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Date

March 28, 2019

CAS Nas ‘Illmatic’ Legacy Playlist

As arguably the greatest rap album of all time, there’s no shortage of MCs who have expressed their love for the masterpiece including the likes of Bishop Nehru, Vic Mensa, Kendrick Lamar, Action Bronson, Jay Rock and many more.


Read more: The Story of Nas ‘Illmatic’
Listen: Nas ‘Illmatic’ Musical Lead-Up Playlist

https://open.spotify.com/embed/user/classicalbumsundays/playlist/405BnXsNjN4OzK9x1j7HkR

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CAS Nas ‘Illmatic’ Musical Lead-Up Playlist

Take a trip through the music that inspired Nas’s iconic debut album Illmatic including Public Enemy, Eric B & Rakim, Boogie Down Productions, LL Cool J, Big Daddy Kane and many more.


Read more: The Story of Nas ‘Illmatic’
Listen: Nas ‘Illmatic’ Musical Lead-Up Playlist

https://open.spotify.com/embed/user/classicalbumsundays/playlist/3hKEQRuzhdevaj6PA39Z5w

The post Nas ‘Illmatic’ Musical Lead-Up Playlist appeared first on Classic Album Sundays.

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CAS Flaming Lips ‘Yoshimi Battles The Pink Robots’

We feature The Flaming Lips tenth studio album Yoshimi Battles the Pink Robots for our March Classic Album Sundays Worldwide Podcast. The album was well-received critically and commercially, helping the band break into the mainstream, and was adapted into a musical in 2012. Uncut declared that “even by their standards, Yoshimi is astonishing.

The show will be aired 12pm and 9pm GMT on Sunday 31st March 2019 here.


Read: The Story Of The Flaming Lips ‘Yoshimi Battles The Pink Robots’
Listen: The Flaming Lips ‘Yoshimi Battles The Pink Robots’ Legacy Playlist
Listen: The Flaming Lips ‘Yoshimi Battles The Pink Robots’ Musical Lead-Up Playlist

 

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CAS DJ Yoda on De La Soul ‘3 Feet High and Rising’ at Classic Album Sundays

Check out the full interview as Colleen ‘Cosmo’ Murphy and DJ Yoda dig deep into the most inventive, assured, and playful debut in hip-hop history De La Soul’s 3 Feet High and Rising which not only proved that rappers didn’t have to talk about the streets to succeed, but also expanded the palette of sampling material with a kaleidoscope of sounds and references culled from pop, soul, disco, and even country music.


Read more: DJ Yoda’s Top Five Hip Hop Albums Of All Time

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The post DJ Yoda on De La Soul ‘3 Feet High and Rising’ at Classic Album Sundays appeared first on Classic Album Sundays.

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CAS DJ Yoda on De La Soul ‘3 Feet High and Rising’ at Classic Album Sundays

Check out the full interview as Colleen ‘Cosmo’ Murphy and DJ Yoda dig deep into the most inventive, assured, and playful debut in hip-hop history De La Soul’s 3 Feet High and Rising which not only proved that rappers didn’t have to talk about the streets to succeed, but also expanded the palette of sampling material with a kaleidoscope of sounds and references culled from pop, soul, disco, and even country music.


Read more: DJ Yoda’s Top Five Hip Hop Albums Of All Time

The post DJ Yoda on De La Soul ‘3 Feet High and Rising’ at Classic Album Sundays appeared first on Classic Album Sundays.

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Goldmine1 Rickie Lee Jones set to release album in June

Rickie Lee Jones is set to release ‘Kicks’ album June 7; U.S. tour begins June 1.

The post Rickie Lee Jones set to release album in June appeared first on Goldmine Magazine.

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Mark Kimber The Story of Nas ‘Illmatic’

Life in Queensbridge, NY, was always going to be the beating heart of Illmatic. Although still in his late teens, Nas had already experienced more than his fair share of traumatic, life-changing events. The most major blow had come on the night of May 23rd 1992, when his best friend Ill Will was shot dead. Nas has described the altercation, which also saw his brother suffer a bullet wound, as “a wake up call”, and Will’s name appears throughout Illmatic; a lingering shadow of almost every experience the MC recalls. By the mid ‘90s the juggernaut of the crack trade had withered considerably, but the violent wounds and social ramifications of the epidemic would haunt deprived areas across the country for years to come.

