quête:entertainment

Written, Produced, and Mixed by Jai Paul.
RECORDED AT HOME IN RAYNERS LANE, LONDON, ENGLAND.

Published by BMG Music Publishing Ltd. Except:

Str8 Outta Mumbai contains a sample of Bala Main Bairagan - Vani Jairam. Banner: Suchitra International Productions “Meera”. Music: Ravi Shankar. Lyrics: Meerabi. Licensing courtesy of UNIVERSAL MUSIC INDIA PVT. LTD.

Crush Written by Berny Cosgrove, Kevin Clark, Clifford Mueller and Andy Goldmark. P ublished by Warner/Chappell North America Ltd., Universal Music Publishing Ltd. and Shapiro Bertstein & Co. Ltd.

Baby Beat contains a sample of “All My Life” performed by K-Ci & JoJo. Courtesy of Geffen Records, A Division of UMG Recordings Inc., under license from Universal Music Enterprises.


Chix contains a sample from “Adagio For Strings, Op11.” as recorded by Leonard Bernstein and The New York Philharmonic, used courtesy of Sony Masterworks, a division of Sony Music Entertainment.

Lacquers cut by Scott Stratton at Bernie Grundman Mastering, Hollywood CA.

Musikliebhaber:innen wird nicht entgangen sein: Atlantic Records feiert in diesem Jahr sein 75-jähriges Bestehen. Zu diesem Anlass hat das Label zusammen mit Rhino Entertainment eine umfangreiche Reihe mit 90 Vinyl-Veröffentlichungen auf die Beine gestellt, die im Verlauf dieses Jahres erscheint und die gesamte Geschichte des Unternehmens von den Anfängen bis heute abdeckt.

Freuen kann man sich über ikonische und gefeierte Alben aus praktisch jedem populären Musikgenre, darunter Special Editions und viele Titel, die noch nie auf Vinyl veröffentlicht wurden. Dieses Album erscheint nun als clear Vinyl.

Lupe Fiasco's The Cool (commonly referred to as The Cool) is the second studio album by American rapper Lupe Fiasco. It was released on December 18, 2007 by 1st & 15th Entertainment and Atlantic Records. It was recorded between 2006 and 2007, with Lupe Fiasco himself and Charles Patton (Chilly) serving as executive producers. The concept album The Cool is based on the song and a title character from his debut album Food & Liquor (2006).

The album features guest appearances by Gemini, Snoop Dogg and Matthew Santos, while production was handled by Patrick Stump, Soundtrakk and Unkle, among others. The album debuted at #15 on the U.S. Billboard 200, selling 143,407 copies in its first week.

The album debuted as the number one rap record and lasted for 9 weeks. As of 2022, the album was certified platinum by the Recording Industry Association of America (RIAA). At the 2009 Grammy Awards, the album was nominated for Best Rap Album.

Music lovers:inside will not have missed: Atlantic Records is celebrating its 75th anniversary this year. To mark the occasion, the label has teamed up with Rhino Entertainment for an extensive series of 90 vinyl releases coming out later this year, covering the company's entire history from its beginnings to the present day. You can look forward to iconic and acclaimed albums from virtually every popular music genre, including special editions and many titles never before released on vinyl. This album is now released as clear vinyl.

Repress!

In the mid-1970s, a force of nature swept across the continental United States, cutting across all strata of race and class, rooting in our minds, our homes, our culture. It wasn’t The Exorcist, Goodbye Yellow Brick Road, or even bell-bottoms, but instead a book called The Secret Life of Plants. The work of occultist/former OSS agent Peter Tompkins and former CIA agent/dowsing enthusiast Christopher Bird, the books shot up the bestseller charts and spread like kudzu across the landscape, becoming a phenomenon. Seemingly overnight, the indoor plant business was in full bloom and photosynthetic eukaryotes of every genus were hanging off walls, lording over bookshelves, and basking on sunny window ledges. The science behind Secret Life was specious: plants can hear our prayers, they’re lie detectors, they’re telepathic, able to predict natural disasters and receive signals from distant galaxies. But that didn’t stop millions from buying and nurturing their new plants.

