Rare Blend's Cinefusion is an 8-song collection gelling rock/jazz fusion with an emotional soundtrack feeling inviting you for a ride to the musical gateway! Dynamic guitars courtesy of Vic Samalot and keyboard moods provided by Bobbi Holt are the cornerstones of this progressive, improvisational disc.5/5(1). Find album reviews, stream songs, credits and award information for Cinefusion - Rare Blend on AllMusic - Find album reviews, stream songs, credits and award information for Cinefusion - Rare Blend on AllMusic - You Gotta Funky Attitude. Rare Blend. Spotify Amazon: 8. Studio Album, released in Songs / Tracks Listing. 1. Breaking The Sound Barrier () 2. The Odyssey () 3. Black Rain () 4. Isabella () 5. Virtual Reality () 6. The Old Man & The Sea () 7. You Gotta Funky Attitude () 8. Fallout At () Total Time Line-up / Musicians - Rare Blend. Releases information.
Apparently concerning Patrice Rushen who also appears in this listwhen you find the Purple one riding Pegasus naked, you know he wants it. Macho took things one step further with this 18 minute odyssey that rocked countless gay bars and clubs. A good one to stick on if Representando - The Legion - Theme + Echo = Krill (Cassette, Album) need the loo.
The perfect end to an evening of hot summer dancing. Besides Giorgio Moroder, Patrick Cowley is widely considered the godfather of electronic dance music. A bootleg surfaced inbut hopefully this will get a proper reissue one of these days…. Written and first recorded by Lamont Dozier, it was then covered in by Richie Havens who, unusually for a folk musician, funkified it.
But it was NYC disco outfit Oyssey who, a year later, gave it full-body floor treatment, all the while maintaining its black power and soul fulfilment message. The original is rare as the scarcest relic, going for a good ton every now and then. ESGa co-release between 99 Records and Factory, was nothing short of a masterpiece: eighteen minutes of infectious and economical funk grooves.
Before Daft Punk there was Space. For its use of technicolour collage the video was also way ahead of its time. Sylvester is rightfully crowned the Queen Of Disco. One ever present though was the Rahbani Family, whose work with iconic vocalist Fairuz was perhaps the best known of a relatively vast musical empire.
You better believe it. The track was a little too crypto for other DJs though; so Francois K was invited to join the already all-star lineup to give the the track a more dancefloor-friendly mix.
Like the original, the disco mix runs on dramatic dynamism; the wild web of sounds — vagrant trumpets, drunk guitars, dancing keys, casual latin-style percussion, loopy men and women — thickens and expands before eventually detonating in a massive I wanna go BANG!
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Saying no will not stop you from seeing our ads, but it may make them less relevant or more repetitive. Your wishlist is empty. View Wishlist. Cart 0. By VF Team. Written by VF Team. VF Team. More by VF Team. Tags: 12"s disco. Related Articles. Wow, unbelievable! Joined by keyboardist and singer Paul Carrack in his one-album cameo as a Squeeze member, the group filled the album with smart, uptempo pop tunes whose lyrics scanned, in Difford's words, like "suburban short stories.
Difford and Tilbrook credit Elvis Costello, who coproduced most of the album with Roger Bechirian, for providing inspiration and encouraging the band to move into different areas. He hadn't intended to play it for Costello, who nonetheless liked it right away. When Tilbrook protested that it didn't sound like Squeeze, Costello said, "Let's do it anyway. East Side Story 's best-known song is "Tempted," sung in a husky, soulful voice by Paul Carrack, with Costello and Tilbrook chiming in here and there.
Difford wrote the lyrics on the way to the airport, and "all the things in there are pretty much all the things that were in my mind on that trip," he says. Though "Tempted" became an FM-radio favorite, it didn't crack the U. Top Forty. Musical touches both playful and artful, ranging from the surreal, wavering keyboards on "Heaven" to the full orchestra on "Vanity Fair," adorn East Side Story.
Yet Squeeze maintains that the record was an uncomplicated one to make. The production really involved arrangements, and then just a straightforward recording of the songs. As a side note, the name Lennon cropped up in an unexpected way midway through the sessions.
