Underground Mass - Hard Times (Vinyl)

They also indicate his penchant for converting biographical experience into eminently catchy combinations of pop, gospel, blues, and soul. There's not one forgettable moment on Greatest Hits. Covered by the likes of Fiona Apple, Mick Jagger, Isaac Hayes, Alicia Keys, and dozens more, "Use Me" rides a riveting clarinet riff and urban tempo to express the double-edged feelings associated with an edgy relationship.

For the Latin-tinged "Lovely Day," Withers holds a single note for 18 seconds and composed a song that's been sampled and rerecorded countless times by artists spanning Diana Ross to R. Secure your lowest-numbered copy of this seminal edition by ordering from Music Direct today!

Bill Withers. Mobile Fidelity Sound Lab. Strangely, the song is seldom accorded recognition on par with his more well known material. Music On Vinyl. But inwhen the album was released, the famed singer-songwriter was still at the height of his powers. His songs were paradoxes, deceptively simple in the way they illuminated the interiority of the human experience, how they made the personal universal.

Classics — C Released: Aug With production, arrangement and keyboard accompaniment by Booker T. Beautifully remastered, Just As I Am is presented to a new generation of listeners who may have missed out the first time. With this remastering comes an intimacy, warmth, and immediacy to the recordings that was only hinted at with previous versions; it's almost as if Withers is in a living room singing to a small group of people, rather than making a record.

Of course, the instantly recognizable anthem "Ain't No Sunshine" gets all of the acclaim it so richly deserves, but also in tracks like "Harlem", "Grandma's Hands" and "Better Off Dead" you can hear the intensity and maturity of Bill's performances.

Even when he's doing covers, Withers makes them sound as if they are his own compositions. Limited to copies. First, Night Express is great music. Because Night Express was not only a funky, compelling hit record in its day. Confined together by residence controls, these communities developed their own vibrant cultural life.

Mohamed had started his musical journey at Dorkay House, where he studied guitar and was able to hear the rehearsals of jazz legends such as saxophonist Kippie Moeketsi. Later, it became one of his meeting and rehearsal spaces. I was in awe. Mohamed already knew bassist Sipho Gumede from Dorkay House. A vehicle was hired to bring his Yamaha from his home, and the first Black Disco album was cut: a trio with no drummer.

We did it in the Gallo Studios in about two hours—no re-takes. At that time, Mohamed was still feeling his way through jazz-style soloing. They were my mentors. Night Express was an instant hit, and Black Disco one of several names the group bore, with shifting personnel when Gumede or Coetzee were not in town was able to graduate from its previous three-hour afternoon sessions in township school halls.

The regime divided us: people classified coloured had identity documents; black people had the dompas. Sipho, although he was born in KZN, could play any feel. Despite the hits, it had not been easy making a living from the music. But the growing weight of repression culminating in the Soweto Uprising inwere leading to a shift in his music.

I wanted a reason for playing. It was no longer enough just to have hits. We must know our heritage. But the Black Disco group was, for him, where it all started. It was our way of saying: We are with you. Black Disco. Matsuli Music. After the two connected via friends in the Austin scene, they began to collaborate on a new sound that transmutes soul into something idiosyncratically modern. Style: Psychedelic, Soul.

Outside of Kenya their output has been mostly invisible until a recent reissue and spreading through the internet, but they were quite popular among Nairobi youngsters in the s. Their music was released on an LP and three singles between the mid-'70s and the early 80s, and has remained out of print ever after.

The early years of the band, whose members met during their secondary school years in Nairobi, are well described in the liner notes to the current reissue compilation by Afro7. CD, Compilation. Country: Finland. Released: 10 Jun Style: African. Cupid Deluxe shows a more expansive aural palate than its predecessor while retaining the pop sensibilities that Hynes has showcased since his days in Test Icicles and Lightspeed Champion.

Simply put, Cupid Deluxe perfectly highlights why Hynes has become one of the most exhilarating and prolific voices creating music right now. Blood Orange. Written and produced by Hynes, Freetown Sound is a tour de force, a pastiche of Hynes' past, present, and future that melds his influences with his own established musical voice.