Perhaps the craziest claim of the book was that plants also dug music. And whether you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears), you also took home Plantasia, an album recorded especially for them. Subtitled “warm earth music for plants…and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Plants date back from the dawn of time, but apparently they loved the Moog, never mind that the synthesizer had been on the market for just a few years. Most of all, the plants loved the ditties made by composer Mort Garson.

Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. When one writer rhetorically asked: “How was Garson’s music so ubiquitous while the man remained so under the radar?” the answer was simple. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytumcomosum. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix.” He could render the Beatles and Simon & Garfunkel alike into easy listening and also dreamed up his own ditties. “An idear” as Garson himself would drawl it out. “I live with it, I walk it, I sing it.”

But as his daughter Day Darmet recalls: “When my dad found the synthesizer, he realized he didn’t want to do pop music anymore.” Garson encountered Robert Moog and his new device at the Audio Engineering Society’s West Coast convention in 1967 and immediately began tinkering with the device. With the Moog, those idears could be transformed. “He constantly had a song he was humming,” Darmet says. “At the table he was constantly tapping.” Which is to say that Mort pulled his melodies out of thin air, just like any household plant would.

The Plantae kingdom grew to its height by 1976, from DC Comics’ mossy superhero Swamp Thing to Stevie Wonder’s own herbal meditation, Journey Through the Secret Life of Plants. Nefarious manifestations of human-plant interaction also abounded, be it the grotesque pods in Invasion of the Body Snatchers or the pothead paranoia of the US Government spraying Mexican marijuana fields with the herbicide paraquat (which led to the rise in homegrown pot by the 1980s). And then there’s the warm, leafy embrace of Plantasia itself.

“My mom had a lot of plants,” Darmet says. “She didn’t believe in organized religion, she believed the earth was the best thing in the whole world. Whatever created us was incredible.” And she also knew when her husband had a good song, shouting from another room when she heard him humming a good idear. Novel as it might seem, Plantasia is simply full of good tunes.

Garson may have given the album away to new plant and bed owners, but a decade later a new generation could hear his music in another surreptitious way. Millions of kids bought The Legend of Zelda for their Nintendo Entertainment System back in 1986 and one distinct 8-bit tune bears more than a passing resemblance to album highlight “Concerto for Philodendron and Pothos.” Garson was never properly credited for it, but he nevertheless subliminally slipped into a new generations’ head, helping kids and plants alike grow.

Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him. “My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time,” Darmet says of Plantasia’snew renaissance. “He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then.” Garson seems to be everywhere again, even if he’s not really noticed, just like a houseplant.

Run-D.M.C.'s Raising Hell remains the turning point at which hip-hop crashed through mainstream barriers and never left. Anchored by the crossover smash "Walk This Way," the 1986 blockbuster still sounds like a revolution unfolding in real time. It has everything – hard-rock riffs, turntable scratching, itchy rhythms, hit singles – not the least of which are the trio's invigorating raps and inseparable chemistry. And now it's the first rap record afforded audiophile treatment, courtesy of Mobile Fidelity.

Sourced from the original master tapes and pressed on MoFi SuperVinyl, the reissue label's numbered-edition 180g 33RPM SuperVinyl LP elevates Raising Hell to sonic heights on par with its musical and cultural significance. Ranked the 123rd Greatest Album of All Time by Rolling Stone, 43rd on Pitchfork's Greatest Albums of the 1980s, one of the Top 100 Albums of All Time by TIME – and included on "Best of" lists by Spin, Paste, XXL, Entertainment Weekly, and basically every other significant media outlet – the triple-platinum effort rocks the house.

Benefitting from the ultra-low noise floor and groove definition of SuperVinyl, Raising Hell unleashes a torrent of massive dynamics and tsunami of frequency-plumbing details underlined by Rick Rubin's taut, crisp, albeit raw and streetwise production. Just as the Queens-based group both defined what hip-hop could represent – and displayed just how big it could get – Rubin's work melded ear-worm hooks, savvy drum loops, metal-leaning guitars, and, of course, Run and D.M.C.'s cross-fire lyrical interplay into watertight frameworks bursting with ideas, tones, samples, and beats. Heard anew on Mobile Fidelity vinyl, Raising Hell is in every regard the aural equivalent of a direct-to-console 1970s classic. And it sounds as fresh as hell.

