In September, it was revealed that Sean Combs was moving his Bad Boy Records from Atlantic Records to Interscope Records. This deal was unlike most situations, though. Under the terms of this deal, all of the artists would stay under Atlantic, but all new acts would be signed to Interscope.

Initially, the only Bad Boy act that left for Interscope was Diddy, the label head. For the past few years, Cassie has been the most notable act on Bad Boy Records. It would make no sense for Diddy to leave her in his business deal.

While he promised that all of the acts signed to Atlantic Records would still receive the same attention as the acts signed to his current deal at Interscope Records, it is clear that he is playing favorites. First, he released Yung Joc from the label, entirely. Then, he left Day26 as only Atlantic acts.

Right off of the bat, he moved Mase with him over to Interscope and it was revealed that Red Cafe has also been moved from Bad Boy/Atlantic to the new deal at Bad Boy/Interscope. Seeing how Cassie has been one of the most consistent acts and the face of the label, it makes sense for him to take her with her.

Cassie has become the latest act moved from Atlantic Records to Bad Boy/Interscope. Despite the news of this deal, it is unclear if or when she will be releasing a new album.

Rapper Juvenile has had an interesting road back to relevance in hip-hop. After leaving Cash Money Records in 2001, going independent, returning to CMR in 2003 only to leave again, and then signing to Atlantic Records, Juvy found decent success with his album Reality Check which was released in 2006. Critics seemed to enjoy the fact that Juvenile had progressed to more mature subject matter, as he rapped about Hurricane Katrina, and turning down groupie women in honor of his wife. Two years later, his 4 year old daughter was murdered and fans began to wonder if his next album would be that much deeper. Surprisingly though,  Juvy is back to his old juvenile ways with 19 tracks full of boastful party music on his new album Cocky & Confident. This isn’t the album I expected from Juvy, but I guess we all mourn in different ways.

Cocky & Confident is exactly what the title implies. Juvenile takes us right back to his 90’s style of flow and lyrics as he raps about money, women, getting high, and every other vice that is supposed to make us feel good and forget about our problems. Rather than working with established artists and producers, Juvenile introduces us to a whole new crop of undiscovered talent which ranges from mediocre to somewhat decent. Kango Slim is probably the only one worth mentioning though, as he does have a decent voice, and is Juvy’s own version of Magnolia Chop who is known for singing hooks for B.G. We do get some vocals from Bobby Valentino and Pleasure P, and a verse from B.G., but this is hardly the major-label influenced album that Reality Check was.

There are plenty of hits on this album if you are a fan of southern rap. Most of the album can be played right through with the exception of “I’m Shining” and “I Say” which are just awful to me, but the other 17 tracks make up for it. The only song on the album with any substance whatsoever is the final track called “Listen” which is a pretty lackluster effort at remaking “Listen To Your Heart”, but at least the lyrics had some meaning. Interestingly enough though, Juvenile did not mention his deceased daughter once in the entire album, nor did he call out her killer. Maybe he’s not ready to speak on her death, maybe he never will, but I have a feeling that Juvenile will need to address that matter and other ‘grown man’ issues if he wants to stay relevant in the rap game.

Juvenile had enough juice to put out one more cocky southern rap album, and he did a nice job with it. He sounds fresh, and he sounds ready to re-launch his career, but he may also need a new gimmick. He will have to address his daughter’s murder, he will have to speak on political issues, and he will have to speak from his heart. If he doesn’t, noone will take him seriously any longer. I give this album a good grade, but if the next sounds anything like it, I’ll certainly be disappointed.

NOX-O-METER: 3.75/5.00

Follow me on Twitter

He hit the road, Jack

In an age where musicians labor for weeks over a single phrase—eventually a tiny part of a multi-track recording—it’s astounding to consider that the original 12 tracks on this album were recorded in two long sessions over two days. And when the artist in question has to learn music and lyrics by memory, and collaborate for the first time with an in-house producer, it’s even more incredible that the results would be so sublime.

As a transitional record, The Genius Hits the Road built upon the success of the landmark album The Genius of Ray Charles (hence the modified title) and was a Top 10 hit, charting for 50 weeks. Having left Atlantic Records when offered a lucrative financial opportunity and creative freedom, Brother Ray immediately paid dividends at his new home, ABC/Dunhill.

Not only would his relationship with that in-house producer (Sid Feller) turn out to be the start of a longtime partnership, but one of the songs cut on the second day would blow Ray Charles’ career wide open…

(continue reading this review at PopMatters)

How about 2376 Ray Charles song samples at Amazon?

Edwin Starr – “Twenty-Five Miles,” Pop # 6, R&B #6

By Joel Francis

If the horn arrangement on “Twenty-Five Miles” sounds like something out of the Stax studio, that’s because it is. Motown songwriters Harvey Fuqua and Johnny Bristol based their number on the obscure Wilson Pickett song “32 Miles Out of Waycross (Mojo Mama)” written by Bert Berns and Jerry Wexler and recorded in 1967.

It’s little surprise Fuqua and Bristol turned to a Pickett number when looking for material for Edwin Starr. Like Pickett, Starr was a strong baritone who sang from the throat. And like fellow Motown family member Levi Stubbs of the Four Tops, Starr’s voice was seeped in the Southern style.

Unlike, Stubbs, however, Starr didn’t have a string of hits under his belt, which made him a bit of an outcast at the label. A Detroit native who somehow escaped Berry Gordy’s eagle eye for talent, Starr’s biggest hit. to date was the 1965 song “Agent Double ‘O’ Soul” recorded on the Ric-Tic label. Three years later, when Motown purchased Ric-Tick in 1968, Starr joined the Hitsville stable.

“Twenty-Five Miles” opens with Benny Benjamin’s athletic drumming and he stays front and center as the funky scoutmaster that keeps Starr’s (and everyone on the dance floor) feet relentlessly moving. The bass line echoes a horn line that has become a staple of marching and pep bands across the country. The listener never learns what happens when Starr reaches his destination, but the energetic vocals definitely prove that getting there is half the fun.

Although “25 Miles” was a Top 10 hit, it often been overlooked when acts mine the Motown catalog. For nearly 20 years, Charles Wright and the Watts 103^rd Street Rhythm Band were the only group to cover the song. Their version was released several months after Starr’s as an album track on “In the Jungle, Babe.” In 1989, UK dance outfit the Cookie Crew sampled “25 Miles” on their hit “Got to Keep On.” Australian boy band Human Nature covered “25 Miles” on their 2005 release “Reach Out: The Motown Album.”

Final del s. XVIII. Origen del Gospel. Nace por parte de la población en las iglesias afroamericanas. La palabra original es GodSpell, que en castellano se traduce como «llamada de Dios». Se le denominó de esta manera ya que era un canto evangélico que invitaba a las personas al rezo. Además, las letras, en el gospel original suelen reflejar los valores de la vida cristiana.

1895. Primera publicación musical afroamericana. Se publica una pieza de lo que más tarde se llamaría Jazz. Tras la guerra de sucesión americana se aboliría la esclavitud y la población afroamericana comenzaría a desarrollar su música.

1910-1917: Surge del jazz de Nueva Orleans. Intérpretes como Louis Armstrong y Jelly Roll Morton saltan a la fama.

1930. Se comienza a popularizar la música gospel. La América negra comienza a cogerle gusto a ritmos más optimistas.

1941. Inicios del Rythm and blues. Louis Jordan & Tympany Five editan I’m Gonna Move To The Outskirts of Town. Venden un millón de copias. El saxofonista servirá de inspiración a los nuevos talentos del sonido popular negro, como Ray Charles.

Ahmet Ertegun delante de algunos de los discos más importantes de Atlantic Records

1947. Nace el término Rythm and blues. Creado por Jerry Wexler de la revista Billboard. Sustituyó al término conocido como “race records” (grabaciones de raza, también conocido como música racial), considerado ofensivo y molesto para una parte de la pobñación que vivía  segregada en la sociedad norteamericana. Herb Abramson y Ahmet Ertegün fundan la compañía Atlantic Records para rellenar el vacío en la industria musical dedicado a la música negra.

1949. Se comienza a definir una nueva identidad negra. La Iglesia tiene un papel fundamental en el incipiente movimiento por la lucha de los derechos civiles. Los predicadores instaban a sus fieles a tomar conciencia de su raza y su historia y enorgullecerse de ellas.  Tras la II Guerra Mundial surge el Be-Bop, como una “separación” del Swing. Dizzy Gillespie, Charlie Parker. Surge el Cool, como contraposición al Be-Bop. Miles Davis y John Coltrane.

1950. Nace Chess Records. Los polacos Leonard y Phill Chess fundaron la mejor compañía de blues y rock and roll de la década de los 50. Muddy Waters, Little Walter, Howlin’ Wolf, Etta James o Chuck Berry formaban parte del sello.

Recopilatorio de Chess Records

1954. Nace el soul. “I Got A Woman”(Atlantic Records) de Ray Charles se considera el primer tema soul de la historia. Es la primera vez que Ray Charles combina los ritmos gospel con las letras populares del blues. No gustó mucho al principio ya que se creía que convertir una melodía gospel en tema de blues era casi un sacrilegio.

1955. Consolidación del soul. “Please, please, please” de James Brown le dio un nuevo giro al término y la influencia del soul saltaba a la vista. El nuevo género caló hondo en la población.