The foursome had been selling out arenas for more than a decade on the basis of Eddie's virtuosic, fleet-fingered guitar playing, singer David Lee Roth's blunt, raunchy lyrics and the brute force of Michael Anthony's bass and Alex Van Halen's drums. Butabetted by tunes that swirled elements of synth pop into metal — most evidently on the hit single "Jump" — and by a string of campy, low-budget videos that found favor on MTV, carried Van Halen to a new plateau of popularity.
No longer viewed as threatening to those with a chronic fear of metal, the band somehow became amusing and even endearing to middle America. And all the while Van Halen continued to rock like crazy.
According to Templeman, who produced all six Van Halen albums prior to and includinghaving time to experiment in the studio made a 団地のオバサン - Kenzi & The Trips - 青春Baby (CD, Album). They got into all kinds of different things, because they were bored doing What A Wonderful World (Impolite) same old stuff.
At the time, Eddie was in the process of building his own studio with Don Landee, the band's longtime engineer and now its producer. While boards and tape machines were being installed, the guitarist began fiddling around on synthesizers to pass the time. One night Eddie and Alex laid down an instrumental demo of what would become "Jump," excitedly ringing up their slumbering producer when they finished. It's like three in the morning, but we really came up with something great.
Roth added the lyrics, which he wrote while being chauffeured in his red Mercury convertible, and "Jump" went on to top the charts — heralding the arrival of hard rock and heavy metal in the theretofore impervious Top Forty. The album turned out to be the last recorded by Van Halen in its original configuration, Album) Roth left — not entirely amicably — to go solo and was soon replaced by Sammy Hagar. Producer Templeman swears he didn't see it coming: "There were no indicators to signal a breakup at all.
Matter of fact, they were really united on that sucker. Balls to the wall, they were going after the world, man! It wasn't until the release of her second album that Suzanne Vega achieved fame, scoring an unlikely Top Forty hit with "Luka," a song about child abuse.
But the singer's debut album, Suzanne Vega, had already awakened listeners to a fresh new voice, reviving the folk-music genre after nearly two decades of dormancy. For Vega, who You Gotta Funky Attitude - Rare Blend (3) - Cinefusion (CD then twenty-five years old, the album was cause for uncertainty and isolation as much as triumph.
Vega was certainly an anomaly during the mid-Eighties, softly strumming an acoustic guitar and singing introspective ballads while the rest of the music world was caught up in bigger-is-better events like Live Aid and Bruce Springsteen's Born in the U. In retrospect, however, Vega's intimate first album proved to be a significant milestone in this decade, ushering in a flock of female folk singers, including Tracy Chapman, Melissa Etheridge, Michelle Shocked, Tanita Tikaram and the Indigo Girls.
Having taught herself guitar at the age of eleven, Vega began writing her own songs when she entered her teens. After graduating from Barnard College inshe began playing small coffeehouses in Greenwich Village — the same area of New York City where nearly every Sixties folkie first tuned up his Gibson. But Vega, a child of the Eighties, hardly fit the protest-singer mold. Even though she carried an acoustic guitar, her hero wasn't folk icon Bob Dylan but punk godfather Lou Reed. There were other differences as well.
After years on the Northeastern club circuit, she had developed a direct, emotionally tempered style that she has said was inspired as much by novelist Carson McCullers and painter Edward Hopper as by romantic balladeers Leonard Cohen and Laura Nyro, You Gotta Funky Attitude - Rare Blend (3) - Cinefusion (CD.
Weaving these diverse influences into a deeply moving album were producers Lenny Kaye formerly Patti Smith's guitarist and Steve Addabbo Vega's managerwho brought modern touches to Vega's straight-ahead style, enhancing the singer's sparse sound with subtle electric guitars, graceful violins and even New Age synthesizers, all of which added gentle textures to her haunting material. Vega's prowess with simile and metaphor dominates the entire album, perhaps most effectively on songs like "Undertow," "Freeze Tag" and "Straight Lines.
At the time, I felt like a small blue thing. I never expected that people would think that it stood for something. Some people even asked if it's a fetus. It's not that at all — it's a mood. The result was Guitar Town, an album that straddled country and rock to create something startlingly new. In the words of a fellow artist, John Hiatt, it was "pretty much a darn near flawless record.
Great writing, fantastic album. It is a form of literature, but one you can consume while you're driving your car. Guitar Town boasts everything from a rich, orchestral twelve-string to some deep, twangy solos on the Danelectro six-string bass.
