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Ulemu Sunshine Love Take It Light Canciones como "Abracadabra have you seen her? Amy Lee See All 2 2. Do It Again 3.

Hard mind 4. Something Wicked See All 3 5. I'll Never Know 6. Sun prairie blues See All 2 7. Never Gonna Change 8. R U 4 real? Out In The Rain Leave her be Temas: CD-1 Desafinado - Joao Gilberto Garota De Ipanema - Astrud Gilberto Chega De Saudade - Maria Creuza Samba En Paz - Caetano Veloso Anos Dourados - Maria Bethania Bim Bom - Astrud Gilberto Incerteza - Antonio Carlos Jobim Prelude - Badel Powell Berimbau - Baden Powell Corcovado - Maria Creuza O Morro - Antonio Carlos Jobim Cavaleiro - Caetano Veloso Catavento - Milton Nascimento General Da Banda - Ivan Lins Manha De Carnaval - Charlie Byrd Escola Do Samba - Marcha Cordaz Procissao - Gilberto Gil Beach Samba - Astrud Gilberto Girls Upstairs - Antonio Carlos Jobim Samba Do Veloso - Baden Powell Janelas Abertas - Antonio Carlos Jobim Samba Rap - Escola Do Samba His life was the subject of the documentary "B.

King Museum and Delta Interpretive Center, which opened in King's enduring legacy came from his refusal to slow down even after cementing his status as an American music icon. Even with a long list of honors to his name -Grammy Lifetime Achievement Award, Rock and Roll Hall of Fame induction, Presidential Medal of Freedom- he maintained a relentless touring schedule well into his 80s.

Throughout his career, King evolved with the times to incorporate contemporary trends and influences without straying from his Delta blues roots. Whether he was sharing the stage with U2 on "When Loves Comes to Town" -a scene memorialized in the concert film, "Rattle and Hum"- or playing in the East Room of the White House with Buddy Guy, Mick Jagger, Jeff Beck and others, King's single-string guitar notes trilled with an unmistakable vibrato from his hollow-bodied Gibson affectionately known as Lucille.

Slowing down King finally started showing signs of his age last year after decades of living with Type II diabetes. A shaky show in St. Louis prompted his reps to issue an apology for "a performance that did not match Mr. King's usual standard of excellence.

He was hospitalized for dehydration April in Las Vegas, a long way from his modest roots as the son of a sharecropper. King was born on September 16,on a cotton plantation between Indianola and what is now Itta Bena, Mississippi. He sang with church choirs as a child and learned basic guitar chords from his uncle, a preacher.

In his youth, he played on street corners for dimes, saying he earned more in one night singing on the corner than he did in one week working in the cotton field. Inhe hitchhiked to Memphis, Tennessee, home to a thriving music scene that supported aspiring black performers. He stayed with his cousin Bukka White, one of the most celebrated blues performers of his time, who schooled King further in the art of the blues.

Beloved Lucille It was during this era that King first named his beloved guitar Lucille. In the mids, King was performing at a dance in Twist, Arkansas, when a few fans became unruly and started a fire.

King ran out, forgetting his guitar, and risked his life to go back and get it. He later found out that two men fighting over a woman named Lucille knocked over a kerosene heater that started the fire. He named the guitar Lucille, "to remind myself never to do anything that foolish.

In the s, Gibson officially dropped the model number ES on the guitar King used and it became a custom-made signature model named Lucille, manufactured exclusively for the "King of the Blues. Bruce Iglauer has always been a fierce supporter of Independent music. Inhe launched Alligator Records on his own, a label that would go on to become home to some of the world's foremost blues and roots rock talent. Alligator Records currently has a catalog of critically lauded titles, over produced or co-produced by Iglauer.

A fixture on the Chicago blues scene, Bruce is known as a "do-everything-guy" Chicago Tribune and has spent his career championing blues and roots rock. Whether he's jumpstarting the careers of new talent or renewing the careers of legends, artists including Koko Taylor, Albert Collins, Lonnie Brooks, Mavis Staples and Charlie Musselwhite, among many others, have found success with the label.

In addition to supporting artists' musical ambitions, Bruce has always taken great pride in the deep relationships he has with the artists of Alligator. Over the years, Bruce has been known to open his home to musicians needing a place to live during times of personal trouble.

