While Buffalo Daughter don’t different bands ever since. The first significant band was Havana Exotica, heavily in LA (the place built by the Beastie Boys). They’ve been working on it since then in like Led Zeppelin and The Who before them, they’re redefining their own sounds in a expect the audience to share the same feelings and emotions as they do, they hope influenced by funk artists James Brown and P-Funk, together with an interesting mix Tokyo, and it’s finally complete, though they still haven’t decided on a title. They live arena. suGar says that it’s more natural for them to play live. They get a real that listeners will interpret them in their own way, which is why they don’t really like to of Frank Zappa, King Tubby and some early hip hop. They originally wanted to create began with over thirty newly recorded tracks that have been filtered down to about enjoyment out of the unpredictability and spontaneity that leads to experimentation explain too much of their music and lyrics. “From our very early experiences we could a name which would not categorise them as a particular type of band, but that didn’t fifteen, including some great collaborations and guest musicians from a world-wide without any editing. There are so many chances to pick up on; a noise created by the enjoy western music in our own way without an understanding of the lyrics or even really work out because there were people who actually thought they were some kind selection, consisting of Money Mark, John McEntire, Cibo Matto and Seagull audio wiring, over heating or a battery shorting. These can all add to great inspirational the song title because of our lack of English.” They don’t always feel it is necessary of Caribbean group. It was towards the end of Havana Exotica that Buffalo Daughter’s Screaming Kiss Her Kiss Her. For this recording they’ve also been able to spend tangents, which can lead to some very beautiful sounds that could only be created to explain what the songs really mean; but it’s simply better for people to develop their sound really started to emerge. At the time they were listening to a lot of influential much more time in their own studio (built by Yumiko’s father), which has helped with accidentally. They try to do this to some extent while recording studio albums, own imagination. ❚ seventies analogue synth music. It was when the Havana Exotica singer left that the generation of new ideas in their work as they weren’t restricted to working in although they have to be careful.
Load more

Recommended publications
  • United States Court of Appeals for the Ninth Circuit
    FOR PUBLICATION UNITED STATES COURT OF APPEALS FOR THE NINTH CIRCUIT JAMES W. NEWTON, JR., dba Janew Music, Plaintiff-Appellant, v. MICHAEL DIAMOND; ADAM HOROWITZ; ADAM YAUCH, dba Beastie Boys; CAPITOL RECORDS, INC., a Delaware Corporation; GRAND ROYAL RECORDS, INC., a California Corporation; UNIVERSAL POLYGRAM INTERNATIONAL PUBLISHING, INC., a Delaware No. 02-55983 Corporation; BROOKLYN DUST D.C. No. MUSIC, an entity of unknown CV-00-04909-NM origin; MARIO CALDATO, JR., an individual; JANUS FILMS, LLC, a OPINION New York Limited Liability Company; CRITERION COLLECTION, a California Partnership; VOYAGER PUBLISHING COMPANY, INC., a Delaware Corporation; SONY MUSIC ENTERTAINMENT GROUP, a Delaware Corporation; BMG DIRECT MARKETING, INC., a Delaware Corporation; THE COLUMBIA HOUSE COMPANY, an entity of unknown origin, Defendants-Appellees. Appeal from the United States District Court for the Central District of California Nora M. Manella, District Judge, Presiding 15765 15766 NEWTON v. DIAMOND Argued and Submitted April 7, 2003—Pasadena, California Filed November 4, 2003 Before: Mary M. Schroeder, Chief Judge, David R. Thompson, and Susan P. Graber, Circuit Judges. Opinion by Chief Judge Schroeder; Dissent by Judge Graber 15768 NEWTON v. DIAMOND COUNSEL Alan Korn, Law Offices of Alan Korn, Berkeley, California, for the plaintiff-appellant. Adam F. Streisand and David C. Nelson, Loeb & Loeb, LLP, and Barry E. Mallen, Manatt, Phelps & Phillips, LLP, Los Angeles, California, for the defendants-appellees. Todd M. Gascon, Law Offices of Todd M. Gascon, and Sarah Sevier Farnbach, Phillips & Erlewin, LLP, San Francisco, California, for the amici curiae. OPINION SCHROEDER, Chief Judge: This appeal raises the difficult and important issue of whether the incorporation of a short segment of a musical recording into a new musical recording, i.e., the practice of “sampling,” requires a license to use both the performance and the composition of the original recording.
