Street Wise - Dont Mess (Dance Mix) / Dont Mess (Commercial Mix) (Vinyl)

From Wikipedia, the free encyclopedia. For producing the album, Aaliyah collaborated with Timbaland and Missy Elliott. Missy Elliott Timbaland. The Isley Brothers Chris Jasper. Vincent Herbert Rashad Smith [a]. Marvin Gaye Slick Rick. Rodney Jerkins Japhe Tejeda. Jermaine Dupri Carl-So-Lowe. Powell — guitar Mike Rew — engineer Daryl Simmons — drum programming, drums, acoustic guitar, keyboards, producer Ivy Skoff — production coordination Slick Rick — guest artist, rap, vocal ad-libs Rashad Smith — producer, remixing Sound Boy — engineer Sebrina Swaby — project coordinator Phil Tan — engineer, mixing, backing vocals Tann — backing vocals Japhe Tejeda — composer Timbaland — guest artist, composer, mixing, producer, vocal ad-libs Diane Warren — composer Freddie "Ready" Washington — bass.

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MacDonald, Ian London: Pimlico Rand. MacFarlane, Thomas Miles, Barry Random House. Nielsen, Donald Lexington Books. Norman, Philip []. New York, NY: Fireside. Norman, Philip John Lennon: The Life. New York, NY: Ecco. Penman, Ross The Beatles in New Zealand Roessner, Jeffrey In Womack, Ken; Davis, Todd eds. Schaffner, Nicholas The Beatles Forever.

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London: Proteus. Womack, Kenneth In McParland, Robert P. Cambridge Scholars Publishing. Womack, Kennethed. Cambridge Companions to Music. Cambridge University Press. Womack, Kenneth; Davis, Todd The Beatles White Album. The Beatles discography The Beatles in India. Rubber Soul Revolver Sgt. The Beatles album discography. Albums in the core catalogue are marked in bold. The Beatles Meet the Beatles!

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The Rolling Stone Album Guide. Mustard ". Jerry LeiberMike Stoller. Richard RodgersLorenz Hart. French Albums Chart []. Norwegian VG-lista Albums Chart []. Spanish Albums Chart []. UK Albums Chart []. Dutch Mega Albums Chart []. Japanese Oricon Albums Chart []. Austrian Albums Chart []. Belgian Albums Chart Flanders []. Belgian Albums Chart Wallonia []. Danish Albums Chart []. Finnish Albums Chart []. The way that the band used the effects is as influential to prog as any other album you can name Street Wise - Dont Mess (Dance Mix) / Dont Mess (Commercial Mix) (Vinyl) just take For the Benefit of Mr Kite for example, amazing wall of sound throughout and those spaced out lyrics are a treasure.

The Beatles owe a lot to Beach Boys 'Pet Sounds' as has been well documented, but Sgt Pepper put it to better use, blending great rock with innovation and experimentation. This may well be the beginning of prog. If you are still not convinced 'A Day in the Life' seals the deal.

Lilting dreamy verses that build to 'I'd love to turn you on' that leads to the infamous orchestra slide? Then the keys stab as Paul begins the quaint bridge, the song has now completely changed, 'woke up, got out of bed, dragged a towel across my head Then the song returns to the original tune. The ending is the orchestral crescendo that builds noisily until the final low piano chord. It continues and continues until it fades.

Then we have a silence which is punctuated by a weird, off kilter loop that sounds like 'I wouldn't have it any other way' over and over. Originally this was the needle stuck in the groove of the vinyl alum but it works on CD as well. And thus ends the most influential album in history.

I think the album managed to capture everything that prog has become and it is an essential album for changing the way we listen to music and accept types of music. Dangerously experimental, ferociously original, it is beyond a masterpiece.

Part 2:Prog Poll through the years A psychedelic year of music with some incredible albums heralding the birth of experimentalism and headphone music. After much deliberation and research here is the list:.

