Regjistruar: 01/09/2003
Vendbanimi: ~*~nZ~*~
Mesazhe: 1069

CASSIUS


Cassius could be the hardest men in dance music. Don¹t mess with Cassius. They took their name from the world's greatest heavyweight boxer, because he decided he didn't want it any more. But for the last decade, they've made some of the sweetest music, produced a portfolio of house, hip hop and leftfield music with more high-fat content than foie gras on toast, traveled their heavyweight sound across the world and spend ten years building Paris a name to rival London, Detroit, Chicago and New York when it comes to show-stopping records. In combination they're among the most successful outfits currently operating both in France and in the global house music demi-monde, and they return this year with the most highly anticipated album since Daft Punk's 'Discovery'.
Like all the best creative teams, Cassius are a duo. The pair - Philippe Zdar grew up in the Alps while Hubert (Boombass) is Parisian - isn’t exactly short on gilt-edged production skills and musical ability either. When it comes to funky music, Cassius have pedigree coming out of their well-trimmed ears. Hubert is a tireless evangelist of hip hop, he produced MC Solaar's milestone album, Qui Seme Le Vent Recolte Le Tempo in the early Nineties, the first indication in years that a nation famous for saccharine lolita pop could turn the voice of its own immigrant underclass into commercially viable music capable of ranking on the world stage. Solaar's album was the first peak in a wave of dance music _ hip-hop, house, drum & bass, reggae and techno _ that now dominates the French charts.

Boombass and Philippe met though Hubert's dad at his recording studio in Paris in 1988, where Hubert was working under his father's tutelage and Zdar had landed a job as a tea boy. They took one look at each other, and thought 'tunes'. The echo of their sound first arrived in Britain when Boombass stripped the vocals from the underground hip hop tracks he'd been producing and delivered the ultra-taut breaksmanship of La Funk Mob's 'Ravers Suck Our Sound' EP for Mo’ Wax. Philippe Zdar, meanwhile, headed for another zone of the dance floor and, as Motorbass - the partnership he forged with Etienne 'Super Discount' De Crecy, invented Motorbass's Pansoul, an album of deep midnight house music, in 1996. Then they regrouped. Just short of the millennium, when France's Daft Punk-headed assault on dance music's international stage was gathering speed, they released 1999, their own remix on the filter disco blueprint as defined by their colleagues Thomas Bangalter and Guy-Manuel de Homem Christo of Daft Punk. Edgier than Daft Punk's debut album Homework, Boombass and Phillipe's grounding in the sounds of hip hop, reggae and two-step showed on 1999, where hyperbolic vocals samples - like on the thumping title track - sat atop basslines so heavy they could pulverize the Eiffel Tower at a hundred paces. Three years and countless parties, holidays, remixes, collaborations and studio sessions later, they deliver Au Rêve, a 14-track album whose title means 'at the dream'.

"We were in a dream when we made this", suggest Zdar. "It's good to dream and find images and ideas," adds Boombass, "but there's nothing mystical about it". Au contraire, the album is packed full with tracks so intent on stamping their way through the floorboards of your local disco. What differentiates Au Rêve from its predecessor is far less reliance on the loop-and-filter minimalism of house music into a wilder stylistic field. These days, the sampler is just an instrument among many in the Cassius arsenal, and the tracky filter disco prototype just another style they've mastered. "Au Rêve is not just beats and basslines," says Zdar. "You have to transcend the genre. We wanted to make songs and write poems".

Principal among Au Rêve's peaktime moments is the Jocelyn Brown-fronted single 'I'm A Woman'. Brassy doesn't begin to describe what must be French house music's least restrained moment yet. Thank Erick Morillo for that one - he passed on Jocelyn's number. "Straight after 1999 we contacted her and did the track, because we'd seen the potential to do a track in a studio with a singer. So we invited loads of people onto the album. Jocelyn is like a girlfriend now.'

