Deee-Lite - House Club Dance (USA)

Deee-Lite was an American house and club/dance music group, formed in New York City. The group's best-known single is "Groove Is in the Heart", which was released from their 1990 debut album, World Clique, and was a Top 10 hit in multiple countries. In December 2016, Billboard ranked them as the 55th-most successful dance artists of all time.

The band began in 1986 as a duo in New York City with Lady Miss Kier (born Kierin Magenta Kirby) primarily on vocals and Supa DJ Dmitry (born in Ukraine as Dmitry Brill) as the DJ, but became a trio when Jungle DJ Towa Tei (Japanese-born Dong-hwa Chung) joined the group in 1988.

Initially, Kier and Dmitry performed their songs monthly in numerous downtown NYC nightclubs from 1986 onwards. In 1987, Kier bought the Akai sampler, which influenced their sound tremendously, hence why she named their production company "Sampladelic". From the band's inception, Kier designed the posters and club invites and was also the graphic designer for all three albums and 12" singles. The band played in both hip-hop and house clubs, and both gay and straight clubs, including Wigstock and opening for Native Tongue Movement's De La Soul and Jungle Brothers. As described in Rolling Stone, "they were drawing vivid, multiracial, pan-sexual crowds...". Part of the band's appeal was its inclusiveness, as noted by Mademoiselle magazine "as a group, they're a festival of individuality; as a band, they're a party anyone can attend". In these early years, their live shows garnered a steady following and attracted Towa Tei as a fan.

Thereafter, Towa sent Kier and Dmitry a bedroom DJ tape he'd made and they realised he, like them, also enjoyed a fusion of funk and techno. Towa and Dmitry began jointly programming the band's computer. Although Towa did not play any instruments or play them any songs he'd written, he was an avid record collector and added a slickness to their process by adding in samples. They invited him to join the group in 1988 and together the three produced their first album. Kier wrote all the lyrics and melodies, and also coordinated reaching out to Bootsy Collins to get him involved in sessions. Dmitry played guitar, keyboard and bass, and Towa gathered samples for fill-ins and grooves. Bootsy Collins introduced them to The Horny Horns, Fred Wesley and Maceo Parker, Mudbone Cooper, and Bernie Worrell, as well as, helped put their touring band together. Together the trio produced the first and second Deee-Lite albums under their production company Sampladelic.

1992 - Infinity Within

1994 - Dewdrops In The Garden

1996 - Sampladelic Relics & Dancefloor Oddities

2001 - The Very Best of Deee-Lite

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The Exploited - Punk Rock (Scotland)

The Exploited are a Scottish hardcore punk band from Edinburgh, Scotland, formed in 1979 by Stevie Ross and Terry Buchan and later joined by his brother Wattie Buchan. They signed to Secret Records in March 1981, and their debut EP Army Life and debut album Punks Not Dead were both released that year. The band maintained a large cult following in the 1980s among a hardcore working class punk and skinhead audience. Although The Exploited continue to perform live to this day, they have not released any studio material since their last album Fuck the System in 2002. Their songs have been covered by Slayer and Ice-T, and despite many lineup changes, Wattie has remained as the Exploited's singer and leader.

The Exploited - 1980 Army Life

The Exploited - 1980 Attack

The Exploited - 1980 Exploited Barmy Army

The Exploited - 1981 Dead Cities

The Exploited - 1981 Dogs of War

The Exploited - 1981 Punk's Not Dead

The Exploited - 1982 Computers Don't Blunder

The Exploited - 1982 Troops of Tomorrow

LINK (1980-1982)

The Exploited - 1983 Let's Start a War

The Exploited - 1983 Rival Leaders

The Exploited - 1985 Horror Epics

The Exploited - 1985 Live in Japan

LINK (1983-1985)

The Exploited - 1986 Jesus is Dead

The Exploited - 1986 Live at the White House

The Exploited - 1987 Death Before Dishonour

The Exploited - 1988 Rapist

The Exploited - 1989 Exploited Singles

LINK (1986-1989)

The Exploited - 1990 Massacre

The Exploited - 1990 War Now

The Exploited - 1996 Beat The Bastards

The Exploited - 2003 Fuck The System

LINK (1990-2003)

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First Friday - Psychedelic Blues Rock (USA)

First Friday was formed in the fall of 1968, at the University of Notre Dame, USA. They practiced in the basement of Dillon Hall when they found a pile of blank billboards with the title First Friday (intended to announce Mass on the first Friday of the month in the dormitory chapel). They chose the name for the band, taking advantage of the promotional material received "for free".