As for the music, it ranks among the most influential, inventive, and invigorating ever released – rap or otherwise. Vanguard artists such as Ice-T, Eminem, Jay-Z, and Public Enemy's Chuck D – who declared it his all-time favorite and "the first record that made me realize this was an album-oriented genre" – have testified on behalf of its brilliance. And never mind the presence of the Top 5 single "Walk This Way," whose power helped make Aerosmith's Steven Tyler and Joe Perry relevant for the first time in nearly a decade – and literally put Run-D.M.C. in bedrooms ranging from the Bronx to Bartlett to Bad Axe.

Look instead to the rest of the entirely filler-free set, be it the corkscrew turns, slippery wordplay, and "My Sharona"-meets-"Mickey" mixology of the boisterous "It's Tricky," the fat-but-minimized bass grooves and warped turntable wobble of the hysterical "You Be Illin'," chimes-accented inertia and boombox-on- shoulder thunder of the now-iconic "Peter Piper," or voice-as-percussion attack of the funky "Is It Live." With Raising Hell, the answer to the question is always affirmative – a sensation bolstered by the fact the group always had something to say.

The definition of Golden Age Hip-Hop in every way, Run-D.M.C. avoids the negativity and misogyny that later plagued the style, spinning assertive tales about identity (the biographical and culture-changing "My Adidas"), work ethics ("Perfection"), and, most notably, pride (the Harriet Tubman- and Malcom X.-referencing "Proud to Be Black"). Pavement-packed inner cities, tree-lined suburbs, and cornfield-rimmed rural areas would never again be the same. And rocking a rhyme that's right on time would become trickier than ever.

Chyskyyrai, whose real name is Valentina Romanova, comes from Yakutia (Republic of Sakha), the northernmost republic of Siberia.

She sings in a variety of traditional vocal techniques, drawing on folk songs, animal imitation but most of all on the ancient mythological epic Olonkho, which has a multitude of archaic delivery styles. Olonkho performance is a traveling one-man theatre and a solo improvisation. Traditionally, the Olonkho storytellers, olonkhosuts, travelled from community to community, tribe to tribe, and performed the same function as a shaman. Mostly they were regarded as spiritual guides, teachers and keepers of cultural values. Their performances could last for several days, and were not just entertainment but also the way of teaching that people are not separate from nature and attuned them to it.

The songs presented on this LP capture a period of her life when she met with Tim Hodgkinson (Henry Cow) and Ken Hyder (Talisker) who had been performing together since 1978, and are well-known for their explorations in the field of shamanic cultures and free jazz. Their collaboration with the “Soviet Jazz Federation” goes back many years until finally in 1990, the duo went on an extensive tour in Siberia as “The Shams” during which they also visited Yakutia. Since then they have made numerous trips to Tuva, Altai and Buryatia playing with the local musicians and studying shamanism.

Recorded in Ken Hyder’s basement, early May 2005. Sleeve artwork by Sophie Lécuyer.

Paisley Park Enterprises, in Partnership with Sony Music Entertainment and Warner Records, announces expanded reissue of Prince & the New Power Generation’s multi-platinum album Diamonds And Pearls. This 12LP+ Blu-ray features 47 previously unreleased tracks and over two hours of live filmed concert footage in high definition.

Following the successful release of the 1999 Super Deluxe Edition (2019), and Sign O’ The Times Super Deluxe Edition (2020), the Diamonds And Pearls Super Deluxe Edition represents the third deep dive into Prince’s vault. It includes a total of 75 audio tracks across 7x CDs and 12x 180g vinyl records.

