Hello, things are getting serious now and societies will be tested on their resilience this crises could last a year and i think football competitions should plan for finishing the 19/20 competition a year later, including the championsleague. According to the headclown of the US things should be back to business coming Easter, but then his prime adviser in this is the Easter bunny. It is worrisome because the world has been dependent on the purchasing power of the US, but if this economy tanks things could go from bad to disastrous and hyperinflation of the dollar a serious possibility, thusfar it's value has been kept up because other valuta are seen as riskier-at this moment- but these traders are a pack of wolves and they will tear up the hand that's fed them without any remorse. Meanwhile Europeans are worried whether their IC capabilities are sufficient to keep corona sufferers breathing, clearly Italy and Spain already have been overwhelmed, Germany on the other hand looks capable to handle the crises whilst the UK is preparing itself for the worst. One thing is certain the next 4 weeks will shock the westernworld.
Today's Artists are an industrial hip-hop group that was most active during the 1980s and early 1990s, and briefly reformed in 2004 for a tour. Their music occupies the territory where funk, dub, industrial music and electronica intersect. The core members are Doug Wimbish (bass), Keith Leblanc (percussion) and Skip McDonald (guitar) and producer (sometimes credited as "mixologist") Adrian Sherwood. Despite being short-lived as band proper, the legacy and output of these groups of musicians has been prodigious.......N Joy
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Delivering a powerful mix of taut funk, hip-hop-style grooves, and dub-wise electro-industrial menace, Tackhead was an inspired collaboration between the rhythm section of Keith LeBlanc, Skip McDonald, and Doug Wimbish and maverick producer Adrian Sherwood. LeBlanc, McDonald, and Wimbish first gained a reputation as the studio musicians behind a handful of early rap classics. When Sherwood hired them to work on one of his On-U Sound production projects, it initiated a series of collaborations that culminated in the first proper Tackhead album, 1989's Friendly as a Hand Grenade. The trio's original run ended in 1991, but various permutations of the band continued to work together, and they reunited for the 2014 album For the Love of Money.
Guitarist Skip McDonald, bassist Doug Wimbish, and drummer Keith LeBlanc began working together in the late '70s, serving as the backing band for many of Sugar Hill Records' early rap releases, generating the grooves behind such classics as the Sugarhill Gang's "Rapper's Delight" and Grandmaster Flash's "The Message" and "White Lines." In October 1983, LeBlanc scored a minor hit and international press attention with "No Sell Out," a single in which he layered samples from a speech by Malcolm X over a powerful hip-hop backing track. Adrian Sherwood, an innovative British producer and dub remixer who founded the On-U Sound label, crossed paths with LeBlanc during a visit to New York, and the producer invited LeBlanc to work with him. LeBlanc, McDonald, and Wimbish relocated to England, and soon became Sherwood's backing group of choice for his On-U projects, including albums by Mark Stewart & Maffia and Gary Clail. One of their earlier collaborations was as "Mark Stewart and the Maffia", which featured Stewart, former member of The Pop Group on vocals. Their first LP produced under that name As the Veneer of Democracy Starts to Fade was amongst the most industrial, noise-oriented and uncompromising of the group's output, described by John Leland as "a scary mess of random sounds, spoken words, and tiny snippets of music, processed and distorted to a grating electric edge In 1985, LeBlanc, McDonald, and Wimbish cut the first of a handful of singles under the rubric Fats Comet, and they began using the name Tackhead with the single "What's My Mission Now," with Sherwood adding found voices and electronics to the rhythm section's hard-edged performances. The trio and Sherwood worked together on LeBlanc's 1986 solo album Major Malfunction, and sessions backing Gary Clail emerged on the 1987 album Tackhead Tape Time, credited to Gary Clail's Tackhead Sound System.
