SOME STUFFS: 100 albums for $5 each at Amazon

Until August 31st, has 100 different albums available for $5 each, which you can download instantly after purchase and listen.

A few of the albums up for sale are listed below, but click the link above and go crazy.

VIDEO: DJ Shadow featuring Afrikan Boy’s “I’m Excited”

A new album by DJ Shadow is just around the corner and I know you’re about to lose control, especially after watching this video and going “I think I like it. So don’t hide it, because this is “I’m Excited”, featuring Afrikan Boy. The song is a different mix from what has excited before, and it seems in the words of Sister Souljah, Shadow is at war. Be careful.

SOME STUFFS: Anthrax to play free show in NYC in September

As fans get ready for the release of Worship Music, the almighty Anthrax will be doing a free live concert the night before its release. The show will be at the Best Buy Theater in Times Square on Monday, September 12th at 8pm. Now here’s the deal. The only way you can get a free ticket is if you pre-order their album from Best Buy, thus the reason it’s being held at Best Buy Theater. To find out more information, click to and again, read the rules. The show is free but not an “anyone can show up and mosh” kind of thing.

If you’re not in, near, or will not be heading to NYC on September 12th, the album can be pre-ordered now via Amazon. Vinyl junkies rejoice, the album will be out in the preferred format of choice.

SOME STUFFS: Gen Club unveil new music and video

From Iceland comes Gen Club, who create some dreamy, ethereal and moody pop that will definitely appeal to fans of Radiohead, Weezer, and some of the more artists who are left-of-center. Check out the video for the song “Breakers”.

Gem Club – Breakers from Hardly Art on Vimeo.

If you like that, you can download (for a limited time) a song called “Twins” from the Soundcloud link below. Gem Club – Twins by hardlyartrecords

Both songs are from the band’s album, Breakers, due out on September 27th.


As far as he’s concerned, DTMD is about Makin’ Dollars, but who isn’t? Well, any country where a “dollar” isn’t a currency, but that’s besides the point.

Makin’ Dollars (Mello Music Group) is the forthcoming album from DTMD, scheduled for release on September 27th, a month that artists seem to be banking on, as there are tons of album that will be hitting the Amazon, CD Universe, iTunes, and indie record stores. If you like the video, you can download the song for free for a limited time through the Bandcamp player below.

VIDEO: TheBREAX’s “100 Hunnit (Remix)”

Brand new video by TheBREAX is for a song taken from their recent mixtape Breax Over III, which you can download for free directly from (just right click and “save as”).

In case you missed it, they also released a video last week for the track “Charisma”, this one featuring Fonsworth Bentley. No excuse now, press play:

RECORD CRACK: Rhino to release Monkees’ “Head” on clear vinyl

The Monkees released the movie Head in 1968, which split audiences evenly at the middle. Some wondered what this “very weird” and “psychedelic” film had to do with the fun and boppiness of the pre-fab four’s television show. While it was indeed weird and psychedelic, it showed the group were very secure about what they wanted to present and how they were going to do it. From the introduction that seems funny and odd, to the eventual and inevitable ending and proper conclusion, it to me remains one of the best examples of a pop group wanting to run away from their fame, only to know and understand that they may be forever trapped in the box someone created for them. The soundtrack showed an incredible maturity that did not exist a few years earlier, but those who understood the group made it a personal favorite.

43 years later, Rhino Records are reissuing the album once more, but this time as a limited edition pressing on 180g clear vinyl. In addition, there will be a bonus 7″ 45 featuring a live version of “Circly Sky” and a mono mix of “Can You Dig It”. Only 500 copies have been pressed, and that’s it. You can pre-order your copy from the Amazon box below.

SOME STUFFS: Hidden Beach opens the vaults for forthcoming Jill Scott compilation

Jill Scott has been writing, making, and releasing music to the public for 12 years, and now fans of hers will be enjoying a new album that dips into the vaults for a look into what came before. The album is called Hidden Beach presents: The Original Jill Scott From The Vault Vol. 1, and the title alone is already nice: does that mean a Vol. 2 is not far behind?

