Liam Gallagher dedicated Oasis classic Live Forever to Foo Fighters drummerTaylor Hawkins last Saturday at his concert in the historic Royal Albert Hall in London, a day
after Hawkins passed away (probably due to a heart attack) in his hotel room, totally unexpected, the day before, on Friday.
Info: Gallagher wrote his newest single Everything’s Electric
with FF’s frontman and former drummer of Nirvana Dave Grohl
“I dedicate this last song to the one and only Taylor fucking Hawkins. This is for you, brother.”
This is really amazing. Hearing Gainsbourg singing over a sickly sticky ambient
stomper is truly special. Balancing between British hip-hop-techno experts Leftfield
and Massive Attack Sarasara will make people shake their hips on the dancefloor with
this irresistible modern disco knockout. And when Sarasara joins Jane Birkin’s late
partner, midway, the track gets sensual and sultry. Yes, je t’aime moi non plus.
Get up, stand up and fight for your right to party
with this ace tandem Sarasara X Serge Gainsbourg.
Right here, right now…
The original
– LA JAVANAISE –
Also a magnific interpretation. Sarasara slows the original down and turns
it into an appealing ballad with her wonderful voice. Just great.
Original music & lyrics by Serge Gainsbourg (by permission of the Gainsbourg Estate)
Produced & arranged by Liam Howe & Sarasara
mastered by Pete Norman at Finyl Tweek.
Photography by Joshua Harris (Assistant: Kate Daggett)
Dress designed by Ella Collin Firth
Make-Up by Ivana Petkovic Kraljevic.
Irish heroes U2 went on a roof in LA to perform WHERE THE STREETS HAVE NO NAME (from their blockbuster LP The Joshua Three) this day in 1987, probably inspired by the legendary roof showing of the Fab Fourin 1969.
Thousands of people danced in the nameless streets and traffic was blocked. The police got scared of this situation and stopped the spectacle a few minutes after Bono turned up the heat in the City of Angels.
Kerrang says : “Over 30 years and now 10 albums into their journey, Back In Black
is Cypress Hill taking stock of what they did for music, for weed lovers, their home city
and, most importantly, for themselves. You don’t need to be stoned to feel high off that.” Full review here. Score: 4/5.
Turn Up The Volume: The L.A. weed wackos (half of the songs are about weed) are back in black (AC/DC title), but not much has changed. The resonance of their rap rippers move and groove with the same familiar spliff-induced pulse, but (I’m sure you expected a ‘but’) before you’re aware of it your body is in hip-hop hypnose. A trip tunes album all the way. They’re still insane in the brain. Welcome back! Give them a joint.
Artist: ALICE DREAMT Who: The solo project of Detroit-based multi-instrumentalist Timothy Michael Jones,
the sound of Alice Dreamt is a curious blend of noise pop, synthpop, and neo-psychedelia that some have described as sounding like the “evil cousin of Beach House” or “a futuristic, psychedelic hell-band phasing through the AM radio of some alternate reality”.
Turn Up The Volume: From the get-go this synth-pop doozy swirls with sheen
and ravish timbre. The harmonious male/female (Alice?) vocals work tremendously
well on this sepia-colored humdinger. All those little songs make me smile. Score!
Artist: THE STREETS Who: The musical project of Mike Skinner (age 42) from the Midlands, UK Active: 1993-present / 5 studio LPs and 2 with The D.O.T,
a collaboration with musician/DJ Robert Hayes
AllMusic said: “Original Pirate Material, is an excellent listen — much better than the heavy-handed hype would make you think. Unlike most garage LPs, it’s certainly not a substitute for a night out; it’s more a statement on modern-day British youth, complete with all the references to Playstations, Indian takeaway, and copious amounts of cannabis you’d expect. Skinner also has a refreshing way of writing songs, not tracks, that immediately distinguishes him from most in the garage scene.”
Turn Up The Volume: Skinner is a spoken-word waterfall telling stories about what he sees around him in daily life with great rhymes, non-stop beats and symphonic synth orchestrations in the back. No fillers. Classy hip-hop-pop achievement by a rapping geezer.
