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Thursday, July 9, 2009
Thursday, May 21, 2009
Kris Allen Reassures Adam Lambert Fans: 'He's Gonna Be A Megastar'
'He's probably gonna be bigger than me, so don't worry about him,' Allen tells MTV News 'American Idol' expert Jim Cantiello.
By Katie Byrne, with reporting by Jim Cantiello
Kris Allen talks to MTV News after season eight's "Idol" finale
Photo: MTV News
"American Idol" fans might have been surprised by Kris Allen's victory over Adam Lambert on Wednesday night, but no one was more floored than Kris himself.
When "Idol" expert Jim Cantiello caught up with the new champ backstage, he talked about fans Googling his wife, working with Kara DioGuardi and what he has to say to all those heartbroken Glamberts.
Kris Allen: I know Jim — I don't even know how to pronounce your last name.
Jim Cantiello: Holy crap! It's Cantiello.
Allen: Cantiello.
Cantiello: How do you know me, man? I'm just some silly blogger dude.
Allen: I think the "American Idol in 60 Seconds" is the funniest thing ever.
Cantiello: Shut up!
Allen: No lie.
Cantiello: I'm usually pretty nice to you. I'm a big fan.
Allen: I know, right? Usually.
Cantiello: Sorry, I have to be honest.
Allen: I'm critical of myself as well, so don't worry about it.
Cantiello: All right, cool. Let's talk. You won the big show. Holy crap.
Allen: Holy crap, right?
Cantiello: I want to know: What are you going to do with "No Boundaries" to make it a hit? You've got a big mountain to climb.
Allen: [Laughs.] And hurricanes. It's a decent song. It's got a good message, and Kara [DioGuardi] was amazing to work with, she really was. She's a great songwriter, and I hope to sing it as well as I can.
Cantiello: So I have to ask: Your wife is one of the biggest Google trends out there. After every show, "Kris Allen wife" is one of the top three searches. How does that make you feel? It's a little creepy, right?
Allen: Maybe a little creepy, but she's beautiful and she's great and I'm glad to have her in my life. That's weird, though, that they would be searching my wife. She's a star too now.
Cantiello: So what are we going to hear from your album?
Allen: I felt like I put who I'm going to be on the stage during the performances on "American Idol." And I think you're gonna hear more of that kind of stuff.
Cantiello: Any dream collaborators you want to work with? Producers, writers, you want to work with Kara some more?
Allen: Yeah, I'd love to work with Kara. She's a great songwriter, a great person, she's a lot of fun to work with. I felt like just that little bit that we worked together, it made me better, and I really appreciated that. There's plenty of people out there. I have no idea, and I hope people will knock on the door.
Cantiello: They definitely will. You put out stuff on your own before "Idol." Any of that stuff gonna be reworked in a big studio setting?
Allen: Maybe so, but that's something that's a long time ago and in a different place. Hopefully new stuff will come out.
Cantiello: Last question: There's some heartbroken Adam Lambert fans on the Internet. What do you say to them right now to cushion the blow a little bit?
Allen: OK, here's the deal: Adam is gonna be fine. He's gonna be a megastar. He's probably gonna be bigger than me, so don't worry about him. He's great. I'm really happy for him.
Cantiello: Happy for him, and super happy for you. Congratulations, Kris.
Allen: Thanks a lot.
Cantiello: Enjoy the ride.
Are you an "American Idol" expert? Take our ultimate "Idol" quiz to find out! Plus, get your "Idol" fix on MTV News' "American Idol" page, where you'll find all the latest news, interviews and opinions.
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Tuesday, May 19, 2009
VA - Prison Songs: Historical Recordings from Parchman Farm 1947-48 Volume 2: Don'tcha Hear Poor Mother Calling
Here is the second volume of prison songs, a collection of field recordings made by Alan Lomax during his visit to Mississippi's notorious Parchman Farm state prison in 1947 and on February 9, 1948. The songs collected on Volume 1 were originally released by the Tradition label as Negro Work Songs. Volume 2 features songs that didn't make the cut for the original Negro Work Songs release, though one shouldn't let this fact persuade them from giving this a listen. The songs on Vol. 2 have somewhat of a harsher quality to them, which may be why they were excluded from the original release, yet the heartfelt soul of prisoner's . As with the first volume, there are also tracks featuring Lomax interviewing various prisoners on a variety of subjects, although this volume contains several more than the first.
"For those who may not know, the worksong tradition was a practice carried over from Africa, which manifested first in slave plantations and then in the prison work gang. John Lomax, together with his son Alan, began recording these songs in Southern penitentiaries in 1933. In 1947, and again in 1948, Alan returned to Parchman Farm to gather in the songs we have here. So charged with passion are they that claims of a declining tradition make very odd reading. Yet, when I listen to the Lomaxes earlier collections, I have to agree. Pre-war, the ages of the singers was lower and the melodies were richer and more plentiful. Where the present material wins out is in the march of technology. Pre-war equipment was too limited to record the convicts while they worked. Instead, most of the material was gathered after hours, with the singers worn out from performing the very songs the Lomaxes were trying to capture. By 1947, however, the first modern tape recorder was on the market. With this device it was possible to preserve the sound of negro worksong in full flight."In and out" was a common pattern in Southern penal institutions. It developed from a system of race relations and social attitudes moulded in slavery days and dragged into the twentieth century like a feudal relic. The penitentiary was an important element in the suppression of the negro population. Along with lynch law, the Klan and a system of injudiciously administered floggings, the threat of a spell in the pen kept a potentially unruly black populace in a state of servility. The prisons held their share of hard cases, but for most of the inmates, sentences were short, sharp, frequent and brutal, and they were usually meted for trifling misdemeanours.
Impressions of a high turnover of prisoners are supported by these two CDs. Volume 1 is exclusively from Lomax's 1947 recordings and features protagonists with such colourful nicknames as Bama, Tangle Eye, 22, and Hard Hair. Volume 2 is mostly from Lomax's return trip in 1948, by which time additional singers seem to have found their way into the pen. They include Dobie Red, Curry Childress, and 88. The impression is strengthened when one reads John Lomax's reminiscences of collecting songs in Parchman Farm before World War 11. Of the singers he mentions, only Dobie Red and Tangle Eye were in the pen between 1947 and 1948.