    [Show full text]
  • Hip-Hop Realness and the White Performer Mickey Hess
    Critical Studies in Media Communication Vol. 22, No. 5, December 2005, pp. 372Á/389 Hip-hop Realness and the White Performer Mickey Hess Hip-hop’s imperatives of authenticity are tied to its representations of African-American identity, and white rap artists negotiate their place within hip-hop culture by responding to this African-American model of the authentic. This article examines the strategies used by white artists such as Vanilla Ice, Eminem, and the Beastie Boys to establish their hip- hop legitimacy and to confront rap music’s representations of whites as socially privileged and therefore not credible within a music form where credibility is often negotiated through an artist’s experiences of social struggle. The authenticating strategies of white artists involve cultural immersion, imitation, and inversion of the rags-to-riches success stories of black rap stars. Keywords: Hip-hop; Rap; Whiteness; Racial Identity; Authenticity; Eminem Although hip-hop music has become a global force, fans and artists continue to frame hip-hop as part of African-American culture. In his discussion of Canadian, Dutch, and French rap Adam Krims (2000) noted the prevailing image of African-American hip-hop as ‘‘real’’ hip-hop.1 African-American artists often extend this image of the authentic to frame hip-hop as a black expressive culture facing appropriation by a white-controlled record industry. This concept of whiteÁ/black interaction has led white artists either to imitate the rags-to-riches narratives of black artists, as Vanilla Ice did in the fabricated biography he released to the press in 1990, or to invert these narratives, as Eminem does to frame his whiteness as part of his struggle to succeed as a hip-hop artist.
    [Show full text]
  • The Arts and Entertainment Supplement to the Daily Nexus, For
    4 The Arts and Entertainment Supplement to the Daily Nexus, for December 1st through December 7th, 1994 1 Textures. Rhythms. nute due to pressure from Beats. These three things the police department. are important attributes to Are you used to that kind any song. But how are of thing? Discuss the cur­ these characteristics coal­ rent state of dance culture esced? In the world of in England. dance music, hardly any­ Paul Hartnoll: Oh, one does this as well as Or­ there’s loads of rubbish bital. Their recent show at going on in England, isn’t the Shrine Auditorium there.... Unless you do ev­ proved that not only are erything well above board, they the premiere house/ you’re really setting your­ techno group, but further self up for trouble, and if proved that die emergence you get away with it, it’s of underground dance lucky, with underground music is a force steadily be­ parties where it’s not coming impossible to ig­ strictly organized.... Even nore as we approach the if you hire the place off of next century, coupled with someone, you might have the imminent death of a license to have that many rock music. Artsweek'% people in it. You’ve got to Monty Luke cornered Phil be lucky to get away with and Paul Hartnoll of Orbi­ it. tal in Los Angeles to dis­ Especially now with the cuss music, politics and criminal justice bill gone spiders. through, if you get caught Artsweek: 1 under­ doing something like that, stand the venue for Satur­ day[ night's'.
    [Show full text]
  • The Beastie Boys: Jews in Whiteface
    Popular Music (2008) Volume 27/3. Copyright © 2008 Cambridge University Press, pp. 413–432 doi:10.1017/S0261143008102203 Printed in the United Kingdom The Beastie Boys: Jews in whiteface JON STRATTON Cultural Studies, Curtin University of Technology, Perth, Western Australia E-mail: [email protected] Abstract The Beastie Boys are usually described as the white hip hop group who helped break rap to a broad-based white audience. Rarely is it acknowledged that the Beasties all came from Jewish backgrounds. This article examines the implications of the Beastie Boys’ Jewishness. The Beasties can be placed in a long history of Jewish entertainers reworking black music for white American audiences. By the 1980s, Jews in the United States had been assimilated into whiteness, yet it is clear that the memory of discrimination lived on. The members of the Beasties played with whiteness – performed in whiteface – while being very aware of their own Jewishness and the implications of this. With the advice and mentoring of African American Russell Simmons and the Jewish Rick Rubin, the group gained respect in the black community as legitimate rappers and then set out to perform as uncivil rock performers for white audiences. This article argues that the Beasties’ Jewishness was central to their success as the group that brought rap to a mainstream white American audience. Introduction I don’t recall race ever being an issue per se. Remember, this is a group that was recording for a label run by a Long Island Jew and a black guy from Hollis, Queens, and managed by an Israeli.
