 Artist: Zimbabwe Legit: mp3 download Genre(s): Rap: Hip-Hop Discography:  Zimbabwe Legit Year: 1992 Tracks: 7 Though Zimbabwe Legit was the starting time African mathematical grouping to record hip-hop in America, it's non their vocal talents that causal agency their lonely 12" to fetch hundreds of dollars when it's unattached for auction bridge bridge on-line. Produced by Mista Lawnge from Black Sheep (and engineered by Scotty Hard), it included a remix from DJ Shadow and was his starting time appearance on record, back when he was still making the conversion from Hollywood Records studio wiz to self-governing producer and co-head of SoleSides Records. Released on 12" as well as CD EP, Republic of Zimbabwe Legit didn't spend much time in photographic print, though Shadow's mix appeared later on the 1996 Mo' Wax digest, Headz II. The reduplicate of rappers, Akim Ndlovu and his comrade Dumisani, later performed under the name Of Unknown Origin. |
Monday, 25 August 2008
Download Zimbabwe Legit mp3
Thursday, 7 August 2008
Mary-Kate -- Piti-Full House War
She's the most unlikely celeb to be embroiled in a kitchen contravention.
Our spies say Mary-Kate Olsen, who must weigh 90 lbs. soaking wet (educated guess), has pissed off her former landlord in the Hollywood Hills.
We're told two years ago Mary-Kate rented a house for $15,000 a month in the bird streets above the Sunset Strip. The landlord claims Mary-Kate's people customized the kitchen to her needs (insert joke here) -- counters, paint, etc, and Mr. Homeowner says it was a disaster. The pic you see is the new kitchen -- he tore the old one out after Mary-Kate split back in April.
Marty Singer, Mary-Kate's lawyer, tells us the landlord gave M.K. permission to re-do the kitchen and then restore it when she moved out. He says before she had the chance to restore, he tore the kitchen out, put a new one in and expects her to foot the bill. Singer says it's a bogus attempt to get her to pay for a remodel.
We're told the landlord believes Mary-Kate's people also did something to the pond in the front of the house, which allegedly caused it to flood like a mutha.
The landlord is withholding M.K.'s $30k security deposit and there's a big fight. The landlord wants even more from her and she wants her security deposit back.
More info
Our spies say Mary-Kate Olsen, who must weigh 90 lbs. soaking wet (educated guess), has pissed off her former landlord in the Hollywood Hills.
We're told two years ago Mary-Kate rented a house for $15,000 a month in the bird streets above the Sunset Strip. The landlord claims Mary-Kate's people customized the kitchen to her needs (insert joke here) -- counters, paint, etc, and Mr. Homeowner says it was a disaster. The pic you see is the new kitchen -- he tore the old one out after Mary-Kate split back in April.
Marty Singer, Mary-Kate's lawyer, tells us the landlord gave M.K. permission to re-do the kitchen and then restore it when she moved out. He says before she had the chance to restore, he tore the kitchen out, put a new one in and expects her to foot the bill. Singer says it's a bogus attempt to get her to pay for a remodel.
We're told the landlord believes Mary-Kate's people also did something to the pond in the front of the house, which allegedly caused it to flood like a mutha.
The landlord is withholding M.K.'s $30k security deposit and there's a big fight. The landlord wants even more from her and she wants her security deposit back.
More info
Friday, 27 June 2008
Brush
Artist: Brush
Genre(s):
New Age
Discography:
Return Of The Wind
Year: 2005
Tracks: 13
Secret Service
Monday, 23 June 2008
TV Doc Plays Down 'Hurtful' Tom Cruise Remarks
The TV doctor who suggested that Tom Cruise may be mentally ill has played down his psychoanalysis of the actor.
Dr. Drew Pinsky came under fire from Cruise's attorney Bert Fields over comments he made in a Playboy article.
The medic - who fronts US show Celebrity Rehab - speculated that Cruise's Scientology beliefs could be a result of childhood "neglect."
Fields has since blasted Pinsky, calling him "unprofessional" and "unqualified".
