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To Err Is Human - Thornton*, Fradkin* & Unger* And The Big Band (3) - Pass On This Side (Vinyl, LP, Album)


Label: Get Back - GET • Format: Vinyl LP, Album, Reissue • Country: Italy • Genre: Rock • Style: Art Rock Thornton, Fradkin & Unger And The Big Band* - Pass On This Side (, Vinyl) | Discogs/5(4). The only real connection with the Godz is Paul Thornton (the very Thornton referred to in the act Pass on This Side is credited to -- Thornton, Fradkin & Unger and The Big Band). The remainder of the participants had no connection to the Godz/5(3). Feb 13,  · This is not the Godz, it is Thornton, Fradkin and Unger and the Big Band. The album was originally called Pass On This Side (ESP ).4/5(20).

Live Mfd. Bill Sire no. Ray Shulman: Prod. Producer: Taxi Prod. Sly Dunbar, Robbie Shakespeare: Prod. Darace Music no. Taxi on lbl [Ed. Steve Schroyder, Florian Fricke also re. Europe 1 split corner [lil back noise at starts] 7. Live rec. BMG Music Can. Columbia House Ed. Funk -5 tr. USA] Triloka [M? New Beat House style Note: w. France] Shandar SR July SR Peter Asher: Prod.

Don Grolnick: Prod. France] Logistic log cd [SS] 11 tr. Never Really Wanted James S. Taylor Distr. LST in stereo lil surface marks Distr. London Instr. Records no.

Note: also re. Bonus 12inch [LP] 2lp [1st Ed. Touch Jeff Martin: Prod. Shout U. USA] Nettwerk 0 2 0 [M? Lee - 1 tr. Savoir Mfd. Pleure pas pour moi, Manhattan Monotone w. Bergman, W. It Might as Well Be Spring d. Here We Go Ext. Version Alternative M, Altern. Rock 6. Pakistan - UK w. Dennis Coffey maybe re-released from the Motown Ed.

JX Ten CC 10cc cc compil. P Strawberry Prod. Records Mfd. Steve Gadd 9. USA] Lime Inc. Hard Rock Prog. Le tue promesse Monogram Distr. Tony Green: Prod. UK] Copasetik Recordings copa cdlp [M? Rock 8. Charly CD made in Ger. Milosz [LP] [1st Ed. Live Five Man Acoustical Band 5. Nous w. Jorane Distr. DEP [Sealed] 6. Test Dept. Megaforce not ind. Atlantic no. USA] I. P c Dig it Distr. Sablier, Marsa Nicolas Maranda: Prod. Red Cinders in the Sand [Ed.

UK] Epic 2 [NM? UK] Epic 2 [M? UK] Epic 5 [NM? Epic no. Cycle de poemes de Mikis Theodorakis Georges Wilson: recitant w. Live Mikis Theodorakis: cond. POSS Therapy? Hats Off to the Insane -6 tr.

MCA Denmark from Denmark? Death M 8. LC [Ed. Lamothe: composer [1st LP] Distr. II compil. Diskade 8. In between is some lovely pop music, which one finds after they trip their way through the amazing nine and a half minutes of the title track. It's a perfect setup to "Sweet Cherry Wine," which is the standout track, the subtle intro exploding into a chorus of the best type of anti-war sentiment: "Let's just get along.

Publicado por Woody en 2 comentarios:. This two-album-on-one-CD compilation captures Brinsley Schwarz at their musical peak on two levels. The material on Silver Pistol, arguably their best Frank Rennicke - Nur Unsere Gedanken Sind Frei! (Cassette, Album), is remastered impeccably so that you can practically hear the action on the acoustic guitar strings on "Nightingale" and get just as close to the electric guitar on "Silver Pistol," while the electric bass on "The Last Time I Was Fooled" feels like it's in your lap.

And then there's the second half of the CD, the somewhat slapped-together contents of Please Don't Ever Change, any of which sounds like it could easily be among the best work of the band. And even that shows the levels of perfection Brinsley Schwarz were achieving on just the individual, one-off efforts they generated when they weren't shooting for any big targets.

And except for Showaddywaddy, what other group during the s was covering the Cadillacs' "Speedo" as a serious number?

Etiquetas: Brinsley Schwarz. Double Trouble is the fifth album by Frankie Miller. Steven Tyler from Aerosmith also makes a guest appearance as backing vocalist. Etiquetas: Frankie Miller. Etiquetas: Room Publicado por Woody en 5 comentarios:. Etiquetas: Randy Burns. Publicado por Woody en 3 comentarios:. Etiquetas: Dave Evans. Ro Ro. Luther Dickinson, a superb slide gui- tarist and a remarkably knowledgeable player given his relative youthkeeps the band's groove simple and very direct while busting through numbers like "Shake 'Em On Down," "Drop Down Mama," "Poor Black Maddie," and "Station Blues.