1959. Nace Motown Records. Con base en Detroit, Berry Gordy crea  la casa discográfica de artistas tan importantes como The Jackson Five, The Supremes, Steve Wonder… y consolida el sonido de la joven América.

1960. Crisis del Jazz. El jazz atravesó una crisis de público y ventas a finales de la década de 1.960. Las audiencias juveniles estaban a favor de la música de soul y de rock, mientras que los aficionados adultos se sentían ajenos a las abstracciones y falta de emoción de gran parte del …El jazz atravesó una crisis de público y ventas a finales de la década de los 60. Las audiencias juveniles estaban a favor de la música soul, pop y rock, mientras que los aficionados adultos se sentían ajenos a las abstracciones y falta de emoción de gran parte del jazz moderno, por lo que los músicos de jazz volvieron a extraer ideas de la música popular.

1961. Stax Records. Fundada por Estelle Axton y su hermano Jim Stewart, originalmente con el nombre Satellite Records, Stax es la casa discográfica de genios de la música negra como Otis Redding e Isaac Hayes. Junto a Motown, comparte el honor de estar considerado el sello más importante de la historia del soul.

1965. Primer compromiso directo del soul con la política negra. Sam Cooke, como respuesta al tema de Bob Dylan “Blowin’ in the Wind”, or el hecho de que una canción tan punzante con el tema del racismo en América viniera de un compositor blanco, publica su canción más popular “A change is gonna come”. El tema ejemplificó la lucha por el Movimiento por los derechos civiles en Estados Unidos en los sesenta.

1967. Revolución del soul. Acrecentada por la reivindicación de los derechos raciales y la aparición del single de Aretha Franklin “Respect”, que causó gran impacto el la población afroamericana.

1968. El nuevo sonido: Funk. James Brown empieza a dar un nuevo sentido al soul, contribuyendo en añadirle dureza y mayor agresividad rítmica y sonora acorde a los tiempos que se vivían entonces, dando paso al funk.

1969. Integración racial. El grupo Sly & The Family Stone sin haberlo planeado se convirtió en un ejemplo de igualdad. Integraba miembros blancos y negros por igual, y mujeres del mismo modo que hombres, por lo que se trata de la primera banda multirracial. Con el sencillo “Everyday People”, con más de tres millones de copias vendidas, lanzó al grupo a la fama mundial, propagando mensajes de paz, amor, tolerancia; todo ello aderezado con una irresistible música de raíz soul y funk

1970. Cuando el soul conoció al funk. Stevie Wonder comienza a explorar el sonido funk utilizando un nuevo invento: el sintetizador. En 1973 publica “Superstition” dando un sentido más urbano a la música funk.

Talking Book disco al que pertenece el single "Superstition"

70’s. Encuentro del funk con la psicodelia. El grupo Funkadelic (conocidos también como P-Funk), fundado por George Clinton, estableció una innovadora mezcla de lo viejo y lo nuevo, fusionando los ritmos sincopados de James Brown, el rock ácido del guitarrista estadounidense Jimi Hendrix y la mezcla de sonidos del grupo Sly and the Family Stone.

Finales de los 70. Nace el hermano pequeño del funk, el hip hop.

80’s. El nuevo soul. Representa la “igualdad”, a la América negra de clase media. E

l soul de los 80 era más tranquilo y sosegado que el de los años 60 y 70. Anita Baker es un exponente importante de esta generación.

La intérprete Anita Baker

Finales de los 80. Se consolida el rap en la industria y nace el New jack swing. Up & Town nació como discográfica de hip hop. Andre Harrel decidió no centrarse solo en el rap, entendió el rythm and blues de diferente manera. Unió el soul con el hip hop, nació el new jack swing. Fue un género de transición, que abrió la puerta al público a los sonidos R&B y hip-hop actuales. Bobby Brown sintetizó este nuevo concepto.

1991. Origen del R&B. “You remind me” de Mary J. Blige se convierte en un éxito a nivel nacional. Marcó la llegada de un estilo agridulce, con la calidez del soul y la dureza del rap.

1992. Nacimiento del Hip hop soul. El disco de Mary J. Blige “What’s the 411?” se convierte en un nuevo híbrido musical reciclando el soul clásico y del rap de los 80.

Genre: Hard Rock
Origin: USA
Label: Atlantic
Length: 43:19
---------------
01. Welcome To My Nightmare
02. Devil's Food
03. The Black Widow
04. Some Folks
05. Only Women Bleed
06. Department Of Youth
07. Cold Ethyl
08. Years Ago
09. Steven
10. The Awakening
11. Escape

Клип на композицию We Be Burnin’ снимался в пустыне Лос-Анджелеса режиссером Jessy Terrero, работавшим над другим видео Sean Paul, Deport Them. Клип записан с канала MHD в разрешении 1080p и имеет отличную картинку, для подтверждения этих слов ниже выложены скриншоты.

___________________________________________________________________________________________

• We Be Burnin’
• by Sean Paul
• from the albom The Trinity
• directed by Jessy Terrero
• © 2005 Atlantic Records/VP Records

 

• Качество: HDTV
• Формат: TS
• Видео кодек: MPEG2 Video
• Аудио кодек: AC3
• Видео: 1920×1080 at 29.970 fps ~ 19.1 Mbps
• Аудио: 48000Hz 2ch 384Kbps
• Размер: 456 Mb

Check out more of his music HERE

Wow… I’m really surprised sarcastic.

So, it’s been announced that The Twilight Saga:  New Moon soundtrack has already gone Platnium!

Let’s just say:  Do we Twilight fans know how to stick together or what?!

The soundtrack to The Twilight Saga: New Moon received RIAA platinum certification for exceeding sales of 1 million unites. The album also rose to No. 8 on the Billboard Top 200 and sold more than 93,000 units during its sixth week on sale. The soundtrack reached No. 1 in its first full week on sale, and the album has remained in the top 10 ever since.

The soundtrack features tracks from Death Cab For Cutie, Thom Yorke, Muse, the Killers and more. It also won “Favorite Soundtrack” at the American Music Awards earlier in the week.

Source.

I guess when it comes to giving Mick Jagger a present, you got to think the guy has just about everything.
I mean what could you possibly give him he either couldn’t buy himself or doesn’t already own?
Clothes. Nah.
Wine. Boring.
Hmmmmmm, how ’bout a nice watch?

Well that’s exactly what Ahmet Ertegun gave Mick Jagger back
sometime in the early 70’s.
An Eterna Matic Concept 80 wristwatch.
He had engraved on the back, Mick Here’s to a Million or 2? Ahmet.
My guess he was talking about the sales of an upcoming album.
Maybe Sticky Fingers or Exile given the time period.
Since at this point The Stones had just recently come on board with Atlantic, it’s not unusual Ahmet was hoping for a long and successful relationship with them.

Ahmet co-founder and executive of Atlantic Records used his personal skills in negotiating the signing of The Rolling Stones to Atlantic when they were shopping for a record company to distribute their independent Rolling Stones Records label.

He personally “did the deal” with Mick Jagger, when other labels had actually offered the band more money.

This watch was later donated by Jagger to an auction run by LA radio station KMET-FM back in 1973 in a week long auction they ran to raise money for the victims of the Nicaraguan Earthquake.
Mick was of course married to Bianca at the time, and her having family there got Mick very involved in this worthy cause.

The Stones gave a benefit concert in LA and donated at the proceeds to help the victims.

A unique piece of memorabilia owned by Jagger with a great history behind it .

A RARE TICEKT STUB FROM THE STONES NICARAGUAN BENEFIT SHOW IN LA.

Thehiphopdiva.com would like to express condolences for the family of DJ Peachez.  We know she will be dearly missed. Below is a little bit about her journey, taken from her myspace page.

DJ Peachez was born and raised in Central Virginia. She is a graduate of JMU where she majored in Marketing, minored in Music Industry and was an Honors Scholar. During her 6 years as a DJ, she has worked hard to cultivate her talent and keep the true art of hip hop music alive. Whenever she touches the turntables, you can see her love for the art and the joy of moving a crowd.

DJ Peachez first touched the turntables during her freshman year of college in September of 2000 at James Madison University. She stopped by the college radio station and spoke with the urban director, who graciously took time every week to teach her the basics of turtabilism: how to scratch, back up (repeat phrases) and mix songs. She saw DJing as an opportunity to release stress and make money to pay for her tuition and books. She decided on the name Peachez, since that was the nickname her relatives gave her (because of her light skin tone).

By Junior year, she was performing for events and shows all over JMUs campus and DJing for Another Sure Shot Entertainment, a booking company from Virginia Beach, VA. Through that company, she opened up for the Clipse at Virginia Unions Homecoming and BET Comic View Comedians. She has also performed at Lynchburg College, UVA, and VCUs Homecoming 2006 at Mr. Bojangles. She did such a good job at the VCU homecoming party that Quest from Atlantic Records named her “First Lady of the Cap City.” She has also performed at JMUs homecoming for 6 years in a row.

In addition to colleges, she has performed at various locations in Norfolk, Lynchburg, and Richmond, VA. This list includes, The Spectrum (Lynchburg, VA), Fevers (Farmville, VA), Mr. Bojangles, Club 321, Tonic, The Matrixx Room, The Cherry Lounge (Richmond, VA). She also performed at Afram Fest in Norfolk, VA (Memorial Day Weekend) 2 years in a row.