Understandably, Illmatic is an album that struggles between optimism and nihilism, as Nas strives to realise his world-beating ambitions in the midst of conflict and deprivation. Far from allowing teenage angst to overwhelm him, the rapper is often alarmingly cool headed and pragmatic, even when cold despondency seeps in through the cracks. ‘Life’s A Bitch’, the most explicit example of this fatal apathy, distills the essence of his “fuck the world” attitude, which has since become the cornerstone of hiphop’s resilient stance. Featuring the album’s sole guest verse from fellow up-and-comer AZ, the song revolves around mantras such as “Fuck who’s the baddest / A person’s status depends on salary”, which seek to cut through the bullshit of everyday life and penetrate a new state of clarity. Besides the twisted, carpe diem sloganeering of the iconic hook, Nas champions resourcefulness and perseverance: “I switched my motto; instead of sayin’, “fuck tomorrow!” / That buck that bought a bottle could’ve struck the lotto.”

Nas commands the technical and poetic complexity to make this troubled, underdog worldview endlessly fascinating. Preceded by the albums of Gil Scott Heron and Nikki Giovanni, his lyrical style, which incorporates advanced techniques such as multisyllabic and internal rhyming, colours the streets of New York with the vivid detail of a Scorsese film. On the paranoid ’N.Y State Of Mind’, threats lurk on every rooftop, park bench, and street corner; each block a maze. Yet the young MC remains stoic, picturing himself as the archetypal anti-hero, on par with Scarface and Capone, revelling in hiphop’s wild west myth-making powers. Stray embers of weakness are snuffed out instantly – life is parallel to hell and sleep is the cousin of death.

Violence – both literal and metaphorical – is inextricably woven into the DNA of Illmatic, not through choice, but necessity; a second language that is absorbed from a young age. Unsurprisingly after the death of his friend, Nas is often deeply critical of brutality, citing moments where violence fuels masculine vanity. As a result several of his friends were incarcerated for violent and drug related offences, a subject explored on one of Illmatic’s most harrowing and touching moments, ‘One Love.’ The song, written in the style of a letter to his absent peers, resembles the emotional unloading of a therapy session, as Nas recites moments of tragedy and betrayal to his silent counterparts.

Streamlined and austere with almost no other featured MCs, Illmatic’s 10 track, thirty-nine minute runtime, placed a remarkable level of confidence in Nas and his ability to hold an audience’s attention. Initially, at least, Illmatic failed to reach the commercial heights that many had hoped; its lead single, ‘Halftime’ only managed a high of number eight on the Hot Rap chart, whilst, almost unbelievably now, ‘Life’s A Bitch’ failed to chart at all. After peaking at number twelve on the Billboard chart, initial albums sales faltered, too. It was only after two years that the album achieved Gold status in ’96, and later turned Platinum in 2001.

But the true impact of Illmatic is felt within the fabric of hiphop itself – confirmed by its glowing Five Mic review in hiphop powerhouse, The Source. Alongside albums such as Enter The Wu-Tang, Enta Da Stage, and The Sun Rises In The East, Nas’s dark and gritty debut helped shift the New York sound away from the playful atmosphere of alternative groups like a Tribe Called Quest, towards the brooding hardcore style of Mobb Deep, Big L, Jay Z, Biggie Smalls, and countless others. Albums such as Reasonable Doubt and Ready To Die expanded on the nihilistic, anti-hero aspects of Illmatic, following its mantra to forge the mythologies of Jay and Smalls respectively. Mobb Deep’s ’95 classic, The Infamous, continued a Queensbridge resurgence that saw the borough briefly return to its former glory days, whilst New York once again demanded attention on the national stage, drawing focus away from the all-powerful G-Funk style of the West Coast. Lyricism and poetic imagination were once again considered a tenet of hiphop’s artistic value, with real-life experience and authenticity treasured as a vital aspect of a great MC.

Although hiphop’s landscape has changed dramatically since its release, Illmatic remains an eternal classic, and for many the finest rap album of all time. For better or worse it has defined the three decades of Nas’s career, during which he has retained his status as one of the world’s finest lyricists but struggled to create a followup that recaptures the impossibly high achievements of his incredible debut. As an album so evocative of a specific time, place and point of view, it’s unlikely that its ephemeral energy could ever be replicated. But to listen back, twenty-five years later, is to be thrust right back into the shoes of a troubled and talented teenager with the world at his feet. Achieving this with such visceral tactility, Illmatic is truly an album like no other.

