Friday, 12 October 2012
Dubxanne - The Police In Dub
Introducing DubXanne: a group of Hamburg-based musicians devoted to bringing out
the original dub roots from the biggest band in '70s-'80s Britain, The Police.
At the apex of their career, The Police were a massive, bleached-blond
juggernaut, surfing a new wave sound which valued intellectual cool and lightly
sprinkled ethnic influences over the discredited rock 'n' roll bluster of old.
The first post-punk supergroup. At the end of 1977, over the Christmas period,
Stewart Copeland played Sting some of his reggae records. When Summers returned
to Britain from his vacation in the United States, he found his bandmates newly
inspired by Jamaican sounds. Reggae rhythms finally shook The Police free from
post-punk rock convention and the rest has become history -- to date, 40 million
people all over the world have bought a Police record! The first recordings for
Police In Dub sessions by DubXanne started in September 2006. After exhaustive
scrutiny of the Police back catalog at EMI Music Publishing (which controls and
manages the rights for Sting's songs) and lengthy negotiations with Sting's
management team, final consent for the project was granted in March 2008. Now
the world can sit back and look forward to dub versions of the biggest tunes by
The Police. The musicians behind DubXanne are members of the group Okada
(backing band for Zoe, Maxim, Don Abi to name a few): Mykal (drums), Marcus
(bass), Manougazou (guitar) and Guido Craveiro (guitar/keyboards; produced
Moloko, Zoe and Bootsy Collins). Also featuring well-known vocalists such as:
Big Youth, Ranking Roger from The Beat (who recently shared the stage with The
Police in Manchester), Earl 16, Benjamin Zephaniah, Seeed and Jazz'min.
DubXanne's album is a unique masterpiece, paying respect to an influential
super-group. This is massive roots reggae.
The Police - Reggata De Blanc + Outlandos d'Amour
The album, while at times incorporating reggae, pop, and other elements of what would eventually become the definitive sound of the band, is dominated by punk influences. It starts off with "Next To You", a punk number with a slide guitar solo in the middle. The reggae-tinged "So Lonely" follows. "Roxanne", about a prostitute, was written by Sting after visiting a red-light district in Paris and is one of The Police's best-known songs. It is followed by "Hole in My Life", another reggae-tinged song, and "Peanuts", a Sting–Stewart Copeland collaboration which blends punk aggression with a decidedly humorous tone. "Can't Stand Losing You" and the high-tempo "Truth Hits Everybody" begin side two of the original LP. "Be My Girl—Sally" is a medley of a half-finished song by Sting and an Andy Summers poem about a blowup doll. This leads into the semi-instrumental closer, "Masoko Tanga", the only song on the album to not become a staple of the Police's live performances.
Two other songs from these sessions were released as b-sides: "Dead End Job" credited to the entire band on the flip of "Can't Stand Losing You," and "No Time This Time" by Sting on the back of "So Lonely," later issued on Reggatta de Blanc.
Punk band No Use for a Name covered the song "Truth Hits Everybody" (with modified lyrics) on their 1990 debut album, Incognito. The pop-punk band Motion City Soundtrack also covered the same song for a Police covers album. "Next to You" was later packaged in Rock Band. "Truth Hits Everybody", "Roxanne", "Can't Stand Losing You", and "So Lonely" were all released as downloadable content for the Rock Band series.
Two other songs from these sessions were released as b-sides: "Dead End Job" credited to the entire band on the flip of "Can't Stand Losing You," and "No Time This Time" by Sting on the back of "So Lonely," later issued on Reggatta de Blanc.
Punk band No Use for a Name covered the song "Truth Hits Everybody" (with modified lyrics) on their 1990 debut album, Incognito. The pop-punk band Motion City Soundtrack also covered the same song for a Police covers album. "Next to You" was later packaged in Rock Band. "Truth Hits Everybody", "Roxanne", "Can't Stand Losing You", and "So Lonely" were all released as downloadable content for the Rock Band series.