So influential was Murderers' Home that the name Parchman Farm has become synonymous with axe wielding convicts roaring ferocious choruses. However, the institution embraced much more than group worksongs and some of this is reflected in the programming. Axe and hoe songs predominate, but there are one or two solo work songs, several field hollers, including Bama's superb Stackerlee, and a couple of blues. There is also an interview, split over two tracks, during which Bama talks about song leading and about his lot as a three time loser caught in the web of the Mississippi penal system. "In and out, in and out, for the last eighteen years." It fades, heart-rendingly, into a mournful holler by another long time prisoner, Tangle Eye http://allmusicnews.wordpress.com
Listening to the lyrics and how they were sung, I form the opinion that the songs were far more about making it through the can than they were about synchronising work. In all these verses you will not find the slightest iota of fantasy or escapism. If there were any would-be lottery winners in Parchman Farm or Angola they do not show up here. Instead the songs are vested with stark reality and sweat. They are the channelling of rage and resentment against the iniquity and brutality and rank injustice of a penal system which was nothing more than the legitimised extension of plantation slavery. All folksongs involve catharsis but, inside the pen, song was the only voice which allowed prisoners to kick against the system. Shared songs did more than alleviate the work, they alleviated the misery." - Fred McCormick
"These songs belong to the musical tradition which Africans brought to the New World, but they are also as American as the Mississippi River. They were born out of the very rock and earth of this country, as black hands broke the soil, moved, reformed it, and rivers of stinging sweat poured upon the land under the blazing heat of Southern skies, and are mounted upon the passion that this struggle with nature brought forth. They tell us the story of the slave gang, the sharecropper system, the lawless work camp, the chain gang, the pen." - Alan Lomax
Year of Release: 1958/Reissue 1997
Label: Tradition/Rounder
Genre: Field Recording, Folk, Blues
Track List:
1. Don'cha Hear Poor Mother Calling
2. John Henry
3. Strongest Man I Ever Saw
4. Well, I Wonder
5. Lies
6. I'm Goin' Home
7. More Lies
8. O' Berta
9. Disability Boogie Woogie
10. O Rose
11. Hollers
12. Stewball
13. Fox Chase
14. Katy Left Memphis
15. About Prison Singers
16. Rosie
17. High Rollin' Sergeant
18. Garbage Man
19. When I Went to Leland
20. Prodigal Son
21. I'm Goin' to Memphis
22. (Untitled) - (hidden track)
"For those who may not know, the worksong tradition was a practice carried over from Africa, which manifested first in slave plantations and then in the prison work gang. John Lomax, together with his son Alan, began recording these songs in Southern penitentiaries in 1933. In 1947, and again in 1948, Alan returned to Parchman Farm to gather in the songs we have here. So charged with passion are they that claims of a declining tradition make very odd reading. Yet, when I listen to the Lomaxes earlier collections, I have to agree. Pre-war, the ages of the singers was lower and the melodies were richer and more plentiful. Where the present material wins out is in the march of technology. Pre-war equipment was too limited to record the convicts while they worked. Instead, most of the material was gathered after hours, with the singers worn out from performing the very songs the Lomaxes were trying to capture. By 1947, however, the first modern tape recorder was on the market. With this device it was possible to preserve the sound of negro worksong in full flight."In and out" was a common pattern in Southern penal institutions. It developed from a system of race relations and social attitudes moulded in slavery days and dragged into the twentieth century like a feudal relic. The penitentiary was an important element in the suppression of the negro population. Along with lynch law, the Klan and a system of injudiciously administered floggings, the threat of a spell in the pen kept a potentially unruly black populace in a state of servility. The prisons held their share of hard cases, but for most of the inmates, sentences were short, sharp, frequent and brutal, and they were usually meted for trifling misdemeanours.
Impressions of a high turnover of prisoners are supported by these two CDs. Volume 1 is exclusively from Lomax's 1947 recordings and features protagonists with such colourful nicknames as Bama, Tangle Eye, 22, and Hard Hair. Volume 2 is mostly from Lomax's return trip in 1948, by which time additional singers seem to have found their way into the pen. They include Dobie Red, Curry Childress, and 88. The impression is strengthened when one reads John Lomax's reminiscences of collecting songs in Parchman Farm before World War 11. Of the singers he mentions, only Dobie Red and Tangle Eye were in the pen between 1947 and 1948.
So influential was Murderers' Home that the name Parchman Farm has become synonymous with axe wielding convicts roaring ferocious choruses. However, the institution embraced much more than group worksongs and some of this is reflected in the programming. Axe and hoe songs predominate, but there are one or two solo work songs, several field hollers, including Bama's superb Stackerlee, and a couple of blues. There is also an interview, split over two tracks, during which Bama talks about song leading and about his lot as a three time loser caught in the web of the Mississippi penal system. "In and out, in and out, for the last eighteen years." It fades, heart-rendingly, into a mournful holler by another long time prisoner, Tangle Eye http://allmusicnews.wordpress.com
Listening to the lyrics and how they were sung, I form the opinion that the songs were far more about making it through the can than they were about synchronising work. In all these verses you will not find the slightest iota of fantasy or escapism. If there were any would-be lottery winners in Parchman Farm or Angola they do not show up here. Instead the songs are vested with stark reality and sweat. They are the channelling of rage and resentment against the iniquity and brutality and rank injustice of a penal system which was nothing more than the legitimised extension of plantation slavery. All folksongs involve catharsis but, inside the pen, song was the only voice which allowed prisoners to kick against the system. Shared songs did more than alleviate the work, they alleviated the misery." - Fred McCormick
"These songs belong to the musical tradition which Africans brought to the New World, but they are also as American as the Mississippi River. They were born out of the very rock and earth of this country, as black hands broke the soil, moved, reformed it, and rivers of stinging sweat poured upon the land under the blazing heat of Southern skies, and are mounted upon the passion that this struggle with nature brought forth. They tell us the story of the slave gang, the sharecropper system, the lawless work camp, the chain gang, the pen." - Alan Lomax
Year of Release: 1958/Reissue 1997
Label: Tradition/Rounder
Genre: Field Recording, Folk, Blues
Track List:
1. Don'cha Hear Poor Mother Calling
2. John Henry
3. Strongest Man I Ever Saw
4. Well, I Wonder
5. Lies
6. I'm Goin' Home
7. More Lies
8. O' Berta
9. Disability Boogie Woogie
10. O Rose
11. Hollers
12. Stewball
13. Fox Chase
14. Katy Left Memphis
15. About Prison Singers
16. Rosie
17. High Rollin' Sergeant
18. Garbage Man
19. When I Went to Leland
20. Prodigal Son
21. I'm Goin' to Memphis
22. (Untitled) - (hidden track)
Phallus Dei - Cyberflesh
Over at Nothin' Sez Somethin' I've been cramming Legendary Pink Dots down my visitors earholes, so I'll spare you all that pleasure, you can go get'em if you want'em. Another band that is also up in the Nothin' aether with LPD is Phallus Dei (the schlong of God). Phallus Dei is a German/Dutch industrial band dealing dark Gothick romanticism on the one hand with a trashy fascination for sex & violence on the other. Gotta love it.
Phallus Dei began as a musickal projeckt of Oliver St. Lingam (another holy prick) in 1988. Taking his projeckt name from the historic 1969 album by krautrock Amon D l II , St. Lingam released the tapes Pigfuck & Per Crucem Ad Lucem on the Unclean label. PD then signed with Dark Vinyl & released the ground-breaking industrial release Pontifex Maximus in 1991.
Following a successful European tour with Italian industrial musick giants Sigillum S, PhallusDei expanded to a three piece unit with the addition of multi-instrumentalist Mk. E & drummer, multi-instrumentalist Richard van Kruysdijk. With the additional help of Joris Huijbregts (who had previously played with Richard v. K. in the band Lament), the band recorded their follow-up album Cyberflesh. The sound of the group had progressed greatly on Cyberflesh, forming a more matured, guitar-laden sound. Phallus Dei had found a great balance http://ligamusic.com between electronics & guitar, never allowing the abrasive riffs to overshadow their strong beats or experimental vocal styles.