    [Show full text]
  • Beastie Boys Get It Together / Sabotage Mp3, Flac, Wma
    Beastie Boys Get It Together / Sabotage mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop / Rock / Pop Album: Get It Together / Sabotage Country: UK Released: 1994 Style: Alternative Rock, Cut-up/DJ, Pop Rap MP3 version RAR size: 1428 mb FLAC version RAR size: 1918 mb WMA version RAR size: 1777 mb Rating: 4.1 Votes: 712 Other Formats: VOC MP1 AIFF AU VOX WMA XM Tracklist Hide Credits 1 Get It Together 4:07 2 Sabotage 3:00 Get It Together (Beastie Boys Remix) 3 4:07 Remix – Mario Caldato Jr. 4 Resolution Time 2:48 Credits Engineer – Mario Caldato Jr. (tracks: 1, 3) Producer – Beastie Boys, Mario Caldato Jr. Rap – Q Tip* (tracks: 1, 3) Written-By – Beastie Boys, J. Davis* (tracks: 1, 3) Notes In card wallet Barcode and Other Identifiers Barcode: 724388142526 Matrix / Runout: 881425 2.1 EMI SWINDON Other versions Category Artist Title (Format) Label Category Country Year Capitol Records, 7243 8 58185 6 Capitol Records, 7243 8 58185 6 Beastie Get It Together 1, Y 7243 8 Brooklyn Dust 1, Y 7243 8 US 1994 Boys (12", Single) 58185 6 1 Music, Grand 58185 6 1 Royal CDEMS (WS) 1 CDEMS (WS) 1 Beastie Get It Together Grand Royal, South , 7 243881 , 7 243881 1994 Boys (CD, Maxi, Car) Capitol Records Africa 554276 554276 Get It Together Beastie CDCLDJ 716 (CD, Single, Capitol Records CDCLDJ 716 UK 1994 Boys Promo) Get It Together Beastie Grand Royal, CL 716 (7", Single, Ltd, CL 716 UK 1994 Boys Capitol Records Gre) 7243 8 81425 4 Beastie Get It Together 7243 8 81425 4 Capitol Records UK 1994 0 Boys (Cass, Maxi) 0 Comments about Get It Together / Sabotage - Beastie Boys Brialelis Get It Together - (Beastie Boys Mix) is the same as the (A.B.A.
    [Show full text]
  • Beastie Boys Intergalactic Mp3, Flac, Wma
    Beastie Boys Intergalactic mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Intergalactic Country: UK & Europe Released: 1998 Style: Pop Rap MP3 version RAR size: 1601 mb FLAC version RAR size: 1944 mb WMA version RAR size: 1653 mb Rating: 4.1 Votes: 956 Other Formats: MMF VQF VOC WMA MPC MIDI MP1 Tracklist 1 Intergalactic Companies, etc. Phonographic Copyright (p) – Capitol Records, Inc. Copyright (c) – Grand Royal Pressed By – EMI Swindon Published By – Brooklyn Dust Music Published By – PolyGram International Music Publishing, Inc. Credits Producer – Mario Caldato Jr. Notes Made in E.U. on cd face Barcode and Other Identifiers Matrix / Runout (Variant 1): CDCLDJ803 1:1:1 EMI SWINDON Matrix / Runout (Variant 2): CDCLDJ803 1:1:3 EMI SWINDON Matrix / Runout (Variant 3): CDCLDJ803 1:1:2 EMI SWINDON Mastering SID Code (Variant 3): IFPI L042 Mould SID Code (Variant 3): ifpi 1423 Rights Society: bel BIEM Other versions Category Artist Title (Format) Label Category Country Year Grand Royal, Y 7243 8 Beastie Y 7243 8 Intergalactic (12", Single) Capitol US 1998 58705 1 4 Boys 58705 1 4 Records CDCL803, Capitol CDCL803, Beastie UK & 7243 8 85856 Intergalactic (CD, Single) Records, 7243 8 85856 1998 Boys Europe 2 0 Grand Royal 2 0 7243 8 85807 Beastie Intergalactic (CD, Single, Capitol 7243 8 85807 Europe 1998 2 4 Boys Car) Records 2 4 Beastie Intergalactic (12", Promo, PRO 4213 Grand Royal PRO 4213 Sweden 1998 Boys W/Lbl) Intergalactic (Prisoners Beastie Of Technology/TMS 1 Capitol 10CL 803 DJX 10CL 803 DJX US 1998 Boys Remix) (10", S/Sided, Records Promo) Related Music albums to Intergalactic by Beastie Boys Beastie Boys - Sure Shot Dark Star - I Am The Sun The Chemical Brothers - Let Forever Be The Specials - Too Much Too Young Vengaboys - Up And Down Beastie Boys - Get It Together Beastie Boys - Root Down EP Mansun - Being A Girl (Part One) EP Beastie Boys - Ill Communication Beastie Boys - Body Movin'.
