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"Nbridaz.com [PA] [Digipak]" (03/15/2005) R&B NB Ridaz, Upstairs RecordsPersonnel: Amanda E. Hendrix, Entyce (vocals); Johnny Carrasco (acoustic guitar); MC Magic (talk box). Audio Mixer: MC Magic. Recording information: Nastyboy Studios, Phoenix, AZ. Photographer: Phyllis Lane.

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"Very Best of Jimmy Somerville: Bronski Beat and the Communards *" (10/08/2001) Rock & Pop Somerville, Jimmy, Warner Bros. Records (Record Label)THE VERY BEST OF BRONSKI BEAT AND THE COMMUNARDS brings together 17 of the finest digitally remastered recordings from Jimmy Sommerville's tenure with the two bands as well as his own solo career. Scottish-born singer Jimmy Somerville became a surprise success in the mid-'80s. Instead of being Duran Duran-cute, Jimmy Somerville looked like the average boy next door. Instead of belting out his musical repertoire with a self-conscious urgency to prove himself as a singer (like Rick Astley or George Michael), Somerville possessed a dramatic, piercing falsetto that made the Associates' Billy Mackenzie sound like Tom Waits. But what really made Jimmy Somerville distinctive was his openness about his sexuality. The 1980s was the decade of androgyny, with artists like Annie Lennox, Boy George, and Poison emulating the gender-bending approach of 1970s-era David Bowie. Other performers such as Morrissey and the aforementioned George Michael kept their fans guessing about their sexual orientation. Jimmy Somerville, however, already answered the "is he or isn't he" question before anyone had a chance to ask, and he did so without a trace of mascara. Jimmy Somerville's career began as a member and co-founder of the dance-pop group Bronski Beat, and the here-goes-nothing frankness of the group's debut single, "Smalltown Boy," became an instant sensation, reaching the British Top Ten and becoming an MTV staple in America. The homosexual overtones of Bronski Beat's debut album, The Age of Consent, didn't stop it from becoming a major seller, and the follow-up single, "Why?," also secured a place in the upper reaches of the British pop chart and became an American danceclub favorite. After this initial success, however, Jimmy Somerville departed the group, forming the Communards in 1985 with keyboardist Richard Coles. The Communards' sound was basically a variation of Bronski Beat's disco-influenced dance-pop, and the duo recorded two albums (1986's Communards and 1987's Red) before disbanding, after which Somerville embarked on a sporadic solo career. His lyrical approach detailing the feelings of homosexual alienation are evident in several tracks, particularly the classic "Smalltown Boy" and the Communards' self-explanatory "There's More to Love Than Boy Meets Girl." Somerville can be a remarkably intelligent songwriter, but often his talent is wasted with misguided cover tunes. His faux reggae version of the Bee Gees' "To Love Somebody" is a bore, as is his watered-down Sylvester remake, "You Make Me Feel (Mighty Real)." His rendition of "Comment Te Dire Adieu" is the worst by far, as his campy take on the Serge Gainsbourg classic (previously recorded by Fran?oise Hardy) can provoke uncontrollable snickering. "Don't Leave Me This Way" and the similarly arranged "Never Can Say Goodbye" (both recorded by the Communards) are the best of the covers, updating the exuberance of the Thelma Houston and Gloria Gaynor disco classics while showcasing Somerville's amazing vocal range. Bronski Beat's pulsating version of Donna Summer's "I Feel Love" (featuring Soft Cell vocalist Marc Almond) is also effective. Despite Jimmy Somerville's popularity as a member of two different groups, his lackluster 1989 solo release, Read My Lips, failed to match the success of the Communards or Bronski Beat.[In 1990 London Records released the Singles Collection,, which featured the same seventeen tracks as the Very Best of Jimmy Somerville: Bronski Beat and the Communards, only in a different order.] ~ William Cooper

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"Hipoewermusic.com [PA]" (11/16/2004) R&B Various Artists, Thump Records

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"Best of Bassmekanik.com: The Ultimate Edition" (08/09/2005) R&B Various Artists, Pandisc Records

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"Mac Dre Presents the Cutthoat Committee: Money Iz Motive" (06/21/2005) R&B Dubee AKA Sugawolf, Gateway Records

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"Hi Power Music.Com II [PA]" (11/15/2005) R&B Various Artists, Thump Records

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"Zigaboo.Com" (09/23/2002) R&B Zigaboo Modeliste, JZM 2004The T-shirts sold at Zigaboo Modeliste gigs read "King of the Funky Drummers" and there are many who would call that truth in advertising. Disillusioned by record industry machinations, Modeliste was inactive for most of the 1980s and '90s before releasing this self-produced comeback CD grounded in mainstream '70s dancefloor funk grooves more than New Orleans-specific rhythms. With its stabbing clavinet, thumb pop bass, and Spartan groove, "Shake What You Got" is certainly a wannabe '70s dance invocation, while "Sing Me a Song" has kind of a late '70s Gap Band feel with bass keyboards driving a chunky groove. "Standing in Your Stuff" again leads with the thumb pop and the solid upbeat groove of "Gonna Have a Party" is more Tower of Power with horns and vocal chants. The lyrics don't aspire to much beyond catch phrases for the dance floor multitudes and even the one message song, "Black on Black Crime," sends crossed signals with a bright backing track built on James Brown scratch guitar and Allen Toussaint-like horns. Modeliste, himself, is content to lay down and drive the funk foundation; the one time he really steps out is on "Zig Me," a showcase with his old partner George Porter on bass. Modeliste doesn't lean on the Meters' legacy as much as his old bandmates; the closest he gets to the '60s sound is "K-9" and that has horns and a sax solo. When he does, it's from different angles: "Funky Nasty Cigarettes" and "My O' My What a Wedding Day" are both very '50s New Orleans R&B (think "They All Ask'd for You") and the mid-'70s update "Tea Pot" doesn't sound that retro with its chunky, funky groove. But the closing "Nanny Goat Cheese" suggests that Modeliste really is trying to pick up where the New Directions-era Meters take on '70s dancefloor funk left off. There's still a ways to go; the songs are a bit lacking, but the playing is committed and energetic. These grooves are solid, if not outstanding, so Modeliste appears to have chosen the right moment to come back with Zigaboo.com. ~ Don Snowden