In a statement released on Thursday, a spokesman for the doctor said, "Dr. Drew meant no harm to Mr. Cruise and apologises if his comments were hurtful."
Defiant Pinsky has now taken aim at Fields for his comments after the lawyer called the doctor a "posturing flake" who "pretends to diagnose people he's never met."
Pinsky's rep adds, "Although Mr. Fields intent is clearly to slander and discredit Dr. Drew, under no circumstances is Dr. Drew making a blanket diagnosis about Scientology nor Mr. Cruise, whom he does not know.
"Dr. Drew was simply using Mr. Cruise as an example of someone who is recognisable to help the public understand."
Dr. Drew Pinsky came under fire from Cruise's attorney Bert Fields over comments he made in a Playboy article.
The medic - who fronts US show Celebrity Rehab - speculated that Cruise's Scientology beliefs could be a result of childhood "neglect."
Fields has since blasted Pinsky, calling him "unprofessional" and "unqualified".
In a statement released on Thursday, a spokesman for the doctor said, "Dr. Drew meant no harm to Mr. Cruise and apologises if his comments were hurtful."
Defiant Pinsky has now taken aim at Fields for his comments after the lawyer called the doctor a "posturing flake" who "pretends to diagnose people he's never met."
Pinsky's rep adds, "Although Mr. Fields intent is clearly to slander and discredit Dr. Drew, under no circumstances is Dr. Drew making a blanket diagnosis about Scientology nor Mr. Cruise, whom he does not know.
"Dr. Drew was simply using Mr. Cruise as an example of someone who is recognisable to help the public understand."
Monday, 16 June 2008
Dave Alvin remembers Bo Diddley
"Whatever you do, DO NOT play 'the Beat!'"
That was the first thing Bo Diddley said to us before we walked onto the stage of the Music Machine club in West L.A. for two sets back in 1983. We were a mix of members of the Blasters and X who had agreed, with great enthusiasm, to back up one of our greatest heroes for free at a benefit show for the Southern California Blues Society.
To say that we were upset by his announcement/warning would be an understatement. How could you play Bo Diddley songs and not play the powerful, infectious and sensual Bo Diddley Beat?
Since Bo's first records for the Chess label back in the mid-'50s, his "Beat" (a primal and relentless mix of the old shave-and-a-haircut riff, Chicago blues grooves and Latin rhythms), had been borrowed, stolen or adapted by everyone from Buddy Holly to the Rolling Stones to David Bowie for their own hit records.
Now, even though Bo had utilized various permutations of the beat over the course of his long career, he was asking us to abandon it entirely in favor of . . . What? It's sort of like asking an actor to do Hamlet, but don't use any of Shakespeare's words.
Blasters drummer Bill Bateman and X drummer DJ Bonebreak, who were sharing the drum and percussion duties for the night, asked Bo to clarify what beat they should play. He tapped out some rhythm that stressed a different accent but, to be honest, I couldn't tell what the difference was. Fortunately, Bill and DJ picked up on his instructions and by the end of the first song Bo seemed pretty happy.
It was a very good band, with Bill and DJ teaming up for the essential duties on drums, timbales and maracas, X's John Doe and Blasters bassist John Bazz sharing the bass position while my brother Phil, who also played some harmonica, and I followed Bo as best we could on guitars.
Most of the songs in the first set were new songs that Bo had recently recorded but none of us had ever heard, let alone studied. We (and just about every other musician in the modern age) had been dissecting all of his old records for years with the passion of theology students pouring over the Dead Sea scrolls or physicists debating string theory. A couple of the songs in the set were straight blues that easily fell into a comfortable pocket, but the rest were extended one-chord, semi-funk jams that wound up sounding as much like "Bitches Brew"-era Miles Davis as they did classic Bo Diddley.
As the set progressed and I began to get comfortable with Bo's new beats, I started thinking that it was close-minded of me to expect him to play the old songs the same old way. Wasn't Bo Diddley as much of a musical revolutionary as Bob Dylan? Weren't his original recordings of "Mona" or "Who Do You Love" as musically unique, pivotal and influential in their day as Dylan's?