C’mon Now! Firstly, Sean “Diddy” Combs lost Mase, then Loon and now the Making tha Band final 5, Day26!! The boy band released two albums, “Day26″ (2008) & “Forever in a day” (2009),  on Diddy’s record label,Bad Boy Records. The group told BoomBox that they had served their tie with Bad Boy Record and it was time for them to moved on to the next one.

They then confirmed that they had signed to Atlantic Records now - ” Bad Boy is always our family, but we’re with Atlantic right now…we really want to get people focused on the artistry, on the music. I think a lot of people lost it with the entertainment of the show. So now, we really want to show people what we’re all about, that we do our thing whether it’s on stage, in the studio, writing and producing — we do it all” – All I gat to say is “………Wow, Diddy man!!” 

Pretty Ricky is one of those groups that you just can’t debate with people. Either you love them or you hate them. There is no way to honestly critique their work in a way that will please everyone. Some consider them hip-hop, some consider them R&B, and others consider them Pop. They do rap, they do sing, and they do make dance music, so I suppose they can be all three at once. One thing we can agree on though, is that this group has been through a lot in the last year or so. It all started when Pleasure P left the group to pursue a solo career, which is now looking like it wasn’t such a great move after his debut album flopped. Next, Pretty Ricky’s 3rd album, 80’s Babies, leaked so early that it actually had to be scrapped by the label entirely. Somewhere between then and now, the group apparently lost the support of Atlantic Records, and a new member named Lingerie has replaced Pleasure P for their 3rd official album which is self titled. Noone would blame you if you had hesitated before popping this album in, but it might be worth it to you.

The music itself is exactly what you would expect from Pretty Ricky. It is pretty much 14 songs about kinky sex, but that doesn’t mean it isn’t entertaining. If you could get past punchlines like “Imma leave that pussy purple like Barney”, there is actually some pretty catchy music to be heard here. The first 10 tracks on the album can be listened to straight through. It isn’t until the eleventh track and the cliche “once you go black, you never go back” concept before the album starts hitting experimental waters, complete with animal sounds, a jazzy lounge band, and a fairy tale ballad which takes entirely too long to get going. I could have actually settled with the first ten and still felt okay about this album.

Although this album is worth listening to if you like sexy slow music mixed with hip-hop, it still doesn’t live up to their first two albums. There are only so many different ways you can rap about sex before it becomes time to work a new gimmick. What Pretty Ricky needs is a grown man’s album, but I’m not sure they are quite ready yet. Maybe their album sales will convince them otherwise, as this is likely to only sell a few thousand units this week without major label backing.

NOX-O-METER: 3.00/5.00

Follow me on Twitter

Клип от знаменитого во всем мире рэпера и продюсера Jay-Z на сингл Empire State Of Mind, который всего за несколько недель смог подняться на первое место рейтинга Billboard Hot 100. Песня вошла в последний альбом Jay-Z The Blueprint 3, вышедший в сентябре этого года. Сам клип был очень высоко оценен зрителями и поклонниками рэпера. А сейчас смотрим и скачиваем видео в DVD качестве.

___________________________________________________________________________________________

• Empire State Of Mind
• by Jay-Z ft Alicia Keys
• from the albom The Blueprint 3
• directed by Hype Williams
• © 2009 Roc Nation/Atlantic Records

 

• Качество: Promo
• Формат: VOB
• Видео кодек: MPEG2 Video
• Аудио кодек: PCM
• Видео: 720×480 at 29.970 fps ~ 6789 Kbps
• Аудио: 48000Hz 2ch 1536Kbps
• Размер: 227 Mb

You really don’t want to piss of your partner.
Especially when he’s Keith Richards.
But Mick needed to test himself in 1985 by going solo for the first time in his career
with She’s the Boss.

When The Rolling Stones signed with CBS Records in 1983, one of the options available to them was for individual projects, and Jagger – ready to spread his wings after recording exclusively with his famous band for twenty years – eagerly began working on She’s the Boss.

Following the release of Undercover, Jagger began composing material for his first solo project, sanctioning the help of various musician friends in the studio when recording began in May 1984. Of those involved were Pete Townshend, Jeff Beck, Carlos Alomar and Herbie Hancock, while Jagger would share production duties with Bill Laswell and Nile Rodgers.

Keenly aware of the current musical trends – and taking advantage of his freedom – Jagger endeavored to make She’s the Boss sound hip and contemporary, giving the album a very mid-1980s character with its use of synthesizers and drum machines.

Keith Richards, Jagger’s longtime musical partner in The Rolling Stones, was not pleased that Jagger was pursuing solo work, feeling that their band should be each others’ first priority. The growing friction between both musicians would erupt – in a most publicized way – in 1986, before they resolved their differences a couple of years later.

She’s the Boss was released in February 1985 – preceded by its lead song “Just Another Night”. Both the album and its first single became worldwide hits, with “Just Another Night” reaching #1 on the US Mainstream Rock chart and #12 on the US pop chart, and She’s the Boss going to #6 in the UK and #13 in the US, where it went platinum. Follow-up single “Lucky In Love” would be a Top 40 US hit. Although critical response to the album was warm, many later reviewers consider She’s the Boss – with its distinct 1980s production techniques – to sound somewhat dated in style.[citation needed]

The success of the album – impacted by Jagger’s solo appearance at Live Aid that July and his rush-recorded duet hit cover of “Dancing In The Street” with David Bowie – influenced Jagger to record a successor, Primitive Cool, which would be released in 1987.

Although originally released by CBS, She’s the Boss was acquired and reissued by Atlantic Records in 1993 following the release of Jagger’s third album, Wandering Spirit.

In 1986, Jamaican reggae singer Patrick Alley attempted to sue Jagger over the song “Just Another Night,” which Alley claims he had recorded in 1979 and released on his 1982 album, A Touch of Patrick Alley. Alley claimed that Sly Dunbar (who played drums on She’s the Boss) also played on his recording. The case was cleared in 1988, with Jagger stating “My reputation is really cleared. If you’re well known, people stand up and take shots at you.”

http://en.wikipedia.org/wiki/She%27s_The_Boss

The following are direct from the files of a former publicist and personal assistant to Mick Jagger.
Typed and xeroxed lyrics with hand written annotations by Jagger.

I’m currently reading a book by Danny Goldberg called Bumping Into Geniuses. It’s a perfect book for me to be reading because not only does Goldberg have fascinating tales to tell about bumping into and working with some of my favorite geniuses (including the likes of Kurt Cobain, Jimmy Page, Robert Plant and Bonnie Raitt), but his career path is also something I’m trying to emulate.

In fact, I’d unknowingly been trying to follow Goldberg’s career path before I even knew who he was. Now, as I read it, the book is validating my seemingly lofty assumption that I can turn my position as a starving journalist with a geeky obsession with music and musicians into a career as a legitimate, successful music industry executive and artists’ advocate. Goldberg went from being a rock critic to doing PR for Led Zeppelin to running Atlantic Records. Who’s to say I can’t do something like that?

The book’s title comes from Atlantic Records founder Ahmet Ertegun’s answer to how to make it in the music business: keep walking around until you bump into a genius. He was obviously simplifying things, but a running theme of the book is the absence of a formula when nurturing a career in music. In the beginning of the book, Goldberg quotes the legendary Atlantic Records president Jerry Wexler (who, incidentally, also began his career as a journalist) in reference to music industry secrets. “First of all, there aren’t any secrets. And second of all, if there were any secrets, we wouldn’t tell them.” This was before Goldberg had begun his own admirable career. And, in hindsight, Goldberg himself says, “What few secrets there were could not be of any help to anyone else. But there were stories.”

So, what can I learn from these men? I can glean confidence from their stories and appreciate my own. And I can hope that if I keep walking in the right direction, I’ll eventually position myself at the right place at the right time and bump into a few geniuses myself.

the [two] dope boyz put together another solid b.o.b. compilation. in case you missed it, they dropped should have been the first album not too long ago, and it apparently lit the firecracker under atlantic’s ass to get the ball rollin’ on the adventures of b.o.b. definitely a good look. also, b.o.b. vs. bobby ray was by far one of my favorite mixtapes of the year, so i’m excited to see where he’s headed.

this is a dope little compilation of his features and songs of his that had some nice (or not so nice) features. hit the jump for the tracklisting.

download:

b.o.b. presents the features [mixtape]

-grizzly

Tracklisting & link after the jump…

Download::: B.o.B Presents The Features [Mixtape]

via

Concert used memorabilia in collecting is rare and difficult to find. Authenticating that the item was concert used is even more difficult and documentation is even harder to find.

Which makes the pictured item rare indeed.

Concert used and signed drumsticks belonging to Charlie Watts of The Rolling Stones.

For starters, they are Ludwig drumsticks.
Charlie used and played Ludwig back in the 80’s.
He now uses Vic Firth.
Secondly they were played at a very unique concert.
December 18, 1981 Hampton, VA, the last show of the “Tattoo You” tour, Keith Richards birthday and a specially taped show for television.

Read the letter from Stones President Art Collins on how he obtained the sticks from Charlie after the show.

A few items signed by Charlie that aren’t as difficult to sign as drumsticks.

MC 011 – Themselves,  Ergo Phizmiz,  Amon Duul II ‘Made In Germany’ and ‘Legends Of Benin’

We have a lot to get through with this edition so I shan’t keep you to long.