It was recorded at an all-digital studio in Nashville. By embracing the latest technology, Earle hoped his hometown would receive its due as an up-to-date music metropolis. Does Earle see himself as more of a country or a rock artist? Such was the trepidation with which the former Band guitarist and songwriter approached making his long-put-off solo album.
But he needn't have fretted so much: Robbie Robertson — released ina full decade after the Band broke up — is ample proof that Robertson's abilities are still Sera Di Gallipoli - P.Angelo Bertoli* - Eppure Soffia (Vinyl, LP, Album) much intact.
From the album's ethereal opener, "Fallen Angel," dedicated to Robertson's former band mate, the late Richard Manuel, to "Testimony," its hard-rocking conclusion, Robertson establishes himself as his own man. I thought that what I was feeling and thinking might be half-baked. Much of the work was done in a studio in Santa Monica that Robertson turned into a kind of workshop-cum-lounge. With guitars and synthesizers at the ready, he spent months and months working on ideas.
Although he began the recording sessions with an album's worth of material, many of the songs that showed up on the finished record — "Sonny Got Caught in the Moonlight," "Testimony," "Sweet Fire of Love" and "Somewhere Down the Crazy River" — were written in the studio.
Robertson wrote passionately about saving the planet "Showdown at Big Sky"the price of fame "American Roulette" and romance "Broken Arrow". Now I Chica Bonita - Panico - Pornostar (Vinyl, LP, Album) like I couldn't help it. Robertson sees the album as just the start of a new kind of songwriting and record making.
Do you know what a skin walker is? It's a thing in Indian mythology. There are certain people born with this gift, and they're able to actually get inside you and mess with your feelings and with your mind.
And if a skin walker chooses to get a hold of you, there's not much you can do. I want a song to get inside me, to feel it did the old skin walker on me. I was kind of discovering that on this album, and now I'm pursuing it. The British band, after all, sported no guitars, and there was no drummer or bassist in the group, either. Critically acclaimed, both LPs nonetheless possessed largely unfocused attempts at making synth pop an accessible rock style.
The band wanted a unique album cover and toyed with ideas such as a sardine can that would require a key not supplied and even what Levene describes as a "sandpaper-type record, which would fuck up all your other records when you put it in your collection.
The tracks weren't listed on the album or the labels, which were at least color coded. Much to the band's displeasure, the album was released in the United States with a cardboard jacket, a different title Second Edition and relatively inferior sound. With Jah Wobble's reggae-drenched bass way up front and Levene's dissonant guitar forays, the band pumps out droning, fragmented dance music — disco, Samuel Beckett style. Lydon's disembodied monotone vocals sound like they were phoned in long-distance.
Virtually all the songs on the album were improvised in the studio. Bassist Wobble would play until the other two heard something they liked, then structure a track around it, using a clutch of session drummers; Levene says the best work on the record began as mistakes that were then refined and repeated. Many saw in Lydon's lyrics an attempt to bury the Sex Pistols myth significantly, he had changed his name back from Johnny Rotten.
On the opening track, "Albatross," he sings about "getting rid of the albatross," perhaps a reference to former Pistols manager Malcolm McLaren. Second Edition also features three instrumentals, including the beautiful "Radio 4. She's So Unusual was an appropriate title for Cyndi Lauper 's debut record: From her electric-orange hair and colorful flea-market wardrobe to her squeaky, giddy voice, Lauper hardly appeared an odds-on bet to become one of pop's premier vocalists.
Nor are many of the songs selected for She's So Unusual conventional. But that's precisely what She's So Unusual became. The multiplatinum disc and its four Top Five singles made Lauper an instant star. Before embarking on a solo career, Lauper sang with Blue Angel, a group she cofounded in The band's debut album, released inbombed, and Blue Angel broke up.
Lauper signed a record deal with Portrait, and with producer Rick Chertoff at the controls she began work on She's So Unusual. Chertoff brought in Rob Hyman and Eric Bazilian of the then-unknown Philadelphia band the Hooters to play on the record. Together they opted for a synth-heavy sound that evoked the girl-group era of the early-Sixties and I.)- - H/ybrid S/ound S/ystem : Reinhold Friedl / Ulrich Krieger - Winter Was Hard Too.
(CD, Album) played Lauper's vocals against thick arrangements. Not yet an accomplished songwriter although she co-wrote "She Bop" and the touching ballad "Time After Time"Lauper looked outside for material. That she was able to integrate her zaniness into She's So Unusual without sacrificing the underlying seriousness of the songs or her vocal delivery also meant something to Lauper's career.