Distributed by Universal Music Group. Now, Mullen steps into the spotlight with the album everyone's been waiting for — and quite frankly, her supporters won't be disappointed. The songs run the gamut from the funky, groove-oriented opening cut "Shooby" to the joyous reverence of "Redeemer. But make no mistake; this is no "Don't Speak. Yeah, this is a band that likes to have fun, but what a nice elegant step to the right.

Should mark No Doubt's return to top 40 without a hitch. The lead cut, "The Day That I Went Home," which Swan Dive wrote, is a gen- tle, acoustic guitar-based midtempo ballad featuring the vocals of Felder, who sounds so comfortable and at ease before the mike, you have to wonder if she's in the middle of a massage in the recording stu- dio.

Triple-A radio could have a field day with this track, which leans pop but still has enough inspiring instrumental tics to please an adult audience. One track hardly says it all, though, for this act, whose tal- ents are widely varied and should be ex- plored with the whole of this wonderful album. Contact Compass Records' Shari Lacy at And what a part- nership — the queen of the Arista empire with outgoing president Clive Davis' diva- in-training, Deborah Cox.

From the simple, classical piano intro, it builds gradually, growing more intense musically as the story intensifies, ultimately culmi- nating in a powerfully performed finale with full strings, magnificent high notes, and all the emotion that comes with an expertly written lyric.

The story starts with the former lover, Houston, giving advice to the new woman. Cox, explaining that she'll experience the same sad story of those who went before her. The song could have been tacky and catty, but instead, it's sweet, compassionate, and nostalgic.

Despite any bad press Houston might be suffering, her talent always outshines any personal challenges. And Cox demonstrates that she is as good as the best and still getting better. Her raspy, rich, and sultry voice is dripping with gritty emotion, like a version of Gladys Kni'ghL In fact.

But while Stone embraces a lot of early- 70s influences, par- ticularly on this track, the song ultimately remains contemporary. While the story could he true for any era — he doesn't know what he has until he's lost her — Stone's attitude is totally from the perspective of today's woman. The song's bridge features an unnamed male partner, with whom Stone duets magically. No drum machines or keyboard tricks. The only magic here is what she conjures with her enchanting voice. Pro- duction is fairly standard fare here, but radio has a warm spot for Mr.

Sammie Bush and should find no hesitation in making this promising youngster's star shine all the brighter. Larrieux's vocals offer a com- bination of jazzy riffs and bluesy moans that take neo-soul to another level. Fellow sisters in song Angie Stone and Kelts have attained commercial suc- cess while maintaining their own artistic integrity; Larrieux is easily poised to do the same.

That would be. BMI MCA CO promo Nothing says springtime like a love song, and Gill provides the soundtrack to a hand-in-hand stroll through the sunshine with this breezy little song.

It's a buoyant, uplifting lyric, and the production gives the sprightly melody plenty of room to breathe. The piano and guitar work are especially inviting. It all adds up to one tasty little record that should find a comfortable home on coun- try radio airwaves. Cochran, B. BMI Warner Bros. It's a well-writ- ten, boisterously sung, and deftly pro- duced ode to life's more enjoyable mo- ments.

Here's hoping all that momentum will light a fire at country radio. This song and artist are so deserv- ing of airplay. Cochran is a strong, distinc- tive vocalist, gifted mulU-instrumentalist, and skilled songwriter.

This single show- cases all those gifts and sounds ready- made for country radio. For programmers looking for uptempo songs, this fits the hill perfectly. This time out, Cochran shows her feisty LP and deserves to strike the pin- nacle again. The tune is the title cut from their forthcoming album.

As the lyric goes, it's hardly Shakes- peare — after all, it's just about stuff — but it's cute and clever, and country audiences will likely relate to the words. Cassette, vinyl, or CD singles equally appropriate for rrore than one format are reviewed in the category with the broadest audience. Send copies to Chuck Taylor, Billboard. New York.

Country singles should be sent to Deborah Evans Price, Billboard. Nashville, Tenn. Contributors; Michael Paoletta N. Score another massive hit for Hiickftreel Hoys with this unquestion- ably sunshine-splashed instant smash, the fourth single from L96Pfe No. Odds are t hat this song may reach the summit first, thanks to a feel-good mel- ody line that embraces the senses the first time through. Simply, you're not going to find a better pure nop song this season. Continued front preceding page unload a hunch of suffocating "stuff "7 Dia- mond Rio's Marty Roe leads the charge vocally, sounding like the guy next door run- ning a mental inventory and trying to get a grip on his suhurhan angst It's fluff hut fun, and listeners will find themselves singing along with the catchy chorus.

With its laid-back, "PVg"-style late-TOs groove, ". Plus, Walter Becker's lapidary gui- tar leads cut a mean figure, and the old- school rhythm section is as tight as two coats of paint on the wall. More, please. Or that the act didn't move some 7 mil- lion copies of sophomore album "No Strings Attached" in a matter of weeks. On its own, "It's Gonna Be Me" is a finely crafted example of why pop music continues to excel on the top 40 airwaves. With a melody line that stands to grow more appealing with each play, this follow-up to the No.