The 20th anniversary of the Berlin wall coming down seems apt as I finally reach Amon Duul II’s LP ‘Made In Germany’. My article is full of information on the records subject matter, a 150 year journey through Germany’s history with all its references to war, art, opera and literature. This grand opus of a rock opera shares the same criticisms that most concept albums attract. Much lauded even by fans of German music this album has had a thorough kicking, in part due to its controversial topics. Recently Kasabian have come out and admitted to using the cover artwork as a backdrop to their own ‘West Ryder Pauper Lunatic Asylum’.

We have three albums up for review this time round. The  left field Hip Hop of Themselves, Surrealist experimental musician Ergo Phizmiz and the latest compilation from German label Analog Africa all make an appearance.

I shall leave you to it.

(DV)

Themselves - 'Crowns Down' 2009

Themselves – ‘Crowns Down’

Anticon 2009

Vinyl (double)

Side 1.

1.    ‘Back II Burn’

2.    ‘Oversleeping’

3.    ‘The Mark’

Side 2.

1.    ‘Gangster Of Disbelief’

2.    ‘Daxstrong’

3.    ‘You Ain’t It’

Side 3.

1.    ‘Roman Is As Roman Does’

2.    ‘Skinning The Drum’

Side 4.

1.    ‘Dead Catcher II’

2.    ‘Gold Teeth Will Roll’

In recent times we have seen a flourishing underground movement in Hip Hop that has moved towards a rawer and more left field indie direction. Both in the use of their original beats and the style of delivery artists such as MF Doom, Madlib, Mr.Lif, Aesop Rock and Edan have remained low key in the background busily reinventing the scene. They all make the ridiculous blown up pretensions of commercial Hip Hop look frankly out dated and stale. Just because the likes of Kayne West sample Daft Punk it doesn’t mean that he has taken any risks.
You see it’s all calculated to the nth degree so that he can sell more of his pop lite banal brand of rap, we seem to have created a monster! His rival to the crown of most over-rated rapper is Jay Z whose recent headline at Glastonbury just made the case for yet more of that smoke and mirrors nonsense of epic proportions.
The last decade in Hip Hop has ended up being watered down for the X-Box generation, either brute force messages about killing to stay alive or boring ditties about girls and money by 50 Cent seem to be the only choices on offer to the masses. But there is an amazing scene that runs counter to its bloated rival helped by social networking sites and low key gigs that have promoted some of the more cutting edge and experimental groups out there.
Artists like Yo! Majesty and Uffie have broken through yet remain gritty and carry a lot of kudos, granted that they may not have the most politically charged of subjects in their resume. Like Spank Rock they may just want to shake their booty. All these artists have incorporated a back to basics approach into their music, rocking beats from the golden period of Hip Hop in the Eighties and merging them with an updated style of now.

Which leads me to the inventive duo of Dose One and Jel, who have both been involved in a long list of creative projects including the highly acclaimed cLOUDDEAD and Subtle, whose influence is heavy on this the third album from their creatively successful moniker Themsleves.
Dose One and Jel return to the old skool set up of MC and DJ to create an extraordinary poetic slice of never ending prose, set to a mix of beats and samples that conjure up memories of the golden period in Hip Hop of 1985 to 1989.
On top of this we get a layer of industrial strength effects and abstract sounds familiar to those used on Subtle’s ‘Exiting Arm’ LP.
The rapping features the distinct nasal style of Dose who never lets up on the tracks ‘Oversleeping’ and ‘The Mark’, in fact it sounds like he’s not going to ever come up for a breath. He uses this delivery style almost like an instrument in its own right as he spits rapid readings like a form of lyrical autism.
Famously back in the day Dose faced off against an unknown Eninem at a scribble jam, which he lost by the way though I think we know who the real winner is!
Partner Jel supplies the music and drum beats though some cool and dazzling effects, he borrows from Ultramagnatic MC’s, Kool G Rapp and Marley Marl. Like on the opener ‘Back II Burn’ which uses a heavily influenced electro break fest from Graig G era Transformer’, or the darker tones of past masters Paris and Big Daddy Kane on the track ‘Roman Is As Roman Does’.
His drum machine creates some deeply unwieldy moods that threaten to crush who those that step up to the challenge.

Highlights on the album include ‘Skinning The Drum’ which has samples flying around with nods of recognition to the pioneers, much in similar fashion to Edan on his ‘Beauty And The Beat’ LP.
The lyrics further back up the mood with the repeated refrain of “who was inventing it, who was wrenching it”,
On ‘Daxstrong’ a swirling playground ambience turns into an assemblage of breaks that could have been on the cLOUDDEAD album as Dose eloquently builds up a picture of social ills expressed in his clever use of lyricism.

My only criticism is in the track ‘You Ain’t It’ which sounds like a horrible vocoder pastiche of Californian bump and grind mixed with Hal Mar Superstar’s smooth brand of funk.
I’m not sure what they are trying to do with this song but it doesn’t in my mind sit well with the rest of the album.

This album thoroughly deserves your attention even if you don’t usually follow Hip Hop. A mix of experimental sound collage and subliminal wordplay suffused with the inventive use of samples ‘Crowns Down’ could be the equivalent of TV On The Radio’s ‘Dear Science’ LP from last year.
It will defiantly make my best of 2009 list.

Dominic Valvona

Ergo Phizmiz himself steering the Dada ship ever forward.

Ergo Phizmiz (& The Rock ‘n’ Roll Machine) – ‘Dadaphone’

Available through FMA (Free Music Archive)

1.    The Bomb
2.     It’s A Sin
3.    Saturday Night
4.    Karma Police
5.    A Little Respect
6.    Lets Get Ready To Rhumba
7.    Turn Around
8.    Slap My Bass Up
9.    I Think We’re Alone Now
10.  That Bassline

Ergo Phizmiz is the modern day equivalent to the Surrealist Max Ernst and Fluxus movements La Monte Young.
His work across installation, sound and performance pushes the ideals of Dada to more extremes with his nonsensical and childlike approach to sometimes-heavy themes.
An in demand composer who has had work commissioned for numerous art institutions as well as the BBC, his back catalogue is far and wide in range.
The common thread that runs throughout is that he doesn’t seem to take himself too seriously, a joyful abandon cannot be contained no matter how stiff the subject.
I actually briefly contributed to one of his projects a while back. At the time he was artist in residence at the Dimbola Lodge gallery on the Isle Of Wight, famous for being the home of Victorian photography pioneer Margaret Cameron; the Annie Leibovitz of her day hanging out with Tennyson and Darwin among many other renowned characters.
Ergo weaved a set of recordings around the history of the place with his storytelling sound collages, I found myself taking part with a conversation piece between us being cut up and added.
Anyway I’m diverting attention away from the album, let me continue back on track so to speak.

This ten track scattering of covers entitled ‘Dadaphone’ is a strange mix of Nineties commercial dance anthems, Eighties pop and some more credible labelled songs such as ‘Karma Police’ by Radiohead.
Erasure, Pet Shop Boys and shopping mall teen queen Tiffany all spring up and receive a tongue in cheek deconstructive form of dismemberment.
Ergo’s brand of medicine produces a mix of Captian Beefhart era ‘Electricity’ and Bonzo Dog band ‘Gorilla’, which on the Ant and Dec adjusted titled song  ‘Lets Get Ready To Rhumba’ is evident in the Bonzo’s Cambridge Footlights vaudeville humour.

The stand out tunes include The White Stripes style trash of ‘It’s a Sin’, which erupts into a slavishly grinded out blues number via the sonant ‘Greensleeves.’
As I mentioned before Radiohead’s ‘Karma Police’ is given the Ergo treatment, though his version becomes a jaunty polka knees up that drops a lot of the original sentiment out yet still captures some of the soul.
‘I Think We’re Alone Now’ is now a romantic mandolin led waltz through medieval France in the age of Chretien De Troyes. Both pleasant and joyful his appropriation of this Eighties pap actually lends it some gravitas that the original never envisioned.
By far my most favourite cover is Erasures classic ‘A Little Respect’, which in the hands of Ergo becomes a maelstrom of raw emotion played out by krautrockers noise merchants Faust.
Heavy yet not ridiculous it is a pretty deserving tribute.

Lesser highlights yet still worthy of your attention is the broken down cacophony of ‘That Bassline’. The bass line in question is Chic’s, which is accompanied by a mash up of competing riffs and refrains. Pure Beefheart in approach and spirit everyone sounds like they’re playing completely different tunes at the same time. It amusingly starts to work and instead of falling completely apart resignedly triumphs in its chaos.
Also on the album there are experimental nods to dance acts such as the Prodigy and pop princess Kylie as well as a sea shanty inspired rendition of the annoying hit ‘Saturday Night’. I can’t for the life of me remember who had the original hit but she was defiantly Dutch.

All of the tunes are freely available on the music site Free Music Archive, where you can choose at will or download the lot. My advice is to grab them all as everyone eventually grows on you.

God bless you Ergo Phizmiz! May your avant garde ship of tomfoolery continue to set its course through the oceans of mediocrity and boredom.
Not too strong I hope!

Dominic Valvona.

Analog Africas 'Legends Of Benin' compilation 2009.

‘Legends Of Benin’ (Afro Funk – Cavacha – Agbadja – Afro Beat 1969 to 1981) –  Gnonnas Pedro/ El Rego/ Antoine Dougbe/ Honore Avolonto.

