| | Fast Crew Set The Record Straight CD Fast Crew Discography of CDs
SET THE RECORD STRAIGHT is a CD by the New Zealand hip-hop group Fast Crew.
Straight Down The Line is the debut album from Australian artist RuC.L. following the release of his first single 'What It Takes'. RuCL is one of the most exciting artists to emerge from Australia's thriving urban scene. The Jamaican born MC's undeniable talent is evident on every track on Straight Down The Line. Fusing r 'n' b, reggae, hip-hop and Jamaican dancehall, RuCL's debut album is one of the most dynamic Australian releases this year. 2005. Set The Record Straight Music | List Price | $33.99 (You save $6.04) | | Category | R&B Albums, Rap CDs | | Label | Warner Bros. (Record Label) | | Orig Year | 2005 | | CD Universe Part number | 6967095 | | Discs | 1 | | Release Date | Sep 12, 2005 | | Mono/Stereo | Stereo | | Additional Info | Import |
Fast Crew Set The Record Straight Songs | 1. | Set the Record Straight |
| 2. | It's the Incredible |
| 3. | I Got |
| 4. | Breathe It In |
| 5. | Suburbia Streets |
| 6. | Put 'Em Up |
| 7. | Oops My Bad |
| 8. | Don't Speak My Name |
| 9. | Make It Hot |
| 10. | Follow Close |
| 11. | Oh Really |
| 12. | Mr Radio Part 2 |
| 13. | Smashin' |
| 14. | Your World & Mine |
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Set The Record Straight Review
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Purchase Set The Record Straight CD To buy, Click on price to add to cart | Michael Jackson - Video Greatest Hits - History V. 2: On Film DVD (1997)
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Digitally remastered by Bernie Grundman (Bernie Grundman Mastering, Los Angeles, California).
Jackson's domination of the world record market continued following Thriller, although by comparison it was an almighty flop with only 12 million sales. As Pink Floyd and Dire Straits have proved, one ...
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Recorded between 1956 & 1967. Includes liner notes by Fred Bronson.
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THE VERY BEST OF THE DRIFTERS features 16 tracks recorded between 1959 and 1964. Includes historic black and white photographs and liner notes by Steve Propes.
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The early- to mid-2000s found Fonovisa Records and its sister label, Univision Records, (both part of the Univision Music Group) signing a lot of Latino rappers and ...
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| | Massacre Lonely Heart CD (2007)
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Recorded during live performances at two European festivals in Europe in January and June of 2003, Lonely Heart is the third proper Massacre offering by the guitar (Fred Frith) bass (Bill Laswell) and drum (Charles Hayward) power trio. Issued on Tzadik, the liner notes state that Frith left his toys -- like brushes, chains, and scissors -- at home and went straight at the guitar for a change. What begins as a moody exchange between Frith and Laswell soon becomes a pummeling, punishing tour de force of banging, clanging and near riff-a-licious interplay between the three members on the nearly 20-minute set. Hayward and Laswell set the tone and then Frith is off and wailing in power guitar hero mode. Feedback, multi-string fingering and slippery riffs push the band into a heroic kind of improvisation that has no middle and really no end. Everything, even in its quiet moments where Laswell and Hayward are simply playing a rhythmic vamp, is fodder for Frith who goes on a savage tear across his instruments' higher registers. The vamp of Jimi Hendrix's "Machine Gun," is the cue for such driving, over the red exaggeration in this trio, and Frith plays the living hell out of his instrument taking it ever further on the high wire until there is nowhere to get off. But it's more than just soloing that happens here: Frith is digging into the beat and the actual possibilities of shaded rhythm and color. Laswell is lazy and is the dull one in the trio, not being able to counter or challenge his foils with anything remotely interesting.
As this set progresses, on the bass-driven, nearly blues like dirge of "Step," the band brings it down to a simmer while Frith seems eager to move it into higher gear with his sound pedals and volume controls, which he does on "In." It's seven-minutes-and-forty seconds of sheer guitar mania, the likes of which most fans of the guitarist have never heard. He can play all the heavy metal tricks with his technique, but uses them to find a way inside the various tonal signatures he's spawning each moment. The 18-plus-minute "Gracias la Vida," finds the band setting out carefully and deliberately, creating tension as each minute progresses. Laswell's playing chords here and Frith dons a slide and becomes the anti-Ry Cooder. Hayward challenges him to break it out of its cage but Frith plays atmospherically and deliberately in each go round before he lets the airplane out of the gate near the end and makes his guitar literally wail and scream. The final track, "Return," feels more like something Robert Fripp would play if he were playing in a reggae dub rhythm. The most melodic piece on the set, it is mournful and distant, Morricone like in its minor-key elegance (that's all relative, of course). Hayward plays a melodica creating a modicum of melody as Frith allows his effects pedals to make multiples of his briefly played lines and picks up that thread, spinning ...
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