There were 2 choices for other:. Song of Innocence - David Axelrod. My review absolutely was scathing towards this, which just shows you can't always agree with a majority! I am a massive Floyd fan and would bleed 'Dark Side of the Moon' if you cut me, but this is the worst excuse for an album I have come across from this band.

Worse than 'The Final Cut? I will give you two reasons; Syd and Barrett. The man was a raving nutter as we all know, but he can't sing a note to save himself, that droning monotone voice is enough to make you want to pickle your granny, and before I get lynched by a pack of Floyd freaks, of course Barrett was an iconic figure, but he produced some questionable material and questionable albums, including the Street Wise - Dont Mess (Dance Mix) / Dont Mess (Commercial Mix) (Vinyl) self pitying debut solo effort who's name escapes me at the moment.

Also Waters was absolutely wrapped up in his own cerebral cortex on this effort. The music is so lacklustre, it is heart wrenching, and although Barrett only is allowed to sing on the last track, his influence is prevalent. What are the highlights on such a mediocre album?

Perhaps we have to start with the obvious, the compelling Roger Waters' masterpiece 'Set the Controls for the Heart of the Sun' that has a hypnotic groove that draws you in with dark overtones and a riveting bassline. I always loved this. Floyd can pruduce brilliant epics such as 'Echoes' and 'Shine On', but 'Saucerful of Secrets', running for a tortuous 12 minutes, is mind numbing and dull. Trimmed down it is OK, but how many spacey guitar runs and Dracula organ do we need?

The Floyd were always better live and it seems in the studio at this stage of their careers, the four walls of a booth were stifling their creativity. These tracks save this album from the one star bomb, but the other tracks are truly forgettable.

The dreadful caterwauling of Waters' 'Corporal Clegg' is the type of puerile nonsense I am talking about. A psyched up weird thing that sounds like bubblegum now or the pale shadow of The Beatles. Listen to those kindergarten lyrics by Waters: "Corporal Clegg had a wooden leg, He won it in the war, in Dear, dear were they really sad for me? Dear, dear will they really laugh at me?

Clegg, you must be proud of him. Clegg, another drop of gin. In its time it probably knocked all the hippies off their heads, but now it sounds dated and obsolete. The album has not dated well and the flower power psychedelic sounds are nauseating and at times Waters' vocals are akin to a cat scratching its claws down a blackboard; 'See Saw' is the idiot child of 'Sgt Pepper' and really is ear cringing wallowing beyond comprehension.

The lyrics are childish and Wright is off with the fairies on this. I rest my case. Contrary to popular belief, not everything Floyd touched was pure gold, in fact some of their early material stinks like yesterday's diapers, and unless you were stoned to the hilt, you would have thought this album was a yawnfest. People pretend to understand it, but there is no thread of reason throughout. I realise Floydians will gush over this album, simply because it is iconic Floyd with the legend in his own mind, Barrett in all his insane glory, but just because it is iconic and from the psychedelic 60s does not necessarily mean the actual music is any good.

Well, now I have released all that anguish I can move on to a better album from Floyd; take your pick, this effort is a bottom of the barrel doped up Saucerful of Secretions! Collectors Only! Part 3:Prog Poll through the years The Others: none listed. My Review:. In other words King Crimson at their best. The influences of Jazz are prominent throughout and the band are so tight the music tends to punch holes within the fabric of the musicscapes.

An example of this is in the awesome '21st Century Schizoid Man'. This song introduced me to the band and I have never looked back, getting hold of any King Crimson I can, I am proud to say I have been Krimsonized.

You have to love a band that uses music to express themselves the way King Crimson does. Greg Lake's vocals in '21stCSM' are processed through a vocal transposer that make him sound like some terrible alien machine that is telling mankind where he is going wrong: "Politician's funeral pyre, Innocents raped with Napalm Fire.

The feeling of alienation and a barren soundscape are exemplified in the way the song is structured. During the lyrics, a sense of minimalism is produced, then the wall of sound kicks in.