Double Album available on both Vinyl (version reviewed and CD)

Accompanied by the following backing bands: -

Dadjes
Panchos
L’Orchestre Poly-Rythmo
L’Orchestre Black Santiago

Compiled by Samy Ben Rejob for Analog Africa Records, 2009

Track List:-

Side A

1.    ‘Dadje Von O Von Non’ – Gnonnas Pedro et Ses Dadjes (3:53)

2.    ‘Feeling You Got’ – El Rego et Ses Commandos (3:44)

3.    ‘Honton Soukpo Gnon’ Antoine Dougbe  (7:05)

4.    ‘E Nan Mian Nuku’ – El Rego et Ses Commandos (4:26)

Side B

1.    ‘Tin Lin Non’ – Honore Avolonto et l’Orchestre Poly-Rythmo (8:48)

2.    ‘Okpo Videa Bassouo’ – Gnonnas Pedro et Ses Panchos (3:30)

3.    ‘Ya Mi Ton Gbo’ – Dougbe et l’Orchestre Poly-Rythmo (6:34)

Side C

1.    ‘Nou Akuenon Hwlin Me Sin Koussio’ – Antoine Dougbe (5:03)

2.    ‘Na Mi Do Gbe Hue Nu’ – Honore Avolonto (6:44)

3.    ‘Vimado Wingnan’ – El Rego et Ses Commandos (3:01)

4.    ‘Dou Dagbe We’ – Honore Avolonto et l’Orchestre Black Santiago (4:26)

Side D

1.    ‘Djobime’ – El Rego et Ses Commandos (2:31)

2.    ‘Kovito Gbe De Towe’ – Antoine Dougbe (6:39)

3.    ‘La Musica en Verite’ – Gnonnas Pedro et Ses Dadjes (7:08)

Afro beat; Afro funk and all its many bewildering sub genres have always slightly perplexed me. I’ve often taken a peek and thumb through the African music section in all the record shops that I regularly frequent, though until now I have left it well alone. The sheer depth and number of styles have often left me confused, as a novice I feel a little shy to point out my ignorance, though it never usually stops me from having a punt and purchasing a record on chance alone.
Well on this occasion my first ever-actual buy was aided by complete chance.
I happened to be in Borderline Records store in Brighton, an emporium of reissues and forgotten gems from bygone ages. On that day they were playing some pretty groovy foot tapping sounds, a quaint version of early Stax mixed with liberal lashings of James Brown’s infused funky Zaire period soul.
Instantly I became hooked as my whole body decided to break out into some embarrassing Paul Simon induced dance routine. Cut a long story short I ended up asking the owner what he was playing, he kindly showed me what it was and I ended up with ‘Legends Of Benin’ a lovingly compiled album of 14 tracks by four of the African country of Benin’s finest artists. In case your knowledge of African geography is shaky, Benin is in the west and borders Togo, Nigeria, Burkino Faso and Niger. Tightly caged in by its neighbours the influence of all these regions leaks into the music to create a unique mash up of rhythms and beats, that switches from rhumba to rocksteady in the blink of an eye.

The artists on this album include the likes of Gnonnas Pedro, a politically charged crusader, El Rego, an entrepreneur of dubious enterprises including a brothel and a boxing club, Antione Dougbe a much feared Vodun priest and Honore Avolonto, responsible for the country’s biggest selling album of all time.
These pioneers of poly-rhythmic charged music were all collected together by German based label Analog Africa’s Samy Ben Redjeb, an honourable sounding advocate of the genre who should be commended for his efforts.
His personal sleeve notes lavishly grace the record with a real fondness and warmth, though he had many problems licensing and obtaining permission to release this record. Three of the four artists are no longer with us so their legacy has been left in the hands of relatives and old musical comrades, not all of them initially eager or trusting in the beginning.

The music itself is a combination of funk, rhumba, soul and an attempt at reggae, all served with a thick dose of infectious grooving traditional African rhythms and instruments. Local bands to the region back each of the artists, from the military moniker Commandos to the exotically named Black Santiago.
Being a former colony of France the songs are titled and sung in the former interlopers language, if it makes sense these tracks even sound like their being played in French.

Highlights on this record include El Rego’s ‘Feeling You Out’, which has an inviting bass line that introduces a prime slice of James Brown at the Apollo rawness whilst the sax sounding squeaks coupled with a break beat backing make this into sound like a missing Northern soul stomper.
Antoine Dougbe, the high priest of some primal religion who professed to be the spirit of a dead relative sent back to this world so he could heal and curse those who cross him, concocts a swinging style of pulsating and joyful abandon on ‘Ya Mi Ton Gba’. His more down to earth day job as a musician is less frightening then his reputation precedes.
Honore Avolonto on ‘Tin Lin Non’ delivers an Afro beat groove behemoth that just never lets up, whilst Gnonnas unleashes a call and response soul spine tinkler with ‘Okpo Videa Bassovo’. His ‘Dadje Von O Von Non’ opens with ghostly sounding twanging guitars and features catcalls over a bouncing melody.
Some of the tracks are more laid back and quite subtle evoking comparisons to ska.
There is a real sense of authenticity running through these tunes and they come across as quite fun to make.
All the musicianship is tight with plenty of space to let it breath, there are no solos or hogging of the limelight to be found.
As to all the different genres I’m still not too sure how they’re prescribed only that it has something to do with timing, the instrumentation and that some of the styles are derived from ceremonies and folklore. None of this matters of course as they all sound great.

Chuck this on to get any party moving and to impress your know it all friends.
Thanks Analog Africa for introducing me to an untapped rich library of quality world music.

Dominic Valvona

A German Music Odyssey – (1968 to 1975)

Part 8 – Amon Duul II   ‘Made In Germany’

Background: -

Sadly this will be the last in the series dedicated to Amon Duul II before I go to work on Colognes finest Krautrock advocates Can.
But I’m ending it with the bands sensational Teutonic rock opera of 1975 ‘Made In Germany’.
This epic homage to the Who’s ‘Tommy’, broadly mixes in all the low and high points of Germanys history, from the birth of a united country in the 1800’s to the fall out of World War II. Along the way countless references incorporate a host of cultural figures, from composers such as Wagner to the philosopher Kant.
Politically charged and self-mocking this album both courted mock disdain and controversy, which we will come to later.

Firstly that’s rewind back to 1974, a stressful period in the bands career. Coming home after a tout and emotionally draining tour the guys needed a little down time, members had upped and left whilst the direction of the music was in turmoil.
Along comes the A&R man Jurge S. Korduletsch, a man of considerable means who had recently set up his own label Lollipop Records. Certain promises were made and before you knew it he had signed them up.
At once he pushed the band into a recording session, this hastily orchestrated session became the backbone of their next release ‘Hi-Jack’. This strange record became their most commercial marketable album yet and oddly borrowed heavily from Bowie and glam rock.
It was at this point that Atlantic records came calling offering a deal to release their music in the states, though they would also release the LPs under the ATCO division in the US and Canada. This may have been in response to the relative success that Virgin were having with bands from Germany, Tangerine Dream and Can amongst others.
After some initial success with ‘Hi-Jack’ it was agreed that now would be the time to follow up with something quite ambitious, as well as a great fuck you to the establishment and sensibilities of the man.
John Weinzierl puts it that they basically become disillusioned with the so-called changes in society and empty gestures of the underground youth movements. Also it was apparent to him that history itself was not moving on and that his fellow compatriots were still seen as the bogeyman of Europe. Even though his generation had seen the horrendous fall out of the former regime and reacted to it by pushing the leftist antidote forward, they were still envisaged as bad guys. As much as they tried to separate and fight against it, the world carried on viewing them with suspicion and always eager to remind them of the war.
With all this in mind Weinzierl and the group embarked on a grand project which would see them releasing a double album of songs based around a central theme of irony and self-provocation. This would take both real and made up figures from the rich history of the country, borrowing heavily from literature, film, opera, fantasy and real life events.
The Weimer Republic, Fritz Lang, King Ludwig, Hitler and Marlene Dietrich all make an appearance in this cliché heavy diatribe. From the unification under the heavy brow beating of Prussia, which came after the eventual victory over Napoleon to an initial story involving a character named Mr.Kraut, this LP has it all crammed in.
‘Made In Germany’ is like nothing they’ve done before and continued instead a move towards a crossover rock and pop experimentation, which ‘Hi- Jack’ had tried before.
By this point they shared nothing in common with any of their fellow countrymen in style or direction as they went out on a limb with their new brand of classical music and intelligent rock.

In the krautrock fraternity this record is usually given a wide berth, which is unfair. A loyal bunch of us have a certain fondness though and will go on about it quite a lot, spreading the word so to speak. Recently to my surprise a new champion in the form of Kasabian came forward, who both rate the record and admit to using its cover as inspiration for ‘West Ryder Pauper Lunatic Asylum’.