Again, the quintet demonstrates a more aggressive musical stance here, driven by an avalanche of meaty beats that will force heads to swing back and forth with glee. Vocally, Justin, JC.

Chris, Joey, and Lance continue to please, with wonderfully constructed layers of harmony. In particular, Jus- tin's co-lead shows the evolution of a now well-oiled instrument, especially during the breakdown at the hridge.

Here we go: It's gonna be thrm riding right up the charts with this solid, sum- mery smash. The youth train shows no signs of slowing down. ASCAP Espirilu Records CD pramoj The indefatigable Deborah Gibson is one of those rare, highly driven artists — and businesswomen— who refuses to shut down shop just because top 40 trends changed and radio moved in a different direction. With her string of nine top 40 hits fromher fan base remains active and rabidly dedicated, thanks to a continuous stream of high-quality materi- al over the years on her own label, Kspiri- tu.

And what a treat Miss Gibson has in store as a tip of the hat to her followers' tenacity. Fans and radio alike will find the sensuous, dance-injected "What You Want" a cutting-edge moment, featuring the recognizable vocals of this old friend and soul-saturating production from nev- er-failing maestro Tony Moran. Time to let go of any lingering prejudices you may have and let your audience real- ize that this artist remains a vital part of the scene. Could be the secret -weapon hit of the season.

Meanwhile, Eagles - On The Border (Vinyl, LP, Album) is in the studio now, working on an upcoming al- bum, so keep an eye out later this year. From early buzz, it promises to please. Promise abounds with this first track from her upcoming sophomore album, "Mirror Mirror," due next month. Price does lit- tle to mess with jwrfection here, stick- ing close to the original arrange- ment with the addition of some jazzy, forlorn piano.

Vocally, however, there's no doubt that Price is doing her own thing here, and it's as tasty as a cup- cake. She opens this song— about pre- cious, heartfelt Work Late Night (NYC Edit) - Oliver $ - DTPodcast 129 (File, MP3) spent in the arms of somebody else's man — with an appreciable suhtlety.

Only one little misstep here: Def Soul saw fit to fade the song for radio, neatly fitting it into a four- minute time span. No such need. Sure- ly, radio can spare that extra :t sec- onds for a song that sounds oh-so-fresh the second time around. IVice has already accomplished much in the short time she's been in the public eye. This enchanting new single will only add fuel to the fire. Just marvelous. A fine effort for smooth jazz ra- dio and another career high for this abid- ing artist.

From the album "Absolute Ben- son," due May AB and Daddy Black, the duo known for bringing bass music to the ears of the American puhlic with 's "Whoot, There It Is," are ready to make listeners nationwide shake it again with "Tightwork. With the help of Quad City's Jay "Ski," the track is a lyrically light tune whose purpose is to get the party started right — and it succeeds. The infectious bassline and the catchy hook of "Tightwork" should be the perfect setup for the group to make a repeat appearance on the charts.

Here's hoping musical tastes haven't changed so much that this fun-loving track will be overlooked. If history repeats itself, and it should, radio will be eating up "Tight- work," and summer kids from coast to coast will be giving it up for the bass.

His tale is sprinkled with so many Horatio Alger-esque scenes that one New York Times writer famously noted, "If there hadn't been a Bruce Springsteen, then crit- ics would have made him up. It can be hard to pick apart any esteem- ed song- writer's work with- out sounding pretentious, anil Spring- s t e e n ' s music is no exception to that rule. It's equally difficult to re-create the drama of the performer's shows with just ink and paper, and Springsteen's special connection with fans presents a writer with a minefield of cliches.

What a nice surprise it is, then, to be treated to two uniquely absorbing books on the artist, pub- lished within mont hs of each other. The first. The second, a collection of photos titled "Access All Areas," captures the artist beautifully in liis milieu s M'cifica! Alterman dutifully takes readers back to Springsteen's New Jersey childhood and depicts the singer's strained relationship with his dad without resorting to "Behind The Musie"-style sensationalism.

He then follows young Bruce through his early career battles and ulti- mate triumph in the music industry, setting the scene for the break- through album "Born To Run" and its mixed blessing in the song- writer's life. Not only does the author appraise the work and its commercial concessions fairly, he skillfully connects the album with its unique political and social set- tings, arguing effectively on behalf of Springsteen's artistic integrity without sounding like a blind fan.

Alterman writes, "Springsteen was an individualist speaking through the voice of a corporate- dominated delivery system, an artist who employed an essentially conservative set of symbols to deliv- er a message of personal liberation and communal responsibility. While he sees "Nebraska" as a "key moment in American cultural history," he is objective enough to determine that "very little on 'Human Touch' invites repeated listenings.