Few solo artists have been able to balance such a delicate dichotomy the first time around. Fewer still have made it seem so easy — and so much fun. It began as Dream Factorya two-record set with major contributions from Revolution members Wendy and Lisa, then metamorphosed into Crystal Ball, a three-record extravaganza whose lengthy title track was to be Prince 's masterwork. But by the time of its release it had once again become a two-disc set, not titled Sign o' the Times.
Highlighted by the outstanding Curtis Mayfield-styled title track, one of Prince's strongest social statements, the album is his most diverse work, with material ranging from the steamy funk of "Hot Thing" and the jazzy balladry of "Slow Love" to more esoteric gems such as "The Ballad of Dorothy Parker" and the fanciful "Starfish and Coffee.
Produced, arranged, composed and performed by Prince, Sign o' the Times found him back in complete control of every aspect of his music. He abandoned the neo-psychedelic qualities that had come to the fore on his previous albums, pursuing a tougher soul music, evident on the title track, "Housequake" and "U Got the Look. At first, Dream Factory was to have been another band album like the preceding Purple Rain, Around the World in a Day and Parade, but along the way Prince disbanded the Revolution and put existing band tracks on the shelf.
Instead, he holed up in the basement of his new house and began cutting solo tracks. About half the album was recorded You Gotta Funky Attitude - Rare Blend (3) - Cinefusion (CD home; the rest was recorded at Sunset Sound, in Los Angeles. Prince played or sang nearly everything, although there were some contributions from Sheila E.
The three-record Crystal Ball concept was followed all the way through to the mastering stage and included a suitelike twelve-minute title track. But Prince and Warner Bros. What became the new title track was written toward the end of the recording sessions.
Feel like singing? Why can't we be friends too? In retrospect, Sign o' the Times looks more and more like Prince's Exile on Main Street, one of the few two-disc sets by any artist that holds up through all four sides. The Seventies were the favored habitat of the Eagleswhose tales of "livin' it up at the Hotel California" vaulted the West Coast rockers to superstardom. In the wake of their unannounced breakup around the turn of the decade, the individual members faced the Eighties with a much less certain hold on their audience.
While his band mates — especially his erstwhile writing partner, Glenn Frey — have steered a safe, commercial course, Don Henley has written and recorded songs with a sociopolitical conscience, working at a painstaking pace.
He has made only three solo albums in this decade. Building the Perfect Beast is a meticulously crafted and programmed set of songs about love and politics. The first side is given to personal reflections on love and loss, such as the wistful, gorgeous "Boys of Summer. Kortchmar wrote or co-wrote nine of the ten compositions on Building the Perfect Beast. The arrangements are more varied and generally edgier than the Eagles' easy-rolling songs — a development consistent with Henley's growing politicization.
After all, only a few years before making his big splash, Crenshaw had been touring the United States as an ersatz John Lennon in various national companies of the successful pseudo-Fab Four musical Beatlemania.
Tiring of that well-paying gig, Crenshaw decided to leave the show and work on his own music. By the summer ofCrenshaw — who hails from the Detroit area — was playing his own tunes around New York City as part of a trio, with his brother Robert on drums and Chris Donato playing bass. One of those covers, "Someday, Someway," became a minor hit reaching Number Seventy-four on the pop charts and helped create a buzz about Crenshaw. Before long that buzz led to a record deal with Warner Bros.
Initially, Crenshaw wanted to produce his own first record, but he later agreed to bring in Gottehrer as co-producer. When Gottehrer suggested session drummer Anton Fig and bassist Will Lee for the sessions, Crenshaw insisted on sticking with his own group. There were also disagreements over what material to put on the album. But I gave in. Crenshaw and Gottehrer finished the record in five weeks at the Record Plant, in New York City — despite breakdowns by a steady stream of Vox amplifiers, a few of which caught fire.
The final album is an alternately rousing and heartbreaking cycle of infectious pop rockers "Cynical Girl," "Rockin' Around in N. Critics loved the album, and it sold well. But to me the real influences on that record were bands like Rockpile and Squeeze. The first album is very much a product of its time. I wasn't trying to make my pop masterpiece, I was just trying to do a good day's work.