The cover artwork of ‘Made In Germany’ is itself different depending on which of the two different versions you have.
In both the US and UK a compressed single LP version (see track list) was released. This had Renate dolled up to look like Marlene Dietrich from the movie ‘The Blue Angel’, she has an alluring but contemptuous gaze as she straddles a chair in true Cabaret style.
The original version used a picture of the band sitting for an old fashioned portrait bedecked in various costumes including Bavarian pomp, what looks like a Zeppelin pilot and Renate as a heroine from Wagners Ring Cycle. This is the picture that Kasabian re-enacted for their album.
This original was included in the single version on the inlay sleeve as well, so not sure why they buggered about with it.
The reasons for their being two variations comes down to a fall out with Atlantic boss Ahmet Ertigon, who was mightily surprised to find his latest signing offer up this platter of Germanic mayhem and political satire.
Finding it in poor taste and completely misreading the concept he got cold feet and cut the album down, only Germany itself to my knowledge received the proper double album. Rumours that Ahmet’s Jewish background played a part, though on being told that Amon Duul II wanted to embark on a US tour/invasion by travelling over in a Zeppelin can’t have helped matters. Remember this is only thirty years after the end of World War II itself.
Also the original contains a mock shock DJ interview with Hitler himself, which uses his speeches as the DJ pokes fun with a knowing wink and some poor taste quips. All this has been available on CD for years now so you don’t have to miss any of the stuff that was cut out on the single album.

The recording itself included session players such as Thor Baldursson, the Icelandic keyboardist and singer who worked with Giorgio Moroder and Grace Jones, Heinz Becker, Lee Harper, Bobby Jones and Helmut Sonnlestner, who all had a background in jazz.
New boy Nando Tischer became a fully ingrained member of the band playing guitars and singing as well as composing some of the songs. Robby Heibl was back on duty again and mucked in on near enough everything, he was also now the designated bass player of the group.
John Weinzierl is credited as guitarist but was the leader so to speak of Amon Duul II and is responsible for a far old share of the concept and composition.
Renate and Chris Karrer do most of the singing whilst Falk U Rogner supplied his sonic delft touches on synth and organ.
The talented Peter Leopold, who gets some room to show of his old ‘Yeti’ solos, supplied drums as usual.
All of the musicians do a sterling job and it is amongst the best of their whole catalogue. Obviously the songs are more structured but there is always room for inventiveness and some great lead guitar work.

Right I think that covers the background details now its time for the review.
I’ve chosen the original double album version to write about but have included both track listings for completion.
Also at the end of the review there is a complete list of all their releases up to date.
Weinzierl and some of the core members continue to tour and are embarking on a new album. Also they are set to be busy with showcasing some of their old material for a one off filmed performance that will take place in the original Bavaria studios.
Of course I will update you on when this will happen.

Review:-

‘Made In Germany’ 1975

Double gatefold LP on Nova Records, only released in Germany at the time.

Record 1.

1. Overture    (5:12)

2. Wir Wollen    (1:32)

3. Wilhelm Wilhelm    (3:10)

4. SM II Peng    (2:16)

5. Elevators Meets Whispering    (1:26)

6. Metropolis    (3:27)

7. Ludwig    (2:32)

8. The Kings Chocolate Waltz    (2:28)

9. Blue Grotto    (3:33)

10. Mr.Krauts Jinx    (8:44)

Record 2.

1. Wide Angle   (4:06)

2. Three-Eyed Overdrive    (1:17)

3. Emigrant Song    (3:21)

4. Loosey Girls    (5:13)

5. Top Of The Mud    (3:45)

6. Dreams    (4:08)

7. Gala Gnome    (3:52)

8. 5.5.55    (1:39)

9. La Krautoma    (6:08)

10. Excessive Spray    (1:41)

Single version on one record released in 1975.

UK – Atlantic Records

US/Canada – ATCO

Side A.

1. Dreams    (4:08)

2a. Ludwig    (2:33)

b. The Kings Chocolate Waltz    (2:52)

c. Blue Grotto    (3:33)

3. 5.5.55    (3:13)

4. Emigrant Song   (3:23)

5. La Krautoma    (4:45)

Side B.

1. Metropolis    (3:38)

2. Loosey Girls    (5:20)

3. Gala Gnome    (1:18)

4. Top Of The Mud    (3:44)

5. Mr.Krauts Jinx    (8:48)

Personal: -

Renate Knaup: Vocals

Robby Heibl: Vocals, Bass, Guitars and Violin

Chris Karrer: Vocals, Guitar, Banjo and Violin

Peter Leopold: Drums and Percussion

Falk U Rogner: Synthesizer and Organ

Nando Tischer: Vocals and Guitar

John Weinzierl: Guitar

Thor Baldursson: Keyboards

Heinz Becker: Timpani, Gong and Percussion

Lee Harper: Trumpet, Brass Section

Bobby Jones: Saxophone (Solos on ‘Loosey Girls’)

Jurgen S.Korduletsch: Additional Backing Vocals and Producer

Helmut Sonnleitner: First Violin and String Section

A rolling timpani and clashes of cymbals announce the theatrical opening bars of ‘Overture’. A prelude orchestral snippet of all the tunes to come, it is used in a similar fashion to the same titled song on The Who’s ‘Tommy’.
This Wagner evoking composition transcends his ‘Ring Cycle’ stiffness and is instead an uproarious celebration of this inspired requiem that Amon Duul II have set sail on.
Played out in full classical pomp this overture of sorts’ sets us up for the 150-year journey through Germanys history.
The track makes its way through all the different melodies on this album, 8 bars or so of each song to come is given the ceremonial treatment before a final clash of the gong and the next track ‘Wir Wollen’ strikes up.
Roughly translated as Come On!, this rock steady instrumental groover continues the classical mood. Old joy de vie orchestral pieces from past dead German composers interact with the lead guitar of John Weinzierl as the percussion crashes about in the background., culminating in an epic finale.
‘Wilhelm Wilhelm’ breezes along on some hip riffs as Renate and Chris Karrer enter the fray with their harsh Germanic tones that tell the tale of King Wilhelm I of Prussia (between 1861 – 1888) and later on the whole of united Germany (1871 – 1888).
Wilhelm had fought against Napoleon in his youth and went onto to rule the kingdom of Prussia before eventually brow beating all the separate states, of what was to become Germany, into eventual unification.
He famously appointed Otto Von Bismarck as his Prime Minister, which was in part due to the ill feeling and distrust between the royal household and parliament. Bismarck was to act as his man on the inside and to be sympathetic to the Kings views but this gave way to him taking on most of the decisions and led to him gaining most of the real power.
Added to this the founding of the a new Fatherland were plots of assassination by anarchist and left wing groups, which led to draconian laws being introduced against the liberals and free thinkers. King Wilhelm was lucky to escape with his life and was wounded in one of these attempts, which he saw as a wake up call and prompted a lock down mentality and placed the country in a militarised state, ring any bells!
Our three-minute funky number encapsulates all this background into a poppy little ditty that is both sung in English and their native tongue. A chiming melody and a crunchy wah wah effects driven guitar gives this song an almost rock disco feel, whilst Peter Leopold lets loose on the cymbals that end in an eruption.
The strange and exotic titled ‘SM II Peng’ is next up, another instrumental interlude. It ambles along in fine fettle abandon riffing off a 12 bar blues boogie with the accompaniment of some spooky sounding effects from Falk U Rogner. The track sounds like a cheerful wander through a graveyard or a sit down at an séance in a Gothic palace.
This is followed by another instrumental segue way entitled ‘Elevators Meets Whispering’, which apart from its strange use of English is another slice of mysterious creepy and misty fog bound graveyard atmospherics.
Our odd curio is given some gravitas from Weinzierl and his strung out haunting guitar strums before this short interruption abruptly ends and makes way for the big guns.
‘Metropolis’ begins with a grand piano, which accompanies a staccato riff of rock as Renate’s sultry Teutonic tones gloriously paint a picture of 1920’s Weimar through the films of Fritz Lang.
Lang and his most famous work of art ‘Metropolis’ is dissected and referenced throughout the tune, nods to both locations and the underlying plot are connected to paint a picture of disillusionment. Angles, Dr.Mabuse and Zeppelins all pop up, as the workers remain left at the bottom of a modern day version of the Tower of Babel. As in the biblical tale a common language is lost between those in control who reached the peek by standing on the underclass’s faces and those who ended up in a shitpile after building futile monuments to false ideologies.
This expressionistic romp both mixes Sparks and Roxy Music into a boogie Euro stomp; Renate adds a dose of eccentricity with her approach to the vocals that are sung with enthusiasm but also with the hint of cynicism. She sounds like a heroine from one of Klimts paintings or an oracle from Wagners ‘Valkyrie’. This is one of the albums many highlights.

Next up is the three-part story arc suite of poor old King Ludwig, a much maligned and ridiculed figure from German history.
The first of these acts is ‘Ludwig’ which tells the tale of his apparent suicide by drowning, though a strange plot to get rid of him by his ministers makes for a good conspiracy theory.
Ludwig II of Bavaria was brought up in a privileged world and he inherited his fathers’ exuberance for fantasy and myth. His love of arts and music led to him patronising the controversial Richard Wagner, who had been involved in anti-establishment intrigues and had run away once after taking part in protests. This lonely king was more at ease with images of old folklore and Arthurian legend then with the day-to-day running of his country.
After the unification of all the individual kingdoms by Wilhelm, Ludwig stayed on his throne but with a diminished role. Following his late fathers building plan of extensive palaces and castles, he plunged his domain into bankruptcy. Not wishing to take advice from his ministers he threatened them with being removed.
Plots to have the king certified as mentally unstable were slowly put into place, a hasty draft was sent for approval to Bismarck himself who dismissed the claims.
Another attempt with the involvement of four prominent physicians of the day sealed his fate, though he didn’t come quietly and its alleged he may have been shot whilst escaping on Lake Starnberg. It was announced to the world that he had committed suicide but we know better – right?
‘Ludwig’ crams all of this background into a satire inspired boogie that has Renate on lead vocals again.
‘The Kings Chocolate Waltz’ is an instrumental stopgap built around a sad sounding Wurlitzer loop. Some echo and deep reverb drenched guitars are added to the stirring ambience.
Our short story arc is finalised with ‘Blue Grotto’, with its poetic and crooned delivery from Renate. Ludwig and his eccentricities are given an airing in this ballad to the misunderstood actions of the deluded king.
What chance did he have when he was famously brought up in the Disney like palace of Neushwanstein, which was situated near to Schwansee or under its better-known moniker Swan Lake. In fact Ludwig was nicknamed the Swan King after it.
All the references in this song are adhered to in the true misfortunes of the foppish monarch, moonlight picnics and hanky panky in the nude with his male servants add to the fascinating tale of a little boy lost.
Renate has named this her favourite song in the whole Amon Duul catalogue.