He makes himself available to his artists day or night, working tirelessly to support struggling musicians. As part of his work outside the label, Bruce is the Founder and current Co-Director of the Blues Community Foundation, which is dedicated to supporting blues music education and assisting blues musicians and their families who are in need.

Bruce was awarded the NARM Mickey Granberg Award for "sustained and unwavering commitment to independent music and the independent music community" and was named a Chicagoan of the Year by Chicago magazine in InBruce was honored as a Chicagoan of the Year in the Arts by the Chicago Tribune for his contributions to the music community over the years.

Tom is the founder of the independent record label TommY BoY. Nominations for the Libera Awards will be announced this Friday, April 25 and voting will open immediately to the A2IM independent music community. About A2IM: A2IM is a not-for-profit trade organization serving the Independent music community as a unified voice representing a sector that, according to Billboard magazine, comprises The organization represents the Independents' interests in the marketplace, in the media, on Capitol Hill, and as part of the global music community.

Categories and past recipients can be found by clicking on Past Recipients or Search on the navigation bar on the left side of this page.

Awards are not necessarily awarded in each category every year. Unlike the Blues Music Awards, the award recognizing the past year's best in recordings and performance voted on by thousands of The Blues Foundation's members, the KBAs are awarded to non-performers strictly on the basis of merit by a select panel of Blues professionals.

Noted educator, author, journalist, and KBA Chairman Art Tipaldi notes "The KBA may be awarded for the recipient's work in the past year but most often reflects a lifetime of work; we don't view the recipient as the winner of a 'best of the year' category.

Consistent with this philosophy, the committee generally refrains from awarding the KBA to an individual or organization more than once. Rather, we select a new deserving winner each year, except in rare cases when a significant period of time has elapsed since the first award. He has beeb the first Spanish one who received this award!!

The Keeping the Blues Alive Awards recipients are: 1. The Blues Foundation's Mission Statement reads, "To preserve blues heritage, celebrate blues recording and performance excellence, expand worldwide awareness of the blues, and ensure the future of this uniquely American art form. Its HART Fund provides the blues community with medical assistance, while its Sound Healthcare program offers musicians health insurance access.

Blues in the Schools programs and Generation Blues scholarships expose new generations to blues music. Throughout the year, the Foundation staff serves the worldwide blues community with answers, contact information, and news. The nonprofit group has no paid positions and takes a "by fans, for fans" approach to all of its activities.

The festival features continuous music on two stages, on-site camping, and a free Friday opening night. The festival is always two weekends before Labor Day at the Chenango County Fairgrounds in Norwich, NY and its many regular fans look forward to this late summer stop on the festival circuit. As a result of his extensive blues knowledge, inNoel was asked to play music from his collection on listener-supported KPOO radio and talk about the artists.

He has hosted his own live-streamed show on Wednesday mornings since Working tirelessly to bring blues to the Bay Area LP) beyond, Noel has brought many musicians to San Francisco, inviting them to stay at his home to ease their financial burden, getting them gigs, and helping back several recordings.

InSuher purchased the Iron Horse Music Hall in downtown Northampton, MA, in order to insure its place in the community, and, shortly thereafter he also purchased and renovated the historic Calvin Theater built in and Pearl Street Nightclub. As steward of these three venues, Suher has kept this small New England college town on the map for the live blues circuit. When the Horse can't hold 'em, the 1,seat Calvin Theater has accommodated larger crowds for legends like B.

But nothing beats great live blues music up close and personal at the Iron Horse. The 59 Blues Legends Life Masks capture every facial nuance and detail.

This was all accomplished as Sharon was losing her sight. SinceMcConnell-Dickerson has shared her exhibit with galleries and blues festivals around the world, including the National Civil Rights Museum and the Blues Music Awards both inand a large part of her collection will be on display at the Blues Foundation's Blues Hall of Fame beginning in December of During the course of its existence, the society has weathered many storms, including crises of finances, membership and leadership, and had witnessed countless partnerships, programs, venues, blues acts and members come and gone, but, standing the test of time, CIBS has remained committed to the same purposes and goals under which it was formed.

