"Pick Up the Pieces" will be the first single from Money Mark's new album, titled Brand New by Tomorrow, which is set to be released on February 27 on Brushfire Records.
If you like it, buy it!
Pick Up the Pieces [mp3]
If you like it, buy it!
Pick Up the Pieces [mp3]
December 10, 2006
The Beastie Boys, pioneers of white rap, are spreading the Good Vibrations. RITCHIE YORKE reports
IN the other hemisphere, the rain is turning to sleet and then snow and chill winds rip leaves from the trees as winter descends. The average North American's thoughts turn to heading south to warmer climes.
Beastie Boy Ad-Rock (Adam Horowitz) joins the yearning throng as he contemplates the prospects of an Australian outdoor summer show early next year.
The Beasties are headlining the Good Vibrations line-up along with Jurassic 5, Timo Maas, Cassius, Nightmares on Wax and a host of others at Doug Jennings Park on the Gold Coast on February 11. There's a total of four Australian shows and a Singapore date.
"I'm more excited than you know about playing this show. We're pumped. These shows are just perfect for us," said the almost 40-year-old Ad-Rock from New York, whose last local appearance was the Big Day Out two years ago.
"The idea of the Good Vibrations series of shows is to basically hit the audiences hard. We're going to go straight for the knees. That may sound like a negative thing -- but we're actually going to turn that into a positive thing.
"We're just going to play the classics. Go with what you know. It's pretty much a case of, 'We've come to rock your socks off'.
"That's what we're getting paid for, and that's what we're going to do."
Since hitting the top of the charts in 1981 as early white exponents of the emerging rap culture, the Beasties have established themselves as one of the leading touring acts in the game.
Ad-Rock, who wasn't a founding member, says the band are amazed at the extraordinary inroads rap has made internationally.
"We're all pretty amazed about what's happened to that form of music. Finally, in the past couple of years, people have stopped asking when the rap fad will die out. This stuff obviously ain't dying out."
He agrees that it might be an appropriate time for rap and hip-hop to be considered a separate form of music from conventional rock 'n' roll.
"You wouldn't say that reggae and rock 'n' roll are the same. You wouldn't say that jazz and rock 'n' roll are the same. There's a lot more than just one style out there.
"It makes me feel good to see where rap is going man. It's very interesting. A lot of people are making a lot of money that wouldn't necessarily be making a lot of money. It's definitely a way for some people to make some money.
"But the influence of rap producers is making it the biggest form of music around right now. And so the biggest artists in the pop world -- artists like Gwen Stefani -- are now getting the leading rap producers to make their records.''
He doesn't really have an answer to questions about what music has impressed him lately.
"But I'm also like a real weirdo in that I listen to a lot of older music. Not old, but older."
"Growing up, The Clash were probably the first group that I lived and breathed for, and actually passed on eating so I could save money to buy their 7" singles. The first group that was mine, not my friend's, not my older brother's, just mine. I studied it all: the music, as I sang along and danced in the room, but also the sleeve artwork, and everything they wore."Mike Diamond has written an introduction to a CD retrospective of The Clash. The Clash -- The Singles includes 19 of the legendary punk band's UK singles, packaged in replica sleeves of the original work, with a 44-page booklet containing rare photos of the band and essays by some of the band's musical fans, including Pete Townshend, Damon Albarn, and The Edge.
- Mike D
Beastie Boys, The Passion of the Empanada*Another article published in Pagina 12 describes how the Beastie Boys dressing room was next to Elefant's and how the Beastie Boys had to ask the band to quiet down.
They bring hip hop, rap, and funk to the white world. And when they came here, the Beastie Boys took in all the "vintage" stuff they could catch in Buenos Aires. They ate and drank everything, but asked for silence from the members of Elefant backstage at the festival (see article 'nos pidieron silencio').* Beastie Boys tasted asado, some vegetarian food, and became big fans of empanadas. Some members went clubbing to Barhein and La Cigale, where a happy MC Rey Gabriel gave them some vinyls as a gift. On Tuesday, the band walked by Recoleta, Palermo and San Telmo, where their relationship with the empanadas began -- a love that grew stronger in the following days. Even Mike D. visited La Esquina de las Flores looking for vegetarian empanadas. On Friday they threw an empanada party in their hotel rooms. They remembered their last visit to the city ten years ago and even went looking for a street basquet club in Palermo where they played on their last visit. Unfortunately, they couldn't find it. They also went shopping for suits to use in their concerts, but didn't find what they wanted. The band Yeah Yeah Yeahs followed them closely. Mix Master Mike, who came with his wife, didn't join the band and instead walked in the city with his wife and ate all the meat he could find.