The post The Story of Nas ‘Illmatic’ appeared first on Classic Album Sundays.

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Mark Kimber Classic Album Sundays Barcelona Presents Aviador Dro ‘Alas Sobre El Mundo’

ORIGENES

Es un placer presentar por primera vez desde Classic Album Sundays una propuesta de álbum clásico perteneciente a la historia musical española, y hacerlo además con esta joya de la contracultura y la vanguardia que nació en un período político clave para la historia del país. La época dorada de la música española entre finales de los 70 y la década de los 80 regaló al mundo un sinfín de bandas míticas que pusieron al país musicalmente en el punto de mira a nivel internacional.

Éste fue el caso de El Aviador Dro y Sus Obreros Especializados (más conocidos como Aviador Dro) cuyos orígenes se remontan al año 1976, en un Madrid que se abría al mundo tras 40 años de dictadura Franquista. Un grupo de jóvenes estudiantes con intereses comunes en ciencia ficción, futurismo, dadaísmo, constructivismo y otras corrientes de pensamiento moderno forman un colectivo desde el que editan fanzines con poemas visuales, artículos de divulgación científica, piezas literarias y van así plasmando sus ideas de futurismo, ciencia y mecanización de la sociedad. Entre estos jóvenes encontramos a Servando Carballar, Alberto Florez, Andrés García, Manuel Guío, Arturo Lanz y Alejandro Sacristán. En el 1978, inspirados por la escena punk Servando y Andrés forman el grupo Alex y los Drugos haciendo un claro guiño a la estética e ideología de Stanley Kubrick en ‘La Naranja Mecánica’ pero pasando desapercibidos. En este periodo descubren a artistas como Devo, Cabaret Voltaire, Kraftwerk, Throbbing Gristle o The Human League y deciden invertir en un sintetizador; es entonces cuando Servando y Arturo Lanz forman Holoplástico y ponen un anuncio en la prensa buscando músicos con estas mismas influencias. Juan Carlos Sastre y Gabriel Riaza se unen al proyecto y poco después lo haran Andrés Noarbe, Manuel Guío y Alberto Florez. Con este elenco nace El Aviador Dro y Sus Obreros Especializados dando forma a sus primeros sencillos ‘Nuclear Sí’, ‘La Chica de Plexiglás’ y ‘La Visión’ y adoptando sus nuevos nombres codificados: Sincrotrón, CTA 102, Biovac N, 32-32, Multiplexor, Hombre Dinamo, Placa Tumbler, Derflex Tipo Iarr; pero como es de esperar en formaciones con numerosos integrantes, los cambios no tardan ni un año en llegar y en 1980 El Aviador Dro firma un contrato con el sello Movieplay para sacar tres sencillos y tanto Arturo como Juan Carlos y Gabriel abandonan la formación para crear otra banda de culto: Esplendor Geométrico. En sustitución de éstos entran Mª Jesus Rodríguez (Metalina-2), José Antonio Gómez (X) y Marta Cervera (Arcoiris) siendo el combo compuesto por Servando, Manuel, Alberto, Alejandro, M. Jesus, Marta, Andrés y José Antonio la formación clásica y quienes grabarían los tres primeros álbumes de Aviador Dro y sus sencillos más populares.

Musical Lead Up Playlist

https://open.spotify.com/embed/user/alejandro_asencio/playlist/0ddNRPmcwwzTxbYCrT5MVQ

ALAS SOBRE EL MUNDO
Tras el éxito limitado de sus primeros sencillos con el sello Movieplay, el rechazo de la discográfica a la maqueta inicial de ‘Alas Sobre el Mundo’ dejó a el Aviador Dro con el vuelo en stand by mientras buscaban otro sello que les editara. Pero el otro sello nunca llegó y con esa autodeterminación que caracteriza a los obreros especializados se embarcaron en la autofinanciación de la grabación, producción y edición de su propio proyecto. Esto ocurría en los estudios Doublewtronics de Julián Gómez en 1981. El primer sencillo en ver la luz fue ‘Nuclear Sí, por supuesto’, un EP de cuatro temas del cual se editaron 1500 copias con portada fotocopiada y coloreada a mano en diversas combinaciones de colores. Las copias se agotaron rápidamente y dos ediciones más siguieron al mítico hit. Poco después llegaría el EP ‘Programa en Espiral’ y culminaría la autoedición del álbum ‘Alas Sobre el Mundo’ con escasos recursos y el nacimiento de un sello discográfico propio: Discos Radioactivos Organizados (DRO).