It sounds like it was fun to make. But it turns out that the album wasn't so easy to make after all. Singer, songwriter and guitarist Finn, drummer Paul Hester and bassist Nick Seymour formed the band after the dissolution of the underappreciated New Zealand pop group Split Enz, of which Finn and Hester were members.
They'd been together for about a year when they traveled to Los Angeles to make their debut album for Capitol Records in — but still, says Finn, "we weren't really a band at all. Having come from a band that had spent ten years together, it just felt like a collection of three people at that stage.
They shared a house in the Hollywood Hills — hence the band's name — and went to work with producer Mitchell Froom, at the time best known for his work with the Boston roots rockers the Del Fuegos. We just tried different things as we went along, and it seemed to take on a character of its own as it went along. I was wary of what Mitchell was suggesting and second-guessing him, and he wasn't completely confident with us, either. A handful of session musicians, including guitarists.
Tim Pierce and Joe Satriani the latter on backing vocals onlywere brought in, and on "Now We're Getting Somewhere" the experienced rhythm section of bassist Jerry Scheff and drummer Jim Keltner was used. The next day we recorded 'Don't Dream It's Over,' and it had a particularly sad groove to it — I think because Paul and Nick had faced their own mortality.
The results hardly sounded forced, though the album seemed to be a flop until persistent word of mouth and some never-say-die promotion turned it into a hit eight months after its release. Indeed, the group's follow-up album, Temple of Low Men, failed to garner significant sales despite strong reviews.
The Traveling Wilburys' album was one of those happy accidents that was almost waiting to happen. After completing the track and deciding it was too good to waste on a flip side, the veteran rockers cooked up a full-length album that not only included some of each member's strongest material in years but also became one of the decade's genuinely unique musical achievements.
From the catchy folk-pop hooks of the first number, "Handle With Care," to the breezy country-rock finale, "End of the Line," the album's chiefly acoustic tunes all have the sound of instant classics. But the real kicker was the presentation. Rather than releasing the album under their own names, the five musicians hid behind a thin cloak of anonymity, attributing their work to a mythical supergroup and adopting hick personae as part of an elaborate charade that included a bogus biography and a custom record label.
The tongue-in-cheek concept was a humorous way of placing the emphasis on the music instead of the big names. Besides offering a witty commentary that mocked the symbols of superstardom, the Wilbury sobriquet served as a sly, preemptive strike against those who might spoil the party and canonize the fun-fest as a Serious Rock Summit.
The five half-brothers of the Wilbury family were hokey but hip, and their individual strengths complemented one another perfectly. There was Orbison Lefty Wilburywhose haunting, dynamic vocals are enshrined on the operatic "Not Alone Any More," and who reclaimed his former glory only to pass away shortly after the album became a huge hit.
Harrison Nelson Wilbury spearheaded Pie In The Sky - Johnny Copeland - Boom Boom (CD, Album) project following his fine solo album, Cloud Nine, proving that his comeback was no mere fluke.
Dylan Lucky Wilbury emerged from a rut of several mediocre albums with his sneering "Congratulations," the jaunty "Dirty World" and a seeming lampoon of Bruce Springsteen, "Tweeter and the Monkey Man. Rounding out the quintet was Lynne Otis Wilburythe former Electric Light Orchestra leader who handled most of the production chores and also sang the throbbing Transition 2 - Spiral Quartet - Kaleidoscope (CD, Album) bopper "Rattled.
Describing a typical day in the life of the Wilburys, Lynne remembers how the five musicians usually gathered at Dave Stewart's home studio in Los Angeles and banged out ideas until a complete song resulted from the jamming. Then we'd all join in, and it'd turn into something. We'd finish around midnight and just sit for a bit while Roy would tell us fabulous stories about Sun Records or hanging out with Elvis. Then we'd come back the next day to work on another one. That's why the songs are so good and fresh — because they haven't been second-guessed and dissected and replaced.
It's so tempting to add stuff to a song when you've got unlimited time. While the Wilburys were intended as a lark, songs like "Heading for the Light," "Not Alone Any More" and "Handle With Care" offer idealistic, romantic messages from a fraternity of rock graybeards. The liner notes say, "Reduced by Rick Rubin," and simplicity was the key to Radio. But its minimalism wasn't what made Radio a rap landmark. Beforemost rappers had simply recited continuous rhymes over four minutes of groove.