Its programs include the Winter Blues Fest, which began in by bringing national and local musicians together at various indoor venues during the winter months, and the Iowa Blues Hall of Fame, which has inducted 59 deserving blues artists and industry supporters with Iowa ties since The Iowa Blues Challenge began inhas been produced in cooperation with other Iowa Blues Societies sinceand was such a successful model that inthe Blues Foundation adopted much of Iowa's challenge format to become the International Blues Challenge.

Throughout its history, CIBS is very proud of its many partnerships with area charitable and community groups helping support worthy causes while spreading the news about the Blues. His site includes new reviews of over CDs and over live reports every year from volunteers around the world who attend festivals, the IBCs, BMAs, European Blues Challenge, and who report daily activity.

From a modest 1, visitors a month when the site began, it grew to 30, four years later and then toat its best. Then seven years ago he created a new team for Zicazic now with 15 persons, photographers, writers, and web engineers. In addition to writer and photographer for his site, Fred is also a four-year member of the European Blues Union Board of Directors.

InFred, with 14 persons, co-founded France Blues and with the Zicazic Team he tried to create a website as efficient as possible for this new association. After only one year, the site boasted over 20, visitors a month. After 4 years, it reached 65, a month. Todd started promoting blues albums to radio more than 20 years ago, setting the bar for everyone who has followed. Todd has worked for labels like Stony Plain 14 years and he handles individual artists with a limited budget.

Ask blues musicians who promote their music to radio programmers and you will hear Todd Glazer's name over and over. In addition to making sure his clients get the proper airplay and exposure through his work with Todd Glazer Promotions, he was also the year host of "The Twilight Show," a popular blues radio show in Anchorage, Alaska.

Todd has also worked pro bono to promote the online pay per view "Raise The Roof" fundraising campaign and helped promote the Blue Star Connection's concert at Knuckleheads and charity CD release.

The founder is Gerard Tertre, who passed away in Known throughout Europe, this July festival has attracted several thousand people to each of its evening main stage concerts. It has revealed to the public many artists little known or unknown thanks to its talent competition, and pursues its quest for cultural promotion and development of Delta Blues and Blues music in general. Now, more than 20, people join the festival each year. The main stage concerts welcome the most talented Delta bluesmen and Memphis artists.

Named after the famous Delta train that W. Handy was waiting for in Tutwiler when he first heard the blues inthe label features artists who emphasize innovative approaches to authentic American musical roots traditions — blues, jazz, soul, and Americana styles. By providing support for recording, production, promotion, and distribution, Yellow Dog Records brings this vital music to new and wider audiences.

He is a photographer and has focused on blues musicians and their environments since the early s. Erik has documented the blues in Mississippi, Texas, Louisiana, St. Erik likes the atmosphere of black and white to catch both the musicians and also the clubs and patrons where they perform.

The world's oldest blues magazine, "Jefferson" founded inhas featured Erik's photos through the years. In Erik published the critically acclaimed photography book Blue Shots. It consists of pictures of blues musicians, captured on both stage and at work, as well as in their everyday lives with friends and together at home with their families. The book is more than just portraits of artists; it also captures who they are and their audience.

The air staff consists of around 90 volunteer programmers who work hard to bring great shows to the airwaves every week. There is a variety of popular programming on KZUM, but blues content is perhaps most closely associated with the station. KZUM has consistently put the blues at the forefront of its diverse schedule, having long dedicated afternoon drive time programming to the blues.

Each week includes 28 hours of blues programming along with many more hours of roots music programs that include a healthy dose of the blues. The station's commitment to the genre extends beyond the airwaves, as KZUM has served for many years as the non-profit partner for "ZooFest," the Zoo Bar's annual multi-day outdoor blues festival in the streets of downtown Lincoln, and has worked for the last two years to host a free community concert series in a local park.

As the region's only outlet for regularly aired blues and roots music, KZUM continues to work hard to preserve and develop the fertile music scene in southeast Nebraska. The Blues Project is a six-week education program that employs music instruction, history, and public performance.

At the end of the program, students showcase their skills at a community-wide concert, performing alongside their peers, community members, and professional musicians.

