Substance Abuse Overproof CD

Overproof Music

List Price	$15.97 (You save $3.72)
Category	Rock/Pop Albums, R&B CDs, Rap, Urban Soundtrack
Label	Threshold
Orig Year	2006
All Time Sales Rank	151297
CD Universe Part number	7065138
Discs	1
Release Date	Apr 25, 2006
Studio/Live	Studio
Mono/Stereo	Stereo

Substance Abuse Overproof Songs

	1.	Fake Contacts
	2.	Night on Town
	3.	Porfitless Thoughts
	4.	Mercy Killings
	5.	No Guarantees
	6.	Myka Nyne Interlude
	7.	Everyone's a Critic
	8.	Graduate, The
	9.	Sickness, The
	10.	Check
	11.	Withdrawals Pt. 2
	12.	Can't Call It
	13.	I Don't Mean to Talk Shit
	14.	Collateral Damage
	15.	Fractured Form
	16.	Sickness - (remix)

Overproof Review

Guidelines
Remember to focus your comments on Substance Abuse Overproof CD.
Check our review guidelines for specific details regarding customer review policy.

To submit your review, please fill out the above form and click "Submit Review." A staff member will then verify your review meets our guidelines. Upon approval, your review will be published within a few days.

Please do not use this form to comment on web site errors or for order related questions. If you have concerns of this nature, please contact customer service by filling out this form.

To buy, Click on price to add to cart

Also Bought

Outerspace Blood And Ashes CD (2004)

Overproof album

$12.65

Also Bought

Prince Po Slickness CD (2004)

Overproof CD music

$13.65

Also Bought

Capital D Insomnia CD (2004)

Overproof music CDs

$13.05

Also Bought

Chino Xl Poison Pen CD (2005)

Overproof songs

$13.75

Also Bought

Lightheaded Wrong Way CD (2006)

Overproof album

$10.19

Also Bought

C L Smooth American Me CD (2006)

Overproof CD music

$9.99

Debbie Deb She's Back CD (1995)

Overproof music CDs

$13.59

Galt Macdermot Woman Is Sweeter/Shapes Of Rhythm CD (2001)

Overproof songs

$18.99
Remember the musical Hair? Remember the groovy rhythm tracks on "Let the Sunshine In" and "Where Do I Go?" Yeah, well, this guy here, Galt MacDermot, expatriate Canadian funk meister, is the cat who composed those jams -- and in fact the music to the entire play. This CD brings together two of MacDermot's original LPs, both of them released in the '60s -- one pre- and one post-Hair, one a session album and one a soundtrack, and both greasy in the future funk with cats like Idris Muhammad and Bernard Purdie laying down the beats behind the band. MacDermot is a driven pianist and organ grinder who sought one thing on these records: funky grooves. And he got them. Here's what's scary though: "Coffee Cold" (from Shapes of Rhythm) was recorded in 1966 -- prefiguring the rhythmic changes of James Brown's "Cold Sweat" in sequence and in key a full two years before Brown laid down his track. The feel of "Coffee Cold" is a bit whiter and smoother, but the jam is still an anthem, even with its cheese factor. MacDermot was a prophet of the groove that would overtake the late '60s and early '70s, and, were he a proud man, could have argued that more young musicians heard and took to heart the grooves he laid down in Hair than heard Allen Toussaint and Red Allen or Eddie Bo. The true feel of Shapes of Rhythm is like Vince Guaraldi's Schroeder laying out the piano funk, seeking the groove inside the rhythm section and laying it out there. It's tough if ornate and it shimmers with real heat. The other disc, a soundtrack for Martine Barrat's movie Woman Is Sweeter, is a much dirtier, rawer affair altogether, and would have been worth the price of the CD alone. Here guitars chunk up in the cut with the bass, and the piano floats in the accents as drums and bass reign supreme. This was recorded immediately after Hair, and MacDermot wasn't in the mood to simply lay out some incidental music to a hippie flick. He took it down to its essence: rhythm, polyrhythm, drums, bass, and filthy nasty funk at insanely fast -- for the time -- tempos that were in fact symbolic of the orgiastic nature of his compositions. This wasn't just sex music, this was group sex symphonic music made with only a handful of instruments. These two albums comprise 26 tracks of pure groove-driven genius, with a bonus vocal version of "Coffee Cold" that the producers go hog-wild over in their notes, but it pretty much sucks compared to the rest of this -- thank the gods they left it until the end. Yeah, you need this if you care about the influence of '60s groove at all. After all, Busta Rhymes did -- check out the sample of MacDermot's "Space" on the rapper's "Woo-Hah!! Got You All in Check." ~ Thom Jurek Galt MacDermot's affair with funk did not begin and end with HAIR. With this CD, we present two examples of LPs MacDermot released independently on his Kilmarnock label: Shapes of Rhythm and Woman Is Sweeter."Shapes of Rhythm" features not only MacDermot on piano and vocals, but three of the most skillful men working in New York at the time (1966), the "Mid-Manhattan Rhythm Section" consisting of Bernard "Pretty" Purdie on drums, Jimmy Lewis on fender bass and "Snag" Napoleon Allen on rhythm guitar. The CD contains the mesmerizing and powerfully morose melody, "Coffee Cold.""Woman Is Sweeter" perhaps ...