While 'I'm A Woman' is a classic of empowered female disco, it's chest beating male-vocal counterpart is 'The Sound Of Violence'. A juddering and unashamed paean to male sexual dynamism (key lyric: 'I feel like I wanna be inside of you/when the sun goes down'), it's sung by Steve Edwards, previous collaborator of Charles 'Presence' Webster and native of that global house vocalist hotspot, Sheffield, England.

If you notice Cassius's far more song driven approach to house music at a time when sample technology remains pre-eminent, you may also notice the gratuitous use of screaming acid-laced guitar solos on both tracks. 'Très rock," beams Boombass. "We love the guitars, some people are like, I hate guitars! For me it's great, and it sounds good on the track". It's a trick, which begins to make sense when you consider the Cassius home-listening diet. "We've been listening to a lot of Seventies West Coast music," says Boombass. "All the classics of musique blanche, stuff like Crosby, Still & Nash. Sure, we're always listening to new music in clubs, lots of rap, reggae and house. But at home it’s Neil Young's Harvest". "The aim since 'Motorbass' has been to make album that lasts," adds Zdar. "An album like Daft Punk's Homework is an album I listen to all the time, even though it's five years old. The beats still sound fresh in a club."

Au Rêve, like any decent dream, heads into places it takes a powerful imagination, or a powerful stimulant, to conceive of. We begin with Chicago house, head for the West Coast and rock out, then, on 'Thrilla', make for the hood for a rumpshaking hip-house floorquake, then to Dusseldorf on the Kraftwerk-esque electro-baroque workout 'Telephone Love'. In a very real sense, Au Rêve is all over the place - in the best possible way. Not that Cassius see it that way. For them, there's nothing unusual in such rampant genre philandering. "It might all seem different for you, but it's all the same for us," says Zdar. "We never said we'd try and do lots of different things - we did 35 or 40 tracks and chose them. We didn't think about it too much."

And nor should you. It's the best possible advice. In 2002, dream your summer the Cassius way.

__________________
*Wn we wer kids, belongin felt gd,I c death roun d corna Bt havin respect,tht feels even better*

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Regjistruar: 01/09/2003
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Bashkangjitje: craig_david.jpg
Ky file është shkarkuar 28 herë.

Citim:

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Po citoj ato që tha atdheuyne
e mbyte fare....moj brune po shakiren se ke qejf e.....

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ATDHEU, po shif mo burr i dheut mire se ketu e ke dhe Shakiren, te faqja 4 e kenqf e ke fjalen a me pelqen mua.......s'me pelqen dhe aq shumeeee


CRAIG DAVID

It has taken just three short years for Craig David to progress from being Britain's most exciting, talked about new artist to become our world ambassador for urban music. His two, genre-shaping albums are each now multi-million sellers and the 21 year old has toured the world several times over, recently selling out a tour of more intimate UK venues and headlining a prestigious LA radio concert with Christina Aguilera and Nelly. He has won awards, broken down barriers and been praised by his idols, and no one has been more astounded at each new achievement than Craig himself.

"To get any praise is great, but getting praise from the likes of Bono, Elton John, Puffy and others is almost surreal, I always read them like I'm reading about someone else"

It has certainly been a career characterised by its extremes. Brought up on Stevie Wonder and Michael Jackson on Southampton's Holyrood Estate, he found salvation in his first pair of decks at the tender age of 13. He was soon rushing his homework so he could play local clubs and pirate radios at the weekend, and had won a national song writing competition at the age of 16.

"I was exposed to music from a very early age. My father played the bass in a reggae band and was always taking me to rehearsals and gigs as my mum was out at work. I never really considered doing anything else"

A year later, Craig became the face of the flourishing UK garage scene when he provided the vocals for Artful Dodger's chart topping hit 'Rewind (The Crowd Say Bo Selecta)', but it was his own debut single, 'Fill Me In', that really captured the nation's attention. Released in March 2000, Craig became the youngest ever British male to hit the number one spot, capitalising on that success later the same year with his debut album, 'Born To Do It' (Wildstar/Atlantic Records). The soulful, ground breaking record sold seven million copies, was nominated for BRIT Awards, Grammies and a record six UK MOBO Awards. The album achieved gold, platinum or multi-platinum status in over 20 countries around the world.