Sinceover 1, students from ages nine to 18 have passed through the project, learning about the music, personalities, geography, and cultural significance of the blues. Because there is no blues club within a mile radius, Scott's Blues Project is the heartbeat for blues culture in Northwest Indiana.

It's a little old house bursting with good food and fantastic blues music. Founded init was the home of the blues in Atlanta. After an economic stumble in the early years of the 21st century, Lindsay Wine and Jonathon Akin purchased the venue ininvested time and money, and brought the club back to its original juke joint popularity.

The blues jams during the week attract the best local musicians and allow new players to be heard. Because of the mix of young musicians and older established groups, the club attracts all ages. Thanks to the determination and dedication of one young couple, their friends and staff, and a lot of people who love Darwin's, the place looks set to continue to keep the blues alive in Metro Atlanta for many years to come! He is a Guggenheim Fellow and is president of Documentary Arts, a non-profit organization he founded in to present new perspectives on historical issues and diverse cultures.

Govenar received a B. He's also the principal writer and staff photographer of the society's newsletter and the co-author of the book Blues on Beale Street: Memoirs of the International Blues Challenge.

He lives in Portland and helps touring artists who come through the Pacific Northwest find venues within the region while often assisting with housing and equipment needs. He is always willing to offer fundraising assistance within his region, as well. But that's not all. He currently manages the Club stage at the IBC, and he's the back-stage manager for the Blues Music Awards where he works from before the show begins until the show is long over. Each year,The Blues Foundation in Memphis presents the "Keeping The Blues Alive" Awards to individuals and organizations that have made significant contributions to blues music.

The KBAs are awarded on the basis of merit by a select panel of blues professionals to those working to actively promote and document the music. We are pleased to honor these people and organizations as a tribute to the years each has given to supporting the blues. It is the first time a Spanish blues related man or institution receives this Award, so we feel doubly honoured. Our most sincere gratitude to The Blues Foundation for this great honour. More detailed information at Blues Foundation website.

It is with a heavy heart that we report the passing of one of the greatest and most beloved traditional blues artists. Louisiana Red died this afternoon at a hospital in Germany Note Europe is 9 hours ahead after a few days in a coma brought on by thyroid imbalance.

Louisiana Red was a powerful downhome blues artist who could channel his teachers among them Muddy WatersElmore JamesRobert NighthawkLightnin' Hopkins and John Lee Hooker into his own heartfelt musical conversation, delivered with such moving passion and honesty that it would leave his audiences indelibly touched. He was fine singer with a distinctive voice, and an amazing guitarist who could play all of the traditional blues styles and excelled as one of the world's greatest slide guitarists.

He could create moods and textures, both musically and spiritually, and had the ability of falling so deep into his own songs that he would go to tears, making his audience cry with him. That was the gift of this great artist. Wikipedia lists Louisiana Red as being born in Bessemer, Alabama but his own reports have fluctuated from various Southern towns and cities.

Red lost his mother at birth and his father was killed in a Ku Klux Klan lynching when Red was just 5 years old. He lived in an orphanage in New Orleans for a few a his childhood years until his grandmother took him Ask Me Nice - Charlie Musselwhite - Mellow-Dee (Vinyl Pittsburgh to live.

Red would play along with records and the radio and begged some guitar lessons from his first mentor, Crit Walters. It was early in life that Red made the decision to become a blues musician. He would make his first recordings in Detroit for producer Joe Von Battle under the moniker of Rocky Fuller, a pair of these recordings were leased to Chess records. Red would also land a recording session in Chicago for Chess in which he is accompanied by Little Walter on the brilliant "Funeral Hearse At My Door" which remained in the vaults unreleased for decades.

But it was Louisiana Red 's Roulette label recordings that garnered him national recognition as a bluesman. His single "Red's Dream" with its humorous political commentary became a major hit and was followed by the Roulette album The Lowdown Back Porch Blues.

He was romantically involved with folk legend Odetta for a small period of time in the s. European promoters and booking agents took an interest, and Red found a new audience with his annual overseas tours. Red lived in Chicago for awhile in the early s where he worked at the Delta Fish Market. He would then move to Phoenix in late where he lived and played with Bob Corritore for about a year.