To make it interesting, there will be two different pressings of this album on CD, a standard pressing with 11 songs, and a Deluxe Edition to be housed in silver foil packaging,
two live bonus tracks and a 20 page booklet with full lyrics and producer notes, for the liner note junkie in you. You can stream excerpts from the album by clicking the player below. The album will be released on August 30th, you can pre-order your copy right now (or if you’re reading this after the 30th, you can order now.)
The Original Jill Scott from the Vault Vol. 1 (Deluxe) by hiddenbeach

REVIEW: Frankie Goes To Hollywood’s “Liverpool (Deluxe Edition)”

Photobucket For casual fans of Frankie Goes To Hollywood and 80’s music, the idea that a deluxe edition for an album that was considered unsuccessful by some might be hilarious. However, for diehard FGTH and Zang Tuum Tumb junkies, this 2CD collection is 25 years in the making, and definitely a welcome addition to anyone’s collection.

Liverpool (ZTT/Salvo) was Frankie Goes To Hollywood’s follow-up to the group’s awesome 1984 debut, Welcome To The PleasureDome, a record that was pushed by the fact that the group was viewed as controversial for their cover artwork and song themes. On the strength of “Relax” and “Two Tribes”, it was inevitable that the group would come out with an album, and they did, in what I feel is one of the best albums of the 80’s, period. While packaging the group’s first two singles, it would also push “The Power Of Love” and the title track as singles, along with a unique sound scape of decent pop songs, occasional headscratchers, and arguably the most important factor: the wonderful production of Trevor Horn and his production “theam”. If people were questioning the unusual fashion and hairdo statements in the early 80’s, what to make of a group who were known for having two gay singers, three straight musicians, and people caring more about the group’s marketing schemes than any piece of music they released? It may have indeed been manufactured pop taken to the nth degree, but it was incredible manufactured pop that was not only done with a lot of thought, but done incredibly well. But then came Liverpool.

By the time “Rage Hard” was released as a preview for the forthcoming album, it seemed as if no one cared about a group that some didn’t think could repeat their initial success. Looking back, perhaps they were doomed from the start, but one listen to Liverpool shows an intentional shift in how they wanted to present themselves: as a serious group who wanted to show they were able to mature and show a side that perhaps hype overshadowed. If people felt their first album had too much filler, Liverpool was a single album that trimmed the fat and kept things quite basic: no interludes or anything that might be considered too extravagant. Instead, you have an album featuring 8 songs that were solid, well arranged and written, and incredibly produced. Had it been pushed differently and had the group been presented as people who were trying to show a different side, I feel Liverpool would have been more successful than it ended up being.

Disc one features the album in its entirely, completely remastered. Fans will note that the thin sound quality that was on the original CD pressings have been given a nice bassy touch, but not overly so. The intro to “Warriors Of The Wasteland” is one of the most incredible moments FGTH ever put together, the delicate electronic drums, the synth from nowhere, the digital thunder, and a female voice (Betsy Cooke) that welcome the listener into a new, chilling musical world. All of a sudden the percussion stops, someone says “ooh”, things appear to grow in volume and as soon as someone yells, the magical orchestra kicks in tearing up the heart and soul, and we have begun. It is indeed Frankie, and Frankie only. The song deal with power struggles, fame, and having to deal with becoming a part of the machine. When Holly Johnson sings “they make their masses kiss their assets, lower class jackass, petty tax take out the trash”, they weren’t singing down to anyone but rather focusing on those who were listening and perhaps themselves, as they didn’t see themselves as being holier than thou, but rather with and/for the people. In a small way, it almost seems as if Johnson was visualizing the eventual end of the group when he says at the end “we’re rats in a case, suicide a go-go.” Take one part from The Monkees‘ movie Head and Pink Floyd‘s “Welcome To The Machine”, and you head the purposely grandiose feeling of a song that vocalist Paul Rutherford says was originally meant to be the title track, as a statement of their comeback. The liner notes also reveal that for many in the group, this was one they ended up not liking as much because they grew bored with how long it had taken for them to complete.

Then “Rage Hard” comes in, another song that perhaps touches on the group’s Liverpool roots with references to the people, struggle, surviving, and fighting “the man”. The group reveal that some of the aspects of the song were overlooked by the fact this was the first single from their new album, but for me has always been one of the group’s best songs. What I always liked about it is Rutherford’s subtle vocal “nothing to fear”. In a song that told people to get angry and fight, Rutherford’s mere three words were like a warm embrace, as if to say “everything is going to be alright, do what you must do.”