Later to join forces with Tackhead, was Gary Clail, who as MC for the touring version of the On-U sound system would shout and rant over Tackhead's live playing, and both were then mixed live by Sherwood to produce a wall of sound effect that was highly novel for the mid-1980s. They released one LP Tackhead Tape Time in 1987 as "Gary Clail's Tackhead Sound System" and some of the most distinctive and well-known Tackhead tracks (some were released as 12-inch singles) date from this period particularly: "What's My Mission Now?", "Mind at the End of the Tether" and "Hard Left". These tracks combined funk basslines, hammerblow percussion and Sherwood's trademark sample-laden dub production and represent the defining Tackhead sound.
During this period Leblanc also produced two solo LPs: the highly inventive Major Malfunction (1986) (inspired by the Space Shuttle Challenger disaster) and Stranger Than Fiction (1989), which although credited to Leblanc, featured all the rest of members of Tackhead. Around this time the group began to gell as a band, and started adding vocalists to what had been up until then a largely instrumental affair. On the first Tackhead LP, proper, Friendly as a Hand Grenade, vocalist Bernard Fowler joined the line-up and many older instrumental tracks re-appeared with lyrics. In 1990 Tackhead mounted a world tour which probably marked the zenith of the band's commercial success.
In 1989, the same year LeBlanc dropped his second solo set, Stranger Than Fiction, Tackhead finally released their first proper album, Friendly as a Hand Grenade, issued by TVT Records. The LP debuted a fifth member, Bernard Fowler, who contributed vocals, rather than relying on the vocal samples Sherwood often added to the tracks. In 1990, Tackhead moved to the EMI-distributed SBK label and delivered Strange Things, a more rock-oriented effort that included guest appearances from rapper Melle Mel and Mick Jagger on harmonica. The album didn't live up to commercial expectations, and while LeBlanc, McDonald, and Wimbish continued to play on various On-U Sound System projects, it represented the last new Tackhead material for many years. Between 1994 and 1997, Tackhead brought out three volumes of rarities, outtakes, and live material under the title Power, Inc. In 2004, they reunited for a tour of the United States and Europe, and in 2006, Sherwood assembled a collection of highlights from the group's recording career, Tackhead Sound Crash: Slash & Mix Adrian Sherwood. Tackhead staged another reunion in 2013, recording a collection of covers titled For the Love of Money for the German label Dude Records. 2016 brought The Message, a limited-edition collection of Tackhead and Fats Comet material remixed by Robo Bass Hifi (aka German producer Markus Kammann). Another collection of rare Tackhead material, The Lost Tapes 1 & Remixes, appeared on the Echo Beach label in 2018.
Despite not recording any new material as Tackhead since, group members continued to record as the backing band or along with various Sherwood-led On-U Sound productions artists such as Gary Clail's solo efforts, African Head Charge, Dub Syndicate, New Age Steppers and others. Subsets of the group have also appeared in various guises such as the Strange Parcels, Barmy Army and the blues-oriented Little Axe.
In addition to continuing to collaborate with Sherwood and the On-U Sound record label, each of the other members continues to lead active solo careers. McDonald leads the Little Axe project, and Leblanc runs a record label and plays with two jazz outfits, Noah Ground and Nikki Yeoh's Infinitum. As well as remaining much in demand as a session bass player, Wimbish later became the bass player for Living Colour and has recorded solo material as well as forming the short-lived Jungle Funk (later Head>>Fake), a live drum and bass outfit also featuring Living Colour drummer Will Calhoun.
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It is more than a little disingenuous to refer to this as a Keith LeBlanc album. While his considerable drumming skills and compositional abilities are major parts of why this record is good, there are many other similarly important contributions made by Adrian Sherwood's Tackhead gang (including Sherwood himself). That said, Major Malfunction is a wild, multifaceted piece of contemporary music that welds hard rock onto reggae onto musique concrete. With vocal sampling including everything from Apollo control to Margaret Thatcher, this is a complex, but extremely satisfying work. Avoid if your taste in music (or in Tackhead recordings) doesn't run to the extreme end of experimental.