The set offers a newly remastered version of the album, plus 15 of the incredible remixes and B-sides from the era, including the never commercially released “Gett Off (Damn Near 10 Min.)” mix. The Super Deluxe Edition also features 33 previously unheard studio gems from Prince’s Illustrious vault, ranging from alternate versions of album tracks to numbers Prince gave away to other artists, and songs recorded while on the road in 1990.

Prince & The NPG previewed the Diamonds And Pearls Tour at Prince’s Minneapolis club, Glam Slam, on January 11, 1992. The sweaty, sold-out, last-minute show captures the sheer joy and sense of endless possibility that came to define this era. This previously unreleased live concert performance has been mixed from the 24-track master and rounds out the audio content of this 12LP set.
This same previously unreleased concert is also presented in stunning 2K video on the Blu-ray disc that accompanies both Super Deluxe Edition formats, in Stereo, 5.1 Dolby True HD, and Dolby ATMOS audio formats. The Blu-ray also features Prince & The New Power Generation’s performance at The Special Olympics at the Metrodome in Minneapolis in July 1991 (also in Stereo, 5.1, and ATMOS), as well as a previously unseen soundcheck.

The Blu-ray is completed by the long out of print Diamonds And Pearls Video Collection, originally released on VHS and LaserDisc in 1993. The 120-page hardback book which accompanies the SDE set features unseen photos by Randee St. Nicholas, and essays by: author & broadcaster Andrea Swensson; Archivist and Senior Researcher for the Prince Estate Duane Tudahl; British music critic and Prince expert Jason Draper; De Angela L. Duff, an Industry Professor at NYU Tandon School of Engineering in Brooklyn; Social Media Personality KaNisa Williams; and an introduction from Public Enemy founder, Chuck D.

Mayer Hawthorne hat seine Wurzeln in seiner Heimatstadt Ann Arbor, Michigan, wo er auf dem Höhepunkt des Detroiter Hip-Hop mit dem Produzieren von Beats und dem Auflegen von DJs begann.

Er hat bisher 5 Alben veröffentlicht und Auszeichnungen von angesehenen Publikationen wie GQ, New York Times Magazine, Playboy und Rolling Stone erhalten. Von der Verkündung seines bevorstehenden Ruhms durch NPR bis hin zu BBC Music, hat seine Kunst die Herzen von Kritikern und Fans gleichermaßen erobert. Mit einer Fülle von weiteren Beiträgen in namhaften Magazinen wie Billboard, Entertainment Weekly und Vanity Fair sowie Auftritten bei Conan, Letterman, Kimmel, der Today Show und darüber hinaus ist Hawthornes kultureller Einfluss unbestreitbar.

Nicht nur die Kritiker und Fans lieben Hawthorne, sondern auch seine Kollegen. Er eröffnete die letzte Tournee von Amy Winehouse und war Support von Bruno Mars; er schuf moderne Yacht-Rock-Jams mit Pharrell am Pool in Miami und John Mayer nannte sein Debüt auf Twitter das "Album des Jahres".

Jetzt ist Hawthorne bereit, sein neues Studioalbum For All Time zu veröffentlichen, eine eindringliche Erfahrung, die Grenzen überschreitet und die Schatten umarmt. Auf diesem Album taucht er tief in die Tiefen des menschlichen Herzens ein und erforscht die Komplexität der Liebe und die rohen Emotionen, die sie begleiten. Es ist eine fesselnde Mischung aus dunklen, sexy und stimmungsvollen Vibes, die Sie direkt in einen verrauchten Art-Déco-Jazzclub versetzen wird. For All Time ist eine Feier einer Liebe, die mit Intensität brennt
und einen bleibenden Eindruck in der Seele hinterlässt.

"Bring us the Head" ist unsere Liebeserklärung an das Kino der Achtziger und Neunziger, mit dem wir aufgewachsen sind", weiß Sänger Jens zu berichten.

"Während der Corona-Pandemie haben wir viele dieser Streifen "wiederentdeckt". Viele werden das nachvollziehen können - man saß zu Hause, hatte ungewohnt viel Freizeit, und dank der Streaming-Dienste kam trotzdem selten Langeweile auf.