Tim Maia - Nobody Can Live Forever (2012)
Nos anos 60, Tim Maia (1942 - 1998) partiu para os Estados Unidos para tentar ganhar a vida em terras norte-americanas. Voltou para o Brasil sem dinheiro e sem ilusões. Decorridos 50 anos, uma possibilidade de o cantor e compositor carioca ganhar alguma visibilidade nos EUA se torna enfim concreta. A gravadora do cantor e compositor norte-americano David Byrne, Luaka Bop, se prepara para lançar nos Estados Unidos em 2 de outubro de 2012 coletânea dupla, em vinil, do Síndico. Disco idealizado há 10 anos, The Existencial Soul of Tim Maia - Nobody Can Live Forever compila 15 gravações feitas por Tim Maia nos anos 70 e é o quarto volume da série World Psychedelic Classics. Com ênfase nas músicas gravadas em inglês e na produção autoral da fase mística em que o artista se envolveu com a Cultura Racional da seita Universo em Desencanto, a compilação de certa forma celebra os 70 anos que Tim poderia completar em 28 de setembro de 2012 se não tivesse saído de cena em 1998, deixando obra singular que deu sotaque brasileiro ao soul e ao funk norte-americanos. Eis as 15 gravações reunidas na coletânea dupla The Existencial Soul of Tim Maia - Nobody Can Live Forever:
1. Imunização Racional (Que Beleza) (Tim Maia) - 1975
2. Let's Have a Ball Tonight (Tim Maia e Reginaldo) - 1978
3. O Caminho do Bem (Beto, Sérgio e Paulo) - 1976
4. Ela Partiu (Tim Maia e Beto Cajueiro) - 1975
5. Quer Queira, Quer Não Queira (Tim Maia e Fábio) - 1976
6. Brother Father Mother Sister (Tim Maia) - 1976
7. Do Leme ao Pontal (Tim Maia) - 1981
8. Nobody Can Live Forever (Tim Maia) - 1976
9. I Don't Care (Tim Maia) - 1971
10. Bom Senso (Tim Maia) - 1975
11. Where Is My Other Half? (Tim Maia) - 1972
12. Over Gain (Tim Maia) - 1973
13. The Dance Is Over (Tim Maia, Hyldon e Reginaldo) - 1976
14. You Don't Know What I Know (Tim Maia) - 1975
15. Rational Cultura (Tim Maia) - 1975
Texto: Mauro Ferreira
1. Imunização Racional (Que Beleza) (Tim Maia) - 1975
2. Let's Have a Ball Tonight (Tim Maia e Reginaldo) - 1978
3. O Caminho do Bem (Beto, Sérgio e Paulo) - 1976
4. Ela Partiu (Tim Maia e Beto Cajueiro) - 1975
5. Quer Queira, Quer Não Queira (Tim Maia e Fábio) - 1976
6. Brother Father Mother Sister (Tim Maia) - 1976
7. Do Leme ao Pontal (Tim Maia) - 1981
8. Nobody Can Live Forever (Tim Maia) - 1976
9. I Don't Care (Tim Maia) - 1971
10. Bom Senso (Tim Maia) - 1975
11. Where Is My Other Half? (Tim Maia) - 1972
12. Over Gain (Tim Maia) - 1973
13. The Dance Is Over (Tim Maia, Hyldon e Reginaldo) - 1976
14. You Don't Know What I Know (Tim Maia) - 1975
15. Rational Cultura (Tim Maia) - 1975
Texto: Mauro Ferreira
Curumin - Arrocha (2012)
'Arrocha means to hold on with a lot of
pressure,' Curumin says from his São Paolo home, describing the meaning behind
his new album title. 'In Bahia it's a rhythm, a way of dancing where you hold
your girl very close. That pressure is something we feel here in Sao Paolo. It's
a very big city and you are always surrounded by people. On this album I'm
trying to make more sensual music, speaking with a lot of feeling and getting
closer to people.'