Rubin arranged raps like pop songs, with verses, choruses and bridges. So that LL's rhymes could fit into this new format, Rubin says, "I would say, 'You've got twelve lines, and you've got to do it in eight. It was just making rap more like songs. One of Radio 's most powerful tracks is "Rock the Bells. Now that LL has reached the advanced age of twenty-two, he says he is still unable to live without his radio. The Specials found a happy medium between the aggression of punk and the more danceable, upbeat rhythms of ska.
Sporting porkpie hats and two-tone suits, the racially mixed seven-member band from Coventry, in Britain, spearheaded a ska renaissance. The Specials' debut album, produced by Elvis Costello, also launched the briefly successful 2-Tone Record label. In his first outing as a producer, Costello captured the spirit of the Specials' frenetic live shows by re-creating a club environment in the studio. It was all live in the studio. In fact, for the song "Nite Club," the band even brought in an audience.
Costello was more of an observer, if you like. Suggesting things that we were too involved in to see ourselves. So we just thought, 'Well, we went to school with black and white guys.
Instead of fighting and calling people names, let's work together. We just mixed the two cultures. A cynical tour de force, Trouble in Paradise sets several of Newman's nastiest portraits of prejudice, greed, ego and small-mindedness against some of the most striking music of his career. Newman is clearly one of pop music's preeminent songwriters. But with Trouble in Paradise, he also mastered the art of great record making. Today it stands as one of the best albums of his career, a fully realized collection of story-songs in which Newman's dark take on the world is fully fleshed out.
Although the best-known song is Newman's love-hate letter to his hometown, "I Love L. In "Mikey's," two old-timers complain about what the world is coming to, distressed by the minorities now frequenting their favorite bar. The centerpiece of the record is "My Life Is Water - John Frusciante - Shadows Collide With People (CD, Album) which details the self-importance of a Hollywood wheeler-dealer.
Asked about the similarities between the song's protagonist and himself, Newman laughs and says, "If I were that big a jerk, I wouldn't admit to it. The arrangements throughout the album have a cinematic quality Newman worked on movie scores to The Natural and Ragtime. It's like scoring eleven films. How does Newman feel now about Trouble in Paradise? Like the first half of 'Miami. It might be funnier just with piano. Most music fans never had a chance to form an opinion.
We just made the best record we could. With Fiyo on the Bayou, the Neville Brothers — singer Aaron, keyboardist and singer Art, saxophonist Charles and percussionist Cyril — set out to capture their undisciplined sound, descended from New Orleans Mardi Gras music, while commercializing it enough to reach a broad audience.
The label eventually gave Dorn the green light. A self-admitted "sucker" for Aaron's angelic voice, Dorn painstakingly surrounded it with lush orchestration. We turned out all the lights except for one spot that was focused on a Nat 'King' Cole album. He sang the whole song to that album.
Of course, everyone involved was convinced he had a hit on his hands. Both Cyril and keyboardist Art Neville had been members of the seminal New Orleans band the Meters, which had released a album entitled Fire on the Bayou! Inclusion of a new version of the Meters' signature tune "Hey Pocky Way" on Fiyo further muddied the bayou. Most radio stations were just as puzzled by the Nevilles' style, which didn't fit easily into any programming format.
In My Tribe — a feast of acoustic rockers centered around singer Natalie Merchant's alluring vocals and a jangly guitar sound — vaulted 10, Maniacs from underground status into the Top Forty. And not a moment too soon, either: The third album from the upstate-New York cult band was literally a make-or-break affair. In My Tribe is more than a successful record — it is a poetic, heartfelt message about social concerns such as alcoholism, child abuse and illiteracy.
The Maniacs didn't always have such a passionate sense of purpose. Merchant joined after wandering into the radio station armed with a pile of LPs she wanted heard on the air, You Gotta Funky Attitude - Rare Blend (3) - Cinefusion (CD. Also recruited were guitarist Rob Buck and John Lombardo, a seasoned composer-guitarist who served as the group's major creative force.
Drummer Jerome Augustyniak came on board inand the group — after changing its name — released an independent EP and album before moving to Elektra Records. The Maniacs' major-label debut, The Wishing Chair, won fine reviews but met with indifference outside alternative-music circles.