Irgendwann sprachen wir im Scherz darüber, dass es doch cool wäre, eine Platte über unsere alten Lieblingsfilme zu machen... gesagt, getan."

Fans von Streifen wie "Terminator", "Conan", "Army of Darkness" oder "Escape from New York" werden somit ihre helle Freude an dem Album haben, für dessen detailverliebtes Cover-Artwork einmal mehr Besil Wrathbone verantwortlich zeichnet. Auch eine Cover-Version des Ramones-Klassikers "Pet Sematary" nahm die Band für "Bring us the Head" auf. Jens erklärt:
"Da wir den Song seit Jahren im Live-Programm haben, und er außerdem so wunderbar ins Konzept des Albums passt, lag die Idee förmlich auf der Hand."

Der neue Langspieler wird am 27. Oktober 2023 über Reaper Entertainment in den Plattenläden aufschlagen.

"56 NIGHTS" - ZUM ERSTEN MAL AUF VINYL. 56 Nights ist das fünfzehnte Mixtape des amerikanischen DJs und Plattenproduzenten DJ Esco. Es wurde am 21. März 2015 über das Label Freebandz Entertainment des Rappers Future veröffentlicht.

"MONSTER" - ZUM ERSTEN MAL AUF VINYL. Monster ist das dreizehnte Mixtape von Future. Es wurde am 28. Oktober 2014 von Freebandz Entertainment veröffentlicht.

A "pop savant of the first order" (AllMusic) who "projects an outsize persona from the stage" (Pitchfork), Mike Adams has created a singular homespun entertainment universe since 2011's Oscillate Wisely. He's an appealingly confident showman on his cable access-style variety show (The Mike Adams Show), and an affably humble Hoosier touring musician on his podcast (Tan Van Tour Talk). As Mike Adams at His Honest Weight, he's a hooky songwriter and multi-instrumentalist with a knack for embodying contradictions. The latest in a prolific stream of recordings, Guess for Thrills gets deep, blending 70's-inspired pop songs with synthesizer-driven atmospherics and emerging with a wild and searching album that treats ambiguity as a place of discovery.

‘Hey don’t touch that dial, good news Punk Rock Is Back!’ Mal-One

Mal-One’s new album starts with running through the radio dial, looking for some suitable music to listen to. These snippets are actually samples of songs from his previous album ‘It’s All Punk Rock’. Leading the listener nicely into a new set of songs to get their Punk Rock teeth into.

Songs that cover… the great New York punk scene of the 1970’s that grew out of a little bar in the Bowery District of New York City called CBGB’s ‘New York City Punk’. The Clash’s first album discussed in ‘When The Two 77’s Clashed’. The excitement of London’s Roxy Club revisited with its one line chant ‘Down The Roxy’. Those great ‘Punk Rock Fanzines‘, that kept us all so well informed. An early Sex Pistols gig at the Chelsea School of Art, ‘Machine Bubble Disco’. So named after what was to be the main event of that nights entertainment!!!.’45 Random Punk Memories’ sprang from Mal-One’s own reminisces. Talking of memories ‘Looking At The Decals On Steve Jones Guitar’, the recollection of Steve Jones, future guitarist of the Sex Pistols, stealing Mal-One’s bike when he was the tender age of seven years old. An incident that might have triggered this whole road of discovery in the first place.

A reflection on London’s harsh setting in those heady Punk times in ‘Corrugated London’ alongside a call and response to remember that ‘London’s Turning’ all the time for better or worse and that we can’t always pick and choose the bits we want to keep. The self-explanatory, ‘We Will All Lose Some Good Friends Along The Way’. ‘Shakespeare Meets Chuck Berry On Shepherds Bush Green’, a great story when Joe Strummer was asked by a reporter what he was up to and what he might call The Clash’s next album, which would turn out to be the timeless ‘London Calling’. Joe’s rather
tongue in cheek answer was “Shakespeare Meets Chuck Berry On Shepherds Bush Green’’.
A place close to Mal-One’s heart and a great title, that was crying out to be reused. Which Mal-One does via what he calls his Punk Art Poetry. Sometimes these lines are turned into lyrics and reworked into songs.

