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MariTeaJuana LLC

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Bruno Lavrentiev
Bruno Lavrentiev

Pretty Ricky Late Night Special Explicit Album Version.rar Hit 2021



The Best Punk Album in the World . . . Ever! [Virgin, 1995]I can just see the ad scrolling down the late-night screen: "Anarchy in the U.K."!/"2-4-6-8 Motorway"!/"Alternative Ulster"!/"Teenage Kicks"!/"Psycho Killer"!/"Blank Generation"!/"Sex & Drugs & Rock & Roll"!/"Milk and Alcohol"! Images of leather and shirtless Iggy and pogoing and skinny-tied Joe and safety pins and Siouxsie with her tits jutting out (hey, get rid of that swastika fer Chrissake). But even with the Clash MIA, this stupid two-CD hodgepodge is how punk or new wave or whatever the fuck it was hit U.K. rock and rollers--with strong, fast songs by white people with a tendency toward attention deficit disorder. It ignores L.A., which London didn't know existed ("I Hate the Rich"!), and preserves some tracks you can't stand (Tubes, Adam and the Ants) as well as unearthing a few you missed (Skids, Jilted John). Collectors of a certain age don't need it, especially at import prices, and volume two is less surefire. But the title tells it like it is. A




Pretty Ricky Late Night Special Explicit Album Version.rar Hit



MTV: The First 1000 Years: R&B [Rhino, 1999]Love the title, which mocks both millennium hype and music television while implicitly acknowledging that this is but the latest slice of what the cognizant would call r&b--the part hip hop thinks is for bitchez, the sexy part that finally cracked MTV halfway into the network's going-on-two-decade life. Two of 16 tracks predate 1990, including Tina Turner's semiringer. Two fall flat--wrong Brian McKnight, any Deborah Cox. R&b being a singles music in every phase of its evolution, the few from albums worth owning all sound better here with the sole exception of P.M. Dawn's semiringer. Soft-core come-ons from Johnny Gill, Montell Jordan, Jodeci, and R. Kelly sound a lot better--they sound like a subculture seeking xscape rather than four damn liars. Even when the words dissemble, the music does not. This is how we do it--or try to do it, anyway. A


Ragga Essentials: In a Dancehall Style [Hip-O, 2000]A little obvious up top-even rank outsiders know and may own "Hot Steppa," "Telephone Love," and "Ring the Alarm" by now. Not as striking as the VP competition as it moves into the late '90s, either. Nevertheless, this selection has the virtue of isolating tracks that tricked bizzers into envisioning crossover for the likes of Chaka Demus & Pliers, Apache Indian, Junior Reid, and Mykal Rose. As someone who has test-driven several albums by all of the above, I can attest that their direct hits were rare. But because these artists mean to break out of their genre, not to mention their culture, their punch is pretty powerful when it doesn't ask too much of their reach. A-


The Rough Guide to the Music of Morocco [World Music Network, 2012]The 2012 release, not to be confused with 2004's The Rough Guide to the Music of Morocco, especially if you know the new one is 1266CD and the old one is 1128CD. Without a single artist repetition, they cover pretty much the same range. On both you get cafe trad and hip-hop derivatives and devotional gravity; on both you get a Jewish expatriate, in 2004 a refugee Israeli cantor born 1954, in 2012 a Canadian emigre practitioner of his own impure Andalusian classicism born 1922. Yet eight years later the overall mood seems more aggressive. The added hip-hop is a major musical improvement because Arabic gutturals rock when rapped, even over beats played on traditional instruments, with the glitched-up syllabics of Amira Saqati's "El Aloua" providing a hint of pomo lurch. The bonus disc is by the "chaabi-groove" generalists Mazagan, who encompass most of these tendencies with pleasant-to-pleasing success. A-


The Rough Guide to the Music of Ethiopia [World Music Network, 2012]The latest of the label's unlabeled updates/Second Editions/Volume 2s of national overviews they did well by the first time (catalogue number: 1286CD) favors 21st-century material whether it's quinquagenarian Dutch punks inviting a septuagenarian saxophonist up from Addis or Tirudel Zenebe's abrasive Ethiopian disco. On some of the 13 tracks, the beats and tonalities first documented by the completist overkill of Buda Musique's Selassie-era ?thiopiques collections are infused with a funkier feel, but the old-school stuff also sounds pretty fresh--my favorite is a contemplative workout on a buzzing lyre called the begena by Zerfu Demissie, one of many artists here better served as a taste on a sampler than an album-length meal. Which in turn is provided by Anglo-Ethiopian Invisible System's bonus disc, a best-of that often surpasses their track on the overview. Start with "Gondar Sub," or "Dark Entries." A-


The Rough Guide to Acoustic Africa [World Music Network, 2013]At this point in history, acoustic is the opposite of authentic in Africa--at least the kind of acoustic that gets near a recording studio. The 16 artists scattered across this collection include tourist bands, factitious folk ensembles, moonlighting dance musicians looking for a payday, academics, and loads of expats. They tend genteel and their albums can be snoozefests. But you can bet every one has the sense to polish up a few tuneful show-stoppers, and assume that Rough-Guide-in-Chief Phil Stanton has found them. Normally I get annoyed when Afrocomps skip from Niger to Madagascar 'cause it's all one big happy continent. But the aesthetic here is so pretty and soft-spoken it rarely matters. Assured, calculated, innocent, and sometimes sublime. A-


The Rough Guide to African Disco [World Music Network, 2013]Africans are obviously funky in their own way. But they did without trap drums and electric bass for so long that their attempts to imitate James Brown and his bootyspawn impressed only Afros coveting modernity and, a generation later, Euros too young to have experienced funk the genre in its time and place. As this belated showcase establishes, disco was much easier to copy, and while a few selections force it--the repurposed Mahlathini, for instance--most strike the right balance between cheap commercialism and heartfelt ambition. I'm especially grateful to find a use for the great lost Afro-rock venture Osibisa and yet another example of African trap master Tony Allen's versatility. And then--and then!--there's the bonus disc: a straight reissue of the 34-minute 1988 Soul on Fire, in which Camerounian guitarist Vincent Nguini covers seven soul classics (including "In the Midnight Hour" twice) as Syran M'Benza inundates faux disco arrangements in virtuoso soukous billows. It's very makeshift--tracks don't even fade, just stop. But Nguini sure does make soul journeyman Tommy Lepson sound like he coulda been a contender. A-


In his early career, Yankovic hosted the specials Al TV on MTV and Al Music on MuchMusic many times, generally coinciding with the release of each new album. These shows typically included some of Yankovic's videos to date and previews of songs on the upcoming A recurring segment of Al TV involves Yankovic manipulating interviews for comic effect. He inserts himself into a previously conducted interview with a musician, and then manipulates his questions, resulting in bizarre and comic responses from the celebrity.


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