Maybe Bo wasn't the genius lyricist that Dylan is but in rock 'n' roll (or blues and folk), lyrics aren't everything. If Dylan could change the melodies, grooves and even lyrics to his songs in order to keep exploring the possibilities of his art, why couldn't Bo Diddley?
Some people would argue that Bo was one of the architects of funk and, if that's the case, why shouldn't he be allowed to follow his own rhythmic path to wherever it might lead him? Why should Bo Diddley have to be stuck in the past just because that's where a part of his audience (and perhaps his backing bands) wanted him to remain?
I remember smiling on stage like a goofball as I realized all of this and came to the conclusion that if you really dig Bo Diddley, then let Bo Diddley be Bo Diddley! I was a young guy at the time who was trying his best to replicate old music -- and that's the best way to learn, believe me -- but that night Bo taught me a lesson about growing and surviving as an musician/artist: Stay true to yourself.
After the first set I approached Bo backstage and told him what I had been thinking while I played with him. "That's right," he said laughing. "I already made all them old records years ago. Now I'm keeping myself new."
But as we walked back onstage for the second set, Bo turned to us, smiled and said, "You know, you boys are pretty good, so I'll tell what: The first song is gonna be 'Mona' and you can play with the Bo Diddley beat." And we did.
Thank you Bo, for all your incredible music over the years and, especially, the wise life lesson you taught me.
Singer, songwriter and guitarist Dave Alvin has been a member of the Blasters, X and the Knitters and leads his own roots-rock group, the Guilty Men.
That was the first thing Bo Diddley said to us before we walked onto the stage of the Music Machine club in West L.A. for two sets back in 1983. We were a mix of members of the Blasters and X who had agreed, with great enthusiasm, to back up one of our greatest heroes for free at a benefit show for the Southern California Blues Society.
To say that we were upset by his announcement/warning would be an understatement. How could you play Bo Diddley songs and not play the powerful, infectious and sensual Bo Diddley Beat?
Since Bo's first records for the Chess label back in the mid-'50s, his "Beat" (a primal and relentless mix of the old shave-and-a-haircut riff, Chicago blues grooves and Latin rhythms), had been borrowed, stolen or adapted by everyone from Buddy Holly to the Rolling Stones to David Bowie for their own hit records.
Now, even though Bo had utilized various permutations of the beat over the course of his long career, he was asking us to abandon it entirely in favor of . . . What? It's sort of like asking an actor to do Hamlet, but don't use any of Shakespeare's words.
Blasters drummer Bill Bateman and X drummer DJ Bonebreak, who were sharing the drum and percussion duties for the night, asked Bo to clarify what beat they should play. He tapped out some rhythm that stressed a different accent but, to be honest, I couldn't tell what the difference was. Fortunately, Bill and DJ picked up on his instructions and by the end of the first song Bo seemed pretty happy.
It was a very good band, with Bill and DJ teaming up for the essential duties on drums, timbales and maracas, X's John Doe and Blasters bassist John Bazz sharing the bass position while my brother Phil, who also played some harmonica, and I followed Bo as best we could on guitars.
Most of the songs in the first set were new songs that Bo had recently recorded but none of us had ever heard, let alone studied. We (and just about every other musician in the modern age) had been dissecting all of his old records for years with the passion of theology students pouring over the Dead Sea scrolls or physicists debating string theory. A couple of the songs in the set were straight blues that easily fell into a comfortable pocket, but the rest were extended one-chord, semi-funk jams that wound up sounding as much like "Bitches Brew"-era Miles Davis as they did classic Bo Diddley.
As the set progressed and I began to get comfortable with Bo's new beats, I started thinking that it was close-minded of me to expect him to play the old songs the same old way. Wasn't Bo Diddley as much of a musical revolutionary as Bob Dylan? Weren't his original recordings of "Mona" or "Who Do You Love" as musically unique, pivotal and influential in their day as Dylan's?
