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viewing 1 To 6 of 6 items
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CD
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DR 109B-CD
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Jewel case edition. They have performed hits for millions of music fans. The list of their clients is long, in fact it couldn't be any longer and it includes some of the most illustrious names around: The Rolling Stones, Seal, Annie Lennox, Madonna, Mick Jagger, Nine Inch Nails, Lauryn Hill, Mos Def, R.E.M., Charlie Watts, Tina Turner, Miles Davis, Peter Gabriel, James Brown, Depeche Mode, Malcolm McLaren, George Clinton, Herbie Hancock, Duran Duran, B.B. King, The Cure, Donna Summer, Billy Idol, Al Green, African Bambaata, Mark Stewart, the Tommy Boy label, the Sugarhill Gang label and many, many more. They are more than just highly-talented individual artists and absolute luminaries in their field. The New York Times once called them "one of today's most extraordinary rhythm sections." They aren't just musicians, but also producers, remixers and friends and supporters of fellow musicians. Now, after 23 years, finally there is a new album -- and it almost exclusively features cover versions of artists who have inspired TACK>>HEAD. In October 2012 the Funky President vs. King Bee EP was released. At that specific moment in time -- shortly before the U.S. presidential election -- the name couldn't have been more apt: was "King Bee" (a Slim Harpo composition) a part of "Funky President" (a James Brown composition) or was it the other way around? Who knows? Along with The Meters, Funkadelic, David Bowie/Brian Eno, Stevie Wonder, the Ohio Players, the album also pays tribute to two reggae giants -- Bob Marley and Errol Dunkley -- by getting them "into TACK>>HEAD shape." TACK>>HEAD have always been famous for being acerbic commentators of the prevailing political and social conditions and on this album they again deliver a highly topical statement on our day and age. Listen to the remake of TACK>>HEAD's biggest hit -- "Stealing." The band has also paid tribute to Bim Sherman and immortalized his voice (they also covered themselves because they like what they do). Features Bernard Fowler (lead vocals, background vocals); Keith Le Blanc (drums, percussion, drum machine programming); Skip McDonald (guitar, keyboards, vocals, background vocals); Doug Wimbish (basses, keyboards, background vocals); Adrian Sherwood (mixologist).
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CD
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DR 109CD
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Dude Records presents a brand-new album from TACK>>HEAD. They have performed hits for millions of music fans. The list of their clients is long -- in fact it couldn't be any longer and it includes some of the most illustrious names around: The Rolling Stones, Seal, Annie Lennox, Madonna, Mick Jagger, Nine Inch Nails, Lauryn Hill, Mos Def, R.E.M., Charlie Watts, Tina Turner, Miles Davis, Peter Gabriel, James Brown, Depeche Mode, Malcolm McLaren, George Clinton, Herbie Hancock, Duran Duran, BB King, The Cure, Donna Summer, Billy Idol, Al Green, African Bambaata, Mark Stewart, and many, many more. They are more than just highly-talented individual artists and absolute luminaries in their field. The New York Times once called them "one of today's most extraordinary rhythm sections." They aren't just musicians, but also producers, remixers and friends and supporters of fellow musicians. Now, after 23 years, finally there is a new album -- and it almost exclusively features cover versions of artists who have inspired TACK>>HEAD. Along with The Meters, Funkadelic, David Bowie/Brian Eno, Stevie Wonder, and the Ohio Players, the album also pays tribute to two reggae giants -- Bob Marley and Errol Dunkley -- by getting them "into TACK>>HEAD shape." TACK>>HEAD have always been famous for being acerbic commentators of the prevailing political and social conditions and on the new album they again deliver a highly topical statement in our day and age... For the Love of Money. What better time to listen to the remake of TACK>>HEAD's biggest hit "Stealing?" The band has paid tribute to Bim Sherman and immortalized his voice (they also covered themselves because they like what they do). 15-track CD in media book packaging (strictly limited edition of 999 copies with handcrafted serial number).
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LP
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DR 109LP
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Limited, 180 gram LP version. Featuring 10 tracks including special remixes. Numbered edition of 500 copies.