Keith LeBlanc - Major Malfunction (flac 378mb)
01 Get This 2:43
02 Major Malfunction 4:47
03 Heaven On Earth 4:31
04 Object-Subject (Break Down's Not Enough) 5:13
05 I'll Come Up With Something 3:27
06 Move 0:48
07 Technology Works Dub 5:42
08 You Drummers Listen Good 4:41
09 Ending 1:00
Bonus
10 Einstein Mad Dub 3:41
11 Mechanical Movements Dub 4:55
12 Old Beat Master Mix 11:03
13 Tick Of Time Instrumental 3:30
extra Bonus Keith LeBlanc's 12-inch dance mix that featured snippets of speeches by Malcolm X set to a churning mass of funk-dub supervised by Adrian Sherwood. A great record, No Sell Out, oddly enough, became a demi-hit because of its popularity in dance clubs. Early postmodern rock/funk/dub'n'roll at its best.
14 No Sell Out 4:00
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On this album, the Dancehall Demagogue meets the kings of cut-and-paste funk pastiche. By the time this album was released, Gary Clail's stern political imprecations had become an integral part of Tackhead's live shows; he would sit at the mixing desk and intone radical exhortations while the band ripped things up onstage. With Tackhead Tape Time they take it to the studio, and the result is taut, tough, and funky. Clail isn't much of a singer (though he makes an admirable attempt on "Reality"), and the content of some of his pronouncements can be a bit eye-rolling, but he and Tackhead certainly seem to bring the best out in each other -- the samples of Margaret Thatcher, military officers, and news reporters (as well as the occasional snippet of reggae toaster Prince Far I and someone who sounds suspiciously like Andy Fairley) combine perfectly with Tackhead's robotic and yet strangely passionate electro-funk to create something eerie, exciting, and booty-moving. Highly recommended.
Gary Clail's Tackhead Sound System - Tackhead Tape Time (flac 232mb)
01 Mind At The End Of The Tether 6:38
02 Half Cut Again 0:28
03 Reality 7:07
04 M.O.V.E. 2:23
05 Hard Left 5:07
06 Get This 4:27
07 Man In A Suitcase 4:10
08 What's My Mission Now? (Fight The Devil) 5:51
xxxxx xxxxx xxxxx xxxxx xxxxx
Starting off with a Prince Buster cover and progressing through ten tracks of surprisingly slick funk-rock, Friendly as a Hand Grenade is a bit of a surprise after the harder studio effects of Tackhead-related projects like Major Malfunction and Tackhead Tape Time. The addition of vocalist Bernard Fowler (formerly of the Peech Boys) provides much of the soul. The first listen in a long while leaves a favourable impression. It's far more funk than anything else and bangs along pretty nicely.
Tackhead - Friendly as a Hand Grenade (flac 221mb)
01 Ska Trek 0:46
02 Tell Me The Hurt 5:19
03 Mind And Movement 5:23
04 Stealing 6:30
05 Airborn Ranger 5:02
06 Body To Burn 1:04
07 Demolition House 4:08
08 Free South Africa 1:57
09 Ticking Time Bomb 4:23
10 Ska Trek 1:34
xxxxx xxxxx xxxxx xxxxx xxxxx
Another record with LeBlanc taking top billing, this is yet another exercise in Sherwood's wildly original Tackhead "empire." Unlike Major Malfunction, this is a little more restrained, but with people like Gary Clail and Sherwood involved, easy listening this ain't. LeBlanc gets all the writing credits, and he's done a great job of coming up with a challenging assortment of material. At times fiery and polemical, at others unhinged and dadaesque, Stranger than Fiction is another interesting, at times compelling work from this unique musical collective.