The album ends with such a call, ‘An Open Letter To…’ all those people who helped influence us all along the way. As the lyric states often without thought of financial gain, but done so, quiet simply because it had to be done.Maybe some young guns might in some small way, be inspired and find in Mal-One’s current efforts that ‘anything is possible’ and the true meaning of Punk was in fact, ‘Do It Yourself’.

The vinyl version of this release includes a poster that is part of Mal-Ones continuing Street Art project that involves putting up posters around London. This time declaring the news ‘Punk Rock Is Back!’. Included in the album packaging also is a signed and blind stamped limited print of one of Mal-One’s works ‘What Is It About Punk That’s So Different So Appealing’. A punk collage that just carries one word in among its multiple punk images and that word is PUNK. We hope you enjoy the indulgence.

11 track Studio from Good Morning TV released by Géographie Records

FOR FANS OF: Eisbrecher, In Extremo, Hämatom, Die Apokalyptischen Reiter

„Todsünde 8" Der Schwan von Unzucht kehrt zurück - in Schwarz! Weißer Schwan vor weißem Hintergrund: Das Cover zum Album „Todsünde 8“ von Unzucht war 2012 Offenbarung und optische Täuschung zugleich. Hinter der unschuldigen Fassade verbarg sich ein dunkler, alles verschlingender Abgrund. Von brachial („Das belgische Inferno“) bis kolossal („Während wir uns verlieren“) entfaltete die Vierer-Formation aus Hannover schon auf ihrem Album Debut eine atemberaubende Bandbreite. „Das ist erst der Anfang!“ Die Worte von Unzucht-Sänger Der Schulz waren damals sowohl Drohung als auch Verheißung. Und sie sollten sich bewahrheiten.

Heute kommen Jünger des Dark-Rock ebenso wenig an Unzucht vorbei wie Industrial- und Gothic-Fans. „Engel der Vernichtung“, „Deine Zeit läuft ab“ und natürlich „Unzucht“ – die Songs von „Todsünde 8“ haben längst Hymnen-Status. Der mittlerweile sechste Unzucht-Streich „Jenseits der Welt“ fegte 2020 durch die Top 10 der deutschen Album-Charts. Nun ist es an der Zeit, „Todsünde 8“ zu feiern als das, was es schon am Tag des ersten Erscheinens war: ein düsterer Geniestreich, schön wie ein Schwan – aber ein schwarzer. Im 13.10.2023 erscheint „Todsünde 8“ als Re-Release bei NoCut Entertainment. Remastered, mit schwarzem Cover und erstmals auch auf Vinyl. „Unzucht waren 2012 unsere ersten externen Vertragskünstler“, sagt Label-Chef Kalle Engler. „Ich war und bin unzüchtig verliebt.“ Gitarrist De Clercq ergänzt: „Auch über 10 Jahre nach Release legt die Todsünde 8 noch alles in Schutt und Asche. Remastered schiebt Sie Euch freudig strahlend an den Rand des Abgrunds und springt zusammen mit euch ab!“ Nehmt euch in Acht, der Schwan kehrt zurück – in Schwarz!

Even as a little boy, Johnny Cash has a feeling he was going to be famous one day. It wasn’t the kind of premonition he could go about telling people. They’d have thought dreams of fame and riches pretty far removed from the Cash’s barely-productive 40-acre cotton farm in Arkansas. Especially since Johnny had no idea how he was going to make his mark.

Johnny left the farm to go into the Air Force — and in his travels he acquired first, a wife — and secondly, a guitar. Assigned to Germany and forced to leave his wife behind, Johnny found a faithful companion in his guitar. The boys in his barracks seem to like his “pickin’ and singin'” and gradually the plan for a career began to take shape. He would be a singer — a country singer.

When he got back from service, Johnny was not so modest about his plans for the future. He let his Memphis friends know he was going to be a singer — a good singer, a famous singer — a singer who would revolutionize country music. No matter how long it took — he was determined!