Leaving behind the fateful old charming Ludwig we end the first part of the album with the eight minute long tale of ‘Mr.Krauts Jinx’. A heavily German toned vocal from Karrer sets up the story of our unfortunate character Mr.Kraut, more of that tongue in cheek approach of self-disdain.
Our character is exploring the Valley Of Kings in Egypt on some cheap package tour I expect though this one ends with him being beamed up by extra terrestrials. This unforeseen addition to his holiday sees him travel through the cosmos before he is promptly placed in a space zoo as the latest exhibit. Some anthropologist type of table turning or reference to the search by right wing ideologist for a white superman we can’t be sure. But over the course of the song we go from a warm acoustic introduction in the vain of Dylan before we progress to what amounts to some thrashing out rock aspirations.
The end of our story is a kind of positive as Mr.Kraut is thrown a concubine of well-equipped proportions to spend his eternity with; our man now has a smile on his face.
A final refrain of “Cause future ain’t tomorrow, future is today” rings out in uplifting defiance or because ones fate is finally sealed.
Karrer seems to have a few problems with singing this track, as he almost goes out of tune with some of the lines.
I’m at odds with this track as it remains in my eyes a bit of a filler and lets the whole album down with its almost Euro embarrassing direction.

The second part of the album starts with the country rock inspired buoyant jaunt of ‘Wide-Angle’. Renate is at her ‘All Years Round’ best as she reminisces about the days of self abandon in the Munich communes. Dropping acid and hanging onto every word of a lost love interest that long since moved on and left the original principles of change back at the bed-sit.
Both the aspirations and drugs are now replaced in the stars backstage with “compromised cocktails” lavishly bestowed upon our band by the new suit wearing management. I can’t help but think this is a dig at how their music has been adopted into a more commercial arena along with bands like Can who after 7 or 8 years have finally to a point compromised their sound.
‘Three Eyed Overdrive’ is another one of those instrumental interludes, which features more haunting synths and organs. This time the main thrust is a pulsating synth that becomes pretty disturbing as it moodily stews away.

Karrer delivers a heavy burdening thick German accent in the next tune ‘Emigrant Song’. Cuckolding a parody driven lament to the story of the first German settlers to try and make their way in the USA. Escaping all the loons and stiffs from back home they hope to take a slice of the new world but end up in the inhospitable lands of Sierra Nevada. It would take brave men indeed to tame this mountainous region which had the worst of both climates, it could be either stiflingly melting hot or become snow bound frozen tomb.
Some stereotyping of German traits is delivered with an outburst of banjo and homage to the Native Indians history as penned by Bob Dylan.

The paintings of Otto Dix, Max Beckmann and George Grosz influence the Weimar Republic hedonism of ‘Loosey Girls’.
Heavy doses of Pink Floyd era ‘Meddle’ are played out over this alluring jazz number, which features a saxophone solo and the hard pressed vocals of Karrer.
A cabaret inspired world of depravity in the days before the stirrings of the far right put an end to such loose times, this song weaves a heartfelt poem of woe as our prostitute heroine falls into a society of despair. It all sounds like Karrer has seen it happen too many times, though it has quite a moving melody and hits the right spot even though it carries some sentimentality.
‘Top Of The Mud’ ups the tempo as we get a heavy rock rendition of blues that ends in a glam infused knock at the current music scene. Renate and Karrer sing in unison as they lampoon their own route from space rock troubadours playing music from another dimension to the more structured ambitions of recent years. With lines like “might not be much fun, without any fans” they comment on their own situation within the industry and sound jaded and knocked about by the increasing lack of faith in what they are doing. Though it is unfair as this album could be their best.

Confidently sweeping in is the heavy South American tango tinged ‘Dreams’. Passionate Cuban like sounds and melody infused with the ruminants of a flamingo style shindig add to this track that has Karrer swoon about sharing thoughts of a love that got away through his dreams.
A segue way instrumental ‘Gala Gnome’ intrudes proceedings with an ambient brief interlude. Delayed synth combined with a low engine like hum produce an unnerving breather before the next song ‘5.5.55’ arrives to much anticipation.
Better known as the 5th of May 1955 this is the date that West Germany gained full sovereignty, though the US kept its presence there hoping to put off any plans the Soviets might have creeping over the boarder.
The economic miracle of which this track speaks started off through the seeds of the Marshall plan and catapulted the Germans to becoming one of worlds most productive and eventually rich economies. By 1973 they had help found the G6 nations group and became the industrial capital of Europe, all within thirty years of the end of the war.
Contrary to belief they didn’t exactly get away with it easily as both culturally and scientifically all intellectual property was either appropriated by the US or swallowed up into the allied nations own companies.
Both France and the UK received more money through the Marshall plan then Germany, it wasn’t until the Eighties that we in the UK paid our debt off. Germany had paid a higher interest fee off and eventually by the mid Seventies had got rid of its debt.
All this is adhered to in the song as this rock heavy jolting tune asks what could have been, space programmes are both mentioned in the sense of lost opportunity but also pilloried as being paid for by those who can’t afford it.
A reference is also made to the Kraupp dynasty, a 400 year old industrial family who owned some of the biggest steel and ammunitions factories in the country. Sympathetically playing to whoever was in charge at the time the family business survived most leaderships. A cosy relationship with the Nazi party helped them get all the major contracts to supply the army.
Alfried Kraupp was head of the company at the time of the thirties and forties, an opportune shady wheeler-dealer he used slave labour during the war supplied by an ever-helpful Herr Hitler. Alfried got cold feet after the failure of the German invasion of Russia and started to siphon off money and try to keep a distance from the regime. After the war he was put up for war crimes and received a 12 year sentence and made to sell off his company, but here’s the sickening part. No one brought his business and after spending half his initial sentence incarcerated he was allowed out to take control again. This reinforces in part the underlying mistrust by the next generation who inevitably ended up trying to overthrow the system.

At the end of ‘5.5.55’ there is a short interjection. In the style of a shock jock US radio interview, a rambling 80 syllables a second ranter puts across questions to Hitler as though he was questioning the leader of some band. Hitler answers with snippets of his original speeches as our DJ mockingly goads him. This interview builds up with what sounds like an audience waiting in a theatre for the performance to begin. All of a sudden they all break out into a feverent applause and cheering as Amon Duul II strike up their last jam. It becomes apparent that this audience is the one at Nuremburg.
The six minute instrumental ‘La Krautoma’ is based on the popular South American derived ‘La Paloma’, an old folk type song that has been recreated a million times across every country. Hell Elvis used it for his hit ‘No More’.
This space rock balling freak out mixes in the old country tune as Peter Leopold lets rip with one of his most ambitious drum solos of all time.
Aggressive guitars intercede as notes are left on sustain and put through pitch shifters, whilst all hell breaks loose as pure flights of fancy take hold of the band.
As the last galactic charging rhythms and effects fade out ‘Excessive Spray’ draws this grand opus to a close.
Military played recall on the snare accompanied by ‘Yeti’ era subtle ambient stirrings end in triumph. Falk’s synth has its last say with some Gothic pretensions, whilst we feel a sudden sadness loom over the horizon. Never again would we hear Amon Duul II in such a creative manner, complete sounding even if it is a move away from the improvised jams of yore.

So ends Krautrocks most overtly ambitious and aspiring work of art, a beacon of farce that attracts only those willing to learn and willing to experience a direction in music rarely repeated.
To be fair I’ve dissected this album to the point of obsession but hope in doing so that my enthusiasm sends you in the right direction and that you don’t dismiss the record as folly or high jinx theatrics.
Though I hate bands who gabble on about their influences, Kasabian’s unexpected nod to ‘Made In Germany’ may give it some attention, the richly deserved sort of attention that bands like Neu! and Can attract with ease. Though these guys sound practically stiff and cold in comparison to this.

Amon Duul II - 'Made In Germany' 1975.

DISCOGRAPHY:-

1969 – ‘Phallus Dei’

1970 – ‘Yeti’

1971 – ‘Dance Of The Lemmings/ Tanz der Lemminge’

1972 – ‘Carnival In Babylon’

‘Wolf City’

‘Utopia’ (Side project)

1973 – ‘Live In London’ (Live)

‘Vive La Trance’

1974 – ‘Hi-Jack’

‘Lemmingmania’ (Compilation)

1975 – ‘Made In Germany’

1976 – ‘Pyragony X’

1977 -  ‘Almost Alive’

1979 – ‘Only Human’

1981 – ‘Vortex’

1987 – ‘Anthology’ (Compilation)

1989 – ‘Milestones’ (Compilation)

1992 – ‘Live In Concert :BBC recording from 1973 (Live)

1996 – ‘Eternal Flashback’

‘Kobe’ (Reconstructions)

‘Nada Moonshine’

‘Live In Tokyo’ (Live)

1997 – ‘Flawless’ (Compilation)

1999 – ‘The UA Years: 1969-1974’ (Compilation)

2000 – ‘Manana’ (Compilation)

Official site:-

http://www.amonduul.de/main.html

PART 9:- We’re off to Cologne next as we leave our Munich friends behind for the first part in the series on Krautrocks most popular group Can.