When the opportunity for a holiday finally arrived, Craig chose instead to turn his attention to America. He toured tirelessly there for eighteen months while writing his hugely anticipated second album, 'Slicker Than Your Average' and soon counted the likes of Missy Elliott, J-Lo, Beyonce and Usher among his celebrity fans. The sales figures, radio rotation and respect across the board Craig has earned since he started working there have been phenomenal, and these are still early days for his Stateside fairy tale.

"Someone told me recently that Quincy Jones bought 50 albums when he heard ‘Born To Do It’ to give out to his friends, now that really blew me away! He has produced some of my favorite and some of the most influential albums of all time".

Craig's focus throughout has remained his music, though. Released in November 2002, 'Slicker Than Your Average' reveals a more assured, intimate sound and lyrics. The album is just as daring as 'Born To Do It' but sounds like it has been written by a new man. Anyone expecting a sequel to 'Born To Do It' is in for a surprise. 'Slicker...' is the sound of a man who has seen the world, perfected his live sound and is truly comfortable in his own skin. More accomplished and diverse than his debut, it sees Craig merge the influences he grew up on with the experiences he had absorbed while travelling the world over the last two years. His lyrics hit back at critics and touched on all that is close to Craig's heart.

Its no surprise it has led to GQ naming Craig as one of Britain's finest artists while Blues and Soul have christened him the godfather of new Brit urban.

"It was important for me to draw a line under ‘Born To Do It’ and come back with a new album that had different Flava's. I didn't want it to be compared to the first record and as a songwriter I'm always trying to write about real things that have effected me in my life in one way or other. Songs are very important to me, they're like bookmarkers of life, you always remember what you were doing and with whom when you hear certain songs, I hope mine do that for other people over the years to come"

Produced by Ignorants (Trevor Henry and Anthony Marshall), Soulshock & Karlin and long-term collaborator, Mark Hill, the album has already become a multi-million seller, featuring hits like the anthemic, feel-good 'Hidden Agenda'. This reunited one of the hottest UK dance production partnerships of the last decade in Craig and Hill and nods to the two-step heritage that made Craig's name, while songs like 'Eenie Meenie' and ‘Fast Cars' notch things up a gear. Debut single 'What's Your Flava', meanwhile, was Craig's mischievous, sexy ode to females everywhere through a tongue in cheek ice cream metaphor.

The single announced Craig's return to the UK music scene with an equally cheeky, stylish video, shot in Prague and featuring Craig's own interpretation of his favorite film Willy Wonka & The Chocolate Factory. The $1 million mini-movie featured four excited competition winners glimpsing Craig's secret world of 20 foot cine cameras, cages filled with millions of dollar bills, purple silk bedrooms and even his very own, attractive Oompa Lumpa girls. It's Craig refusing to take his dream life seriously, laughing at himself and having fun with all his success has made possible.

Incredibly in May this year, life got even better for Craig. He scored a chart topping hit in the UK when he teamed up with Sting for a stunning rendition of 'Rise and Fall', a song The Times called "the heavyweight collaboration of the year". Though Craig was inundated with offers from artists wanting to appear on his album, Sting was the only one who made it to the final selection, educating Craig in the song on the perils of celebrity. The track, written by Craig and produced by Soulshock and Karlin sampled the guitar riff from Sting's 1993 hit 'Shape Of My Heart'. When a demo version was sent for approval, Sting loved it so much he suggested getting together to record the track.

"It was one of the most surreal moments of my life!" Craig laughs at the memory. "He's actually telling me, watch it. I've had success and I can see what it can do. Remember who you are. I have such respect for him."

The unforgettable song remains one of the year's biggest selling singles and, incredibly, spawned further successful partnerships for Craig too.