photo credits:carolinebittencourt, DrIcA NeVeS YYY
On Tuesday Beastie Boys played their second show in South America. The show in Curitiba coincided with Adam Horovitz's 40th birthday so fans had an opportunity to celebrate this special occasion with him.
Adrock's Happy Birthday moment
Below you can find other videos from the show.
Entrance and Intro [video]
Intro & triple Trouble [video]
3 MC's & 1 DJ [video]
Sure Shot [video]
Body Movin [video]
Alright Hear This & No Sleep Till Brooklyn [video]
Time To Get Ill [video]
Root Down [video]
Sabotage [video1] // [video2]
video credits: Junker, Chacal, commontrance
Las Vegas Review-Journal
October 25, 2006
Photo by Craig L. Moran
Beasties find time to get ill
by Jason Bracelin
Clad in shiny suits, dancing with fists clenched, elbows high in the air, they looked like a group of insurance salesmen who stumbled into karaoke night at the local discotheque.
And they sounded like a bunch of pencil pushers, too, dropping rhymes with more arcane references than a Dennis Miller monologue.
A half-an-hour into their jam-packed show at The Joint on Monday night, the Beastie Boys had already name checked forgotten '70s soul acts (Rose Royce), Dutch pancakes (pannenkoeken) old-school sitcom janitors (Schneider from "One Day At a Time") and, uh, Kenny Rogers, who's not very obscure, though one could hope.
It's this kitchen-sink approach to hip-hop that's long defined the Beasties, who've made a career out of finding the shared traits in seemingly disparate sounds. The group's skilled at making a two-minute, curled-lip punk tantrum sound right at home next to a cowbell-driven funk work-out or a old fashioned battle rap.
Live, the group is even more scattershot, with its DJ, Mixmaster Mike, keeping the Beasties on their toes by remixing some of their tunes on the spot as the group races through them.
At The Joint, Mixmaster Mike fused the Beasties' "Sure Shot" with the roaring horns from Kool and the Gang's "Hollywood Swinging," resulting in an even more breathless jam, and he frequently pulled the beat back, letting the group rhyme a capella before jumping back into the song.
It all highlighted the Beasties' manic, off-the-cuff appeal, which manifests itself in lots of clipped rhymes, instrumental tangents and seemingly incongruous mish-mashes that somehow work together.
On "Pass the Mic," the Beasties rapped over a sprightly flute loop paired with crunchy metal riffs; before tearing into the fuzzed-out snarl of "Gratitude," MC/bassist MCA riffed on Black Sabbath's "Sweet Leaf" and Deep Purple's "Smoke on the Water."
On this night, the band had no new album or material to promote - the show was a warm-up gig for a short run of South American dates - and so they tinkered with their catalog until it sounded a bit more fresh, sitting on stools at the lip of the stage and letting the crowd carry "Paul Revere" and stripping "Time to Get Ill" down until it was all muscle and sinew.
The Beasties did it all with the ceaseless energy of kids at recess, bounding about the stage, running laps around each other, wearing bright smiles beneath their dark shades.
The crowd responded in kind, as this night was an exercise in dancing in confined spaces - can't remember the last time we saw so many white dudes doing the robot - and practically everyone in the house wore at least some of their neighbor's beer, which was spilled liberally.
It all ended in a fittingly raucous climax, with the Beasties strapping on their instruments for a pair of tunes, culminating with one of the band's biggest - and most unlikely - hits, the yowling "Sabotage," where MC/guitarist Ad Rock leaned into his instrument hard and wailed like he was back at a CBGB's hard-core matinee show.
"The original nasal kid is doing damage," Ad Rock had rhymed earlier on "Root Down," and this was him fulfilling his promise.
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