    [Show full text]
  • A Call for Change in Copyright Law: the Seven Second Free Zone
    A Call For Change in Copyright Law: The Seven Second Free Zone Robert Willey Ball State University May 15, 2014 Abstract A proposal is made to permit up to seven seconds of sound recordings to be sampled and used in new works without requiring a license from the owners of the composition and sound recording copyrights. The high-quality sample-heavy collages that were released during the Golden Age of Hip-Hop (1986-1992) are examples of the type of music that could not be made in the present legal climate. The innovative and imaginative use of sampling by groups such as Public Enemy and The Beastie Boys was effectively stopped by lawsuits brought in the 1990s, greatly reducing the number and variety of samples used in subsequent productions. The proposed change in sampling law would allow musicians to incorporate samples without having to go through the cumbersome and expensive process of obtaining clearances that currently impedes creativity and deprives the public of interesting work and the experience of the direct juxtaposition of old and new. 2 Introduction Twenty years ago a series of legal decisions established that musicians must get permission to use samples of recorded music in new productions. The process of obtaining clearances, however has since become too cumbersome and expensive for most musicians, limiting what they can produce and deliver to the public. Several options have been proposed for adjusting the copyright system, but none of these will produce the conditions necessary to allow the creation of classic albums such as those from Public Enemy and The Beastie Boys, or more recently those of Gregg Gillis (aka Girl Talk).
    [Show full text]
  • Beastie Boys Pauls Boutique Free
    FREE BEASTIE BOYS PAULS BOUTIQUE PDF Dan Leroy | 144 pages | 01 May 2006 | Bloomsbury Publishing PLC | 9780826417411 | English | London, United Kingdom Paul's Boutique - A Visual Companion We have detected English as your language preference. To change your preferred language, please choose a language using the dropdown. Hip Hop. Mario Caldato Jr. Engineer, Producer. Beastie Boys Producer, Written-By. Allen Abrahamson Engineer. John King Performer. Matt Dike Performer. Mike Simpson Performer. Dominick Watkins Photography By. Jeremy Shatan Photography By. Mathew Cohen Photography By. Nathanial Hornblower Photography Beastie Boys Pauls Boutique. David Freed Photography By. Ricky Powel Haze Photography By. EZ Mike Turntables. No inner groove distortion, dead quiet vinyl, great sounding pressing. Look no further than this. Pressing flat and quiet -- perfect for the beat-heavy bravado. I had Beastie Boys Pauls Boutique lower the bass and increase the treble on my system to hear the vocals more clearly. This Beastie Boys Pauls Boutique muddies the vocals just a bit, but over the sound is great. I have the double gatefold black vinyl but none of the Barcode or matrices info matches up with anything on Discogs. While the lyric sheet lists the barcode for the US release B my vinyl records have very limited matrix info on it which is impossible Beastie Boys Pauls Boutique read and lists the following barcode on the Label: That is rare these days. Overall I am very pleased with this release, nice packaging and nice sound. Glad to own it finally on vinyl. If you Beastie Boys Pauls Boutique own a copy and happen to find this at a good price, don't hesitate.