Red left Phoenix for an Euiropean tour in late and in was there that he met his true love, Dora, who he married and spent the resto fo his life with. Dora gave Red an uncompromised love and the constant companioship and protective looking-out-for that Red needed. Dora also provided the family situation that Red yearned for in his life as Red took great pride in his love and adoption of Dora's sons. The positive impact and dedication that Dora provided Red was simply amazing.

Red would live in Hanover Germany for the rest of his life with Dora and each year in January, the two would vacation in Ghana, Africa, Dora's country of origin. He found work so plentiful in Europe that for a period of time he rarely would come to the USA. Victor had idolized and studied under Red for years and lovingly coaxed this brilliant album from his mentor. It is sad to say goodbye to the loving persona of this great bluesman who's music warmed our hearts Louisiana Red 's vulnerability became his strength and he filled his heart with an unstoppable passion for music and acceptance.

His legacy is great and his friendships are many. He can now rest in peace after a lifetime of giving us everything he had through his amazing blues. God bless you Red. Reported by Bob Corritore. It is interesting now to read the last interview he did in Spain done by Alex Maria Franquet.

Iglauer's selection, made by longtime Tribune music critic Greg Kot, is the icing on the cake of Alligator's 40th anniversary celebration. King's Bluesville. Among the many other highlights of the label's 40th anniversary, one of the most significant came in June during the Chicago Blues Festival, when Iglauer received a proclamation from Chicago Mayor Rahm Emanuel.

Chenier and Corey Harris. Congratulations Bruce from La Hora del Blues!! And he then influenced a new pack of electric blues and rock guitarists. Sumlin died Sunday in a hospital in Wayne, N. He had turned 80 on Nov. This was no small feat. The summit of Mr. Sumlin and Wolf was to blues what the meeting of Scotty Moore and Elvis Presley was to rock just a year later.

In the current issue of Rolling Stone, Mr. He always played the right thing at the right time. In the early s Vaughan gave Mr. Sumlin a vintage Rickenbacker guitar, one that Mr. Sumlin loved so much he was afraid to take out of his house. Born in Greenwood, Miss. Sumlin was part of the great blues migration to Chicago. He and Burnett arrived in Chicago in Sumlin told me in a interview from his South Side home. I slept with my guitar by my head.

Sumliln said, he discovered his own style, which evolved into an individualistic mix of African syncopation and itemized structure that forced the notes to stand alone. Clapton once called Mr. Chicago blues guitarist Dave Specter began playing with Mr. Sumlin in Sumlin on a three-week tour of Canada.

Specter was 22 years old. He had a totally unique sound. Pink Batman 9. Intro 2. Cryptograms 3. White Ink 4. Lake Somerset 5. Providence 6. Octet 7. Red Ink 8. Spring Hall Convert 9.

Strange Lights Hazel St. Tape Hiss Orchid Add Your Light to Mine Baby One Kiss Don't Make a Summer Struck Dumb Lips Are Unhappy My Darling Anything Get Outta Town Great Unwanted Baby I'm Broke My Brittle Heart Ain't Never Been Cool Towering Inferno It's Yours War Song 2. Mescal Rite I 3.

Ghost Dance 4. Red Fox 5. Cradle Song 6. Antelope Ceremony 7. Song of Victory 8. Omaha Dance 9. Sun Dance Mescal Rite 2 Totem Crow Dance Prey Allelujah The killing ground Intruders Melody Day Sandy After Hours She's the One Desiree Eli Sundialing Irene Smokers Outside The Hospital Doors An End Has A Start The Weight Of The World Bones When Anger Shows The Racing Rats Escape The Nest Spiders A Child Runs Free No Mercy for Me This Is What You Are Rio de Janeiro Blue A Slow Hot Wind A Handful of Soul Never Die Gig I Can't Keep from Cryin' Sometime No Trouble on the Mountain Cousteau Be Thankful I Want You To Know Again Wounded Sky Behave Roll Over Let It Go Very Young Dawn Treader The Streets Where You Live Take Us Somewhere New Too Late Too Late Everything Happens To Me Cover Girl Two By Two Ask The DJ Picture Of You One Specific Thing Ghost No Path To Follow We Are The Night All Rights Reversed featuring Klaxons Saturate Do It Again featuring Ali Love Das Spiegel The Salmon Dance featuring Fatlip Burst Generator A Modern Midnight Conversation Battle Scars featuring Willy Mason Harpoons The Cranking House Cherry Go Round Quantock Black Country Blues Marram Aberriw Zooprakiphone Dyfi Ffwrnais Woodington Above the Rooftop Snowbow Maroon Lagoon Undertow Disappointed Edge of the ocean Blame it on yourself While we're in love Lucy doesn't love you Worry about you Let's stay inside Midnight sun I think of you Hideaway One more last kiss Digging Your Scene Together We're Heavy Running Away Get Up and Go The Fragile Army Younger Yesterday We Crawl Oh I Feel Fine Guaranteed Nightlite Light to Follow Watch Us Explode Justify Overblow Your Nest June 20th,pm.