While he certainly doesn't shy away from the artist's trou- bled child- hood or failed first marriage, Album) author treats the fragile sub- ject matter property and again avoids singer's down i melodramatic brush, intimately, he portrays Springsteen as a real erson, a man who can say, "Two of the best days of my life were the day I picked up the guitar and the day I learned how to put it down.

The photographer was allowed to follow the singer and Ms legendary E Street Band during their most historic tour, which served as a wake-up call to those who saw "Horn To Run" as the over-hyped output of a Bob Dylan wannabe. As Goldsmith writes in her intro- duction, "Inthere were those who thought Bruce was the savior of rock'n'roll and those who didn't think much LP him at all. A definitive pair of books for hardcore Springsteen followers, as well as entertaining and education- al reads for the uninitiated, these works reveal the l-ocker and his art with precision and care.

Billboard, Broadway, New York, N. And many of those in a posi- tion to know predict that Atlanta is at the dawn of a musical renaissance— one that may represent a convergence of the city's once-polarized musical cliques and will ultimately smear the line between genres. Musically speaking, Atlanta is well-endowed, representing every style imaginable — hip-hop, Southern rock, techno, soul, country, folk and, per- haps, a few earnest and contrived hybrids that fuse existing genres to create new ones.

Atlanta has become a musical amalgam of the influences, styles and tastes of its natives and transplants. They might have literally sold their product from the trunks of their cars and, though they had big dreams, they never actually quit their day jobs.

Blayz Bui many of today's independent labels are different, helmed by artists and businesspeople who know the music game and are poised to compete and ultimately partner with the industry's major players. In Atlanta, the musical hotbed that it is, opportunities are great for indies — that is, if they have the money to finance their dreams. But, according to Candis Bonner, a partner 66 in the Atlanta-based Born 4 Entertainment a marketing and pro- motion company, many of them don't "Some of them might have had the money but they spent it all in the studio, To Err Is Human - Thornton*.

Some wanted to come out hitting the streets like they were already there and spent all their money prior to actually doing the real work, and, then, some simply don't have the money in the first place. But we certainly encourage and have reached out to some of the Atlanta-based labels and hope that they will come and do their distribution with us. Bonner says the long-held perception that the industry is dominated by gangsters and drug dealers is inaccurate and unfair. She says her company's clientele runs the gamut, from doctors to insurance brokers to music teachers "who want to start a label and have the money to do it.

So, we help them get a project from the studio to the ri store. Releases by Lysa and Finesse are slated for later this year. Thompson said she and her husband, who moved to Atlanta six years ago from New York, owned three suc- cessful paging and cellular stores prior to T.H.M.

(Take The House Music) (Original Mix Edit) into the music business. He started finding people that wanted to do a track here and there and, before I Knew it, we were actually a label, a publishing company, a promo- lion company and an entertainment company. One thing just led to another. Says Thompson, "We just want to build a strong enough foundation for them to be confident that, when they do sign us, we will be a label that is here to stay, not something that's going to fade away because of mismanagement of funds or the com- pany as a whole.

We were successful in our previous busi- ness. A lot of people came to us and made offers to buy that business," she adds. Real Deal Records, strives to be a source for such music. The label has a roster of 10 artists— all of whom are either gospel or inspirational in some way. The bottom line: no cursing, no lewdness and no suggestive videos.

In an open letter to the media in which he introduces the label, Holyfield says. That's why I call it real music. But all have one thing in common, they are "musically and spiritually in tune," says Oscar Fields, the label's executive VP and general manager. He says Holyfield tapped him for the position because "he felt that, in order for the company to be successful, he needed to find someone that had true record business experience.

Our videos don't have to go through the re-edit process at BET like everyone else's does, but it also means that we don't get as much play as everyone else.

But we are finding that a lot of people, both video- wise and radio-wise, are hoping that, at one point in the future, the entire industry gets to where we are. I would love to have the label paying for itself, and the only way to do that is to have artists on the label that have gold and platinum potential.

I see us contin- uing to do a great job for our gospel artists, but I also foresee being more aggressive on the urban end. Fields says, "All of the majors are very interested in market share and for them to grow they're going to be after any successful indepen- dent company, and I'm obviously assuming that we're going to grow. I think the time will come when we will be approached by major labels. Evander, because of his view of the label and wanting it to be something where his kids will have a place to learn and grow and work, might not want to do that but we will be approached by major companies in the future.

His name is familiar, but most folks out- side the intimate entertainment circle of Atlanta probably don't know what he looks like. Yet his fingerprints cover many of the When Youre Smiling - Happy Dixieland Band - Dixieland Favorites (8-Track Cartridge) hat have sprung from Atlanta's soil.

He'll answer his own phone. He'll take a meeting. He credits former Motown promotion guru Janice Burley Black as the one who "took me under her wing" and whet his appetite for the music business. Mercedes launched his label with a record by Duice called "Daisy Duks. Mercedes went on to release projects and put together deals that, to date, have resulted in sales of more than 20 million units.