On Cyberflesh, Phallus Dei are: Oliver St. Lingam - vocals & sequencing; Mk. E - guitar, acoustic guitar, flute, bass, & keyboards; Joris Huijbregts - bass, keyboards, accordion, & sequencing; & Richard van Kruysdijk - drums, percussion, synthesizer, keyboards, guitar, & sequencing. Written, arranged, produced & performed by Phallus Dei.
Year of Release: 1993
Label: Paragoric PA 02
Genre: Electronic Industrial, Electro, Gothick Ambient
Track List:
1. Egg (Prologue)
2. She Suffers (& Makes Suffer)
3. Dieu (voice - Salvador Dal )
4. Live on Joy (voice - Klaus Kinski)
5. Tortured Heroine (additional lyrics by Adi Newton)
6. Existence
7. Confessio (additional lyrics by Charles Manson)
8. Man's Son
9. Cyberflesh (voice - Salvador Dal )
10. La Mort (voice - Henry Lee Lucas & Kenneth Bianchi)
11. Clothed in Flesh
12. Live to Tell
13. Taphtatharath (Epilogue)
Phallus Dei began as a musickal projeckt of Oliver St. Lingam (another holy prick) in 1988. Taking his projeckt name from the historic 1969 album by krautrock Amon D l II , St. Lingam released the tapes Pigfuck & Per Crucem Ad Lucem on the Unclean label. PD then signed with Dark Vinyl & released the ground-breaking industrial release Pontifex Maximus in 1991.
Following a successful European tour with Italian industrial musick giants Sigillum S, PhallusDei expanded to a three piece unit with the addition of multi-instrumentalist Mk. E & drummer, multi-instrumentalist Richard van Kruysdijk. With the additional help of Joris Huijbregts (who had previously played with Richard v. K. in the band Lament), the band recorded their follow-up album Cyberflesh. The sound of the group had progressed greatly on Cyberflesh, forming a more matured, guitar-laden sound. Phallus Dei had found a great balance http://ligamusic.com between electronics & guitar, never allowing the abrasive riffs to overshadow their strong beats or experimental vocal styles.
On Cyberflesh, Phallus Dei are: Oliver St. Lingam - vocals & sequencing; Mk. E - guitar, acoustic guitar, flute, bass, & keyboards; Joris Huijbregts - bass, keyboards, accordion, & sequencing; & Richard van Kruysdijk - drums, percussion, synthesizer, keyboards, guitar, & sequencing. Written, arranged, produced & performed by Phallus Dei.
Year of Release: 1993
Label: Paragoric PA 02
Genre: Electronic Industrial, Electro, Gothick Ambient
Track List:
1. Egg (Prologue)
2. She Suffers (& Makes Suffer)
3. Dieu (voice - Salvador Dal )
4. Live on Joy (voice - Klaus Kinski)
5. Tortured Heroine (additional lyrics by Adi Newton)
6. Existence
7. Confessio (additional lyrics by Charles Manson)
8. Man's Son
9. Cyberflesh (voice - Salvador Dal )
10. La Mort (voice - Henry Lee Lucas & Kenneth Bianchi)
11. Clothed in Flesh
12. Live to Tell
13. Taphtatharath (Epilogue)
Music NEWS http://allmusicnews.wordpress.com
Cringer - Tikki Tikki Tembo No Sa Rembo Chari Bari Ruchi Pip Peri Pembo
Really the main reason I posted this was so I could write 'Tikki tikki tembo no sa rembo chari bari ruchi pip peri pembo'. I always wanted to do that. Also I am a big fan of Lance Hahn (Lance passed away on Sunday, October 21, 2007, due to complications from kidney disease). I've seen both Cringer & J Church many times at Gilman St. & other Bay Area venues & parties. There are mixed feeling about this release, but Cringer was a true voice of their time & place when this came out. The Bay Area anarchist punk scene was just exploding at this time. Lance had taken over the vocal duties from Gardner who was now concentrating on bass. Derek Imose, from Hawaii was playing drums. Lance was now singing his own lyrics, bringing a much more personal delivery of his mix of political, personal, & sometimes impressionistic songs.
Cringer started in Hawaii in 1984 with Lance Hahn, Ed Tarantino, Gardner Maxam & David Carr. Lance & Ed had previously been in the straight edge/skatecore band, Scarred For Life. David had been in several different bands including the Vacuum & Devil Dog. Gardner had been in Hawaii's first hardcore band, the Sharx. This line-up played several times live on KTUH & recorded three demo tapes: a split with Scarred For Life, We Are All AOK & The Vinegar Tasters. They relocated to Los Angeles in 1986. The group got their major debut with a track from an early demo appearing on the Mystic Records compilation, We Got Party. Hooking up with Vinyl Communications in Chula Vista, this line-up recorded their first 7", Perversion Is Their Destiny.
David & Ed split soon after the 7" was recorded. Francis Sippin from Free Will joined on vocals for a short period of time. Simon Barry, who had previously played in the UK anarcho band Flowers In The Dustbin, joined on guitar. This line-up recorded the second 7", Zen Flesh, Zen Bones as well as tracks for the Exclusion compilation on Nabate, Metal Gives Us A Headache on Hippycore & "Cottleston Pie" for The Thing That Ate Floyd on Lookout.
Derrick Imose from Hawaii joined & Simon eventually split. Nigel Wong joined & the group recorded their first album, Tikki Tikki Tembo No Sa Rembo Chari Bari Ruchi Pip Peri Pembo.
Year of Release: 1990
Label: Vinyl Communications VC-12
Genre: Punk
Tracklist:
Side Yin:
A Song about Hawaii
Russia
Sunday
Peace and Harmony
The Dumb Song
Anti Climax
El Salvador
Berlin Wall
Walk In Closet
Side Yang:
Two Friends
Just the Same
This Town
Take Back the Night (revisited)
Carmen
Sentient
Funk Song
Zen Hana Hou
Download: Cringer - Tikki Tikki Tembo No Sa Rembo Chari Bari Ruchi Pip Peri Pembo
Download Size: 101MB (ripped at 320Kbps)
Cringer started in Hawaii in 1984 with Lance Hahn, Ed Tarantino, Gardner Maxam & David Carr. Lance & Ed had previously been in the straight edge/skatecore band, Scarred For Life. David had been in several different bands including the Vacuum & Devil Dog. Gardner had been in Hawaii's first hardcore band, the Sharx. This line-up played several times live on KTUH & recorded three demo tapes: a split with Scarred For Life, We Are All AOK & The Vinegar Tasters. They relocated to Los Angeles in 1986. The group got their major debut with a track from an early demo appearing on the Mystic Records compilation, We Got Party. Hooking up with Vinyl Communications in Chula Vista, this line-up recorded their first 7", Perversion Is Their Destiny.