Respected hip-hop producer Blacksmith reworked the track to produce what Capital FM's Simon 'Schoolboy' Philips declared to be "one of Craig's heaviest remixes to date". 'Rise and Fall' was also remixed by top Asian producer Rishi Rich and featured sections of Craig's vocals re-recorded in Panjabi. Radio 1 DJ Nihal called it "one of the hottest tracks this spring". The track went on to reach number 1 in the Asian dance charts whilst simultaneously in the UK and European top 40 airplay charts. Rishi Rich has since gone on to remix Craig's brilliant new single, the provocative, 'Spanish'.

“Spanish is R&B, Latino and salsa all mixed into one. It makes me feel like taking the roof off my car blasting the music up and driving down to the beach. The only problem is I don't have a convertible and don't live near a beach!”

The track further establishes Craig as an important global talent, keen to embrace new approaches to his song writing and musical style while never failing to challenge his audience. As more and more of the world catch’s on to the inimitable sound of Craig David, the man himself is still in the middle of an unending world promotional tour.

Craig is also already writing his third album while balancing success on both sides of the Atlantic - a rare achievement for any UK artist. While appealing to the American audiences love of R&B, Craig has also quickly become renowned for his live abilities around the world. It is on stage that Craig truly stands apart from his contemporaries in the pop charts, with the focus very much on his outstanding live vocals.

Touring has also given Craig further opportunity to diversify and hold his own in every possible live arena. In Los Angeles, he has headlined influential pop/R&B shows with the cream of American live acts, yet Craig is also set to play the famed Montreux Jazz Festival later this year. Over in Britain, meanwhile, Craig will be headlining Capital FM's 'Party In The Park' in Hyde Park this July to top off a year of life-changing performances for the 21 year old.

Most notable of all these were Craig's two sold out dates in May at London's prestigious Royal Albert Hall. After his enormous success Stateside, Craig chose to do the triumphant homecoming shows to mark his return to British turf in style.

“Coming back home was a real buzz for me. I really missed it hear. Playing at the Albert Hall was my highlight of the year so far. So many great artistes have played there and it was a real honor for me to have my name over those doors"

Inspired by these concerts and a desire to bring his music back to fans, Craig has since decided to tour thirteen theatres this September, preferring to give his fans an intimate and unique experience rather than the huge arena shows. After playing such large venues in America, Craig yearned to return to his roots and feel the on-stage relationship with the audience that is so difficult to establish in arena shows. Three years in, the Craig David story seems unstoppable. Needless to say, he still has no plans for a holiday.

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Bashkangjitje: bri099.jpg
Ky file është shkarkuar 24 herë.

Britney Spears may have titled her new single "Me Against The Music," but she has rarely been more creatively in tune than she is right now. "I feel like I've hit a great new stride as an artist," she says with pride. "I've worked hard, and I feel like I've grown on so many levels."

In truth, "Me Against The Music" is hardly about declaring war against grooves. "Actually, it's about the intensity that people approach music with," Britney shares. "It's about getting totally lost in the music and pushing yourself to the edge in every way you can imagine. I love thoroughly immersing myself in music, and I wanted to capture that intensity in a song."

Britney's musical intensity and her evolution from a teen renegade into a provocative young woman are undeniable throughout "In The Zone," her fourth Jive Records collection. First and foremost, the project shows her flexing notably strong and mature songwriting muscles. She co-wrote 7 of the project's 12 sterling new compositions, collaborating with such heavy hitters as Red Zone ("Me Against The Music," "The Hook Up"), The Matrix ("Shadow"), Moby ("Early Mornin'"), and Cathy Dennis ("Toxic," "Showdown"). Also contributing hit worthy material to the album is R. Kelly ("Outrageous"), Ying-Yang Twins on “(I Got That) Boom Boom.”