Keith LeBlanc - Stranger Than Fiction (flac 257mb)
01 But Whitey 1:37
02 Einstein 3:55
03 Taxcider 3:54
04 Here's Looking At You 3:34
05 Steps 5:50
06 Count This 4:02
07 Whatever 1:49
08 Men In Capsules 2:50
09 Dreamworld 4:43
10 These Sounds 1:06
11 Mechanical Movements 4:54
12 Comedy Of Errors 6:01
xxxxx xxxxx xxxxx xxxxx xxxxx
Today's Artists are an industrial hip-hop group that was most active during the 1980s and early 1990s, and briefly reformed in 2004 for a tour. Their music occupies the territory where funk, dub, industrial music and electronica intersect. The core members are Doug Wimbish (bass), Keith Leblanc (percussion) and Skip McDonald (guitar) and producer (sometimes credited as "mixologist") Adrian Sherwood. Despite being short-lived as band proper, the legacy and output of these groups of musicians has been prodigious.......N Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Delivering a powerful mix of taut funk, hip-hop-style grooves, and dub-wise electro-industrial menace, Tackhead was an inspired collaboration between the rhythm section of Keith LeBlanc, Skip McDonald, and Doug Wimbish and maverick producer Adrian Sherwood. LeBlanc, McDonald, and Wimbish first gained a reputation as the studio musicians behind a handful of early rap classics. When Sherwood hired them to work on one of his On-U Sound production projects, it initiated a series of collaborations that culminated in the first proper Tackhead album, 1989's Friendly as a Hand Grenade. The trio's original run ended in 1991, but various permutations of the band continued to work together, and they reunited for the 2014 album For the Love of Money.
Guitarist Skip McDonald, bassist Doug Wimbish, and drummer Keith LeBlanc began working together in the late '70s, serving as the backing band for many of Sugar Hill Records' early rap releases, generating the grooves behind such classics as the Sugarhill Gang's "Rapper's Delight" and Grandmaster Flash's "The Message" and "White Lines." In October 1983, LeBlanc scored a minor hit and international press attention with "No Sell Out," a single in which he layered samples from a speech by Malcolm X over a powerful hip-hop backing track. Adrian Sherwood, an innovative British producer and dub remixer who founded the On-U Sound label, crossed paths with LeBlanc during a visit to New York, and the producer invited LeBlanc to work with him. LeBlanc, McDonald, and Wimbish relocated to England, and soon became Sherwood's backing group of choice for his On-U projects, including albums by Mark Stewart & Maffia and Gary Clail. One of their earlier collaborations was as "Mark Stewart and the Maffia", which featured Stewart, former member of The Pop Group on vocals. Their first LP produced under that name As the Veneer of Democracy Starts to Fade was amongst the most industrial, noise-oriented and uncompromising of the group's output, described by John Leland as "a scary mess of random sounds, spoken words, and tiny snippets of music, processed and distorted to a grating electric edge In 1985, LeBlanc, McDonald, and Wimbish cut the first of a handful of singles under the rubric Fats Comet, and they began using the name Tackhead with the single "What's My Mission Now," with Sherwood adding found voices and electronics to the rhythm section's hard-edged performances. The trio and Sherwood worked together on LeBlanc's 1986 solo album Major Malfunction, and sessions backing Gary Clail emerged on the 1987 album Tackhead Tape Time, credited to Gary Clail's Tackhead Sound System.
Later to join forces with Tackhead, was Gary Clail, who as MC for the touring version of the On-U sound system would shout and rant over Tackhead's live playing, and both were then mixed live by Sherwood to produce a wall of sound effect that was highly novel for the mid-1980s. They released one LP Tackhead Tape Time in 1987 as "Gary Clail's Tackhead Sound System" and some of the most distinctive and well-known Tackhead tracks (some were released as 12-inch singles) date from this period particularly: "What's My Mission Now?", "Mind at the End of the Tether" and "Hard Left". These tracks combined funk basslines, hammerblow percussion and Sherwood's trademark sample-laden dub production and represent the defining Tackhead sound.
During this period Leblanc also produced two solo LPs: the highly inventive Major Malfunction (1986) (inspired by the Space Shuttle Challenger disaster) and Stranger Than Fiction (1989), which although credited to Leblanc, featured all the rest of members of Tackhead. Around this time the group began to gell as a band, and started adding vocalists to what had been up until then a largely instrumental affair. On the first Tackhead LP, proper, Friendly as a Hand Grenade, vocalist Bernard Fowler joined the line-up and many older instrumental tracks re-appeared with lyrics. In 1990 Tackhead mounted a world tour which probably marked the zenith of the band's commercial success.