David & Ed split soon after the 7" was recorded. Francis Sippin from Free Will joined on vocals for a short period of time. Simon Barry, who had previously played in the UK anarcho band Flowers In The Dustbin, joined on guitar. This line-up recorded the second 7", Zen Flesh, Zen Bones as well as tracks for the Exclusion compilation on Nabate, Metal Gives Us A Headache on Hippycore & "Cottleston Pie" for The Thing That Ate Floyd on Lookout.
Derrick Imose from Hawaii joined & Simon eventually split. Nigel Wong joined & the group recorded their first album, Tikki Tikki Tembo No Sa Rembo Chari Bari Ruchi Pip Peri Pembo.
Year of Release: 1990
Label: Vinyl Communications VC-12
Genre: Punk
Tracklist:
Side Yin:
A Song about Hawaii
Russia
Sunday
Peace and Harmony
The Dumb Song
Anti Climax
El Salvador
Berlin Wall
Walk In Closet
Side Yang:
Two Friends
Just the Same
This Town
Take Back the Night (revisited)
Carmen
Sentient
Funk Song
Zen Hana Hou
Download: Cringer - Tikki Tikki Tembo No Sa Rembo Chari Bari Ruchi Pip Peri Pembo
Download Size: 101MB (ripped at 320Kbps)
Levi & the Rockats - Live at The Louisiana Hayride
The Louisiana Hayride was a radio broadcast from the Municipal Auditorium in Shreveport, Louisiana, that during its heyday helped launch the careers of some of the greatest names in American country music, names that included Hank Williams, Jim Reeves, Johnny Cash, Elvis Presley, & Johnny Horton. Elvis first debuted "That's All Right Mama" on October 16, 1954. He stayed with the Hayride for a year before moving on to sign with RCA Records & Colonel Tom Parker. The next big name to hang his star on the Hayride door was Johnny Horton. He remained a member of the Hayride until his death. On November 5, 1960, Horton was killed instantly in a head-on collision with a drunk driver on Highway 79 at Milano, Texas while he was returning home from a performance at the Skyline Club in Austin.
In November 1977, Levi Dexter & his band, The Rockats, made their debut at the Royal College of Art, within the shadow of The Royal Albert Hall. Johnny Thunders jammmed at the end of their set. The headliner band that night was the reggae band Steel Pulse. On December 26, 1977, Levi & the Rockats closed the “Boxing Day Relapse” concert at The Music Machine in London with Siouxie & the Banshees & Adam & the Ants, establishing them as the first neo-Rockabilly band to emerge from the burgeoning London punk scene. In March 1978, Levi records “Evil Minded Mama”, a duet with Jayne County & The Electric Chairs. They toured England, Scotland, & Wales together on the first ever Ted/Punk Tour. By May 1978 Levi had relocated to the U.S. to get an 'American Perspective', moving first to Los Angeles where they were welcomed by bands like X. On November 10th 1978, Levi & the Rockats made their U.S. debut at Max’s Kansas City in New York opening for The Cramps.
On July 14, 1979, Levi & the Roackats, a neo-Rockabilly band from England, newly transplanted to Los Angeles, became the first rock performers to play The Louisiana Hayride since Elvis Presley played there nearly 25 years before. This is the live recording of that historic show.
Levi & the Rockats are: Levi Dexter - vocals; Eddie Dibbles - guitar; Guy Hemmer - rhythm guitar; Smut Smiff - bass; & Dean Thomas - drums. The Rockats were the last act ever introduced by legendary emcee Frank Page, who had emceed the Hayride for over 30 years & who had introduced Presley in 1954. His introduction is the opening track.
Year of Release: 1981
Label: Posh Boy PBS-162
Genre: Rockabilly
Tracklist:
Side A -
Introduction by Mr. Frank Page
Rock-a-Billy Idol
She Ain't No Angel
Tired & Sleepy
Lonesome Saturday Night
Side B -
Room to Rock
Crazy Baby
Love this Kat
Other Side of Midnight
Note from the South.
Download: Levi & the Rockats - Live at The Louisiana Hayride
Download Size: 61.5MB
(Ripped From 28 yr. old PoshBoy Vinyl at 320Kbps)
In November 1977, Levi Dexter & his band, The Rockats, made their debut at the Royal College of Art, within the shadow of The Royal Albert Hall. Johnny Thunders jammmed at the end of their set. The headliner band that night was the reggae band Steel Pulse. On December 26, 1977, Levi & the Rockats closed the “Boxing Day Relapse” concert at The Music Machine in London with Siouxie & the Banshees & Adam & the Ants, establishing them as the first neo-Rockabilly band to emerge from the burgeoning London punk scene. In March 1978, Levi records “Evil Minded Mama”, a duet with Jayne County & The Electric Chairs. They toured England, Scotland, & Wales together on the first ever Ted/Punk Tour. By May 1978 Levi had relocated to the U.S. to get an 'American Perspective', moving first to Los Angeles where they were welcomed by bands like X. On November 10th 1978, Levi & the Rockats made their U.S. debut at Max’s Kansas City in New York opening for The Cramps.
On July 14, 1979, Levi & the Roackats, a neo-Rockabilly band from England, newly transplanted to Los Angeles, became the first rock performers to play The Louisiana Hayride since Elvis Presley played there nearly 25 years before. This is the live recording of that historic show.
Levi & the Rockats are: Levi Dexter - vocals; Eddie Dibbles - guitar; Guy Hemmer - rhythm guitar; Smut Smiff - bass; & Dean Thomas - drums. The Rockats were the last act ever introduced by legendary emcee Frank Page, who had emceed the Hayride for over 30 years & who had introduced Presley in 1954. His introduction is the opening track.
Year of Release: 1981
Label: Posh Boy PBS-162
Genre: Rockabilly
Tracklist:
Side A -
Introduction by Mr. Frank Page
Rock-a-Billy Idol
She Ain't No Angel
Tired & Sleepy
Lonesome Saturday Night
Side B -
Room to Rock
Crazy Baby
Love this Kat
Other Side of Midnight
Note from the South.
Download: Levi & the Rockats - Live at The Louisiana Hayride
Download Size: 61.5MB
(Ripped From 28 yr. old PoshBoy Vinyl at 320Kbps)
The Wesley Willis Fiasco - Spookydisharmoniousconflicthellride
To many the late Wesley Willis will never be considered anything other than a novelty act, his music often reserved for when they need a quick laugh, rarely taking the time to reflect upon the meaning behind his bizarre lyrics. However, his music is important to me for much more personal reasons. My mother, like Willis, is a diagnosed paranoid schizophrenic. It can be very difficult to understand those who have schizophrenia and the depth of the conflict that they must deal with. Wesley Willis is one of the few examples that we have of a person diagnosed with Schizophrenia, who was able to make a career as a successful musician, and share the inner turmoil that he constantly faced with the world. Willis' created music as way of dealing with his encounters with demons, which occurred mainly on the CTA bus lines in Chicago. Willis coined the term "Warhellride" to describe these frequent encounters. His approach to music was simple and crude, often dealing with obscene subject matter, and frequently sporadic in nature.