The incredible sax and Robert Fripp's screaming guitar complement each other brilliantly throughout the opening half, and then it slows down for a moment before the time signature changes completely and there is an erratic saxophone that locks in and continues while a strange lead guitar howls and reverberates. One of the best things about this section is the way the music seems slightly off kilter, almost out of tune but not quite.

There are moments where all instruments cease at once, pause and then begin on cue only to stop again in various rhythm patterns. It is quintessential listening for anyone interested in progressive rock.

Following this maelstrom of sound, the album settles down surprisingly, for where else could it go, into a very melancholy type of song, 'I Talk to the Wind'. To be honest, it's not one of my favourite pieces, it all seems so safe and tranquil in comparison to the rest of the album, but I guess as a contrast it works well enough. It has a symphonic component that is created with a heavy blend of mellotron, keyboards and vibes. The lyrics are thought provoking "the wall on which the prophets write is cracking at the seams, upon the instruments of death the sunlight brightly gleams, when every man is torn apart with nightmares and with dreams The stanzas are confusing, though enlightening and the lyrics revitalise the music, rather than detract.

The two cannot exist without the other and are of equal importance. Peter Sinfield was responsible for some of the most provocative lyrics of the prog movement and he is credited on this album for 'words and illumination' interestingly enough. I know this is one of the most annoying things about this band that I love, but it is also the reason that they are outstanding; they do improvise in concert substantially, and it has garnered their reputation for jazz fusion.

So it's a catch 22 - if you are into a band as experimental as King Crimson there are going to be moments in their repertoire that will infuriate you. Michael Giles drum patterns are interesting enough but unfortunately, as far as I am concerned, 'Moonchild' is just about the worst they have recorded. It should have been cut by about 6 minutes and there is too little going on for my tastes to even make this memorable. It is more or less a jazz improvisation and doesn't really go Street Wise - Dont Mess (Dance Mix) / Dont Mess (Commercial Mix) (Vinyl).

Maybe this is why some fans adore it. I absolutely cherish this song and it is one of the best prog tracks I have heard. Lake's vocals have never been better, and there are amazing flourishes of sweeping keyboards that send a chill down your spine.

The sound goes from intense to very soft in waves and all is complimented by a stirring lyrical content: "The black queen chants the funeral march, the cracked brass bells will ring, to summon back the fire witch in the court of the crimson king. This album encompasses all that makes prog rock so enticing, and in a sense it captures all that made King Crimson one of the leading progressive masters, brilliant but flawed geniuses. The Court of The Crimson King is, hands down, an essential purchase.

There were actually 3 choices for other:. Part 4:Prog Poll through the years An Amazing Street Wise - Dont Mess (Dance Mix) / Dont Mess (Commercial Mix) (Vinyl) of prog with strong debuts from eclectic and symphonic legends and some of the best music you will ever hear in this selection. The Results:. The Others:.

Black Sabbath - Black Sabbath. Once again terrific lyrics overladen by mellotron, atmospheric drums and saxophone, and the relentless bass. It's as good as it gets and moves all over the place, with time signatures that are difficult to emulate. This is one of the more complex tracks from the band, and features an excellent saxophone and keyboard solo that drives the song forward to the final section The Dance in the Forest.

One part pulses with a driving bass while a thin saxophone contains a strong esoteric melody. The echo of the saxophone adds to the sense of alienation and bleakness. It all ends on an off kilter series of notes that speed up into a frenzy that finally fades out.

It's a great sound and prepares the way for Hammill's spaced out lyrics. I just love the riff of the bass and sax in this track that stops and starts and even features quite a beautiful acoustic arrangement and spars saxophone.

Heavy stuff throughout it never becomes overbearing thanks to the excellent structures of each track that range from tranquility to an out of control maelstrom. The bonus tracks are surprisingly good and worth the effort. From the estranged vocals, "I wish that you would set me free forever, but these rings on my arms are too deep I love the way it loses control halfway through almost improvisational in places and then somehow finds its way again, nobody could jam like these guys.