As it happened, Lady Luck inclined her face toward Johnny almost immediately. His releases on the Sun label were instantly acclaimed, and in 1956, one year after Johnny Cash launched his recording career, he was named the most promising country and western artist of the year in four separate polls.

After the success of “I Walk the Line” as a simultaneous C & W and popular hit, it was indicated the course Johnny’s career should take. Though always identifying himself as a singer for the country fans — a favorite entertainer on the Grand Ole Opry — Johnny Cash with “Ballad of a Teen-Age Queen” came to be a top selling artist in the pop recording field.

Almost reluctantly, Johnny evolved a pop-county style in arrangement and instrumentation, evident in such hits as “Guess Things Happen That Way” and “The Ways of a Woman in Love” to supply the demand for Cash records by fans of both types of music. It is ironic that Johnny Cash caused more of a revolution in pop music than in country music, as was his aim, by being one of the first C & W artists exposed on national “general entertainment” TV shows; and the first C & W artist to capture the LP market with one great release (Sun 1220).

Johnny Cash — in his voice, looks and demeanor — carries a certain aura of “specialness.” He is a very dramatic figure — tall, muscular, with blue-black hair. He looks the part of a folk singer — a 20th century wandering minstrel. And his fatalistic style, both in composing and singing, has a quality of monotone, but of “emotional monotone” that defies analysis, but which is genuinely powerful.

Johnny Cash is one of those persons endowed with an exceptional talent which has to express itself. And being expressed, his talent has been uniquely recognized and applauded by many loyal fans, who will enjoy this reminiscent album of the songs which to date are landmarks in the career of the one and only Johnny Cash.

MONSTER HOUSE Original Motion Picture Soundtrack by Douglas Pipes! Monster House is a 2006 animated Horror film directed by Gil Kenan (Scream, Ghostbusters: Afterlife). The plot tells the story of
a neighborhood that is terrorized by a haunted house during Halloween. The movie features the voices of Steve Buscemi (Reservoir Dogs), Maggie Gyllenhaal (Donnie Darko, The Secretary), Mitchell Musso (Hannah Montana), Sam Lerner, Spencer Locke, Kevin James (The King of Queens), Nick Cannon, Jason Lee, Fred Willard (Spinal Tap), Jon Heder (Napoleon Dynamite), Catherine O-Hara
(Beetlejuice), and Kathleen Turner (Jessica Rabbit in Who Framed Roger Rabbit).

Monster House marks Sony's first computer animated film produed by Sony Pictures Imageworks. Produced by Roger Zemeckis (Back to the Future Trilogy) and Steven Spielberg's Amblin Entertainment, the film was released in 2006 and was met with praise from fans and critics for its blending of horror and accessibility to a broad audience as a feature animated film.

Roger Ebert gave the film his highest ranking of four stars calling it "one of the most original and exciting animated movies I've seen in a long time" and compared it to the work of Tim Burton. Douglas Pipes is an award winning American film score composer whose feature films include the Academy Award nominated Monster House, the Halloween horror anthology classic TRICK 'r TREAT, and the Christmas comedy-horror film Krampus.

Repress of classic first LP by MF DOOM's first group KMD! KMD (Kausing Much Damage, or a positive Kause in a Much Damaged society) was a Hip Hop group in the early 90s perhaps best known for launching the career of acclaimed MC/Producer MF DOOM (known during his KMD tenure as Zev Love X). After guesting on 3rd Bass’ “The Gas Face,” the trio (Zev, brother Subroc, and Onyx) released the acclaimed and overlooked “Mr. Hood” full-length. Their political outlook was similar to the group Brand Nubian, who guested on Hood; however, the style was more comical and included a great deal of clips from old children’s recordings, mostly notably a sample of the Seaseme Street character Bert on the single “Who Me?” This is the official Elektra Records/Traffic Entertainment Group re-release with original artwork and track listing in it’s entirety. Cutting edge, ahead of it’s time production and skits from KMD and Stimulated Dummies (John Gamble and Mr. Dante Ross). Features the singles “Peachfuzz”, “Who Me?” and “Nitty Gritty” (feat. Brand Nubian). This is one Rap album that is not to be missed.