Lombardo quit under stormy circumstances, and the anxiety proved to be contagious. After rejecting demos for the band's next album, Elektra insisted the group work with producer Peter Asher, best known for his work with Linda Ronstadt and James Taylor. The shotgun marriage worked out in the end, but it was a shaky trip to the altar. The band felt uncomfortable recording in Los Angeles, Asher's home turf. The Maniacs were also unhappy with many of Asher's additions to their sound, including computerized drums.
Asher insists he was merely "cajoling" the band into doing its best work. Elektra suggested doing a familiar song as the lead single, resulting in a cover of Cat Stevens's "Peace Train. The Maniacs ultimately scored with their sadly lilting second single, "Like the Weather. We fucking buckled up, tightened our belt and did it.
Screaming electric guitar punctuates the raucous melodies and street-smart lyrics on Vivid, an album that not only marked the auspicious debut of the hard-rocking band Living Colour but was also credited with breaking down racial barriers in pop music. The band proved to be the first black rock group to attract a large mainstream audience since Sly and the Family Stone in the early Seventies, and the album's ascent was accompanied by as much hubbub over the band's ethnic makeup as its compelling style.
It's a shame more people didn't focus on the music itself, because that's what we wanted. The music itself is an intoxicating brew of hard, grinding rock with splashes of funk, jazz, reggae, rap, punk and even country rhythms. Darting from the hip-hop twang of "Broken Hearts" to the philosophical metal assault of "Middle Man," the band refuses to stay stuck in any single groove. Vivid 's opening track, "Cult of Personality," is the real kicker, a bursting riff-rock anthem on the harmful effects of idolatry and blind faith that ironically helped catapult Living Colour to the status of pop icon.
The group's seeming overnight success was actually years in the making. Born in England and raised in Brooklyn, Reid earned his musical chops during the early Eighties playing guitar in electric jazz outfits like Defunkt and Ronald Shannon Jackson's Decoding Society. Trinity feat. She may be better off speaking to my homie Cise. The question I had asked was Really?! I'm Not Playing Intro multiple triggers Funky. I came to leave my mark like a two-year old with a crayon, and get these people swaying with everything I'm conveying, the first step is the training, the second step is the weigh-in, seconds up, round one, I ain't playing.
Verse Two I'm too N. Chorus x2 Verse Three I got the C. One of the best nah' mean? Letting Me Down Again feat. Chorus You letting me down again, you letting me down again, you letting me down, you letting me down, down Refrigerador - Maná - Falta Amor (Cassette, Album) letting me down again, she letting me down again, she letting me down again, she letting me down, she letting me down, she letting me down.
I'm disappointed in your total lack and disregard, and like a piece of paper now you tearing this apart, I'm trying to figure out exactly why we took a turn, it ain't that easy to decipher, so I can't discern, but at the same time I try to work the answers out, but what I know without a doubt is that you letting me down again. No Illusion I Used To Dukus Intro Said I used to x4 Verse One I used to make beats on a Commodore Amiga, my Brother was my biggest fan and truly a believer, he kept me level headed ain't no acting like a diva, I always been a dreamer with laid back demeanor, musically eager and supported by my teacher, my Uncle had a studio, I nurtured my procedure for putting beats together that would nearly blow the speaker, I met some other rappers, I would put em' on a feature, I always had a vision; I was something like a leader, I'm calling record labels when I pick up the receiver, you gotta put me on as if my name was Bonita, Bonita, Bonita, Bonita Uhhhhh!
Chorus Used to x16 Verse Two I used to get my breaks from this record store basement, and then I started searching other places and locations, scratched a couple records, I was looking for replacements, even found some breaks when I was walking down the pavement, and to my amazement they were super entertaining, I Everyday I Have The Blues - Various - The Collectables ;Blues; Collection Volume 1 (Vinyl, LP) to make records; I'm incredibly impatient, and hear my music play on every radio station, so then I get some paper, writing page upon pages, I had no time for wasting and could never get complacent, and I was a performer, so I had to get some agents, and did a You Gotta Funky Attitude - Rare Blend (3) - Cinefusion (CD shows as I was traveling the nation, and people seemed to love it and they showed appreciation, it didn't take me very long to build a foundation, and now I'm making music with universal engagement, so whether you be working or you chillin' on vacation, just turn my music up and keep it stuck on this rotation.