There It Is" and TLC's "No Scrubs," a project that he says and She'kspere's office confirms came about as a result of his hooking the group up with the producer. So why don't people know about Tony Mercedes? I guess the frustrating part for a lot of these producers is that I'm not a producer. I'm just a person who has the ability to pass the green grass to get to the dirt, knowing that I can take that dirt and turn it into green grass. So, I can't do what Dallas [Austin] does, I can't do what Jermaine [Dupri] does, I can't do what Rico [Wade] does, but every year I'm gonna have a big record and I know they have to scratch their heads and try to figure out 'how the hell did he do it?

And he utilizes no- name producers with some half-ass artists and he just hits every year. That union produced the smash hits "My Baby's Daddy" and "Splackavellie. It's not a bad thing, but you can't be the man if you work for the man," he adds. Today, Mercedes is the man. I'm missing a whole bunch of money. He says, "Each day promotes a different kind of struggle, a differ- ent kind of hassle, but at the end of the day I sleep good and it's a good thing to be able to look in the mirror.

People think, 7 can talk to him. Hell answer his own phone. A native of New Jersey. Gaelle came to Atlanta to study business at Clark Atlanta University. I started doing music again so that I could have an outlet.

Reluctant to describe her sound. Gaelle says her music is layered with mul- tiple styles and represents her personal emotional tides. The next day I might do something very introspective and intense. I like having that freedom because that's what an artist does. An artist cre- ates whenever the My Baby - Cold Chisel - The Live Tapes - Vol.

1 (Blu-ray) winds come over her. They just go, 'I like it' or It's a crossbreed of this and a little of that: Well, if it's so many other things, that means it's a whole beast of its own— but it's a friendly beast that people can actually understand. The two of us together, with all of our influences, make up the sound," she explains.

An underground loyalist, Gaelle is determined to keep her music pure and, although she's no stranger to commercial success she wrote and sang three songs for the internationally acclaimed Wamdue Project's "Program Yourself"she treads lightly when it comes to courting label deals, opting instead to market her music via the Internet. Nonetheless, she says, she remains open to possibilities. Housed in a gorgeous multi-level Baptist church thai has been refurbished into a concert hall, acts like Smashing Pumpkins, Tracy Chapman, No Doubt and Ani DiFranco have played here in recent months.

The smaller basement of the Tabernacle serves as a sepa- rate venue altogether, the Cotton Club, booking a mix of local per- formers and smaller-name touring acts.

Eyedrum Trinity Ave. If loud, fast punk rock is what pops your pimples, Club Kdgewood Ave. The crowd is mostly young, leathered and spiky. The live music choices in the Mtdtown section of Atlanta just north of Downtown run the gamut.

Yin Yang Cafe 64 3rd St. It has an electric vibe that can Noah: And The Neighbor - Bill Cosby - The Best Of Bill Cosby (Vinyl, LP, Album), at turns, cool and seductive during its urban jazz shows and downright funky on nights where the soul and hip-hop take over.

Immense and dark. Masquerade North Ave. The bottom space is reserved for DJs and dancing, with each night of the week denoted by its own unique theme. Upstairs is a concert hall specializing in alternative, metal and punk rock from A Wise Birthgiver - Mayhem - Ordo Ad Chao (CD, Album) the corner and around the world.

Midtown is also a popular area in town for out- door music festivals in the summer months. Music Midtown is a three-day spring street party with multiple stages, food and libations, while the rolling hills of Piedmont Park bracketed by Piedmont Rd.

Virginia- High land, so named because of the intersection of its tWO primary avenues, is another bustling nightlife area east of Midtown. The trendy restaurants and gener- al-purpose bars attract neighborhood regulars and week- end revelers from Atlanta's outlying suburbs, but the base- ment music room at the Dark Horse Tavern N.

Highland Ave. Eager local modern-rock hopefuls take- up nearly all of the bookings at this small cubbyhole. A couple doors down. Blind Willie's N. It's mostly an older, sit-down crowd that packs this joint. Virginia-Highland, so named because of the intersection of its two primary avenues, is a bustling nightlife area east of Midtown. The downstairs street-level barroom is your basic tavern, with food, darts, pool and brew. Upstairs is an intimate music room with a vague dinner- theater vibe.

They book mainly jaminy whitebread college- rock acts that pack the room, but this is a wonderful place to see touring singer-songwriters like Mark Eitzel or more ambitious Atlanta acts like Seely, on the odd date they'll play here. Our new Local presence with Ground Breaking Music offers a state-of-the-art writers' studio and the capacity to identify and cultivate regional talent, to take it from your neighborhood to a global audience.

A management firm helmed by Walden and his brother Alan was the springboard for Capricorn Records. But, in those days, Walden's roster consist- ed not of white rock bands, but black soul singers; among them, Otis Redding, Sam and Dave, Percy Sledge and Johnnie Taylor. Walden's work with these artists grew out of his passion for soul music, an emo- tional and organic sound that was indige- nous to Macon.

