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After gaining noteriety as one half of indie rap group Emanon, and earning the title of "the indie R. Kelly" for his solo output, multi-disciplined vocalist Aloe Blacc is finally dropping his debut solo LP 'Shine Through' on July 25th via the Stones Throw label. If nothing else the project promises to deliver a wide range of sounds and true stylistic versatility as tunes that dabble in sleazy electronic Future-Soul, traditional Latin vibes, various types of Electronic Dance Music ( House, Techno, Broken Beat, etc ), and even Folk-ish acapella "Roots music," have already been revealed. So far every song I've heard, from the first single "Want Me" to the new single "Dance For Life," has been totally different from the last, and the array of sounds on display just continues to make the record more and more appealing as time goes by.
I'm not ashamed to admit that sometimes... just sometimes... I like listening to that contemporary, urban, Pop/R&B hybrid crapola. It's true, songs by sexy singin' broads such as Beyonce, Tweet, Amerie, Kelis and the like litter my hard-drive even as I type this. The newest entry into this elite group of pop... soul... hip-hop... diva... whatever... types with songs that I don't think obslutely suck is Def Jam recording artist Megan Rochell and her new tune "Floating." It's super poppy, in a sort of New Edition-y way, but it's also got a huge ammount of innocently soulful throwback vibes ( think Deniece Williams and Stacy Lattisaw ) going for it, not too mention a little bit of modern-day street sass. It's just a sweet record all around and a nice, breezy, Summertime love song.
Please enjoy The Finger's ( a.k.a. comedian Zach Galifianakis ) hot new track "Come Over and Get It ( Up In 'Dem Guts )." The track is rumored to feature a duet with Fiona Apple. Although it does sound like her I'm not going to report that information until I know for sure that it is.



Bjork and Timbaland spent some time in Studio 4 writing and tracking for Bjork's new CD. Jimmy Douglas was engineer and Halsey Quemere assisted.The news comes courtesy of the Manhatten Center Studios website, which is apparently where the two were working together. I wasn't able to find any other information on the collaboration. But internet rumour claimes she's also working with Antony of Antony and the Johnsons. Now, if only Bjork and Antony both wind up singing on a Timbaland track, then my face can explode and I could die having "seen it all."

Regardless of any musical talent she might possess I'm sort-of forced to pay attention to Texas-based femcee Perseph One based solely on the fact that she's just the sort of broad I would wife up in a milisecond if given the opportunity. Yes, pixie-ish urban-boho-hippie chicks with dreadlocks, tank-tops and whispy thrift-store skirts are just "my type" on pretty much every level, and Perseph One happens to fall squarely into every single one of those categories. And I'm not ashamed to admit that I stumbled upon her page because I saw her photo on someone elses profile and thought "oooh, she's hot." But once I was at her page, and I actually heard her music, I was struck not only by her physical beauty, but her raw talent as well. Her rhyme style is firmly rooted in the abstract, backpacker, battle-rap tradition, and vocally she reminds me alot of Jean Grae before she started doing polished duets with Talib Kweli's ( newly ) wack ass.

Mr. Preston had an extensive career as a sideman, working with musicians from Little Richard to the Red Hot Chili Peppers. His own hits included the Grammy-winning instrumental "Outa-Space" in 1972 and the No. 1 pop singles "Will It Go Round in Circles" (1973) and "Nothing From Nothing" (1974). He also wrote (with Bruce Fisher) the ubiquitous "You Are So Beautiful."His stint with The Beatles, where he worked on the 'Let It Be' and 'Abbey Road' albums and the hit single "Get Back" ( which is credited to "The Beatles with Billy Preston" ) apparently helped hold the band together through the difficult times which would lead to their breakup. And it's this time that gave rise to his title as honorary "fifth Beatle" as out-takes from these recording sessions are known to include debates between John and Paul over whether Preston should in fact be made an official member of the band. He would go on to work extensively with George Harrison as well as John Lennon and Ringo Starr after the band broke up.
But his best-known performance was the afternoon he spent on a London rooftop with the Beatles in what was their last concert, which was filmed for "Let It Be." In a 2001 interview, he recalled, "They made me feel like a member of the band."