For those who haven’t heard this in years, or for those who ignored it simply because it wasn’t their big album, Liverpool is definitely worth a listen. “Kill The Pain” is as moving as any powerful anthemic rock song even if it’s not quite rock, while “Maximum Joy” shows Johnson at his most, yes, joyous. “Watching The Wildlife” was the third and last single from the album, written from the perspective of someone who was observing the world and all of its glory and hatred and trying to take it all in, peacefully. “Lunar Bay” is a song, with its funky bass and incredible groove, that should have been pushed as a single had this met with the same success as Welcome To The PleasureDome, while “For Heaven’s Sake” brings them back into the anthemic before closing the album with the beautiful ballad “Is Anybody Out There?” It almost sounds like a slight update to “The Power Of Love”, but the only similarity is its tempo. If “The Power Of Love” touched on the strength of an emotion, “Is Anybody Out There?” seems to be a bit more direct and focused. The 80’s had its share of quality love songs, and this is easily one of the best, if not one of the most underrated undiscovered songs of the decade. With it clocking in at over 7 minutes, I will not hesitate in saying it ranks up there with Prince‘s “Purple Rain” by taking things on a long journey and coming out better than how they did when it started.

If there is a noticeable difference between this and their debut, it is that the musicians in the group actually had a major hand in playing the actual music. For this album, while Trevor Horn played supervisor, they relied on producer Steven Lipson to get them from start to finish. Whereas Horn tends to be a perfectionist and takes things to infinite levels, Lipson’s production tended to be one that worked on having limitations. This is probably one reason why the album feels tighter and more concise, as it is direct and to the point with little to no embellishment.

The rest of disc 1 is called The Other Side OF Liverpool, which means it focuses on the non-LP B-sides. “The Waves” still sounds like an unfinished song to me, but I still hear the elements that made me like it in the first place. Their cover of David Bowie‘s “Suffragette City” still sounds great, and some of it reminds me of the intro to INXS‘s “I Send A Message”. Their cover of The Doors‘ “Roadhouse Blues” is a mighty rocker for a group not known for their rock, but it showed they could be that gritty and raw when needed, and it definitely enhanced the Liverpool experience. Even a better enhancement of that experience was one of the B-sides for “Rage Land”, the nonsense “(Don’t Lose What’s Left) Of Your Little Mind”. The song highlighted Brian Nash, Mark O’Toole, and Peter Gill and their sense of humor. Some might feel the song makes no sense and has nothing to do with anything, and maybe that’s the point. The song is about nothing more than a coffee and a burger, and is not meant to be taken seriously, but the production by Steven Lipson and the manipulation of different voices to create perucussion and basslines made it work for me. A toss off, but a great toss off nonetheless. The group were known for being a part of the self-created remix expedient, where one song could have a multitude of mixes and alternate mixes. For the first time, one is able to hear an instrumental of the song, aptly called “voiceless”.

Disc 2 will be of interest to deep fans and collectors. It features the full cassette programs of “Warriors” and “Wildlife”. For the uninformed, the cassette programs contained mixes, edits, and segments that were exclusive to the cassette version, and they make their official digital debut here. The rest of disc 2 features unreleased remixes of “Rage Hard” and “Warriors Of The Wasteland”, unreleased tracks (“Our Silver Turns To Gold”, “Stan”, and “Delirious”), plus a monitor mix of “For Heaven’s Sake”.

The liner notes feature interviews, scans of track sheets and tape boxes, a close-to-complete log of everything recorded/meant for the final album, and a lot of revelations. One that I had always been curious about was the voice in the (+) mix of “Rage Hard”, the one who speaks about the great world of the 12″. That was done by actress Joanne Lumley of Absolutely Fabulous and Jam & Jerusalem (Clatterford) fame. Now that I hear it, I can now go “oh yeah, it is definitely her” but that has been a mystery for me for 25 years. The answer, finally revealed.

If Liverpool has been your pleasure over the years, you’ll definitely have to get this not only to hear the unreleased goods, but to hear the album beautifully remastered, and to get into the liner notes, always a major part of any ZTT release. If you know your FGTH, you can look at the track listing and probably pinpoint all of the mixes and remixes that aren’t here, including the German “Die Letzten Tage Der Menschheit Mix” of “Watching The Wildlife”. However, the liner notes reveal that even though there’s a lot on these two discs, there’s still a lot more that remains unheard. One can try to read between the lines and see that maybe there’ll be a day when fans will be able to hear the unheard. If this becomes the last statement of Liverpool in the dying era of the compact disc, then it is one that holds up beautifully for an album that most people have yet to fully appreciate.