Born of Spanish
and Japanese parents 35 years ago, Luciano Nakata Albuquerque adopted the
persona Curumin (KOO-roo-mean) as a way of exploring the possibilities of
Brazil's many sonic heritages. Known globally as the land of bossa nova and
samba, the youthful vocalist/multi-instrumentalist/producer has borrowed much
from his Brazilian culture but expanded upon it by creating an inviting, sensual
tone while eschewing any lust for stardom through mainstream sounds. On the
pioneering Arrocha (Six Degrees
Records), he has built upon prior success in creating a melodically addicting
and rhythmically potent exploration of modern Brazil.
Discovered by
California hip-hop outfit Blackalicious on a 2005 South American tour, the duo
helped Curumin gain international recognition by releasing his debut, Achados e Perdidos, in the United
States. After successfully launching his presence in the States at CMJ that same
year, he was quickly booked to perform at Chicago's World Music Festival and the
M3 Conference the following year. Natalie Portman included his track 'Tudo Bern
Malandro' on a compilation; when 'Guerreiro' was used in a Nike ad during the
FIFA World Cup, the fame he never sought was ensured.
It was Curumin's
second album, JapanPopShow, that
really launched him in 2008. His unique fusing of samba, reggae, electronica,
funk and hip-hop earned him gigs at Central Park Summerstage, Los Angeles's
Grand Performances, the Montreal Jazz Fest, the Red Hot Rio +2 concert at
Brooklyn's BAM and San Francisco's Stern Grove. He's performed alongside Femi
Kuti, Jorge Ben, Money Mark, Blackalicious and Juana Molina, and earned glowing
accolades from the NY Times, Spin, the Village Voice and Billboard.com.
Part of a wave
of evolutionary Brazilian artists updating their native soundscape, this
self-professed tropicalia and funk addict now delves deeply into the electronic
sound of his MPC to control the direction. 'I created different atmospheres and
textures from doing a lot of research with all of the albums I have here in my
house,' he says. Being that his home would not cater to a full band set-up, Arrocha dives right into the heart of
his intentions: it's a warm, sensitive journey featuring gorgeous melodies
floating over a wash of spacious percussion, guitars and bass, while never
losing the danceable beats that his culture demands.
'The electronic
angle let me work inside of the machines,' he says. 'It's a different way to do
Brazilian music. But it's also part of my Japanese heritage. The thing that I'm
trying to accomplish in my music is connected to the past and tradition, as well
as to the future. This is a very Japanese way of looking at things.'
Kicking it off
with the hard edge of 'Afoxoque,' the word is an amalgam of the Portuguese word
afoxê and the English shock. 'I was
programming the beat and just gave it this name. A few days later I tried to
write lyrics, and I started to research what afoxoque could mean. Afoxê is a word from Yoruba, the African
tradition here in Brazil, and it means 'the power of speech.' So it's the shock
that happens to you from the power of language.'
Not all of the
album depends on metaphysical explanation. In fact, the topics of yearning and
connection, to a soulmate, family member of friend, dominates the content.
'Selvage,' the album's first single and video, is about getting wild. Having
lived in downtown São Paolo for eight years, Curumin felt that past-future
connection, noticing that very evolved people live daily with their primitive
instincts. On 'Selvage' he waxes romantic over the 'jungle' of his former
neighborhood, providing the listener with Arrocha's most upbeat, punchy track.
On 'Paris Vila
Matilde' he tells a story about calling his girlfriend, who comes from the São
Paolo neighborhood of Vila Matilde, while he was in France. This gorgeous
two-minute gem is engulfed by that seductive term, saudade, an indescribable feeling of
desire and aching made globally famous by the poetic hand of Federico García
Lorca. And speaking of poets, 'Pra Nunca Mais' was penned by Arnaldo Antunes,
Brazil's renowned wordsmith and singer.
'It's like
you're waking up and coming out from a dream,' Curumin says of that song. 'But
you don't want to wake up, so you go back to your dreams and begin to float.
Then the things in the dream start to happen again, but then you are waking up
again, but you don't want to.'