In 1989, the same year LeBlanc dropped his second solo set, Stranger Than Fiction, Tackhead finally released their first proper album, Friendly as a Hand Grenade, issued by TVT Records. The LP debuted a fifth member, Bernard Fowler, who contributed vocals, rather than relying on the vocal samples Sherwood often added to the tracks. In 1990, Tackhead moved to the EMI-distributed SBK label and delivered Strange Things, a more rock-oriented effort that included guest appearances from rapper Melle Mel and Mick Jagger on harmonica. The album didn't live up to commercial expectations, and while LeBlanc, McDonald, and Wimbish continued to play on various On-U Sound System projects, it represented the last new Tackhead material for many years. Between 1994 and 1997, Tackhead brought out three volumes of rarities, outtakes, and live material under the title Power, Inc. In 2004, they reunited for a tour of the United States and Europe, and in 2006, Sherwood assembled a collection of highlights from the group's recording career, Tackhead Sound Crash: Slash & Mix Adrian Sherwood. Tackhead staged another reunion in 2013, recording a collection of covers titled For the Love of Money for the German label Dude Records. 2016 brought The Message, a limited-edition collection of Tackhead and Fats Comet material remixed by Robo Bass Hifi (aka German producer Markus Kammann). Another collection of rare Tackhead material, The Lost Tapes 1 & Remixes, appeared on the Echo Beach label in 2018.
Despite not recording any new material as Tackhead since, group members continued to record as the backing band or along with various Sherwood-led On-U Sound productions artists such as Gary Clail's solo efforts, African Head Charge, Dub Syndicate, New Age Steppers and others. Subsets of the group have also appeared in various guises such as the Strange Parcels, Barmy Army and the blues-oriented Little Axe.
In addition to continuing to collaborate with Sherwood and the On-U Sound record label, each of the other members continues to lead active solo careers. McDonald leads the Little Axe project, and Leblanc runs a record label and plays with two jazz outfits, Noah Ground and Nikki Yeoh's Infinitum. As well as remaining much in demand as a session bass player, Wimbish later became the bass player for Living Colour and has recorded solo material as well as forming the short-lived Jungle Funk (later Head>>Fake), a live drum and bass outfit also featuring Living Colour drummer Will Calhoun.
xxxxx xxxxx xxxxx xxxxx xxxxx
It is more than a little disingenuous to refer to this as a Keith LeBlanc album. While his considerable drumming skills and compositional abilities are major parts of why this record is good, there are many other similarly important contributions made by Adrian Sherwood's Tackhead gang (including Sherwood himself). That said, Major Malfunction is a wild, multifaceted piece of contemporary music that welds hard rock onto reggae onto musique concrete. With vocal sampling including everything from Apollo control to Margaret Thatcher, this is a complex, but extremely satisfying work. Avoid if your taste in music (or in Tackhead recordings) doesn't run to the extreme end of experimental.
Keith LeBlanc - Major Malfunction (flac 378mb)
01 Get This 2:43
02 Major Malfunction 4:47
03 Heaven On Earth 4:31
04 Object-Subject (Break Down's Not Enough) 5:13
05 I'll Come Up With Something 3:27
06 Move 0:48
07 Technology Works Dub 5:42
08 You Drummers Listen Good 4:41
09 Ending 1:00
Bonus
10 Einstein Mad Dub 3:41
11 Mechanical Movements Dub 4:55
12 Old Beat Master Mix 11:03
13 Tick Of Time Instrumental 3:30
extra Bonus Keith LeBlanc's 12-inch dance mix that featured snippets of speeches by Malcolm X set to a churning mass of funk-dub supervised by Adrian Sherwood. A great record, No Sell Out, oddly enough, became a demi-hit because of its popularity in dance clubs. Early postmodern rock/funk/dub'n'roll at its best.