Perhaps most significant is the appearance of pop icon Madonna, who lends her voice to the single "Me Against The Music." Collaborating with one of her all-time greatest musical influences was a dream come true for Britney. "The experience was beyond words or description." she says. The two forged what has become a powerful bond while rehearsing for their now-notorious performance on the MTV Video Music Awards this fall. "As we were working together, there were moments when I simply could not believe that I was standing there on stage next to her. It was never even in the realm of fantasy for me."

The musical union of Britney and Madonna within the taut, classic-funk groove of "Me Against The Music" is quite real, though, and it reveals each of them at their most kinetic and soulful. The song's accompanying video clip, directed by Paul Hunter, shows Madonna enticing Britney through a maze-like underground club, only to disappear into thin air when Britney gets close enough to touch her. The clip is rife with symbolic gestures of Madonna passing the baton pop power to Britney --- an image that the young artist finds exciting, humbling, and perhaps a bit premature.

"There is only one Madonna --- and there will always only be one," she says. "My goal is to have a career that is equally as special, but one that is completely unique to who I am. I'm honored by all that Madonna brought to this song. I really love the flow we share --- both on the track and as friends. I think you can feel the chemistry and positive energy we shared. It's completely natural and relaxed."

The natural and relaxed vibe of "Me Against The Music" is indicative of every note and beat comprises "In The Zone," an album that runs the stylistic gamut from streetwise hip-hop and electro-trance to new-wave-etched rock and well-crafted pop. From top to bottom, Britney effectively expands the parameters of mainstream musical consciousness with songs that lure listeners with infectious hooks, and then captivates them with layers of clever lyrics and deft instrumentation.

"Putting this record together was an incredible journey for me," Britney says. "I had the freedom to explore and experiment with some of the most exciting people in music. In the end, that allowed me to make a record that is a pure reflection of where I am right now."

What we learn from album highlights like the rambunctious "(I Got That) Boom Boom," which features the Ying Yang Twins, and "Everytime," a stark, delicate collaboration with Guy Sigsworth, is that Britney has grown into a fearless artist. "Those songs are particularly special to me, because neither of them sounds like anything I've ever done before," she says. "'Boom Boom' is so rough and edgy and fun, while 'Everytime' is so raw and spare. It's me stripped to my core as a singer and as a songwriter. It's as honest as I've ever been in my music. I loved working with Guy on that track. He made me feel comfortable and safe enough to go the full distance, emotionally and as a performer." Britney also has high praise for Moby, who worked with her on the mid-tempo "Early Mornin.'" "He's such a pure-hearted guy," she says. "He's so cool. He played me a really cool track, and I thought it was brilliant. It's turned out to be one of my favorite songs on the album."

She describes "Early Mornin,'" which unfolds with a deceptively insistent, easy-paced dance groove as a day-after-the-party jam, which balances some of the more assertive, dance floor-friendly cuts on "In The Zone." "Some songs are generally about going out and wanting to have a good time," she says. "One of the things I did while working on this album was write about a lot things like going out with my girlfriends, everyday experiences that I was going through. 'Early Morning' is about just going out and feeling bad the next day." Elsewhere on "In The Zone," Britney shows her sultry side, particularly on the steamy, turntable-ready "Breathe On Me," a Mark Taylor production that she characterizes as being "very vibe-y, trance-y. It's about being with a guy and not even having to really be with each other, but just the intensity and the anxiety between not saying anything. You don't even have to touch me, just breathe on me."