Vanloco Bun Fire feat. Chorus x2 Vanloco You bun fire blood? I bun fire too x3 You bun fire blood? I bun fire. Verse One I carry the torch; articulate the truth of my thoughts, ferocious at war and lyrically raw, I'm more than you thought, illustrating my cause with the kind of precision of a Beretta, it's a just short step to the omega, with two hands together like a prayer or a beggar, y'all can never sound better that's a fable, the Knight of round table, I slice ya bacon with ya bagel with a double edge dagger to cut the chit-chatter, my battalion is badder than venom and dark matter, your darkness is black?
My darkness is much blacker, the verbally deranged Don Logan, I bring a gift that's a Trojan and fill it with Romans, and homie that's just a token for you to go home with when you get caught slippin' and get stuck in the moment, it ain't broken, don't try to fix it, you ain't a Craft-maker, and I ain't never off the grid like I'm graph paper, I'm so fly with it, seven four seven, egg time your rhyme, give you seven more seconds, next time you try, bring seven more weapons, I was born in the year of seven times eleven, seven times the legend, seven times you threatened, the word on the street's you did seven times the sweating, you say you fire, I'mma show you what a fire do, you bun fire blood?
I bun fire too. Chorus x2. Caim feat. Cicero Chorus Oh no! Verse Two Ay' yo' it's tiring when you are looking for a job and there are thousands advertised, but when it comes to you it's like nobody's hiring, when everything is going good and I am feeling positive, but then somebody comes to mess with my environment, when I am working on a paper, my computer catch a virus and I didn't think to backup my assignment, it's like the universe is no longer aligning, and everybody knows the things you think are private, I check my social media; I see a picture of my friends, they at a party, yo' but how could they forget me?
League Of His Own feat. Verse One Remember he? He the The Ventures - Slaughter On Tenth Avenue / Rap City (Vinyl) you never put your money on.
Chorus Verse Two Remember he? Breakdown Uh multiple Verse Three Remember me? The one who's in a unique position, the one who didn't need your coalition to gain the recognition as a certified superior musician, the one who will defy your premonitions, the one that's on a mission and speak my mind without no inhibitions, the one who's contravening your conditions, the one who got volition, the one who's never seeking your permission, the one who doesn't follow your traditions, listen!
Rare Blend's Cinefusion is an 8-song collection gelling rock/jazz fusion with an emotional soundtrack feeling inviting you for a ride to the musical gateway! Dynamic guitars courtesy of Vic Samalot and keyboard moods provided by Bobbi Holt are the cornerstones of this progressive, improvisational disc.5/5(1).
Nov 23, · Rene Rose – Funky Attitude () Posted November 23, by ThaIgk. After the success of Rene Rose “Number One” / “Dance Floor” Maxi 12″ Single, the truly-international label Diggy Down Recordz is back with her full-length album “Funky Attitude” released in CD format. May 01, · Funky soul and Rare Grooves: the Singles Collection. Twenty five slabs of serious funk in a 7" record carrying case. From the vaults of Atlantic, Atco, Warner Bros., Reprise, and Josie Records. Limited edition boxed set featuring twenty five singles originally released between Twenty five classic singles, with the original A & B sides/5(20).
Sep 21, · Michael Jackson Rock With You (Epic, ) Listen / Buy. You can’t have a disco list without some MJ and it’s got to be a slice of Off The alexmiccaitrodcu.icurdetacarrbidkiestaldemenputar.infoinfon and Quicky Jones at the peak of their powers, the album has a funky undercurrent that’s clubby, yet plenty soulful; best captured ‘Rock With you’ whose wickedly sly groove would be imitated but never bettered for years to come.
A righteous undertaking of great magnitude, What It Is!Funky Soul and Rare Grooves trawls through a decade-long stretch of the Warner-distributed archive -- taking in the catalogs of Warner Bros., Atlantic, Reprise, Atco, and smaller nodes like Cotillion, Curtom, Alston, and Jonie -- and pulls up 80 soul/funk truffles, almost all of which were left for dead shortly after release.9/ Apr 11, · [Merlin] KudosRecords (on behalf of Tramp Records); ARESA, BMG Rights Management (US), LLC, and 3 Music Rights Societies Song From The Love Side (Album Version).
May 25, - Explore smokeoutspray's board "HipHop Remixes, Blends, Beats etc ", followed by people on Pinterest. See more ideas about Remix music, Remix, Blend pins.
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