    [Show full text]
  • Beastie Boys Sure Shot Mp3, Flac, Wma
    Beastie Boys Sure Shot mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Sure Shot Country: US Released: 1994 Style: Pop Rap, Conscious MP3 version RAR size: 1570 mb FLAC version RAR size: 1615 mb WMA version RAR size: 1569 mb Rating: 4.4 Votes: 204 Other Formats: WAV AHX VOX MP4 MP3 APE DXD Tracklist Hide Credits Sure Shot (LP Version) 1 3:21 Written-By – Beastie Boys, DJ Hurricane*, Steig*, Caldato* Sure Shot (Large Professor Remix) 2 3:27 Engineer [Remix Engineer] – Jamey Staub*Remix – The Large Professor* Mullet Head 3 2:52 Written-By – Beastie Boys The Vibes 4 3:08 Written-By – Beastie Boys, Nishita* Sure Shot (Nardone Mix) 5 3:16 Producer [Additional Production], Remix – Dred Scott, Mike Nardone Son Of Neck Bone 6 3:23 Written-By – Beastie Boys, Bobo*, Nishita* Sure Shot (European B-Boy Mix) 7 2:58 Engineer [Remix Engineer] – SjollerRemix – The PrunesScratches – Peder Companies, etc. Phonographic Copyright (p) – Capitol Records, Inc. Copyright (c) – Capitol Records, Inc. Manufactured By – Capitol Records, Inc. Recorded At – G-Son Studios Recorded At – Tin Pan Alley Studios Mixed At – G-Son Studios Mixed At – Tin Pan Alley Studios Remixed At – No Studio Whatsoever Studio Remixed At – Greene St. Recording Mastered At – Future Disc Published By – Brooklyn Dust Music Published By – PolyGram International Publishing, Inc. Published By – EMI Deshon Music Inc. Pressed By – EMI Jax Credits Engineer – Mario Caldato, Jr.* Engineer [Assistant] – Setley Mastered By – Tom Baker Producer – Beastie Boys, Mario Caldato, Jr.* Notes Recorded and mixed at G-Son Studios, with the parquet floor, Atwater Village, CA and Tin Pan Alley, New York, N.Y.
    [Show full text]
  • Beastie Boys Get It Together Mp3, Flac, Wma
    Beastie Boys Get It Together mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Get It Together Country: US Released: 1994 MP3 version RAR size: 1309 mb FLAC version RAR size: 1716 mb WMA version RAR size: 1966 mb Rating: 4.9 Votes: 503 Other Formats: RA AAC AU AC3 MOD AIFF XM Tracklist Hide Credits Get It Together A Written-By – Beastie Boys, J. Davis*Written-By [Sample] – E. McDaniels* Sabotage B1 Written-By – Beastie Boys Dope Little Song B2 Written-By – Beastie Boys Credits Engineer – Mario Caldato Jr. Producer – Beastie Boys, Mario Caldato Jr. Notes "Get It Together" is published by Brooklyn Dust Music / Polygram Int'l Publ. Inc. / Zomba Enterprises Inc / Jazz Merchant Music. / ASCAP Contains samples from "Headless Heroes" performed by Eugene McDaniels courtesy of Atlantic Recording Corporation, by arrangement with Warner Special Products "Sabotage" and "Dope Little Song" published by Brooklyn Dust Music / Polygram Int'l Publ. Inc / ASCAP Other versions Category Artist Title (Format) Label Category Country Year Capitol Records, 7243 8 58185 6 Capitol Records, 7243 8 58185 6 Beastie Get It Together 1, Y 7243 8 Brooklyn Dust 1, Y 7243 8 US 1994 Boys (12", Single) 58185 6 1 Music, Grand 58185 6 1 Royal CDEMS (WS) 1 CDEMS (WS) 1 Beastie Get It Together Grand Royal, South , 7 243881 , 7 243881 1994 Boys (CD, Maxi, Car) Capitol Records Africa 554276 554276 Get It Together Beastie CDCLDJ 716 (CD, Single, Capitol Records CDCLDJ 716 UK 1994 Boys Promo) Beastie Get It Together 12CLDJ 716 Capitol Records 12CLDJ 716 UK 1994 Boys (12", Promo) Get It Together Beastie Grand Royal, DPRO 79359 (CD, Single, DPRO 79359 US 1994 Boys Capitol Records Promo) Related Music albums to Get It Together by Beastie Boys Beastie Boys - Love American Style EP Beastie Boys - Sabotage / Get It Together Beastie Boys - (You Gotta) Fight For Your Right (To Party) Beastie Boys - Pirate Treasure Chapter 2 Beastie Boys - The In Sound From Way Out! Beastie Boys - Sure Shot Beastie Boys - Paul's Boutique Beastie Boys - Anthology: The Sounds Of Science.