14 No Sell Out 4:00
xxxxx xxxxx xxxxx xxxxx xxxxx
On this album, the Dancehall Demagogue meets the kings of cut-and-paste funk pastiche. By the time this album was released, Gary Clail's stern political imprecations had become an integral part of Tackhead's live shows; he would sit at the mixing desk and intone radical exhortations while the band ripped things up onstage. With Tackhead Tape Time they take it to the studio, and the result is taut, tough, and funky. Clail isn't much of a singer (though he makes an admirable attempt on "Reality"), and the content of some of his pronouncements can be a bit eye-rolling, but he and Tackhead certainly seem to bring the best out in each other -- the samples of Margaret Thatcher, military officers, and news reporters (as well as the occasional snippet of reggae toaster Prince Far I and someone who sounds suspiciously like Andy Fairley) combine perfectly with Tackhead's robotic and yet strangely passionate electro-funk to create something eerie, exciting, and booty-moving. Highly recommended.
Gary Clail's Tackhead Sound System - Tackhead Tape Time (flac 232mb)
01 Mind At The End Of The Tether 6:38
02 Half Cut Again 0:28
03 Reality 7:07
04 M.O.V.E. 2:23
05 Hard Left 5:07
06 Get This 4:27
07 Man In A Suitcase 4:10
08 What's My Mission Now? (Fight The Devil) 5:51
xxxxx xxxxx xxxxx xxxxx xxxxx
Starting off with a Prince Buster cover and progressing through ten tracks of surprisingly slick funk-rock, Friendly as a Hand Grenade is a bit of a surprise after the harder studio effects of Tackhead-related projects like Major Malfunction and Tackhead Tape Time. The addition of vocalist Bernard Fowler (formerly of the Peech Boys) provides much of the soul. The first listen in a long while leaves a favourable impression. It's far more funk than anything else and bangs along pretty nicely.
Tackhead - Friendly as a Hand Grenade (flac 221mb)
01 Ska Trek 0:46
02 Tell Me The Hurt 5:19
03 Mind And Movement 5:23
04 Stealing 6:30
05 Airborn Ranger 5:02
06 Body To Burn 1:04
07 Demolition House 4:08
08 Free South Africa 1:57
09 Ticking Time Bomb 4:23
10 Ska Trek 1:34
xxxxx xxxxx xxxxx xxxxx xxxxx
Another record with LeBlanc taking top billing, this is yet another exercise in Sherwood's wildly original Tackhead "empire." Unlike Major Malfunction, this is a little more restrained, but with people like Gary Clail and Sherwood involved, easy listening this ain't. LeBlanc gets all the writing credits, and he's done a great job of coming up with a challenging assortment of material. At times fiery and polemical, at others unhinged and dadaesque, Stranger than Fiction is another interesting, at times compelling work from this unique musical collective.
Keith LeBlanc - Stranger Than Fiction (flac 257mb)
01 But Whitey 1:37
02 Einstein 3:55
03 Taxcider 3:54
04 Here's Looking At You 3:34
05 Steps 5:50
06 Count This 4:02
07 Whatever 1:49
08 Men In Capsules 2:50
09 Dreamworld 4:43
10 These Sounds 1:06
11 Mechanical Movements 4:54
12 Comedy Of Errors 6:01
xxxxx xxxxx xxxxx xxxxx xxxxx
3 comments:
Hello, thank you very much for sharing this info. Just yesterday I dedicated myself to looking for this material that I had on vinyl and that was playing when I was a DJ here in Spain during the last 80's in a club in Madrid, ¨Kasbah¨, a place with an exquisite and very eclectic musical selection. I really like this blog and I follow it frequently. Congratulations!
Hello Rho, please you can re-up the Sebastian Tellier music? Thanks
Hi there, seems it's time to bring back some Manu Dibango stuff's from your vault...even though it seems like you don't like to pay tribute at times like this... it will be so so merciful to share all groovy things he did! many thanks in advance
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