Among the more sensual songs on the album is "Touch of My Hand," on which Britney seductively floats her voice atop an arrangement of pillowy strings and languid, Middle-Eastern-kissed guitar lines. "It's tastefully done," she says of the track. "And I think it's real. It's nice and it's real. It's whatever your take is. Some people may think it's a little much, but that's where I'm at with my life. ... It's not freaky freaky, it's just a little freaky." Stepping out on a creative limb has been the basis for Britney's entire career. Dubbed by MTV as "one of the last teenage pop superstars of the 20th century," Spears enjoyed her breakthrough success at the end of 1998. She appeared in local dance revues and church choirs as a young girl, and at the age of eight auditioned for The Mickey Mouse Club. Although she was too young to join the series, a producer on the show gave her an introduction to a New York agent. She subsequently spent three summers at the Professional Performing Arts School Center. She also appeared in a number of off-Broadway productions as a child actor, including 1991's "Ruthless." She returned to the Disney Channel for a spot on The Mickey Mouse Club, where she was featured for two years between the ages of 11 and 13. Her demo tape eventually landed in the hands of a Jive Records executive who quickly signed her to the label. She toured American venues for a series of concerts sponsored by U.S. teen magazines, eventually joining "N Sync on tour. It all added up to 1999's wildly infectious "...Baby One More Time" album to make its bow on the charts at No. 1. The set not only spawned a smash hit with the title tune, but also scored with the charming ballad "Sometimes" and the funky "(You Drive Me) Crazy." Before the album finished its impressive worldwide attack of the charts, it garnered Britney 4 MTV Europe Awards, including best pop performer, and 4 Billboard Music Awards, most notably female artist of the year.

The massive demand for new Britney material was satisfied when her 2000 sophomore collection, "Oops! ... I Did It Again," was released to a Spears-starved world in May. Once again, the title cut flooded radio airwaves, as did the anthemic "Stronger" and lovely "Don't Let Me Be The Last To Know." She also racked up more awards that year by taking home an American Music Award as favorite new artist, a Billboard Music Award as album artist of the year, and 2 Teen Choice Awards. Britney would later earn Teen Choice Award honors in 2001 and 2003. Ever-prolific, the artist returned in 2001 with "Britney," a spirited, assertive collection on which she began to reveal her mettle as a tunesmith, not to mention as a vocalist of increasingly soulful depth. She earned high praise for the wickedly sultry "Slave 4 U," as well as for the forceful "Overprotected" and the gentle "I'm Not A Girl, Not Yet A Woman." The album's was quickly followed by Britney's motion picture debut, "Crossroads," which proved that she has the talent and box-office pull to be a multifaceted superstar. "One of the true joys of my life and career has been trying out new things," Britney says. "I've loved every step of this journey I'm on. I love singing and dancing and acting and songwriting... it all energizes and inspires me." It's that philosophy that has sent Britney "In The Zone," a project that shows this ever-growing and ever-exciting at her absolute best... or as she would say, "for now." "I can't imagine ever reaching the point where I've hit the wall," she concludes. "There's always something new and challenging to tackle. I can't wait to see what happens next."

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kto jane goca puntore si mor nuk pertoni me shkrujt gjithe ate shkrim


eeee lum ai qe ju fut ne der e

__________________
nkrast

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Bashkangjitje: 1103_missy_elliot_a.jpg
Ky file është shkarkuar 19 herë.

Citim:

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Po citoj ato që tha Don_Mondi
kto jane goca puntore si mor nuk pertoni me shkrujt gjithe ate shkrim


eeee lum ai qe ju fut ne der e

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E Mondo e, lum si ai, ate thot ene ai, lum si une thot


MISSY ELLIOTT


Missy "Misdemeanor" Elliott has been one of the most significant female rappers on the scene since the mid- to late '90s, when she began making guest appearances on songs by 702, MC Lyte, and SWV. Since then, Missy has stayed far ahead of the competition--a credit to her wildly distinctive rap style flooded with comical onomatopoeia that glides effortlessly over pummeling tracks from Timbaland, her longtime beat partner. The duo have established themselves as a noteworthy production team, penning songs for some of the aforementioned acts as well as for Aaliyah, New Edition, Ginuwine, and Total.

When Missy made her solo debut with 1997's Supa Dupa Fly, she proved her viability as not only a talented rapper, but also as a musical video icon. The Hype Williams-directed video for "The Rain," the first single from Supa Dupa Fly, perfectly captured Missy's colorful animated personality and raised the creative bar for hip-hop music videos.