Maybe Bo wasn't the genius lyricist that Dylan is but in rock 'n' roll (or blues and folk), lyrics aren't everything. If Dylan could change the melodies, grooves and even lyrics to his songs in order to keep exploring the possibilities of his art, why couldn't Bo Diddley?
Some people would argue that Bo was one of the architects of funk and, if that's the case, why shouldn't he be allowed to follow his own rhythmic path to wherever it might lead him? Why should Bo Diddley have to be stuck in the past just because that's where a part of his audience (and perhaps his backing bands) wanted him to remain?
I remember smiling on stage like a goofball as I realized all of this and came to the conclusion that if you really dig Bo Diddley, then let Bo Diddley be Bo Diddley! I was a young guy at the time who was trying his best to replicate old music -- and that's the best way to learn, believe me -- but that night Bo taught me a lesson about growing and surviving as an musician/artist: Stay true to yourself.
After the first set I approached Bo backstage and told him what I had been thinking while I played with him. "That's right," he said laughing. "I already made all them old records years ago. Now I'm keeping myself new."
But as we walked back onstage for the second set, Bo turned to us, smiled and said, "You know, you boys are pretty good, so I'll tell what: The first song is gonna be 'Mona' and you can play with the Bo Diddley beat." And we did.
Thank you Bo, for all your incredible music over the years and, especially, the wise life lesson you taught me.
Singer, songwriter and guitarist Dave Alvin has been a member of the Blasters, X and the Knitters and leads his own roots-rock group, the Guilty Men.
Tuesday, 10 June 2008
The Meeting Places
Artist: The Meeting Places
Genre(s):
Rock
Discography:
Find Yourself Along The Way
Year: 2003
Tracks: 10
'A Tale of Two Brothers': Reaching Out from Beyond
Author Claims to Channel Jim Morrison and Michael Hutchence in Candid New
Account of their Lives
PITTSBURGH, June 9 -- Legendary frontman for The Doors Jim
Morrison died on July 3, 1971. Michael Hutchence, the original lead singer
of INXS, died over two and a half decades later, on Nov. 22, 1997. Both
deaths were tragic in nature, stealing away two brilliant musical minds far
before they had reached the pinnacle of their greatness. But Morrison and
Hutchence have more in common than their talent and their early demise.
According to author and psychic medium Jacqueline Murray, they have both
reached out from the grave to tell the true stories behind their lives and
deaths.
In her new book, "A Tale of Two Brothers: Jim Morrison & Michael
Hutchence" (published by AuthorHouse -- http://www.authorhouse.com), Murray
shares these channeled stories, along with haunting new poetry and lyrics
from both musicians.
According to Murray, Jim Morrison, in his volume of the book,
"Renaissance Man (the Memoirs of Jim Morrison)," reveals through her how
"he broke on through to the other side and why he was later placed in a
bathtub."
"Read about Morrison's five hour struggle to stay alive and the
detailed account of his last days and hours in Paris that have never been
revealed," Murray writes. "Learn the true inspiration for Jim Morrison's
songs and poetry that he never revealed on earth. Find out how Morrison
really feels about the Doors' legacy and legal battles that have ensued
from his estate with the other Doors."
In the second section of "A Tale of Two Brothers," "Chilled Divine (The
True Essence of Michael Hutchence)," Murray focuses on the life and times
of INXS's Hutchence, who she says came through from the other side "to
finally end the controversy of his tragic death."
"Michael wants the world to know what really happened that morning, in
his Sydney hotel room, who was there and why there was no note left behind
to his loved ones," says Murray. Also revealed is Hutchence's rise to fame
in INXS and, according to Murray, the truth of his missing millions.
Jacqueline Murray says she battled great skepticism when she was first
contacted by the spirits of Jim Morrison and Michael Hutchence. Not a fan
of either, she was a surprised and very reluctant channel for the
information they wished to make known through her. It took Murray more than
two years and a multitude of validations from outside sources, including
many well-known psychics, like Linda Salvin, Judy Hevenly and Kathleen
Tucci, before she considered publishing the information.