The end is stuffed up with an added cymbal hit and the band members curse and laugh. But who would care after the way this track spiralled all over the place, but I guess these guys were perfectionists. The early take of 'Emperor in His war Room' is more or less a curio and is a rare look at the makings of a classic track.

It does sound different without the overdubs and atmospherics but is no the less the better for it. Overall, H to He Along with Pawn Hearts and Godbluff, I can't recommend this more highly. The album features some of the first use of Multi-tracked string acoustic guitars that are blended with folky vocal harmonies, quiet flute, acoustic piano, and gentle keyboard pads on the Hammond and mellotron.

It begins with an isolated secluded atmosphere in the form of 'Looking For Someone' that is certainly not a sound the band would return to on subsequent albums.

The band were very unsure at times of their sound Anthony Phillips holds back on guitar preferring an acoustic approach, John Mayhew gently touched his drums, Peter Gabriel is quiet and calm, Mike Rutherford maintains simple basslines, Tony Banks prefers a subtle keyboard motif - all this of course is transformed into glorious prog chaos on the last track.

Fangs frantic paws told the tale of his sin, Far off the chase shrieked revenge. Outcast he trespassed where no wolf may tread, The last sacred haunt of the dead. Xenia Rubinos dips in and out of genre and structure to create movingly powerful songs.

Pitchfork has lauded the radiant singer as "a unique new pop personality" while The New Yorker described her work as "rhythmically fierce, vocally generous music that slips through the net of any known genre. Una Rosa is produced by Rubinos along with her longtime collaborator and drummer Marco Buccelli, and is full of color- drawing much of it's multichromatic sound from the bright colors of pop art, which Xenia was immersed in during the writing process.

Two friends meet aged four in Hicksville, Nowheretown real name: Cobourg, Ontario, population 19,grow up completely inseparable, form a band and, against numerous obstacles, blossom into a genuine, global underground sensation. There are heroes and villains, highs and lows and, crucially, some of the most poetic plot twists that could seem almost too perfect, were they not completely true.

And then by some act of the universe, that song ended up unlocking all the doors for us. Quick View. Courtney Barnett. The timescale and momentum of any physical activity is vastly different from the attention span of listening. It should feel like it's own story, with at least some of the same characters as the original. It has subsequently been used as a marketing tool, a dancefloor-devastator, a gimmick both cheap and expensive or even as a way of reaching a different audience think Tori Amos' 'Professional Widow'.

Khruangbin are no slouches when it comes to the remix themselves. They've been reworked before, inwith the highly collectible EP on Boogiefuturo. But this time, they're taking it a step further with an album dedicated to the art. Entering the tight-knit world of a Khruangbin song can be a little daunting. They have created this Street Wise - Dont Mess (Dance Mix) / Dont Mess (Commercial Mix) (Vinyl) universe in which the trio seem to function telepathically in the way the music is composed, arranged and played.

To mess with their delicate eco-system can invoke feelings similar to that of an unwanted guest crashing a good-time party. But through the correspondence with the different artists, we gained a bigger connection to the songs themselves.

They're not names picked randomly out of a hat or chosen via a throw of the dice. All have some connection to the band, sometimes personal friendships, musical connections, or simply mutual musical appreciation.

Harvey Sutherland and Ginger Roots have both toured with the band, Kadhja Bonet and Ron Trent had their Street Wise - Dont Mess (Dance Mix) / Dont Mess (Commercial Mix) (Vinyl) mutual fan club going on, Knxwledge sampled 'White Gloves' on a recent mixtape, Natasha Diggs and Soul Clap's Eli's are recent buddy-ups, Quantic is a mutual friend of Bonobo crucial in the KB origin storywhile I've known Laura for number of years; plus she is also godmother to one of Felix Dickinson's kids.

Doesn't get much more intimate than that, right? Some of these remixes were specifically made so you can dance your ass off while getting down to the Khruangbin sound, while some might better be appreciated horizontally with headphones on, wearing fashionably loose clothes. The choice is yours. But all were made with love and respect for Khruangbin. Amen and out.


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