With the success of Supa Dupa Fly, Missy's résumé grew between 1997 and 1999 with credits for Whitney Houston, Mariah Carey, Lil' Kim, and Spice Girl Mel B. She also executive-produced the soundtrack for the film Why Do Fools Fall In Love?, starring Halle Berry and Larenz Tate.

Missy's 1999 sophomore record, Da Real World, teamed her with hip-hop's elite--Eminem, OutKast's Big Boi, Redman--for a bold new album boasting a controversial lead track, "She's A Bitch." Her third album, 2001's Miss E...So Addictive, showcased more of her illustrious R&B vocals. While her trademark rap releases "Get Ur Freak On" and "One Minute Man" won praise, she also scored a hit with the ballad "Take Away," a duet with Ginuwine. Hidden on the album was a bonus gospel song with luminaries Yolanda Adams, Mary Mary, Kim Burrell, Karen Clark Sheard, and Dorinda Clark Cole.

Instead of waiting her usual two years to release a new album, Missy's fourth full-length effort, Under Construction, hit retailers in 2002. The album was loaded with old school hip-hop elements captured in the album artwork and song titles, including "Funky Fresh Dressed," "Bring The Pain" (featuring Method Man), "Back In The Day," and "Play That Beat."

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Bashkangjitje: dr dreeeeeee.jpg
Ky file është shkarkuar 15 herë.

More than any other rapper, Dr. Dre was responsible for moving away from the avant-noise and political stance of Public Enemy and Boogie Down Productions, as well as the party vibes of old school rap. Instead, Dre pioneered gangsta rap and his own variation of the sound, G-Funk. BDP's early albums were hardcore but cautionary tales of the criminal mind, but Dre's records with NWA celebrated the hedonistic, amoralistic side of gang life. Dre was never much of a rapper -- his rhymes were simple and his delivery was slow and clumsy -- but as a producer, he was extraordinary. With NWA he melded the noise collages of the Bomb Squad with funky rhythms. On his own, he reworked George Clinton's elastic funk into the self-styled G-Funk, a slow-rolling variation that relied more on sound than content. When he left NWA in 1992, he founded Death Row Records with Suge Knight, and the label quickly became the dominant force in mid-'90s hip-hop thanks to his debut, The Chronic. Soon, most rap records imitated its sound, and his productions for Snoop Dogg, Warren G and Blackstreet were massive hits. For nearly four years, G-funk dominated hip-hop, and Dre had enough sense to abandon it and Death Row just before the whole empire collapsed in late 1996. Dre retaliated by forming a new company, Aftermath, and while it was initially slow getting started, his bold moves forward earned critical respect.

Dr. Dre (b. Andre Young, February 18, 1965) became involved in hip-hop during the early '80s, performing at house parties and clubs with the World Class Wreckin' Cru around South Central Los Angeles, and making a handful of recordings along the way. In 1986, he met Ice Cube, and the two rappers began writing songs for Ruthless Records, a label started by former drug pusher Eazy-E. Eazy tried to give one of the duo's songs, "Boyz N the Hood," to HBO, a group signed to Ruthless. When the group refused, Eazy formed NWA -- an acronym for Niggaz With Attitude -- with Dre and Cube, releasing their first album in 1987. A year later, N.W.A. delivered Straight Outta Compton, a vicious hardcore record that became an underground hit with virtually no support from radio, the press or MTV. N.W.A. became notorious for their hardcore lyrics, especially those of "Fuck tha Police," which resulted in the FBI sending a warning letter to Ruthless and its parent company Priority, suggesting that the group should watch their step.