"I came to the realization that the material they were giving me was
not for me exclusively, but to be shared," says Murray. "So, with great
humility and honor, I am now presenting it."
"A Tale of Two Brothers" also includes contributions from radio psychic
and spiritual teacher Francine Milano and international clairvoyant and
psychic medium Christopher Rebrun. For more information, visit
http://www.alongthewatchtower.com.
AuthorHouse is the premier book publisher (http://www.authorhouse.com)
for emerging, self-published
(http://www.authorhouse.com/GetPublished/FAQ.aspx) authors. For more
information, please visit http://www.authorhouse.com.
EDITORS: For review copies or interview requests, contact:
Promotional Services Department
Tel: 888-728-8467
Fax: 812-961-3133
Email: pressreleases@authorhouse.com
(When requesting a review copy, please provide a street address.)
This release was issued through eReleases(TM). For more information,
visit http://www.ereleases.com.
See Also
Account of their Lives
PITTSBURGH, June 9 -- Legendary frontman for The Doors Jim
Morrison died on July 3, 1971. Michael Hutchence, the original lead singer
of INXS, died over two and a half decades later, on Nov. 22, 1997. Both
deaths were tragic in nature, stealing away two brilliant musical minds far
before they had reached the pinnacle of their greatness. But Morrison and
Hutchence have more in common than their talent and their early demise.
According to author and psychic medium Jacqueline Murray, they have both
reached out from the grave to tell the true stories behind their lives and
deaths.
In her new book, "A Tale of Two Brothers: Jim Morrison & Michael
Hutchence" (published by AuthorHouse -- http://www.authorhouse.com), Murray
shares these channeled stories, along with haunting new poetry and lyrics
from both musicians.
According to Murray, Jim Morrison, in his volume of the book,
"Renaissance Man (the Memoirs of Jim Morrison)," reveals through her how
"he broke on through to the other side and why he was later placed in a
bathtub."
"Read about Morrison's five hour struggle to stay alive and the
detailed account of his last days and hours in Paris that have never been
revealed," Murray writes. "Learn the true inspiration for Jim Morrison's
songs and poetry that he never revealed on earth. Find out how Morrison
really feels about the Doors' legacy and legal battles that have ensued
from his estate with the other Doors."
In the second section of "A Tale of Two Brothers," "Chilled Divine (The
True Essence of Michael Hutchence)," Murray focuses on the life and times
of INXS's Hutchence, who she says came through from the other side "to
finally end the controversy of his tragic death."
"Michael wants the world to know what really happened that morning, in
his Sydney hotel room, who was there and why there was no note left behind
to his loved ones," says Murray. Also revealed is Hutchence's rise to fame
in INXS and, according to Murray, the truth of his missing millions.
Jacqueline Murray says she battled great skepticism when she was first
contacted by the spirits of Jim Morrison and Michael Hutchence. Not a fan
of either, she was a surprised and very reluctant channel for the
information they wished to make known through her. It took Murray more than
two years and a multitude of validations from outside sources, including
many well-known psychics, like Linda Salvin, Judy Hevenly and Kathleen
Tucci, before she considered publishing the information.
"I came to the realization that the material they were giving me was
not for me exclusively, but to be shared," says Murray. "So, with great
humility and honor, I am now presenting it."
"A Tale of Two Brothers" also includes contributions from radio psychic
and spiritual teacher Francine Milano and international clairvoyant and
psychic medium Christopher Rebrun. For more information, visit
http://www.alongthewatchtower.com.
AuthorHouse is the premier book publisher (http://www.authorhouse.com)
for emerging, self-published
(http://www.authorhouse.com/GetPublished/FAQ.aspx) authors. For more
information, please visit http://www.authorhouse.com.
EDITORS: For review copies or interview requests, contact:
Promotional Services Department
Tel: 888-728-8467
Fax: 812-961-3133
Email: pressreleases@authorhouse.com
(When requesting a review copy, please provide a street address.)
This release was issued through eReleases(TM). For more information,
visit http://www.ereleases.com.
See Also
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