For well over a decade, Hynes has proven himself a virtuoso of versatility, experimenting with almost every conceivable musical genre under a variety of monikers. After moving to New York City in the mids, Hynes became Blood Orange, plumming the oeuvres of the city's musical legends to create a singular style of urgent, delicate pop music. Freetown Sound, which follows 's Coastal Grooves and 's breakthrough Cupid Deluxe, builds upon everything Hynes has done as an artist, resulting in the most expansive artistic statement of his career.

Drawing from a deep well of techniques and references, the album unspools like a piece of theater, evoking unexpected communions of moods, voices, and eras. Freetown Sound derives its name from the birthplace of Hynes' father, the capital of Sierra Leone. Thematically, it is profoundly personal and unapologetically political, touching on issues of race, religion, sex, and sexism over 17 shimmering songs. For Hynes, the process of self-discovery involved in creating Freetown Sound proved as valuable as the finished product.

There are so many crazy layers to it that it's actually quite hard to talk about it, but the record is very reflective of how my Underground Mass - Hard Times (Vinyl) works. It's been very interesting for me trying to understand and tie all of these things together. It's been a way of working through it. Sprawling and messy by design, the album covers the complicated sentiments that exist in modern culture that refuse to be reduced to a mere talking point.

Towards the end of the record, Hynes repeats messages of knowing and choosing your worth, an inherently defiant stance against the oppression of marginalized groups. It was released via Domino Recording Company on 12 July It is his first release since his fourth studio album Negro Swan Originally released digitally, it was later released on compact disc, vinyl, and cassette tape on 4 October — Wiki.

Format: Vinyl, LP, Mixtape. Released: 04 Oct Music Label - G. Records Label - Warner Bros. Quick shop. Add to Wishlist Your current wishlist is not saved. Jones, Al Jackson, and Stephen Stills Among Guest Instrumentalists on Greatest Hits Bill Withers created mellow, downhome-style soul for barely more than a decade before retreating from the industry to pursue craftsman interests.

The first is more or less restricted to the logics of the cultural field: As a reaction to the ongoing commercialization of techno, the Detroit scene re-formed itself by emphasizing its artistic integrity and economic independence from major record-labels and mainstream audiences.

At the same time, however, being underground, i. What was happening to techno on a regional, national and global level was perceived as just another exploitation of an African American musical form. The truth is I would simply ask for something that would give back to our community from these people. It did feature first and second wave artists along with artists from Germany, and even included collaboratively produced tracks.

Moreover, Underground Resistance used the Berlin record store Hard Wax, established into promote its music and manifestos Sicko In an interview fromBanks argued that instead of using their financial powers to promote techno in the U.

And if an anti-commercial stance has been often recognized as characteristic of UR and its artists, the commitment to metropolitan politics and the criticism of its racist dimension seem to be at least equally important. However, before I elaborate on this point, some more general remarks on UR seem to be helpful.

Underground Resistance, or UR, is both the name of an independent record label and the pseudonym of a group composed of Mike Banks and Jeff Mills, the founders of UR, resp. I suggest that this sound fusion is a further aspect of the musical transculturation involved in techno since Mills and Banks made use of a genre that — although African Americans have sometimes been involved — was dominated by White musicians.

However, it would be mistaken to identify UR only with this kind of sound. Instead, it has to be pointed out that UR demonstrates the ability to provide a musical output that is characterized by aesthetic diversity and includes, for instance, tracks foregrounding melodic elements, similar to Underground Mass - Hard Times (Vinyl) Detroit techno, and a constant involvement with techno jazz fusions.

Underground Resistance is a label for a movement. A movement that wants change by sonic revolution. We urge you to join the resistance and help us combat the mediocre audio and visual programming that is being fed to the inhabitants of Earth, this programming is stagnating the minds of the people; building a wall between races and preventing world peace. It is this wall we are going to smash. By using the untapped energy potential of sound we are going to destroy this wall much the same as certain frequencies shatter glass.

Techno is a music based in experimentation; it is music for the future of the human race. Without this music there will be no peace, no love, no vision.

By simply communicating through sound, techno has brought people of all different nationalities together under one roof to enjoy themselves. So called primitive animals and tribal humans have known this for thousands of years! We urge all brothers and sisters of the underground to create and transmit their tones and frequencies no matter how so called primitive their equipment may be.

Transmit these tones and wreak havoc on the programmers! Long live the underground…. While race relations are definitely an issue in these lines, they are not in the sense that a racialized identity is foregrounded or affirmed; the movement, and its sound exploration, are not identified with blackness.