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CD
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DR 107CD
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The sixth album by the Hamburg drum ensemble Elbtonal Percussion pays tribute to the music of one of the world's most influential drummers. At the end of the 1970s, Stewart Copeland, Andy Summers and Sting developed their very own version of Jamaican reggae. Choosing to call themselves The Police, they went on to compose several dozen pop hits which melded Caribbean offbeats with the nervous energy of suburban punk. The rest is history. The musicians of Elbtonal Percussion have created a musical, tonal monument to one of these careers. Stewart Copeland was the conceptual father of The Police and, until the band split, he was their rhythmic architect. His beats floated freely above the backbeat, freer than was customary in rock music, largely due to their interpretation of the Jamaican one drop. Copeland's musical life after The Police began with the soundtrack for Francis Ford Coppola's film Rumble Fish. The soundtrack won him a Golden Globe nomination and he went on to collaborate on several film projects: from Oliver Stone's Wall Street to 9 1/2 Weeks and Highlander. In between, he found bass-sparring partners for a diverse range of band projects, including Animal Logic (with Stanley Clarke) or Oysterhead (with Les Claypool/Primus). Of all the solo albums which Copeland released -- initially under the modest name Klark Kent -- one stands out in particular: The Rhythmatist, a documentation of his pilgrimage through Africa. Copeland became interested in the possibilities of digital sound synthesis, and the combination of percussion and electronic sounds runs through his work like a leitmotif. All this makes his work ideally suited to be embraced and interpreted by Elbtonal Percussion, especially since the band uses around 150 different drums live and in the studio, ranging from African hand drums to giant Japanese drums. Following Elbtonal Percussion's highly-acclaimed collaboration with Stewart Copeland for the spectacular live show Ben Hur, the band has devoted their sixth album, Elbtonal Percussion Plays Stewart Copeland, in its entirety to the man and his music. The four musicians have chosen a representative selection of Copeland's different works and periods as the source of inspiration for the pieces featured on this album; the tracks range from rhythmically-complex Police hits, such as "Contact," to his soundtrack compositions for Wall Street and Rumble Fish, from the Rhythmatist album to the compositions for ensemble musicians featured on Orchestralli. The songs "Dog Dreams" and "Dance Ants" were specially written by Stewart Copeland for Elbtonal Percussion. The ensemble's expressive spectrum ranges from thumping, driving, floor-friendly numbers to the most delicate sound collages. And in every single piece, the drums -- with their incredible colors and facets, act as the beating heart of the music. Elbtonal Percussion are: Stephan Krause, Andrej Kauffmann, Jan-Frederick Behrend and Wolfgang Rummel.
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DVD
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DR 105DVD
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The Echo Beach subdivision Dude Records proudly presents the release of a fine musical and visual masterpiece. Best known as the rhythm section in the Grammy Award-winning band Living Colour, Doug Wimbish and Will Calhoun showcase their individual talents, performing as a bass/drum duo called Head>>Fake. As Head>>Fake, Doug and Will have the opportunity to display a virtuosity often overshadowed when playing in a more traditional support role. So when they were scheduled to play the Lucerna Music Bar in Prague, Doug and Will welcomed a proposal from local filmmaker Petr Tomaides to document the event. Effectively capturing the night's high-energy performance, and later editing and cutting the film in an appropriately frenetic style, Tomaides has allowed us the opportunity to ride along as Doug and Will explore the outer limits of sound, opening our eyes (and ears) to what is musically possible by "just two guys." Live "In The Area Of Prague" is a fast-paced, day-in-the-life travelogue of Head>>Fake -- from Doug and Will's arrival in Prague -- to an interesting afternoon sound check -- backstage, as Czech reporters ask Doug about his improvisational style and vivid musical past -- and of course, on stage for the evening's inspired performance. With a level of intensity rarely seen in such a small club, Doug and Will command the stage and conquer the room with their electrically-charged set, combining their own collaborative compositions with rarities out of Doug's industrial/funk and hip-hop past. After experiencing Head>>Fake live in performance, it's apparent why these two musicians are considered one of the finest rhythm sections in rock 'n' roll. NTSC format DVD; Region Code: 0, no limitations. Running time: 88 mins.
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CD
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DR 104CD
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The Echo Beach subdivision Dude Records proudly presents the ultimate re-release of the original 1999 On-U Sound album, Trippy Notes For Bass by renowned bassist Doug Wimbish (Living Colour, Tackhead, Headfake, Jungle Funk, Strange Parcels, etc.), featuring four bonus remixes. Those who know Wimbish from his other projects may find his first solo album to be disconcertingly tame. Where his playing in most previous contexts has been wild, funky, and sometimes anarchic, drawing freely on jazz, dub, and punk influences, here he's in an almost contemplative mood. It's not that there are no beats -- "Bedwood," with its chugging midtempo groove and an ambience lifted straight from label mates African Head Charge, is propulsive enough, "Logdrum" is based on some seriously booty-moving loops, and "Will & Skip" (a tribute to drummer Will Calhoun and guitarist Skip McDonald, Wimbish's frequent collaborators) has a definite funk underpinning. But the prevailing mood here is gently atmospheric, almost spiritual. "Glory" sounds like a field recording from an electronic rain forest; "Glorification Chant" sounds like a sort of North African qawwali variant in 12/8 time. Words cannot describe how much there is to discover -- from the incredible vocals of Sussan Deyhim in "Arabic Cat" to Doug's one-man band in "Just Another Minute." Those hoping for bone-shaking grooves and crazier-than-thou Adrian Sherwood mixes may be disappointed, but they shouldn't be -- this is a very beautiful piece of work.
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