Most of the group's political threat left with Ice Cube when he departed in late 1989 admist many financial disagreements. While Eazy-E appeared to be the undisputed leader following Cube's departure -- and he was certainly responsible for the group approaching near-parodic levels with their final pair of records -- the music was in Dre's hands. On both the 1990 EP 100 Miles and Runnin' and the 1991 album Efil4zaggin ("Niggaz 4 Life" spelled backward), he created dense, funky sonic landscapes that were as responsible for keeping NWA at the top of the charts as Eazy's comic-book lyrics. While the group was at the peak of their popularity in 1991, Dre began to make efforts to leave the crew, especially after he was charged with assaulting the host of a televised rap show in 1991. The following year, Dre left the group to form Death Row Records with Suge Knight. According to legend, Knight held NWA's manager at gun point and threatening to kill him if he refused to let Dre out of his contract.

Dr. Dre released his first solo single, "Deep Cover," in the spring of 1992. Not only was the record the debut of his elastic G-funk sound, it also was the beginning of his collaboration with rapper Snoop Dogg. Dre discovered Snoop through his stepbrother Warren G, and he immediately began working with the rapper -- Snoop was on Dre's 1992 debut The Chronic as much as Dre himself. Thanks to the singles "Nuthin' But a 'G' Thang," "Dre Day" and "Let Me Ride," The Chronic was a multi-platinum, Top 10 smash, and the entire world of hip-hop changed with it. For the next four years, it was virtually impossible to hear mainstream hip-hop that wasn't affected in some way by Dr. Dre and his patented G-Funk. Not only did he produce Snoop Dogg's 1993 debut Doggystyle, but he orchestrated several soundtracks, including Above the Rim and Murder Was the Case (both 1994), which functioned as samplers for his new artists and production techniques, and he helmed hit records by Warren G ("Regulate") and Blackstreet, among others, including a hit reunion with Ice Cube, "Natural Born Killaz." During this entire time, Dre released no new records, but he didn't need to -- all of Death Row was under his control and most of his peers mimicked his techniques.

The Death Row dynasty held strong until the spring of 1996, when Dre grew frustrated with Knight's strong-arm techniques. At the time, Death Row was devoting itself to 2-Pac's label debut All Eyez on Me (which featured Dre on the breakthrough hit, "California Love") and Snoop was busy recovering from his draining murder trial. Dre left the label in the summer of 1996 to form Aftermath, declaring gangsta rap was dead. While he was subjected to endless taunts from his former Death Row colleagues, their sales slipped by 1997 and Knight was imprisoned on racketeering charges by the end of the year. Dre's first album for Aftermath, the various artists collection Dr. Dre Presents...The Aftermath received considerable media attention, but the record didn't become a hit, despite the presence of his hit single, "Been There Done That." Even though the album wasn't a success, the implosion of Death Row in 1997 proved that Dre's inclinations were correct at the time. Both Chronic 2001 and its companion volume 2001 Instrumental followed in 1999.

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Bashkangjitje: brookeeee.jpg
Ky file është shkarkuar 13 herë.

The debut album from 19 year old Brooke Fraser is "What To Do With Daylight."

Brooke wrote all 11 tracks on the album and played instruments on each song.

The album's contrast of haunting, soul-searching confessions and lighthearted, joyful tunes reflects the different sides of Brooke's personality - the young woman who has been involved with World Vision for two years, and is travelling to Cambodia with the charity group; and the teenager who spends hours hanging out with friends and forming her next plan of attack against zits.

Talented guest musicians who performed on Brooke's album include infamous New Zealand muso Godfrey de Grut, Spearhead bassist Carl Young and producer / drummer Brady Blade.

Brooke's first single Better exploded onto the music charts, peaking at #3 with her second single "Lifeline" looking likely to do the same.

Her musical influences range from soulful crooners Marvin Gaye and James Taylor to new millenium artists including John Mayer and India Arie. She also plays a variety of musical instruments, including the piano, which she began studying at seven, and the guitar, which she taught herself at 16.

Brooke Fraser is an incredible talent who writes beyond her years and will surely have a long and stellar career.

"What To Do With Daylight" is out now.

__________________
*Wn we wer kids, belongin felt gd,I c death roun d corna Bt havin respect,tht feels even better*

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