The majority of Willis' musical output featured only Willis accompanied by his Technics KN keyboard. Willis didn't actually play any of the notes heard on his solo work, instead he simply used the one-note autochord feature on his keyboard. A variety of different programs were utilized, although the bulk of his solo material consist of the same program being used extensively, with only slight variations in the key or tempo of the song. As a result, much of the music on his albums sounds very repetitive. Fortunately the repetiveness is made more tolerable by his outrageous lyrics and vocal delivery.
His lyrics http://ligamusic.com also usually follow a general pattern, although to classify Willis's lyrics according to any conventional rhyme scheme or meter proves difficult. Lyrics generally began with a verse: a four-line spoken stanza, usually consisting of statements about the subject of the song. This was followed by the chorus, which was simply the subject of the song sung anywhere from three to six times in a non-professional, "drunk anthem" type style. Then another verse and another chorus, followed by an instrumental bridge section, where Willis, who had taken to heart the advice he had heard that the ideal song length for radio play is two minutes and 50 seconds would push the "fill" button repeatedly on his keyboard, usually triggering accompanying sound effects. The song ended with another verse, a chorus, and the words "Rock over London! Rock on Chicago," a catchphrase from an hour-long WXRT radio show. It was often followed by a company or product's name and slogan. Each song would end with a different slogan. If performed live, "Chicago" would be replaced with whatever city Willis was performing in.
On a few occasions Willis collaborated with other musicians, with The Wesley Willis Fiasco being the most well known collaborative effort. The style of music was much different from Willis' previous solo material, as the Fiasco concentrated on more of a punk style. The band consisted of Willis on vocals, Pat Barnard on (Lead Guitar), Dale Meiners (Rhythm Guitar), Dave Nooks (Bass) and Brendan Murphy (Drums). They released only one studio album, Spookydisharmoniousconflicthellride (a reference to Willis's description of his schizophrenic episodes). The Fiasco toured with many bands, most notably Rocket from the Crypt, Lordz of Brooklyn, and Sublime. They also released a much sought after and hard to find 7" vinyl split with Sublime, as well as a split with Chicago's The Frogs
Due to conflicts between the Fiasco band's shows and Willis's solo keyboard shows, the band broke up while on tour in Ohio in 1997. Willis stated that the demons in his head worsened during the tour, causing him to constantly yell at the band. After the break up Willis went on to release a number of solo albums. On August 21, 2003, Willis died at the age of 40 in Prospect Heights, Illinois due to complications from chronic myelogenous.
The details of the life Willis lived are perhaps more interesting than the music he was able to produce, as I would assume would be the case for many who live with a powerful psychological disorder such as Schizophrenia. In life Willis was not only known for his music, but for his larger than life personality as well. He would often headbutt fans and random people that he met, which resulted in a large callus on his forehead, which can be seen in almost every photo of him in existence. He was also known for attending hundreds of concerts, where he sold the majority of his CDs face to face. At the time of his death, he had recorded over 1,000 songs but his total life savings were less than $200. Having sold out hundreds of venues across the country, the question still remains where all of his money went. Although Wesley is gone now, and his money remains missing, his legacy and music still remain for all to enjoy. Rock on Chicago... Wheaties, Breakfast of Champions!
Year of Release: 1992
Label: Urban Legends
Genre: Punk, Outsider Music
The majority of Willis' musical output featured only Willis accompanied by his Technics KN keyboard. Willis didn't actually play any of the notes heard on his solo work, instead he simply used the one-note autochord feature on his keyboard. A variety of different programs were utilized, although the bulk of his solo material consist of the same program being used extensively, with only slight variations in the key or tempo of the song. As a result, much of the music on his albums sounds very repetitive. Fortunately the repetiveness is made more tolerable by his outrageous lyrics and vocal delivery.
His lyrics http://ligamusic.com also usually follow a general pattern, although to classify Willis's lyrics according to any conventional rhyme scheme or meter proves difficult. Lyrics generally began with a verse: a four-line spoken stanza, usually consisting of statements about the subject of the song. This was followed by the chorus, which was simply the subject of the song sung anywhere from three to six times in a non-professional, "drunk anthem" type style. Then another verse and another chorus, followed by an instrumental bridge section, where Willis, who had taken to heart the advice he had heard that the ideal song length for radio play is two minutes and 50 seconds would push the "fill" button repeatedly on his keyboard, usually triggering accompanying sound effects. The song ended with another verse, a chorus, and the words "Rock over London! Rock on Chicago," a catchphrase from an hour-long WXRT radio show. It was often followed by a company or product's name and slogan. Each song would end with a different slogan. If performed live, "Chicago" would be replaced with whatever city Willis was performing in.
On a few occasions Willis collaborated with other musicians, with The Wesley Willis Fiasco being the most well known collaborative effort. The style of music was much different from Willis' previous solo material, as the Fiasco concentrated on more of a punk style. The band consisted of Willis on vocals, Pat Barnard on (Lead Guitar), Dale Meiners (Rhythm Guitar), Dave Nooks (Bass) and Brendan Murphy (Drums). They released only one studio album, Spookydisharmoniousconflicthellride (a reference to Willis's description of his schizophrenic episodes). The Fiasco toured with many bands, most notably Rocket from the Crypt, Lordz of Brooklyn, and Sublime. They also released a much sought after and hard to find 7" vinyl split with Sublime, as well as a split with Chicago's The Frogs
Due to conflicts between the Fiasco band's shows and Willis's solo keyboard shows, the band broke up while on tour in Ohio in 1997. Willis stated that the demons in his head worsened during the tour, causing him to constantly yell at the band. After the break up Willis went on to release a number of solo albums. On August 21, 2003, Willis died at the age of 40 in Prospect Heights, Illinois due to complications from chronic myelogenous.