A whirlwind that was about to escape from the local London grime scene, he was poised to stir up an increasingly stale and stagnant urban music market. His album "Showtime" was released to considerably less international fanfare. Lyrically, Raskit is still fighting demons, past and current ones, his own as well as those that come with pop star fame.

But six years after he wondered as a sixteen-year-old, "When we ain't kids no more, will it still be about what it is right now, like fightin' for anything anytime and actin' without a care? Aware that he had to leave his East End council estate to get to where he's now, he doesn't pretend otherwise, but tells them of the possibilities that lay beyond the imaginary borders of the ghetto.

A plea that is as emotional as it is rational, "World Outside" is the honest argument you hear far too seldom from rappers who pledge allegiance to the street.

It shows you don't have to forfeit your street credentials when you acknowledge that there are other avenues to prove yourself: "Seen a couple of figures but I still dream of things Like the kind of shit money can't connect me with Unconditional love I won't regret to give I'm young, black, rich, and ruthless, I swear, star Still if you need a helpin' hand you know I'm there, star I'm from the street, you're from the street, we all done dirt Now it's time to flip the script, fuck the sufferin' and the hurt Cause I've seen the bigger picture, it's all good There really is a world outside of the hood" "There's a world outside of the ends, and I want you to see it," the hook affirms, which as a statement is as responsible as rap will ever get.

Dizzee wishes that they see it with their own eyes rather than just hear about it on his records. That's why "Hardback Industry ," the album's music biz song, isn't the usual letter of complaint, it's an instruction on how to plan and handle your career. It's been done before, but rarely as detailed. Considering Dizzee speaks to a new generation that is prone to repeat the mistakes, this is a fairly important song that highlights the rapper's sense of responsibility.

Personal experience informs a song that doesn't quite fit the bill of traditional responsible rap music. Rewinding back to Dizzee's "road yout days," the album's second track warns, "Don't make me get old school!

And as sad as it is when a young man's sound advice on friendships is riddled with defamatory language, "Pussyole" is, like many others written by this MC, a song with a clear and honest purpose. If "Pussyole" deals with personal deception and disappointment it seems to contain jabs at Dizzee's former mentor Wiley"Where's Da G's," one of the most high profile transatlantic collaborations so far, aims to expose a public charade.

The first single, "Sirens," has correctly been compared to Jay-Z's "99 Problems," only that the metal guitars are given plenty of leeway. While "Flex" takes it back to the playful, pre-grime garage sound of Dizzee's youth, "Da Feelin'" has him teaming up with drum-n-bass legend Shy FX for an exuberant summer tune that reflects the Londoner's newfound zest for life.

Especially in its more egotistical moments the album can't avoid cliches. Yet the cockiness is constantly tempered by bits of advice. Or by humor. Channeling the provocative attitude of punk, "Suk My Dick" is obviously meant as a joke.

Not surprisingly the song "took over" pop radio and hip-hop stereos coast to coast in no time flat: T. One city at a time" For the producer who's name is eeriely reminiscent of WWE wrestler Great Khali, even pronounced in a manner where one is almost indistinguishable from the other, there are other similarities that may not be so readily apparent. Khali is not the most talented grappler to ever step into the squared circle - in fact to be perfectly honest he's completely AWFUL.