The freethinking improvised masters of everything from west coast rock to world music via cut up experimentation, changed music forever during the Seventies.
We kick off with their first album ‘Monster Movie’, heavily influenced by The Grateful Dead, Hendrix and that West Coast of the US psychedelic rock. This record includes some pretty amazing beats and playing from the guys.

Dominic Valvona.

@WIRED
Automobiles will soon be linking up with servers in the cloud to enable everything from crowdsourced pothole detection, personalized radio stations, video selections that include YouTube and even video streams from the front windows of other cars.

Think of it as Dashboard 2.0.

A consortium of tech companies called ng Connect showed off a functional concept version of a Toyota Prius on Tuesday that includes multiple LCD screens, an app platform similar to the one for the iPhone, and a high speed LTE internet connection that promises to make 3G feel like dial-up. The set-up turns the car into a Wi-Fi hot spot, plays movies on demand, and lets passengers frag each other in multi-player games.

The LTE connection is fast enough to stream four high-definition movies to four different screens in a single car, according to Alcatel-Lucent vice president Derek Kuhn. While still a telecom dream, LTE is backwards-compatible with today’s 3G networks. It also relies on a single standard, which will hopefully make nationwide rollout cheaper and faster than 3G has been.

ng Connect is comprised of a motley crew of tech companies: the networking company Alcatel-Lucent, Atlantic Records, QNX Software Systems, Toyota, geek gadget company chumby and Kabillion. Their LTE Connected Car project is only a prototype now, but the group expects its technology to roll out within the next two to three years.

ng Connect’s system leverages two major trends — cloud computing and mobile applications – to provide safety, navigation, and entertainment features that already go a long way towards justifying its “next-generation” moniker.

The high-bandwidth connection enables processor-intensive applications like voice recognition — a crucial safety feature in gadget-ridden cars — to happen on the server side, where voice commands can be processed more efficiently. And that’s just the beginning of what cloud computing will do for drivers, according to the ng Connect group.

“This car also is a sensor,” explained Kuhn. For instance, if your car’s temperature and moisture sensors determine that the surface temperature of the road is below freezing and that the road is wet, it can upload that information into the cloud so that the drivers behind you know to take it a little easier around the turns. It’s like a crowdsourced version of what traffic helicopters do today.

Entertainment-wise, the system offers Pandora’s personalized streaming radio, Atlantic Records’ apps that pull in an artist’s latest tweets and songs, YouTube and a movie streaming service that remembers where each viewer left off. Future applications could even use the vehicle’s moisture sensor to suggest that you play Bon Jovi’s Slippery When Wet, according to Kuhn.

Lest you worry about drivers being distracted, the system cuts off the entertainment stream to the driver’s monitor as soon as the car is in motion.

A camera embedded in the rearview mirror captures the road ahead, letting you pipe a video stream to the cloud. This will let you see the view from a connected car a quarter-mile ahead of you, so you can find out what’s causing that traffic jam up ahead. The system can also sense that traffic is becoming more compressed, warning you to slow down before you encounter a traffic compression.

Of course, America’s love affair with the car has a lot to do with freedom, and some could bristle about this sort of connectivity compromising their privacy.

“Let’s be open, there are privacy issues,” said Kuhn. “But we think we can abstract it enough that it’s not Dan driving.”

“It’s a nameless entity, right?” added Dan Dodge, president and CEO of QNX software, which developed the Flash Lite-based platform used by the system, who was seated in the driver’s seat for our demonstration. “It’s an identifier that would change every time you get into your car. It’s randomly assigned and has no idea who you are – it’s just a moving dot, and that’s key.”

However, Dodge added, applications that need to know who you are, such as Pandora, can do so without broadcasting any personally-identifying information to the cloud.

“The other exciting thing about this is municipalities,” said Dodge. “If your car hits a pothole, you can have a real-time signal go back to the municipality and they can see potholes appearing in real-time and send out a truck.” (Or start ignoring them as soon as possible, as the case may be.)

The losers in all of this: satellite navigation and radio. They appear to have about three years, tops, before personalized applications and cloud computing make them look as outdated as black-and-white television.

“Once you assume constant connectivity, the whole mindset changes of where you partition what’s in the car and what’s out in the cloud,” said Dodge. “Other than this nice, rich touch screen, a lot of the computing power has been moved onto the cloud, so the car of the future may be physically cheaper to build.”

Price will likely be a crucial factor in the success of this and other connected car platforms. ng Connect chose the Prius rather than a luxury model because research indicated that the segment of the population most interested in connected cars with advanced features is not the same that buys high-end luxury models. Rather, it’s young families and older singles who see connected electronics as a necessity.

It’s your girl WestStyle Chronicles signing in

Now I couldn’t miss this opportunity to comment on the premiere of Trey Songz’s “I Invented Sex” video. Was it because the video was so different and innovative? Well, no…not really. I mean think about it! You have a R. Kelly inspired song  called “I Invented Sex”. What do you think the video’s gonna be about?!? The Care Bears reunion!?! I’m afraid not. What you can expect from this video is pretty much what it says……SEX! If you’ve seen “9 1/2 Weeks” or any other explicit sex scene in a movie, you’ve basically seen this video already.With no argument, this imagery is targeted towards Trey’s female demographic to solidify – if he hadn’t already – himself as the ultimate sex symbol.

On one point, it shows the age-old strategy of “sex sells”. From a psychological standpoint, nothing sells the fantasy more than placing an attractive ”bad boy” in sexual situations with another woman. The ending result are legions of drooling, female fans wanting more “of you” as an artist and countless fantasies “about you” in the mind. And when you’ve entered the corridors of the mind, you’ve opened the doorways of the wallet in record sales. Is it the most brilliant strategy? Not in my opinion, but with dying record sales overall in the industry and the tried and true sex appeal of the “bad boy” image, it’s a strategy that sells itself with little effort but maximum results. Let me break it down for you:

• Video production     whatever was negotiated
• Apartment rental     $2,000 -$7,500 ( could be lower)
• Furniture rental        $50.00 -$100.00 a day from Rent-A-Center
• The girl                     $450.00 a day – on up
• Glam Squad             whatever was negotiated
• Food (gotta eat)      whatever was nearby
• Ice                           2 bags for $1.99 at Wal-Mart

A horde of female fans salivating over you like the last side order of fries at McDonald’s…………….PRICELESS!!!

However, the reason for my comment isn’t in Trey’s video per se. I’m not a Trey fan but I’m not necessarily a Trey hater either. I think the brilliance of his video was the execution of the premiere. Was its biggest premiere on BET, MTV or any other video channel? Strangely, no. But if you were one of the 4 million Twitter users, you probably were one of the many who retweeted and added Trey Songz to your follow list in order to see the video. Not that you did this on purpose but from the genius of Atlantic Records, they executed a Twitter application that would automatically do this for you with two mouse clicks.  Within 5 -10 minutes, Songz’s video became the trend of Twitter. It was an excellent case study in the power of social media that could be used in a number of ways.

Overall, my opinion of the video was ok. Personally, I like to see sensuality in subtle shadows. It can simmer the anticipation, intrigue and mystery to a boil in the mind of the audience. You can take the storyline further and longer in this case. This video really wasn’t anything I hadn’t seen before. Yet coming from a music industry background, I can understand the puppet strings of politics in the scenario. It’s really simple. Why make an artist exert originality and creativity when they don’t have to. I have a male vocalist in the following climate:

1)  Bold, Urban, Bad Boy, Sexuality as his artist brand

2)  Sex sells. Creativity is risky but sex is a guarantee money-maker

3)  A target female audience that wants to be romanced a little but sexed a lot.

This doesn’t constitute a climate of creativity. In this case, you can’t overstep the boundaries of the brand if you want to make easy money. Plain and simple. But regardless of my opinion of the video, the marketing was excellent. You can’t deny the creativity and power used in this Twitter premiere. 

Just my opinion!

Video courtesy of Songbook/Atlantic Records

Remember, this is the VIDEO of the week, certainly not a track I recommend donating a dollar to Apple for. With T.I. in the big house for another six months or so, his label, Grand Hustle, has been trying to keep busy. Grand Hustle senior member Young Dro has certainly taken the leadership role to heart, as he should considering the median age of artists on this track is close to 15! I’m really not a fan of Yung L.A. at any level, his steez is so time stamped that I half expect him to start curdling like bad milk before my very eyes every time I watch a video of his. But as far as the video goes, I’m a fan, the grainy look of the video does a great job of prettying up what really is a shanty town of a label now in Grand Hustle. When B.O.B can rise to the top of your roster based on his artistic ingenuity and marketing clout, something has to give, I’m betting it’s going to be spankings once Clifford comes home.

Check out a behind the scenes look on set of the video shoot.

Behind The Scenes