The details of the life Willis lived are perhaps more interesting than the music he was able to produce, as I would assume would be the case for many who live with a powerful psychological disorder such as Schizophrenia. In life Willis was not only known for his music, but for his larger than life personality as well. He would often headbutt fans and random people that he met, which resulted in a large callus on his forehead, which can be seen in almost every photo of him in existence. He was also known for attending hundreds of concerts, where he sold the majority of his CDs face to face. At the time of his death, he had recorded over 1,000 songs but his total life savings were less than $200. Having sold out hundreds of venues across the country, the question still remains where all of his money went. Although Wesley is gone now, and his money remains missing, his legacy and music still remain for all to enjoy. Rock on Chicago... Wheaties, Breakfast of Champions!Year of Release: 1992
Label: Urban Legends
Genre: Punk, Outsider Music
Music blog News http://allmusicnews.wordpress.com
Track List:
1. Get On The Bus
2. I'm Doing It Well On The Side Of The Rea
3. Pop That Pussy
4. Casper The Homosexual Friendly Ghost
5. I Can't Drive
6. He's Doing Time In Jail
7. Bar Is Closed, The
8. Jesus Is The Answer
9. Blood, Guts & Fire Trucks
10. She Loves Me Truly
11. Drink That Whiskey
12. Steve Albini
13. Steve Albini (reprise)
14. I'm Sorry That I Got Fat
Track List:
1. Get On The Bus
2. I'm Doing It Well On The Side Of The Rea
3. Pop That Pussy
4. Casper The Homosexual Friendly Ghost
5. I Can't Drive
6. He's Doing Time In Jail
7. Bar Is Closed, The
8. Jesus Is The Answer
9. Blood, Guts & Fire Trucks
10. She Loves Me Truly
11. Drink That Whiskey
12. Steve Albini
13. Steve Albini (reprise)
14. I'm Sorry That I Got Fat
These Arms Are Snakes/Russian Circles Split 12" EP
This is the first of a series of promo albums released for Record Store Day that I will be posting over the next few days. These Arms are Snakes is a post-hardcore band hailing from Seattle, while the members of post-rock group Russian Circles are natives of Chicago. Both bands are signed to Suicide Squeeze records, and are touring together at the present moment. This split EP was originally released to celebrate their European tour in November 2008, with only 1,000 copies being pressed on 12" black vinyl. 500 copies were sold on tour and 500 were available on Sargent House's webstore. It was reissued once again for Record Store Day, again limited to 1,000 pressings, only this time on 12" clear vinyl.
Year of Release: 2008/Reissued in 2009
Label: Sargent House
Genres: Post-Hardcore, Post-Rock, Math Rock
Bitrate: 260VBR
Phallus Dei - Pornocrates
As I promised several people, more Phallus Dei. If you want more info about the band, go here. Phallus Dei put a lot of time & creative effort into writing their songs. The payoff is an immaculate sounding & composed piece of musick. This is one powerful album.
"Monumental." On Pornocrates the line-up is the same as Cyberflesh.
Phallus Dei is: Oliver St. Lingam - vocals & sequencing; Mk. E - guitar, acoustic guitar, flute, bass, & keyboards; Joris Huijbregts - bass, keyboards, accordion, & sequencing; & Richard van Kruysdijk - drums, percussion, synthesizer, keyboards, guitar, & sequencing. Written, arranged, produced & performed by Phallus Dei.
Best music http://ligamusic.com
Year of Release: 1994
Label: Paragoric PA 06
Genre: Electronic Industrial
Tracklist:
Dog (Prologue)
On Aloneness
The Arising (A New Day Version)
Unguided Love
Pornocrates (Bloodlust a Go-Go version)
Insignificance
Ladyshave
The Outer Bone
Circles on Circles (Dreams ov Channel Five version)
Never to Believe (My Release version)
Veiled Statues
Dead Birds Floating
Current Lullabye (Epilogue)
Download: Phallus Dei - Pornocrates
Download Size: 109.9MB
Monday, May 18, 2009
Kris Ellestad: A mix of Fleet Foxes and Beirut?
I know, I know, it sounds inconceivable!! But could it be true? We got a lovely and personable email from one Kris Ellestad, a Canadian from the prairies of good ol’ Calgary (S man, where you at?)
Ellestad is a special treat for all of us, because well, he is into this whole digital age mp3 download thing that spurs artists to fame, and he really gets it:
I’ve been writing and recording songs for about 8 years now, though I wouldn’t say I began to write songs I enjoyed playing until about three or four years ago. During that time I put together short ‘albums’ of material from distinct periods in my life, including some live shows, and shared them with family and friends. Some of these I liked more than others, and they ended up on a single-page website I made, all for free download.
In case you misread that last sentence, I’ll repeat a part of it. “…and they ended up on a single-page website I made, all for free download.” Yeah, he’s hip.
But the thing is, we obviously wouldn’t discuss an artist who simply has free music up unless we actually liked the music. Crazy notion right? Ellestad’s music is simple yet beautiful. With a very earthy sound, Ellestad meshes overriding strings and percussion with a mix of what sounds like bells and flutes, depending which track you choose. His voice is eerily reminiscent of Zach Condon’s and the music is lo-fi all the way to its core. The material that I’m sharing with you here is sort of the new direction Ellestad is taking with his music - that direction being a good one. After such a ringing endorsement, how can you not take these tunes for a test run?
Kris Ellestad - “The Secret” [MP3]
Kris Ellestad - “November Steppes” [MP3]
Pick up the other 64 tracks for free download here. Thank you Kris Ellestad.
Miss COED: Misty Dawn
Yowza - you better hold on to something before checking out this chick, or you might pass out from horniness! Ridiculously sexy blond bombshell, Misty Dawn takes looking hot to a whole new level. The 27-year-old Dallas, Texas bikini and glamour model has appeared in countless publications, including the 2006 Miss Bikini and Auto Bodies calendars and was a Playboy Cyber Girl. Excellent http://ligamusic.com
Eminem's Relapse Inspires Our Fantasy Slim Shady Playlist
DJ Drama, the Alchemist, DJ Whoo Kid and more offer up their favorite Em tracks to Mixtape Daily.
By Shaheem Reid
Eminem
Photo: MTV News
Mixtape Daily Special Report
Eminem has been a beast since his demo tape. We all know that. He's told us the good, the bad and the disgusting in his life and never held back any punches. He throws haymakers on the mic, from guest collaborations like "Off the Wall" with Redman and "Renegade" with Jay-Z to the album cut "Marshall Mathers." He's one of the best to ever to do it, and he's made a return to spotlight with his new LP Relapse.
In honor of King Mathers coming back, we're coming double-fisted. First, we have an exclusive, vintage freestyle that Em recorded right here in the MTV offices about a decade ago. As you'll see, Em was still rocking the blond 'do and was a monster, coming off the dome back then. He laid his raps while visiting DJ Stretch Armstrong.
Speaking of DJs, we've assembled some of the best in the game right now to give us their tracks for a fantasy Slim Shady mixtape. Before you have a heart attack, we couldn't include all of Em's greatest songs in one article, but feel free to tell us which ones we should include in part two. Big-up to Alchemist for getting the gig as Em's DJ while he's doing this promo run.