Following up on
the many successes he garnered with JapanPopShow, Curumin has produced a
record that's certain to surpass previous praise. Introduced to Six Degrees
Records via his friend (and now labelmate) Céu - who guest stars on the
reggae-inflected 'Vestido de prata' - he's excited to be moving in new musical
directions, blending catchy tracks with an integrity and inventiveness unique
unto himself. For him, this is all he
could imagine himself doing.
'I'm always
trying to be minimal in my music and life, just putting in what's essential and
not too much information,' he concludes, in what is perhaps another quality
pulled from his Japanese ancestry. 'I'm happy that the alternative scene in
Brazil is building. If you just have mainstream music, nothing is creative, and
no one is going to try to do anything strange. Now some people are doing strange
stuff, and some people are listening to strange stuff too. This is very
good.'
Lucas Santtana - O Deus Que Devasta Mas Tambem Cura (2012)
Lucas Santtana, born in Bahia in 1970, is a musician with a compelling background that merges popular and classical culture. A follower of candomblé (a Brazilian sect of an African cult), since childhood, Lucas Santtana was brought up among Afro-Brazilian rhythm.
At the age of 15, he enrolled into a pioneer music school in Salvador, where musical theory was taught through scores of Tom Jobim, Dorival Caymmi, João Gilberto and others.
Later on, he graduated from the University of Bahia, where he had contact with classical music and composers such as Bach, Stockhausen, Stravinsky, Debussy, Mozart, Anton von Weber… During his studies, he traveled around Brazil, getting involved in Young Orchestras, and also played with a Cuban band in music floats around Bahia.
In 1993, Lucas Santtana got a scholarship from the Karlshure School of Music (Germany) but he preferred to accept the invitation to join Caetano Veloso and Gilberto Gil on tour for the album ‘Tropicália 2’.
The following year, he was invited by Gilberto Gil to record the album Gilberto Gil Unplugged MTV, a job he maintained for three and a half years, having participated in two tours of Europe, North, South and Central America.
His solo career started in the year 2000, with the album ‘Eletro Ben Dodô’, produced by the renowned Chico Neves and mixed in Realworld Studio of Peter Gabriel. The album was praised by critics in Brazil and in important musical publications around the world like Village Voice, Down beat and Chicago Tribune (EUA); Le Monde and Vibrations (France); Latino and Esquire (Japan), apart from having been included in a select list of the best ten independent albums in the year 2000 by The New York Times.
At the age of 15, he enrolled into a pioneer music school in Salvador, where musical theory was taught through scores of Tom Jobim, Dorival Caymmi, João Gilberto and others.
Later on, he graduated from the University of Bahia, where he had contact with classical music and composers such as Bach, Stockhausen, Stravinsky, Debussy, Mozart, Anton von Weber… During his studies, he traveled around Brazil, getting involved in Young Orchestras, and also played with a Cuban band in music floats around Bahia.
In 1993, Lucas Santtana got a scholarship from the Karlshure School of Music (Germany) but he preferred to accept the invitation to join Caetano Veloso and Gilberto Gil on tour for the album ‘Tropicália 2’.
The following year, he was invited by Gilberto Gil to record the album Gilberto Gil Unplugged MTV, a job he maintained for three and a half years, having participated in two tours of Europe, North, South and Central America.
His solo career started in the year 2000, with the album ‘Eletro Ben Dodô’, produced by the renowned Chico Neves and mixed in Realworld Studio of Peter Gabriel. The album was praised by critics in Brazil and in important musical publications around the world like Village Voice, Down beat and Chicago Tribune (EUA); Le Monde and Vibrations (France); Latino and Esquire (Japan), apart from having been included in a select list of the best ten independent albums in the year 2000 by The New York Times.
SuperHeavy
SuperHeavy is a supergroup consisting of Mick Jagger, Joss Stone, Dave Stewart, A. R. Rahman, and Damian Marley. Stone and Stewart have collaborated in the past with Jagger. Jagger said of the band, "We wanted a convergence of different musical styles... We were always overlapping styles, but they were nevertheless separate". Jagger wanted SuperHeavy to showcase different musical styles, with music ranging from reggae to ballads to Indian music.