Years later, after the plane crash death of Otis Redding, he shifted gears, The Wild Rover - Various - 60 Greatest Ever Irish Ballads (CD) less on black artists and more on Southern-bred rockers.

The most success- ful of whom are the elec- tric rock band 31 1 whose current release, 'Sound- system," is certified gold, and Cake, whose CD, "Prolonging The Magic," has been certified plat- inum. Walden says Capricorn prides itself on putting the music first and shunning cookie-cutter artist-develop- ment.

We try to make everything as natural and original as possible. Look at the Allman Brothers— they're going on a year career. That's no accident. Those are the kinds of things I'd like to be remembered for. I never think about myself in terms of contributions. I think of myself in terms of how lucky I've been to be standing next to all these great artists.

I've been fortunate to be able to do it and do it well, and do it in the South. We try to make every- thing as oator- al and original as possible. HQ for alternative rock, this mod- est-sized emporium is perpetually bustling with youthful customers of all shapes and interests.

Staffed by a motley assortment of local musicians and indie geeks, Criminal also stocks a generous collection of underground comics, magazines and books, and boasts a pretty good DVD selection, too.

Periodic in-stores and live parking lot perfor- mances, both from touring acts and local bands, are popular events. This Midtown mart is the best place for Atlanta's hip-hop crowd to find whal they're jonesing for, both new and used.

Major players from the city's active urban music scene are regular customers. They're just Hit-Mix - Various - Disco Memories 1975-1985 (CD) the corner from each other in boho mecca Little Five Points, and between hem they provide most of the techno turntablisls in town with their wares.

A longtime fixture, this cramped and crowded store is stocked wall-lo-wall with new and used vinyl albums — lots of imports. The decent CD selection focuses mainly on alternative and indie rock. There's also a thorough local music section. WRAS, The "Georgia Music Show," airing Saturdays from p. WRAS also airs plenty of other specialty shows, running the gamut from hip-hop to country ii; western to early 20th century music. WREK, WKLS, WHTA, WNNX, It's hard to pick up unless you're on the top end of town, but for those in the sig- nal's range, it's a twangy treat.

Their salvation? I flipped," recalls Alexander, who. You knew exactly what [the artists] were saying, and it was the art form that I could best relate to. It just drew me in. It felt like my natural art form. Tracks on their as yet unscheduled album reflect the real-life struggles of two young men who have battled addiction and men- tal illness and lived to tell about it.

Those same qualities set off a bidding war among labels wanting to sign the group. Two months after meeting the Smiths, Rehab was signed to Sony and heralded by the executives as the best thing since Vanilla Ice, sans the smoke and mir- rors. As the label readies a major marketing campaign. Alexander and Brooks continue their rehabilitative process by creating music that comes from and speaks to deep, sometimes dark, but always human, places.

I didnl have much else. But now I feel like I get to live. I feel like I've been saved. Diverse, if sometimes spotty, local music coverage. It's caustic and opinionated, but generally authoritative. Still, its Friday edition includes a weekend music preview that gets a little more adventurous, with brief profiles on lesser-known local musicians often being a feature.

Also in Friday's edition is a weekend live music calendar that's easy to navi- gate and fairly complete. DARP Dallas Austin's recording complex is constantly bustling with acts on his Freeworld label, plus others from the city's booming urban music community and out-of- towners like Erykah Badu.

On the music end, Doppler caters primarily to Atlanta's urban music scene, although that business has fallen somewhat since Jermaine Dupri and OutKast opened their own respective studios. Amenities include an indoor basketball court. Expect all of his Melisma Records signings to work here, in addition to modern- rock acts from far and wide. Famed Chicago-based producer Steve Albini has been down to assist with the lavout.

Both of those Georgia-based artists, as well as ex-Drivin 'n' Cryin frontman Kevin Kinney, have new releases on the successful label, whose roster also includes funk-rock act 31 1 and guitar jammers Gov't Mule. Probably two thirds of the releases are from Atlanta-based musicians, run- ning the gamut from folkie singer-songwriters Kristen Hall to rock 6X to stylish trip-hop pH Balance.

A new video documentary, "A Decade of Daemon," is just out. A solo album from Ray is in the planning stages. I think that's why the whole notion of [a regional sound] is son of disappearing," Aparo says. Producer Matt Serletic, who heads Melisma, agrees that the city's make-up has a lot to do with its creative breadth. I The Beatles With Pete Best - Lost Decca Sessions (CD, Album) it's the largest untapped talent market left in the United States.

Katz believes Atlanta music represents a "cornucopia" of influences that defies genre and stereo- types. And I think that's good. It's good for the overall business climate in Atlanta which benefits tremendously from having this industry here. It's like a big tree. There's a whole global music scene and, right now, Atlanta is on the verge of touching that.