"Just Don't Give a F---"
"It was the first record that really introduced me to Eminem. It was unlike anything I ever heard. When I first heard that, I was an instant fan. When I heard that song, I was a complete nobody at that time. I fooled the world by pretending that I had an online Internet radio show. I got in touch with Eminem and [his manager] Paul Rosenberg and their camp when they was doing promo shows. Back then, I got them to come to my mom's basement, because I was such a fan and I couldn't wait to hear more stuff from this guy. I got them to my mom's basement, and we hung out. He was definitely drunk. ... Definitely, you could tell he was kinda a live wire. He actually came with Royce Da 5'9"." - Clinton Sparks
"The Way I Am"
"To me, Eminem is the ultimate personable artist. He always brings you in his life. 'The Way I Am,' he was already dealing with so much, really coming into his iconic status. For him to deliver that record and deal with what was going on ... it's amazing that a record like that could be a single. Lyrically, he's one of the greatest of all time. That's one of my favorite Eminem records. The flow was ill, as it always is. He delivered quality and gave his Eminem angry approach to it. You could feel the hostility in the record." - DJ Drama
"Love Me" (featuring 50 Cent and Obie Trice)
"That was a hard record right there. I guess it was so much sh-- going on, they didn't concentrate on that record. It was one of those records we should have done the video and pushed it more, but at that time, Eminem didn't need no pushing. He was already moving millions of units. It's hard when you're moving millions of units — 8 million, 10 million units — what's the purpose of concentrating on promoting separate records? Everybody heard it, it was poppin', but I felt they should have put a little light on the record. I think that was the first time we heard Em and 50 together." - DJ Whoo Kid
"Hello"
" 'Hello,' it's Em saying he's back. You could tell Dre mixed that record because of the sound. I like some of the cuts and scratches on the hook. That's the classic Em we love. He's been away for a second. It's Em. His flows on the new album, me personally, I like how he rapped on 'Hello,' the 'Beautiful' record is ill. 'Bagpipes Over Baghdad,' I like the style he raps on that. For my personal taste, I like the introspective Em." - DJ Skee
"Underground"
"When I first heard [Relapse], that was the song I said, 'This is gonna shut mutha----ers up.' Straight up. It would not be an issue. Nobody would be like, 'I didn't like this, I didn't like the flow.' ... When we perform that song, Em takes a spot on the stage, and that's it. He picks a spot and dumbs out. There's not a lot of moving. When we're rehearing the song, you know, 'This is gonna be something crazy.' He says, 'Turn the lights down,' they put the spotlight on Em, and it's just snap rap. In the current day and age, you don't hear songs like that. It doesn't seem like any of that other sh-- going on in the world or in the music industry was going on in his mind when he [made the song]. He was strictly into the craft. I don't think anybody is f---ing with that." - the Alchemist
"Insane"
"The first thing I thought when I heard it was, 'Oh, word? Another thing that happened to him that we're just finding out about?' I was like, 'This guy's life is worse than people think it is.' It's great that he's not afraid to say it or tell the people. There's a lot of people out there that sh-- happens to them that they feel embarrassed or they don't know how to do it. Nobody can tell a tale of tragedy better than Eminem and make it f---ing interesting and cool to listen to and make fun out of it. He's not saying it like 'woe is me.' He's saying, 'This sh-- is f---ed up. F--- it! This is who I became because of it. F--- you.' " - Clinton Sparks
"The Real Slim Shady"
"Em doesn't get much club play [in the U.S.], but when I go overseas and play 'The Real Slim Shady,' that's a classic over there. When people hear it overseas, they be buggin' the f--- out. The beat is hot. It's a long verse, but when the hook comes on, everybody is screaming. It's kinda like 'Jump Around.' I did it recently in Beirut, Lebanon, and parts of France. Those songs connect to the rich people and young kids." - DJ Whoo Kid
"We as Americans"
"That was an old record. That's when he said, 'I don't rap for dead presidents/ I'd rather see the president dead/ It's never been said, but I set precedents.' Sh--, man! He always figures a way to step beyond what other mutha----ers are doing with the bars. I always like that beat too." - the Alchemist
50 Cent's "Patiently Waiting" (featuring Eminem)
"Classic! 50 and Em over an Eminem beat. 50 in rare form, Eminem in rare form. Both on top of the world at the time. A monster who created another monster. That was just classic. Eminem beats at that time was such gold and had such rich sound. 50 fit the beat perfectly on that. Just the hook alone — 'I been patiently waiting for a track to explode on' — summed everything up." - DJ Drama
"8 Mile Road" and "Lose Yourself"
"That whole '8 Mile' soundtrack, even though it wasn't Em on the whole thing, it was ill. 'Lose Yourself,' that was Em's best. That's my favorite commercial Eminem single. That was Em in his prime. It was a great new direction for him. What the people in the mainstream knew him was for some of the funny stuff and all the crazy stuff with Kim. But the inspirational side was great motivation music. I've used it to motivate me. To show a white boy from the 'hood in Detroit can come out and do it, it's inspirational." - DJ Skee
Notorious B.I.G.'s "Dead Wrong Remix" (featuring Eminem)
"That was hot too. Em held it down very well. Nobody complained about that. You would never hear Tupac or Biggie doing songs with 60 percent of the artists that are booked on those remix albums. But Eminem, it felt like B.I.G. would have done a song with Em. With the remixes with dead rappers, I don't pay attention to them, but I wanted to see how Em would alter his lyrics to f--- with Biggie. He hung with him." - DJ Whoo Kid
For other artists featured in Mixtape Daily, check out Mixtape Daily Headlines.
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'Hills' Star Lo Bosworth Avoided 'Pink, Frilly' Gowns For Her Prom
'We had, like, hot outfits and stuff, and we pretended like we were old,' she recalls of her 'Laguna Beach' days.
By Jocelyn Vena
Lo Bosworth
Photo: Charley Gallay/ Getty Images
It's May — you know what that means. It's getting warm, the flowers are blooming and the time-honored tradition of prom is back again. So get your corsages, turn up the cheesy music and fuel the limos, because this week we're catching up with your favorite stars and helping them relive their favorite prom memories.
Lo Bosworth has several proms to remember fondly. "The Hills" star, who also spent some time in high school in front of the cameras on "Laguna Beach" alongside Lauren Conrad and Stephen Colletti, told MTV News that she and her friends really made sure they did prom night right back in the day.
"I had so much fun at prom. I went to three proms, actually," she recalled. "I went almost every year of high school, and in Laguna, we did it up."
For the Laguna kids, that meant celebrating prom in the splashiest way possible. "We got huge limos and fabulous dresses — none of this pink, frilly sh--," she said. "We had, like, hot outfits and stuff, and we pretended like we were old, and it was so much fun."
When it came to dates, Lo relied on the company of her best girlfriends, but for one year, there was a very special guy by her side — sort of. "I went with friends every year," she said. "Except one, and that year, I went with my ex-boyfriend. I broke up with him, but we still went to the dance together."
Music News Blog: http://allmusicnews.wordpress.com
Blink-182 Talk Reunion, First Tour In More Than Four Years
'I think it's gonna be amazing,' Tom DeLonge says of the jaunt, which will include Weezer, Fall Out Boy and other acts.
By James Montgomery
Blink-182's Tom DeLonge and Mark Hoppus
Photo: Jason Merritt
On Thursday night in Hollywood, Blink-182 ended a four-and-a-half-year hiatus with a surprise performance at a T-Mobile party at Paramount Studios. And now that they're officially, 100 percent back, how would they rate the reunion so far?
"Awkward, weird ... a little standoffish. Me and Travis are on one side [of the studio], behind a brick wall, and Tom is outside the wall knocking," Blink's Mark Hoppus told MTV News at the event. "You ever seen that episode of 'The Odd Couple' where they drew the line down the middle of the room? Yeah, it's kind of like that."
"And there's a couple holes where we stick various parts of our bodies through," Tom DeLonge added. "It's really super strange and weird. But it rocks."