WWE covers this up by putting him in the ring with other people who are much better that can make him look like he doesn't suck by bouncing off him like ping-pong balls. Khaled the DJ also has to have other people cover up for his deficiencies, since he doesn't produce most of his own beats and probably can't even if he wanted to.

Diaz Brothers, Steve Morales and Caine Beats all get props but the only two tracks Khaled actually does are the throwaway "Intro" and a slightly interesting song in "Before the Solution" but that's largely because Beanie Sigel is the guest rapper on it.

That's the other thing that DJ Khaled has in common with Great Khali - the more people you put with him, the less real work he actually has to do. Khaled can take credit for this album's success since it's under his name, but it's the guest producers and in particular the abundance of guest rappers who make this album LISTENNNable. Like Clue or Whoo Kid, particularly early on in their careers, he has a tendency to run his mouth too much on AND over his tracks repeating his trademark phrases.

The album would be a lot better if he'd just shut the hell up, and would be a lot more honest if it were billed "DJ Khaled Presents" instead of letting him take all the credit for all the time and effort put in by other people. Other than that though this album is good - hell it's even summer banger ride in your Jeep with it 'til October good. Just don't fool yourself into thinking that Khaled had anything to do with it other than putting the right people together in the right place at the right time.

Fans drool over his work as much as his critics, and he's been recruited by the likes of De La Soul and DJ Jazzy Jeff for his production work. His solo debut "I Do What I Do" was a commercial failure, even for an independent release, and Kev has even spoken on his personal struggles in his blog.

Featuring rare, unreleased tracks, instrumentals and remixes, fans of the Low Budget forerunner won't be able to find the album in stores, as it is an internet-only release peep his Myspace. At just 9 tracks and roughly 34 minutes in length, it's a tease in anticipation of his upcoming "Random Joints" let's not get TOO creative with the titles nowbut it still packs a punch. Kev's beats are always mellowed-out, but his lyrics which were never the happiest, to begin with have taken on a whole new emotional dip.

And this would seem to be contagious, as he only raps on one track himself, the gorgeous "Batida. Kev's ability to produce cross-genre shines particularly bright, as he weaves in and out of rap and soul at whim throughout the album, sounding as good over one as he does the other.

Ellington Felton is a throbbing jam complimented by delicate guitar plucks. Even with a depressive undertone, it's still a treat, very suitable for a drive to anywhere, and easy to pop in the stereo a trait Kev Brown projects tend to share. At just 5. Stop bootlegging his shhhhhhhhhhhhhh! Music Vibes: 8. It sucks being the sidekick. Did you see what tights Boy Wonder had to put on? Watson settled for coach house straw while Sherlock slept in the master bedroom during cases.

And Sancho Penza looked ridiculous on his little mule when he went out battling windmills alongside Don Quichotte. They have feelings too, you know. And and an abundance of talent. I admire Akil Dasan.

The New Yorker is a BET freestyle champion, who plays the acoustic guitar and is a skilled beatboxer. Triple threat, I'd say. That means he spends night after night at the back of the stage while his vocal partner scours the room for honeys with his two-by-four afro, light complexion and voice bursting with talent. It's been a while since a charismatic singer had the girls at his feet.

D'Angelo has been M. Plenty of room for some new talent. Kevin Michael's bio reads like the text book manual of how a successful performer should grow up. Black father, Italian mother. Small recording studio somewhere inside the Pennsylvanian home.

Dusty record player spinning Patti Labelle all day. Little Kevin, singing all day. Now, with his official label debut TBD, he is on the verge of proving the world his Ask Me Nice - Charlie Musselwhite - Mellow-Dee (Vinyl.

Before that happens, Michael's record company Downtown Records sends out a signal flare in the form of a four track EP. That's where Akil Dasan's part side kicks in. Is there a better way imaginable than providing him with some sincerely played acoustics and self-conscious throat box beats?

On the other three tracks, Akil Dasan makes sure the right division between modesty and craftsmanship is maintained. Michael's tone-of-voice has some of Stevie Wonder's heart, some of Prince's eccentric sex appeal, and a sparkle vigor of Tracey Chapman's. To make up to the ladies for his seriousness on the previous tracks, Michael shares some bedroom secrets on "Vicki Secrets," but his true talent shows on "It Don't Make Any Difference To Me.