They recorded a self-titled album "First Friday" in 1969 by Websters Last Word Records, with the release of only 500 vinyl copies. A copy of this album was recently sold on eBay for over $ 400.

In 1970, they recorded another album in Nashville for King Records, which was never released (The Lost Tapes). In 1997, they recorded their third album in Branchville, NJ, which was also never released (The Lost CD).

First Friday meets once a year at various venues in the United States to play for longtime fans part of their tour, Too Much Fun.

First Friday 1970

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Joe Lovano & The Brussels Jazz Orchestra

It is just like tenor saxophonist Joe Lovano to make a beautiful recording, but also one which is also quite full of surprises. This is Wild Beauty , what Mr. Lovano calls a “Sonata Suite,” which he put together and which was arranged by the ever masterful Gil Goldstein, and which Mr. Lovano plays with the Brussels Jazz Orchestra conducted by Frank Vangée. The titles of each sequence of the suite attest to Mr. Lovano’s enduring love of Italian locale and culture and because he was born Italian this music has a special meaning and feel, almost mimicking the lilting accent of Italian. Mr. Lovano’s gentle vibrato at the end of certain lines and phrases also mimics the manner in which spoken Italian ends with graceful undulations in the accent of the speaker; almost as if it was being sung. But something else marks the singular voice of Joe Lovano—in addition to his singing manner—and that is the broad, brogue-like warmth and moisture with which he enunciates his musical sentences. Conversely there also seems like there is a certain vulnerability in Joe Lovano’s playing. That probably comes from the forthright and humble manner in which he sings his melodies and lets the harmonics slide as he rolls his notes one over the other in an elliptical line.

Here, on this recording, Mr. Lovano also has the mighty support of the Brussels Jazz Orchestra. This exquisite ensemble may not be as famous as other orchestras in Europe, but the musicians play together as if they were a well-oiled machine, their machinations, are far from mechanical. There is a big heart in this orchestra and are well-rehearsed and have in fact bought into the ideology of the Sonata Suite. Both Frank Vangée and Mr. Lovano are great leaders. Mr. Lovano’s commanding tone is heard throughout the suite and all the lead soli are his. Memorably, his opening solo on “Wild Beauty” describes the thing of beauty—much like the 19th century romantic poet John Keats described in his poem Endymion he sees in the multiplicity of things—in musical topographical terms—in the sweep of the epic tenor solo; in terms of an imagined landscape, very possibly Sicily and finally the visage of Mr. Lovano’s mother, to who is part of the ongoing sub-text of the music. And certainly all of the set pieces form one graceful movement after the other, with Joe Lovano engaging members of the Orchestra, from Frank Vangée to trumpeter Nico Schepers, trombonist Marc Godfroid and pianist Nathalie Loriers. The majesty of “Viva Caruso” is one of the finest aspects of the music. But perhaps happiest of all is when Mr. Lovano pays a glowing tribute to Ben Webster, on “Big Ben”.

It has always been a known fact that Joe Lovano has a spiritual side and this is shown in how deeply soulful his sound is. It is possible also to assume that Mr. Lovano actually digs deep and he reaches beyond where most saxophonists go, and while there is no holy rolling in his voice, his rhythmic inflections sometimes come together in a blues shout, or in alleluias that might wake up a sleeping congregation. Some of this may be heard in “Our Daily Bread” and certainly in “Big Ben”. This is something that is almost a forgotten fact; that Joe Lovano has also paid his dues and has climbed every mountain to become a tenor saxophonist with the mighty tone that is heard throughout this stupendous recording.

Wild Beauty (2014)

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