There is thus a strong sense in UR, as in early Detroit techno, that racial identity should not be important to the valuation of music and the vision communicated through its sound, and — as the example of Kraftwerk demonstrates — that a sound and a visual politics which contest such identifications are progressive.

Identity formation is here not so much understood as having to be enabled, or restricted, by a social position in the first place; what is emphasized instead is an ability to explore the possibilities of identity formation beyond any seemingly natural coordinates, and the prime medium proposed by UR for this is electronic music. Taking these expressions of self-understanding seriously, there is no ground for claiming, as Wendy S. It is rather the case that Underground Resistance considers itself part of an Underground Mass - Hard Times (Vinyl) American struggle for liberation.

This becomes quite obvious when the associative frame opened up through song-titles and self-naming is considered. Three examples should be sufficient to demonstrate this point. Both reference the Black resistance against slavery during the seventeenth and eighteenth century when fugitive slaves, so called maroons, founded settlements in the Caribbean and Brazil.

The Black radical tradition within which Underground Resistance locates itself is thus understood as a political and cultural one. The spirit of resistance survived in us African Americans throughout the ages and manifested itself into me and Jeff Mills as kids as it did in many of our friends. We wanted to build a better community by expanding, inspiring and transporting minds and spirits via unexplored sonic potential. The task, that Banks sees, then is to powerfully communicate alternative identities that question a culture of hypermasculine hardness and violence that he perceives as dominating the lives of inner-city African American male youth.

Like on this trip, we brought the sax player who is 19, one of the keyboard players is 22, the two dancers, one of the dancers newer flew on an airplane before. It diminishes their power, and gives someone doing something positive more power Fisher Therefore I suggest that rap has in the first place a representative function and that it is about documenting and interpreting some reality. If early Detroit techno — due to the class concerns of its pioneers — can be said to have been beyond the hood and in a strict historical sense also before the hoodthis is certainly not true for Underground Resistance.

Packaging features a lift top-style box loaded with so much ephemera even KISS fans may need to seek medical advice upon receiving this boxset. Featuring 41 previously unreleased demos, sessions, live tracks, and 21 unreleased TV performances.

Plus, an illustrated pg essay book, a pg replica of the original "Teaser And The Firecat" book, and a 7" single of Underground Mass - Hard Times (Vinyl). Sometimes, the Underground Mass - Hard Times (Vinyl) place to begin is at the end. It touches on all the themes of the previous songs, but there are also callbacks to songs from earlier in our career.

Personal anxieties and political struggles collide with a series of portentous, apocalyptic and dramatic tunes, resulting in some of the darkest music the band has made since forming in Grandson of country pioneer Hank Williams and the son of outlaw legend Hank Jr.

He sings with his own singular voice and he writes in his own singular style, fusing gut-wrenching honesty and plainspoken poetics with raw vulnerability and deep empathy. Sam Williams continues to prove that he is making a legacy for himself that is completely his own.

The Best of Underground Mass - Hard Times (Vinyl). James Bond is a compilation featuring celebrated theme songs from the longest-running franchise in the history of cinema. This updated collection includes "No Time to Die" by Billie Eilish, the title theme song from the highly anticipated new film. Effervescent nu-disco act Bad Business Club present their second supremely refined full-length album the deliciously sun-soaked and harmonically rich 'Naked Neighbor'.

The album is the third release by the band for Nonesuch Records and follows up their break out release, Free Yourself Up, which debuted top 10 on the Billboard Album charts a career peak for the band and garnered them their first charting radio single, "Good Kisser.

All music overseen by executive producer Giles Martin. The seven LPs will be housed in die-cut jackets with a booklet in a library-style slipcase. Comes with an MP3 download card. He started to listen electronic music very young, in fact his father is a dj and vinyl collector since the 70's.

Pretty addicted to techno and electronic music too, he learned the feelings of the sound of vinyls to his son, so at the age of 12 he was already listening to stuff like Felix Kubin, Dopplereffekt, Aux 88, Underground Resistance. At the age of 16 he started to go in underground party's and rave party, that was the beginning of his love for underground hard music. In finally, getting attracted by the other side of the speaker because of a friend of him who just bought turntables and vinyl to also play in several party laterhe started to spin with some old records that his father gave him, that was the begginnig of his passion for vinyl and specially for old hard acid.

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