Briggs, who moved to Atlanta two years ago from Long Beach, Calif. Today, Briggs says that the city's potential is limitless. As that contin- ues to happen, the lines of definition are going to continue to blur.

I believe that is what the trend is going to be. I look lor people who want to make a difference. You have to look for that, but you have to look in places where people don't want to look. I want the new thing and, in order to get it, I have to search where other people are not.

Maybe in about five years it'll be big on that side but, right now on the urban side, there's still a lot of room for growth. It u the new Motown.

There's no other place generating music like we are. The train to the top has to stop in Atlanta. It rivals, or maybe surpasses at times, New York or L.

If there's any city that can break down those barriers, I believe it's Atlanta. Staffed solely by the Thompsons. Unplugged out-sources publicity as well as radio, video and street promotion — all of which are restricted to the East Coast for now. Despite the financial demands, not every indie has major league dreams.

Two-year-old Don't Think Records, whose inaugural act is a pre-adolescent hip-hop foursome called Incredible Crew, sees independence as the ultimate goal. Label president Thomas Barrella, a former comput- er entrepreneur, says, "Knowing as much as we know- about business, we know that we need to stay in To Err Is Human - Thornton* and determine our own direction and have our destiny in our own hands.

We won't give that up because then you're just waving in the w ind. Any business where you can't set your own direction is not worth having. Once the majors get it, you have no say. They direct your path from then on.

Try to sell a hundred or two hundred thousand albums, call that your plat- inum and go make anoth- Brent Gordon er record. Mac Lawson, president of Ritchie Mac Records, has struggled for years with his label.

Last year, he released a single by Decatur rapper Poppa "Majors had gotten kind of lazy and independents came around doing the things that majors used to do. The indies were aggressive and really went at it hard. They have a passion because they're hun- gry. Majors tend to wait because they have the luxury. The record was added by- more than 40 stations, but the project ran out of gas when Lawson ran out of money.

They've been polishing their harmonies for ten years in Dothan, Alabama. This former school teacher knows what teens want to hear and what they need to hear. Hip-hop with a heart. Featuring her single, "I'm A Winner. Features "One Million Souls" and his new single, "Doin. He's the former lead singer of Fred Hammond's Radical for Christ.

Prepare for his first solo album, produced by Billy Meadows and Dana Davis the Winans' touring drummer. His debut album features the single, "I'll Get By. Her ballads send chills through fans around Eurotheme - Men Without Hats - Folk Of The 80s (Part III) (Vinyl, LP, Album) world.

THE SO. As an independent, you have to struggle and try to keep things going financially until you secure distribution. With a staff ofPED is equipped to compete with major distributors. Gordon says, "Independent distribu- tors have the ability to pay more attention to our artists because we're not that big.

We have sales reps all over the country, many of whom have worked for major distribu- tion companies, and we understand both sides of that We know that we need to stay in control and determine our own direction and have our destiny in our own hands. We won't give that up because then you're just waving in the wind. Gordon says the services they provide the distributed labels range from manufacturing to marketing.

It depends on what services they bring to the table and what they need us to provide. We are an independent that has learned a lot from our affiliations with majors and we know how to get the most out of the product. They have a passion because they're hungry. They didn't have airplay but they were selling. Somebody like VI 03, who does research, saw those sales on records they weren't playing so they had to pay attention.

We believe in our acts, and we believe thev can stand right up there with the big bovs. East of Downtown, East Atlanta Village has, in the past two years, become one of the city's coolest alternative nightlife destinations, with a funky fmnrh of upstart bars, restaurants and music clubs helping revitalize what had previously been one of the shabbier junctions. Popular with fans and bands alike, the Echo books an edgy mix of national acts like recent sell-outs the Donnas and Nashville Pussy to popular local bands like Jucifer and The Tom Collins.

Just up the street. Chan Marshall, is a regular performeralthough they'll have one or two touring headliners every month. The KARL's music room is in the rear, set off by a short hallwav from the front barroom, which is inevitably packed to the gills on weekend nights with seemingly every would-be rock star and scenester the city has to offer.

Long regarded as Atlanta's alternative mecca, LitUe Five Points has lost some of its hip appeal since East AUanta's been buzzing, but the neighborhood's live venues remain favorites among a great number of music Fans.

Alex Chilton and Alejandro Escovedo were among recent touring acts passing through. Across the street, 9 Lives Saloon 1 Euclid Ave. Decorated like a teenage KISS fan's ideal basement party pad, it's a regular hangout for the denim, leather ana teased hair set. Local hard-rock and metal bands take up most of the bookings. And about a two-minute stroll down the street you'll find Variety Playhouse Euclid Ave. Recently receiving some unfortunate national media cov- erage due to a spate of celebrity-connected late-night crimes and cries from concerned residents for an earlier "last call" Atlanta bars can currently serve until 4 a.