Master P Good Side/Bad Side CD (2004) (Import) Bonus Track

Overproof album

$40.75
In the late 1990s, Percy Miller built a tremendous empire with his No Limit label, featuring a slew of hardcore rap artists, including himself--the incomparable, growl-voiced Master P. No Limit never really went away, but nevertheless Miller decided to revamp it in 2004, and who better to christen the revival than his own alter ego? Christen it Master P does, in a style befitting the brash overstatement of the label known for its instantly recognizable covers featuring tanks and medallions, pastel-colored sleeves, and titles airbrushed in platinum. P's opening salvo is a double concept album loaded with star appearances and featuring two sides of his personality, GOOD SIDE/BAD SIDE. In actuality, the two shades are more suitably described as "bad side" and "badder side" as both are pretty brash. Master P opens the "good side" with the warning "if [someone] comes at me, they better come correct" before launching into the diatribe of "Act a Fool." On the single "Them Jeans," he reveals a sense of irony, opening with a rubber-ducky squeak before unleashing a trademark No Limits beat and a classic chant for a sexy dance number. On GOOD SIDE/BAD SIDE, Master P doesn't so much return to where he left off as he sticks to his guns, right where he's always been. Master P returned after three years with Good Side, Bad Side, a double disc that's rowdy, fun, and annoyingly uneven with a concept that's unnecessary. The cover art and the individual disc titles ("Good Side" for disc one, "Bad Side" for disc two) point to the flimsy concept. What's confusing is why P's "Good Side" is the usual cheap funk with bragging while his "Bad Side" is flashy R&B with hooks and slick production (is this "Bad" in the '70s sense?). Good Side, Bad Side's run time is only a couple minutes over a CD's capacity, so with filler to choose from it could have been easily trimmed to fit. A good choice would be the opening "Act a Fool," another "No Limit's Back!" swagger of a track that gives a dull first impression of an album that gets much better. It's also the first taste of P's new partnership with the King of Crunk and fellow Southerner Lil Jon. The alliance comes off much better on "Who Them Boyz," a great call-and-response anthem that features a C-Murder rap straight from his jailhouse phone. The dark "Why They Wanna Wish Death," the party anthem "Them Jeans," and "You Don't Know Me" with producer DJ Darryl's sticky funk are other highlights from the "Good Side," but the album's standout moment is "It's a Drought," a spirited narrative about a dope shortage in the hood. While more fun at first, a bunch of thin ideas makes the "Bad Side" the weaker disc on repeat listens, but a couple grand moments do turn up. "Com. 4" is another great weed-shortage song, this time due to a bogarting houseguest and set to a country hoedown beat. "Thug and Get Paper" is P at his minimal and lowdown best, and both "Tell 'Em" and "That Ain't Nothing" are mixtape worthy. The rest of the tracks on the "Bad Side" feel unfinished, like they're demos awaiting R. Kelly's final touchups to ensure radio exposure (there's never been so much Spanish guitar on a No Limit release). Hungry over inspired ...