SuperHeavy" began work on the album in 2009. In early 2009, Mick Jagger, Damian Marley, Joss Stone, Dave Stewart and A. R. Rahman experimented at a studio in Los Angeles, trying to "write songs which had meaning". They had a couple of more sessions after that trying to perfect every song that was written. Jagger stated in an interview that they had entered with just ideas, a few guitar riffs and a few snippets of lyrics... which isn't his usual style of working, but music evolved quickly."The band recorded twenty-nine songs in ten days. Some of the songs recorded were even an hour long. In total, there was more than thirty-five hours of music recorded, from which Stewart and his engineer found the highlights that would work as the roots of songs. However, the CD release only included twelve songs.
SuperHeavy" began work on the album in 2009. In early 2009, Mick Jagger, Damian Marley, Joss Stone, Dave Stewart and A. R. Rahman experimented at a studio in Los Angeles, trying to "write songs which had meaning". They had a couple of more sessions after that trying to perfect every song that was written. Jagger stated in an interview that they had entered with just ideas, a few guitar riffs and a few snippets of lyrics... which isn't his usual style of working, but music evolved quickly."The band recorded twenty-nine songs in ten days. Some of the songs recorded were even an hour long. In total, there was more than thirty-five hours of music recorded, from which Stewart and his engineer found the highlights that would work as the roots of songs. However, the CD release only included twelve songs.
Thursday, 11 October 2012
Citzen Cope - Every Waking Moment
EVERY WAKING MOMENT is the
third full-length release from Citizen Cope, a band led by singer-songwriter
Clarence Greenwood. Every Waking Moment music CDs Greenwood mixes folk, soul,
and rock, throwing in island and psychedelic elements for flavor, and giving a
nod to urban music now and again (as on the enjambed, rapid-fire lines of
"Brother Lee"). Every Waking Moment songs Greenwood's lyrics take on everything
from the horrors of war ("Friendly Fire") to personal strife ("Back Together"),
and he recalls Van Morrison at times in his roots-oriented songwriting and
expressively textured voice. Mellow, soulful, and nicely put together, EVERY
WAKING MOMENT is one of Citizen Cope's strongest and most consistent releases.
Cornerstone Roots - Free Yourself
Wrapping up the New Zeland series.
This is the third offering from Raglan-based roots-rock reggae five-piece Cornerstone Roots. After their fantastic first album 'Soul Revolution' and follow up EP 'Forward Movement' they have now excelled themselves with this rich, poignant live studio recording. Front man Brian Ruawai projects their political and spiritual message in his usual raw vocal style, perfectly suited to this genre. Add to this the family line up of Brian's partner Naomi Tuao on bass, and son Reiki on backing vocals and you have a warm Aotearoa family vibe. Since they formed in 2001 Brian and Naomi have also set up the Motherland Collective, functioning as both a music label and a vehicle to organise the annual Soundsplash reggae festival in Raglan's natural amphitheatre.
This is the third offering from Raglan-based roots-rock reggae five-piece Cornerstone Roots. After their fantastic first album 'Soul Revolution' and follow up EP 'Forward Movement' they have now excelled themselves with this rich, poignant live studio recording. Front man Brian Ruawai projects their political and spiritual message in his usual raw vocal style, perfectly suited to this genre. Add to this the family line up of Brian's partner Naomi Tuao on bass, and son Reiki on backing vocals and you have a warm Aotearoa family vibe. Since they formed in 2001 Brian and Naomi have also set up the Motherland Collective, functioning as both a music label and a vehicle to organise the annual Soundsplash reggae festival in Raglan's natural amphitheatre.
Lady6 - The Liberation Of...
Second album from hip-hop soul diva looks to the future
Ladi6's smooth and reflective hip-hop soul made her first solo album, Time Is Not Much from 2008, an excellent - if a little shy and coy - debut. On The Liberation Of ... she steps up in a bold, lively and often experimental yet fun way, which recalls the innovation of the last two Erykah Badu albums.