Pese a la tremenda energía que derrocha la nueva formación, la falta de recursos hace que la versión final de ‘Alas Sobre el Mundo’ no incluya todos los temas que los EP avanzaban y repercuta en el sonido directo de la formación. Un año después, en 1982, Julián Gómez les diseñaría un pequeño set de directo con una mesa de 12 canales que le daría un fuerte empujón a sus actuaciones y puestas en escena. Asimismo, Aviador Dro recibía el beneplácito de la prensa musical y el apoyo de las emisoras de radio del país más punteras como Radio 3. El éxito de ‘Alas Sobre el Mundo’ fue rotundo y Aviador Dro empezaba a destacar por salirse del molde que seguían muchas bandas de la Movida. Eran movida, pero a otro nivel. En 1983 llegaría uno de sus mayores éxitos comerciales al regrabar ‘Selector de Frecuencias’ con Julián Ruiz, productor de la banda tecnopop Azul y Negro. Esta nueva versión más bailable, posicionaría al Aviador Dro como a una banda emergente preparada para competir con la escena tecnopop internacional y muestra de ello son los éxitos que cosechan entre el 83 y el 85: ‘El color de tus ojos al bailar’, ‘Amor Industrial’, ‘Vortex’, ‘Baila la guerra’ o ‘La Ciudad en movimiento’. Es esta época no sólo alcanzan éxito comercial sino que también se posicionan en el panorama de conciertos haciendo de teloneros de David Bowie y The Stranglers.

La importancia de ‘Alas Sobre el Mundo’ reside no sólo en ser el álbum con el que debuta una de las mejores bandas españolas y la pionera del tecnopop nacional sino también en la iniciativa de la autoedición. Esta iniciativa marca un antes y un después para la historia de la industria musical nacional pues DRO pasó a editar los trabajos de otras bandas míticas como Parálisis Permanente, Nacha Pop o Alphaville siendo así la primera compañía independiente de España y la responsable directa de que surgieran decenas de sellos independientes durante los años de la aclamada Movida Madrileña. Aviador Dro sigue dando de qué hablar en el 2019, año que conmemora el 40 aniversario de su formación y el lanzamiento de su decimoquinto álbum de estudio: ‘Tecnotitlan’

Texto: Alejandro Asencio

INFO
Domingo 7 de Abril, 2019
Nica Bonay
Gran vía de les corts catalanes, 698
Barcelona

Horarios:
18:00 apertura de puertas
18:30 entretenimiento musical
19:00 presentación y reproducción del álbum.
20:30 coloquio, música y cierre

Entradas gratuitas

ENG

ORIGINS
It is a pleasure and an honour to be able to introduce to and present through Classic Album Sundays a non-anglophone classic album at the top of Spain’s musical history, and to do it also with this jewel of the counterculture that was born in a key political period for the history of the country. The golden age of Spanish music between the end of the 70s and the 80s gave the world a myriad of mythical bands that put the country musically in the international spotlight.

This was the case of El Aviador Dro y Sus Obreros Especializados (better known as Aviador Dro) whose origins go back to 1976, in a Madrid that opened up to the world after 40 years of Francoist dictatorship. A group of young students with common interests in science fiction, futurism, dadaism, constructivism and other currents of modern thought form a collective from which they publish fanzines with visual poems, scientific articles, and literary pieces that reflect their ideology. Among these young people we find Servando Carballar, Alberto Florez, Andrés García, Manuel Guío, Arturo Lanz and Alejandro Sacristán. In 1978, inspired by the post-punk scene and bands like Blondie and The Stranglers, Servando and Andrés form the group Alex y los Drugos, making a clear nod to the aesthetics and ideology of Stanley Kubrick’s ‘A Clockwork Orange’ but going rather unnoticed. In this period they discover artists like Devo, Cabaret Voltaire, Kraftwerk, Throbbing Gristle or The Human League and decide to invest in a synthesizer; that’s when Servando and Arturo Lanz form the electronic duo Holoplástico and through an ad in the local press they start looking for musicians with these same influences. Juan Carlos Sastre and Gabriel Riaza join the project and shortly after Andrés Noarbe, Manuel Guío and Alberto Florez follow suit. With this line up, Aviador Dro are officially born and start to shape their first singles ‘Nuclear Sí’, ‘La Chica de Plexiglás’ and ‘La Visión’ and adopting their celebrated aesthetics and new coded names: Synchrotron, CTA 102, Biovac N, 32- 32, Multiplexer, Dinamo Man, Tumbler Plate, Derflex Type Iarr; but as one may expect in large formations, changes took less than a year to arrive. In 1980 Aviador Dro signs a contract with Movieplay to release three singles; Arturo, Juan Carlos and Gabriel leave the formation to create another cult band: Esplendor Geométrico. To fill these gaps, Aviador welcomes Mª Jesus Rodríguez (Metalina-2), José Antonio Gómez (X) and Marta Cervera (Arcoiris) being the combo composed by Servando, Manuel, Alberto, Alejandro, M. Jesus, Marta, Andrés and José Antonio the classic Aviador Dro ensemble who would record the first three albums and their most popular singles.