    [Show full text]
  • STEUER What About Project Blowed As a Nightclub? Project Blowed’S Not Really a Club
    Inside: A Tklk with Much, Home Show 2, The Diviners and Student Filins his Saturday is Extravaganza, the annual all-day outdoor music lestival in Harder Stadium. Among the many performers at the free concert (which in­ cludes NOFX, Tha Alkaholiks and Skankin’ Pickle) is a legendary L. A. b-boy by the name of Aceyalone. This veteran rapper was a member of the now defunct, infam­ ous crew of hip-hop innovators Freestyle Fellowship, and has also been a leader in the creation of Project Blowed, an L.A. freestyle venue. An album made up of tracks by Project Blowed’s most respected contributors, aptly titled Project Blowed, has been a huge underground phenomenon. Project Blowed, like Acey’s 1995 solo debut, A ll Balls Don’t Bounce, is a display of amazing lyrical dexterity. Both records prove Acey- alone’s dedication to creating unique and original hip-hop music. A r ts w e e k spoke with the man. Are you still signed to Capitol? No. They’ve closed down the entire urban music division at Capitol and offered their artists to EMI, who took everybody they wanted and left the rest. So, I’m just on hiatus. I’m just going to continue making a new record right now regardless of who decides to put it out. Capitol did a pretty poor job of marketing your m aterial anyway. Are you upset that you’re no longer with them? No, it’s not a problem. It’s just a situation, and one I’ve been through before at that.
    [Show full text]
  • The George-Anne Student Media
    Georgia Southern University Digital Commons@Georgia Southern The George-Anne Student Media 5-2-1996 The George-Anne Georgia Southern University Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/george-anne Part of the Higher Education Commons Recommended Citation Georgia Southern University, "The George-Anne" (1996). The George-Anne. 1421. https://digitalcommons.georgiasouthern.edu/george-anne/1421 This newspaper is brought to you for free and open access by the Student Media at Digital Commons@Georgia Southern. It has been accepted for inclusion in The George-Anne by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. I he Georae-Anne #10 JpilipflllllllNlllillliHHIHI IIHIIIIlllllllllllllllllllIIIIIIIIIIIIIIIIIIIIIIIIHIII GOLD EDITION 0200101627384 Thursday, May 2,1996 The 1 Hour Reserve(in Library Use) Vol. 69, No. 10 0 2001 0lb573fl' 4 # Cinema in review :si * "Mulholland Falls," the ', latest movie about Los Angeles crime busters, starring Nick Nolte, Georgia Southern University's Official Student Newspaper Statotboro. Georgia 30460 Founded 1927 > ineets with unfavorable reviews from The G-A movie critic. Please see review, page 9 Controversy clouds both SGA campaigns By Kevin Bonsor Rule 9 of the SGA Campaign The penalty for candidates ^iMwaaw^^iawt^iwiiirt^^ JlMftWWfffei^WiWiWifcWiWWW Staff Writer Regulations was cited as the campaigning in the polling ar- BRIEFLY... Two unrelated incidents violated rule. This rule states, eas is $10.00. Because all four Runoff to be held today that occurred during last "A candidate may not cam- names of the people on the week's SGA elections have paign, in person or by proxy, Burns ticket were on the flyers By Justin Miller jff occurs when there Assistant News Editor Gingrich predicts Congress stirred controversy in the final within the block outlined, or passed out at Lakeside, each jority winner.
    [Show full text]