Right from the opening double-dutch hand-clapped start of Bang Bang, it's almost quickfire in its nature, with the 10 short and snappy tunes over pretty quickly. Yet they pack a rump-shaking punch as the tracks brim with a constant soulful hip-hop energy-from the head-bobbing beats and sprays of brass on Koln to Ladi's saucy nasal lilt that drives the songs along. Then there's the delightfully silky and bouncy Jazmine D.L., a tribute to her cousin who passed away last year; Like Water is a romantic sing-a-long that has a cute stomp to it; and 98 'Til Now is her staunch hip-hop blow-out.
But it's on tracks like Burn With Me, an experimental hip-hop jam later in the album, and Goodday, a deep groover that just gets meaner and meaner as it pulses and slopes along, where The Liberation Of ... starts living up to its title.
So while the first half of the album is fun, catchy and what she does well, the second stanza starts wigging out with more mind-altering squelches and wobbly synth sounds, making it more than just hip-hop soul and taking it into cosmic soul-meets-future funk territory. That's a good place to be.
Ladi6's smooth and reflective hip-hop soul made her first solo album, Time Is Not Much from 2008, an excellent - if a little shy and coy - debut. On The Liberation Of ... she steps up in a bold, lively and often experimental yet fun way, which recalls the innovation of the last two Erykah Badu albums.
Right from the opening double-dutch hand-clapped start of Bang Bang, it's almost quickfire in its nature, with the 10 short and snappy tunes over pretty quickly. Yet they pack a rump-shaking punch as the tracks brim with a constant soulful hip-hop energy-from the head-bobbing beats and sprays of brass on Koln to Ladi's saucy nasal lilt that drives the songs along. Then there's the delightfully silky and bouncy Jazmine D.L., a tribute to her cousin who passed away last year; Like Water is a romantic sing-a-long that has a cute stomp to it; and 98 'Til Now is her staunch hip-hop blow-out.
But it's on tracks like Burn With Me, an experimental hip-hop jam later in the album, and Goodday, a deep groover that just gets meaner and meaner as it pulses and slopes along, where The Liberation Of ... starts living up to its title.
So while the first half of the album is fun, catchy and what she does well, the second stanza starts wigging out with more mind-altering squelches and wobbly synth sounds, making it more than just hip-hop soul and taking it into cosmic soul-meets-future funk territory. That's a good place to be.
Lady6 - Time Is Not Much
Ladi6’s debut album “Time Is Not Much”!
Aided and abetted by her musical partner Parks, the 27-year-old Ladi6 (Karoline Tamati) has established herself as one of New Zealand’s pre-eminent musicians. Her ability to blend jazz, reggae and soul vocal styles with razor-sharp socially conscious lyrics has cultivated her an enviable reputation as New Zealand’s leading live performers. She has rocked stages at New Zealand music festivals such as Rippon, Vodafone Homegrown, Big Day Out, Parihaka Splore, Music Mountain Matakana, Rhythm and Vines and Womad.
The words “in demand” no longer do her justice. The top-ranking soul sister has taken her Pacific style to foreign shores, performing in Australia, Europe and the United Kingdom.
Aided and abetted by her musical partner Parks, the 27-year-old Ladi6 (Karoline Tamati) has established herself as one of New Zealand’s pre-eminent musicians. Her ability to blend jazz, reggae and soul vocal styles with razor-sharp socially conscious lyrics has cultivated her an enviable reputation as New Zealand’s leading live performers. She has rocked stages at New Zealand music festivals such as Rippon, Vodafone Homegrown, Big Day Out, Parihaka Splore, Music Mountain Matakana, Rhythm and Vines and Womad.
The words “in demand” no longer do her justice. The top-ranking soul sister has taken her Pacific style to foreign shores, performing in Australia, Europe and the United Kingdom.
Subscribe to:
Posts (Atom)