WINGS OVER THE WORLD
After the limited success of their first releases with Movieplay, the label’s rejection of the initial tapes of ‘Alas Sobre el Mundo’ left the aviators on standby mode while they were looking for another label to release their work. But major labels were not interested in their work and Aviador Dro were caught up in a crossroad. The drama didn’t last long as the self-determination that characterizes the specialized workers meant they embarked on the DIY project of self-financing the recording, production and editing of their material. This happened in Julián Gómez’s Doublewtronics recording studios in 1981. The first single to see the light was ‘Nuclear Sí, por supuesto’, an EP containing four songs of which 1500 copies were published with a photocopied hand-coloured cover in various combinations. The copies sold out quicker than expected and two more editions followed what then became their first hit. Shortly after this they would release the EP ‘Programa en Espiral’ -a second and final taster of the self-edited album ‘Alas Sobre el Mundo’ with very limited resources- and gave birth to their own record label: Radioactive Organized Records (DRO).

Despite their tremendous efforts and goodwill, the lack of resources meant that the final version of ‘Alas Sobre el Mundo’ did not include all the songs that the EPs featured, and also had a negative influence on the band’s live sound. Upset with their own limitations, in 1982 they ask producer Julián Gómez to design a small live set with a 12-channel mixing desk. This gave a strong boost to their performances and enhanced their staging and acting. At this same time Aviador Dro received the praise of many music journalists and the support of the most relevant radio stations in the country such as Radio 3. The success of ‘Alas Sobre el Mundo’ was a reality and Aviador Dro began to stand out away from the mold that shaped many bands of the Movida. In 1983, one of their greatest commercial successes would come when they re-recorded “Selector de Frecuencias” with Julián Ruiz, producer of the technopop band Azul y Negro. This new, more danceable version, would position Aviador as one of the most important emerging bands prepared to compete with the international synth-pop scene. Proof of their talents were the string of hits they released between 83 and 85: ‘El color de tus ojos al bailar’, ‘Amor Industrial’, ‘Vortex’, ‘Baila la guerra’ o ‘La Ciudad en movimiento’. It is during this time that they not only reach commercial success but also position themselves as legendary opening for acts such as David Bowie and The Stranglers.
The importance of ‘Alas Sobre el Mundo’ lies not only in it being the album with which one of the best Spanish bands and the pioneers of national technopop debut, but in the anarchic initiative of self-publishing. This initiative marked a before and after in the history of the spanish music industry as DRO went on to edit the works of other mythical bands such as Paralisis Permanente, Nacha Pop or Alphaville, thus being the first independent record company in Spain and directly responsible for the emergence of dozens of independent labels during the years of the acclaimed Movida Madrileña. Aviador Dro are still making waves in 2019, year that commemorates the 40th anniversary of their formation and the release of their fifteenth studio album: ‘Tecnotitlan’

INFO
Sunday, 7th April 2019
Nica Bonay
Gran vía de les corts catalanes, 698
Barcelona

Schedule:
18:00 doors opening.
18:30 musical entertainment.
19:00 album presentation & playback.
20:30 colloquium, music, and closing.

RSVP Invite

The post Classic Album Sundays Barcelona Presents Aviador Dro ‘Alas Sobre El Mundo’ appeared first on Classic Album Sundays.

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