And judging by what we heard onstage Thursday night, it does, indeed, rock. So now that they've got one performance under the belt, what about Blink's much-hyped summer tour with Weezer, Fall Out Boy and a rotating list of huge acts (Taking Back Sunday, All-American Rejects, Panic at the Disco, Asher Roth and Chester French)? What can fans expect to see out on the road? Well, lots and lots of lasers, apparently.
"I think it's gonna be amazing. There are amazing bands, they're all big. When we started talking about doing the tour again ... we had all these options start popping up. It was really amazing to be able to end up on the bands we had," DeLonge said. "Usually when you go out on tour, there's a lot of negotiations as far as time and who can do what and when they can do it, or whatever ... I'm gonna be honest right now. The tour is gonna be good. Mark, after f---ing 17 years, might let me have lasers!"
"It's true," Hoppus laughed. "[Lasers] broke up our band at one point, and now it's lasers that are bringing us back together."
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Eminem's Road To Relapse, Part 5: The Hiatus
Slim Shady withdraws from the spotlight.
By Jayson Rodriguez
Eminem
Photo: Interscope/MTV News
As the May 19 release of Eminem's long-awaited Relapse album approaches, MTV News is taking a deep dive into our extensive Eminem archives and examining each phase of the MC's storied career. Part one looked at his rise; part two at his initial stardom; part three at his feature-film debut in "8 Mile"; part four at his 50 Cent co-sign and the toned-down album Encore; and here, in part five, his second divorce, death of his best friend, and hiatus.
Overweight? Overdosed? Or something altogether worse?
Those were just some of the many questions asked about Eminem during his three-year retreat from the public eye.
Slim Shady had been ubiquitous since he first stepped on the scene in 1999. The superstar lyricist recorded multiple albums, created controversies and made enough history in his career to become a household name. Then he seemed to slowly fade out of the spotlight. Slim Shady had been ubiquitous since he first stepped on the scene in 1999. The superstar lyricist recorded multiple blockbuster albums, created headline-grabbing controversies and cemented his legacy as not only one of the greatest rappers of all time but also one of the most important artists and musical voices of his generation.
Em reconciled with Kim once again in December of 2005 and quickly remarried the mother of his child in a whirlwind courtship one month later. 50 Cent attended the Michigan nuptials, along with D12, and Proof served as the best man.
However, three months later the pair split once more, seemingly for good this time. Eminem filed for divorce from Kim, who he had dated on and off again since his high school days. The swift breakup was as puzzling to some as their second trip down the aisle.
But just as Eminem was dealing with his second divorce, he'd be struck by shocking tragedy less than seven days later. His best friend, mentor and fellow D12 member Proof was fatally shot in a Detroit club on April 11, 2006. The venerable rapper's death caught the hip-hop community off guard — Proof had proven to be an affable and extremely well-liked person among his many peers.
The double dose of bad news sent Eminem reeling.
Veteran journalist Sacha Jenkins, who partnered with Eminem to work on the rapper's 2008 biography "The Way I Am," described the incidents as ingredients that led to Em's increased drug use and eventual addiction and dependency.
"I think the grind of doing something that he really loved and that turning into this really super pressure-filled career, on top of the tragedies that he suffered — including personally his relationship with people within his family like his mother, the situation losing his best friend Proof, all those things combined — I believe and he believed, contributed to his downward spiral."
Through his camp, Eminem released a touching statement about Proof and then went into hiatus.
"You don't know where to begin when you lose somebody who's been such a big part of your life for so long. Proof and I were brothers," Eminem said in the statement. "He pushed me to become who I am. Without Proof's guidance and encouragement there would have been a Marshall Mathers, but probably not an Eminem and certainly never a Slim Shady. Not a day will go by without his spirit and influence around us all. He will be missed as a friend, father and both the heart and ambassador of Detroit hip-hop."
Em made a rare appearance two months after Proof's death at the 2007 BET Awards in June, joining Busta Rhymes onstage for a performance. But for the next year and a half — throughout the latter half of 2006 and all of 2007 — Eminem was barely seen or heard from.
Rumors swirled that the rapper was battling drugs. A doctored photo popped up online of a bloated Eminem that caused a stir regarding his weight. Then, in January of last year he was hospitalized, reportedly due to a bout of pneumonia.
No one knew just what to believe about the rapper who had all but become a recluse. It wasn't until two June cover-story interviews, with Vibe and XXL, that fans got the unfiltered details of Eminem's whereabouts. He revealed he was a recovering drug addict and spent stints in and out of rehab to deal with his addiction to pills.
XXL Editor in Chief Datwon Thomas, who interviewed Em for the story, said he was surprised by how candid the rapper was about his struggle for sobriety.
"When we got into the interview, he was just, 'Yo, man, I went through all this stuff with these pills.' I was like, 'Whoa.' It just hit me," Thomas told MTV News. "I actually had it down further in my notes. I had to rearrange everything and bring it to the top, like, 'Whoa, we going in.' I didn't have my scuba gear on fast enough to go that deep where he was at. But it was good, because it set the tone for the whole thing. To be open that much, that early, just led me in a way where I could go where I wanted to. The only place where he protected as far as personal side was his daughters and Kim."
Thomas said Em was very measured during his admission, using the word "struggle" over and over as he discussed his challenges. It was clear he understood his comments would be explaining a lot.
"His tone was pretty even throughout. Whenever he would get into those dark, emotional places, you could feel the pause in him," Thomas said. "Just kind of, 'Wow, I'm really saying this. This is gonna be out for the people.' You could just see him going through that. But at the same time you could also see him releasing it and him being cool http://allmusicnews.wordpress.com with it. Being cool with letting people know, 'You're going through problems I'm going through.' He's letting you know, 'I'm going through the same thing, and it's a constant struggle.' The number-one word he used throughout the interview was struggle. 'I struggle with this.' And with someone that fights so much, he was just ready to let go [and admit he was a drug addict]."
Last June Eminem began making his comeback. He phoned into his Shade 45 satellite radio station to prank call LL Cool J, who was being interviewed by one of the DJs. Shortly after, his label, Interscope Records, announced he was working on a new album.
In September of 2008, he confirmed he was concentrating on his own new material, and he later announced in November the title of his new album: Relapse.
Eminem may have been knocked down, but Marshall Mathers managed to pick himself back up. Now guess who's back?
Related Music
The Eminem Collection http://ligamusic.com
New Age of Mobile Printing from Trident
Trident has launched a new rugged printer, Printex 812 that is meant to be housed in vehicles, locomotives and planes amongst others.
The printer can be seated in vertical or horizontal positions. Several options such as rubber feet, clamps, shock mounts and adapter plate are provided for housing it. It draws power from in-vehicle 12V or 24V power system, thereby ensuring almost continuous power supply. The printer automatically goes into a standby mode if kept idle for a certain period of time to protect the vehicle battery from discharging rapidly.
Printex 812 features a parallel port and a USB port for sourcing prints. The lack of wireless ports quirks me. Print speed is OK at 5 pages per minute. Printing resolution is on the lower side at 200 X 200 dpi.
This is a nice printer to have for those who work on the move, and those who cannot guarantee delicacy of touch.
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