Not too long after dropping the "Protect Ya Neck" backed with "Tearz" 12'' via their own independent Wu-Tang imprint, the Staten Island collective known as the Wu-Tang Clan was picked up by burgeoning hip-hop label Loud Records. With distribuition aid of the decidedly more powerful RCA Records behind them their first major label single was a re-realease of "Protect Ya Neck" featuring a freshly minted ( it had actually been recorded some time in 1991 ) solo cut from group-member Method Man on the b-side. This version of the single spawned home-made videos for both "Protect Ya Neck" and "M.E.T.H.O.D. Man" ( there were actually two versions of this video ) which both received little to no ( I don't ever remember seeing the "Protect Ya Neck" video ) play on the various hip-hop video shows that existed at the time. These videos, which were financed and shot by the Clan themselves, were, in the parlance of the day, "rough, rugged, and raw" in a way that even the majority of rap videos ( which were for the most part simple, low budget affairs ) of the era weren't and any time that they made an appearance on the television screen they were a jarring reminder of just how real hip-hop with an independent spirit could be.1. "Method Man"The only thing that could have possibly made the disc better is if it was a fully comprehensive collection of all the Clan-members videos, including solos projects, the many Wu sub-groups and various compilation and soundtrack cuts. Adding the clips for early joints like "Watch Your Back" and "Heaven Or Hell," as well as classics from GZA, Raekwon, Ghostface, Method Man and others would make it all truly "legendary." But as it stands it looks pretty damn good. And just to sweeten the deal it even includes the bonus 21-minute film 'Enter The Wu-Tang,' a previously unreleased documentary from 1994 that includes exclusive in-depth interviews with all of the original members of the group as well as rare live performances from their debut album.
2. "C.R.E.A.M."
3. "Can It All Be So Simple"
4. "Protect Ya Neck"
5. "Da Mystery Of Chessboxin'"
6. "Wu-Tang Clan Ain't Nuthing Ta F***k Wit"
7. "It's Yourz/Older Gods"
8. "Reunited"
9. "Triumph"
10. "Protect Ya Neck ( The Jump Off )"
11. "Gravel Pit"
12. "Careful"
13. "I Can't Go To Sleep ( featuring Isaac Hayes )"
14. "Uzi ( Pinky Ring )"
15. "Method Man ( Alternate Version )"
16. "Old Man ( Masta Killa featuring Ol' Dirty Bastard and RZA )"
To get the site running, Def Jux has suspended the release of all physical products until 2007 and is shouldering steep overhead and development costs. "It's a big leap of faith — not a lot of labels are in a position where they can close up shop for a year," says label co-founder Amaechi Uzoigwe. "But it's an educated leap. And we think we have the content to turn this into something profitable. We're not doing this to spite iTunes. We're doing this to coexist."
Okay, so I'll admit it, most modern-day "Dancehall Reggae" is about as interesting to me as an episode of the PBS children's program 'Boobah.' Long-gone are the days when I would scour record shops for fresh Jamaican wax, then spend my days deciphering the thick patois laced lyrics of the likes of Tenor Saw, Cutty Ranks, Supercat, Frankie Paul, Shabba Ranks, Buju Banton, Mad Cobra, Nadine Sutherland, Bounty Killah, Terror Fabulous and Capleton while bouncing up and down madly to heavy roots-influenced grooves and propulsive bass-and-percussion-driven computer riddims. All that pretty much ended during the late '90s, when the cheesey, superficial, overly-commercialized, "shiny suit" sound that was dominating America's hip-hop scene infected the Jamaiacan music industry. Sure, it resulted in enormous commercial success, and the full acceptance of "Dancehall" into the American pop-culture consciousness, but at what price? The price of my hearing, that's what!





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