Its streets, sidewalks and bars are literally overflowing with boozy bodies on weekend nights, well into the wee hours. Yet most of the clubs in this neighborhood, north of Midtown, book no original live music, offering instead the bankable draw of dance DJs and cover bands.

And about a mile north of the heart of Buckhead, in an otherwise generic strip shopping center, the Brandy House Roswell Rd. Bruce Hampton. This is where Shawn Mullins strummed for years before getting his national shot, and the Indigo Girls still play the occasional surprise gig. Producer Meech Wells poses with Clinton, left, during a break in the proceedings.

The noncommercial lead track being spun off the Epic-dis- tributed project is "Love Rain," which will be serviced to radio in June.

Oct 11,  · This is not the Godz, it is Thornton, Fradkin and Unger and the Big Band. The album was originally called Pass On This Side (ESP )/5(3). But there's a Thornton, Fradkin & Unger 45 - 'Goodbye California' b/w 'Sometimes' (ESP catalog number ). Other highlights included the late David Peel's performance on 'To Err Is Human' (easy to see why most DJs aren't musicians themselves) and the band's subtle Jimi Hendrix tribute 'Jimi' (lucky they didn't get sued for copping most of 'Hey Joe' for the song. The Human League - Dare (LP, Album, Mon) Label: A&M Records, A&M Records, A&M Records Cat#: SP·6·, SP Media Condition: Media: Very Good (VG) Sleeve Condition: Sleeve: Very Good Plus (VG+) STRONG VG * FREE SHIPPING on orders of $35 or more ⚡️ 20% Off Total on orders of 5 items or more ⚡️WAX CAVE%(K).

The Human League - Dare (LP, Album, Mon) Label: A&M Records, A&M Records, A&M Records Cat#: SP·6·, SP Media Condition: Media: Very Good (VG) Sleeve Condition: Sleeve: Very Good Plus (VG+) STRONG VG * FREE SHIPPING on orders of $35 or more ⚡️ 20% Off Total on orders of 5 items or more ⚡️WAX CAVE%(K).

Thornton, Fradkin, Unger and the Big Band Pass on This Side [LP] [1st Ed. USA] ESP-Disk ESP [EX/EX] (sticker ins) (stickers are credits and lbl) (blank lbl) (8 tr.) (Paul Thornton + Les Fradkin + Bob Unger) (See The Godz) (from USA) (w. Paul McCartney & . Thornton, Fradkin and Unger and The Big Band - Pass on This Side [] David Peel, guests on one track, a version of his To Err Is Human. This is strongly "influenced" by Dylan's Maggie's Farm, with lyrics like "I'm just a human being that don't give a damn". The album was recorded in New York between 19and produced by Fradkin.

big ali cat music, inc. p big and warm music p big bee productions p big black booty music pv big bo$$ publishing p big brave music p big brother little brother pub pd big d and the kids table music p big d publishing co. pl big evil corp p big four music publishing co. p big fox music p

Progressive, psychedelia, Folk, Acid, Garage, Real People, Xian, Hard & Heavy, AOR, Surf, Blues, Singer-songwriter, Bubblegum,Cosmic, Krautrock, Spacerock, jazzrock. The only real connection with the Godz is Paul Thornton (the very Thornton referred to in the act Pass on This Side is credited to -- Thornton, Fradkin & Unger and The Big Band). The remainder of the participants had no connection to the Godz.

Welcome to Auction A-Go-Go - May (ITEM 10) THORNTON, FRADKIN, UNGER AND THE BIG BAND Pass On This Side. Jazzy psych-folk singer-songwriter LP by Leslie Fradkin & Paul Thornton of Godz, recorded between & , the year it was released. The song "To Err Is Human" was written & sung by David Peel, while the title track, "God.


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9 Replies to “ To Err Is Human - Thornton*, Fradkin* & Unger* And The Big Band (3) - Pass On This Side (Vinyl, LP, Album) ”

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  • Feb 13,  · Experimental and psychedelic band The GODZ of freak out a late 60 's. This lazy acid album, Leslie Fradkin and wacky drummer Paul Thornton has released in the main. Rough-hewn unexpected poetry that dwells in the acoustic number is really modern/5(12).
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  • Label: Get Back - GET • Format: Vinyl LP, Album, Reissue • Country: Italy • Genre: Rock • Style: Art Rock Thornton, Fradkin & Unger And The Big Band* - Pass On This Side (, Vinyl) | Discogs/5(4).
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  • Thornton, Fradkin and Unger and The Big Band - Pass on This Side [] David Peel, guests on one track, a version of his To Err Is Human. This is strongly "influenced" by Dylan's Maggie's Farm, with lyrics like "I'm just a human being that don't give a damn". The album was recorded in New York between 19and produced by Fradkin.
  • Feb 13,  · This is not the Godz, it is Thornton, Fradkin and Unger and the Big Band. The album was originally called Pass On This Side (ESP ).4/5(20).
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