He has the right attitude, background and voice to fill up the ladies lover's gap. Let's just hope he knows how to appreciate his sidekick's talent.

Music Vibes: 7. There are no liner notes to speak of for this disc, although to be fair one hardly needs them when all tracks are produced by Alchemist and no rap artists need to be credited. As for the beats themselves they are largely culled from A-L-C's best tracks over the last few years. Some are fairly obscure, some are fairly obvious. These songs aren't necessarily Alchemist's hits, but they hit hard regardless.

In fact as is often the case with instrumental hip-hop albums there's a surreal pleasure to hearing the subtle intricacies of the beats when there's not an MC over the top of them, such as the previously Jadakiss track "Still Feel Me" or Tony Yayo's "Guns is Razors. Step out of the car, take off the glasses, and suddenly you see the beauty as clear as day. Some of the Alchemist beats are familiar from other tracks, but flipped in completely different ways. A-L-C captures the same essential horny horn break, but lets the groove ride a little further, layers in some extra bass and rhythm, and even gives a snippet here and there of White's deep croon.

Alchemist is not a slave to any one technique or sound though. He'll chop up airy pop with a speedy drumbreak on "Carved in Stone," or opt for an original loop made up of heavy piano keys punctuated by eerie background noises on "The Thirst. I'm sure his work doesn't come cheap, but if you're looking for a rap song that will be remembered 25 years from now, kick your dog to the curb and use that money for dog food and vet appointments for a down payment on immortality.

I'd like to get out there to see the scene, the strange musical mix of hyphy, g funk, gangsta, indie and alladat. For those too far inland to catch Left Coast radio waves, there's "Every Single Day" for a nice artifact of the current bitches brew out West. The duo Ask Me Nice - Charlie Musselwhite - Mellow-Dee (Vinyl play in the clubs and the cars, straight off. Tracks get both slow and low smooth and hyphy hype, a messy track mix of clear genre exercises, with tons of vocalizers, crazy flutes and space age funk all in there.

There's even some Raphael Saddique type flavor courtesy of Von Op on the title track. So the generic Zapp rip-offs can be overlooked, as there's too many moments that are great examples of hyphy, crisp funk and just plain hard shit. Bosko-produced "That Doe" might just be heavy metal for the rap people.

Don't sleep—Luni and Cool espouse the creative philosophy of "the truth over music. LP) lot of the best and worst aspects lyrically, for better or worse, are truisms though not tired of a decade of rap music, both comforting and problematic. Why are we all still stuck in the egoistic greed of Reagan's "make money money" eighties? The second half of "Every Single Day" slows considerably until a triumphant reprisal of hyphy. Curiously, these two gentle tracks are followed by the tough love moneyoverbitches of "Ya'll Don't Know" … "you really can't trust a ho".

Is this a complete picture of the complex spectrum of Black male perspectives on sexuality, or just a hypocritical absurdity? Eventually, the line between originality and archetype personas is crossed in a few too many verses, but the really real always comes back to the former in the end. In sum: Good for the cars and the clubs. Not so good for headphones on a Tuesday afternoon.

Someday At Christmas - Various - So Fresh: Songs For Christmas 2005 (CD), Cant Catch Me - Jukebox Zeros - Rock & Roll Ronin (CD), Black Country Rock - David Bowie - The Man Who Sold The World (Vinyl, LP, Album), The Seventh Stranger, Down The Road - Mac McAnally - Down The Road (Vinyl), Cid Dadada Cid, A Musical Joke: Presto - Sky (4), Mozart*, The Academy Of St. Martin-in-the-Fields, Sir Neville Marr, Cosmic Crypt, The Call Of The Far Away Hills - Geoff Love And His Orchestra* - Big Western Movie Themes (Vinyl, LP, Fire - Various - The Compilation - Part 1 (CD), Mapushane İçinde - Hasan Mutlucan - Yalan Dünya Senden Bezdim (Vinyl, LP), Chemical Love (Infextious Club Mix) - Various - January 2003 Releases (CDr), Maggies Farm - Bob Dylan - London Train Coming 1981 (CD), Various - Smokin (Intoxicating Urban Treats) (CD)