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"Big Famous.com [PA]" (09/21/2004) R&B Big Famous, Goodfella RecordsPersonnel: Big Famous; Harm, B-Legit, The Game, Ms. Vita.

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"Friscostreetshow.com Presents: This Is How We Eat [PA]" (08/26/2003) R&B Various Artists, Urban LifePerformers include: B-Legit, AP.9, Rich The Factor, Rappin 4-Tay, Black C, San Quinn, Jacka, JT The Bigga Figga, Luni Coleone, Guce, Mac Dre, Messy Marv, Cellski, Young Noble, Daz Dillinger, Killa Tay, Husalah, Keak Da Sneak. Unknown Contributor Roles: Daz Dillinger; Guce; AP.9; Killa Tay; Luni Coleone; Mac Dre; Messy Marv; San Quinn; B-Legit; The Jacka.

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"Dabomb.Com" (04/03/2001) R&B Warhedz, Minds Combined

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"Presents...310westent.com [PA]" (09/27/2005) R&B Spanky Loco, EMI Music DistributionThis is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.

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"Kapwatch.com" (06/15/2005) R&B Kaptain, IMGE Records

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"Blaze314.com" (05/17/2005) R&B Blaze, BrownWave Entertainment Group

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"Gr8Dane.com (The Polo Classic)" (02/01/2005) R&B Gr8 Dane, HighBred.tv

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"Presents: Shakkamusic.com" (03/08/2005) R&B Shakka, SHAKKA

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"Dasouth.com Presents: Slow Lane Chronicles" (2005) R&B Various Artists, Much Luvv RecordsThis is an example of the Southern Rap "screwed" mix style. DJ: Paul Wall .

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"Tp-2.Com" (07/04/2005) R&B Kelly, R., BMG (distributor)Personnel includes: R. Kelly (vocals); Boo, Gotti (rap vocals); Donnie Lyle (guitar, bass); Greg Landfair, Kendall Nesbitt (keyboards); Abel Garibaldi, Ian Mereness, Andy Gallas (programming). Engineers include: Abel Garibaldi, Jeff Lane, James Lee. Principally recorded at Rock Land Studios, Chicago, Illinois. "I Wish" was nominated for the 2001 Grammy Award for Best Male R&B Vocal Performance. CD contains 1 bonus track. R. Kelly tames his ambitions a bit on TP-2.Com, assembling a simple sequel to his classic 12 Play album from 1993 rather than another epic venture like his double-disc, all-bases-covered R. album from 1998. The straightforwardness is somewhat of a welcome endeavor. As breathtaking as had been R. -- an album that straddled the huge gap between the sort of radio pop associated with Celine Dion as well as the street rap of Jay-Z and Nas -- it also seemed too overblown at times, as if Kelly had something to prove during an era of double-disc epic rap albums. So to see him return to the simple singles approach of 12 Play is refreshing, particularly since he has plenty of singles to work with here, just as he had with TP-1. Kelly furthermore unleashes his singles -- "I Wish," a mass-appeal vocal pop number with an urban edge; "Fiesta," a Latin Invasion cash-in that aims for the dancefloor; and "Feelin' on Yo Booty," a whispery come-on for all the weak-kneed ladies and some of the mindful ones too -- with tailor-made remixes to ensure himself broad airplay. Only one of those remixes is here though, the "I Wish" one, so take heed. There's no Jay-Z-featuring remix of "Fiesta" and no up-tempo one of "Feelin' on Yo Booty," yet TP-2.Com is a strong album nonetheless, three steps ahead of practically every other non-rap urban album from 2000. It does seem like Kelly is coasting a bit here at times, though, particularly when you hold TP-2.Com up against its massive predecessor, but even when R's lounging, he's generally ahead of the pack. ~ Jason Birchmeier "I Wish" was nominated for the 2001 Grammy Award for Best Male R&B Vocal Performance. Few people have ever bought an R. Kelly record for its sophisticated lyrical innuendo, and on TP-2.COM Kelly offers more of the unabashedly carnal mack-daddy R&B that made him a pinup in the '90s. It's clear from the outset that Kelly means business, as the opening tune finds him declaring that he's "horny as hell" and "it's about to get kinky." Over the sensual slow jam of "Strip for You," he informs his lady that he's about to put himself at her service. On the delicate, lushly orchestrated "The Greatest Sex," he similarly abjures metaphor with a straightforwardness that somehow turns quirky a la Prince. However, there's enough variety in the instrumental twists and turns of the album to keep things from sounding too monochromatic. "Like a Real Freak" is a perfect example, as Kelly's no-nonsense sex talk is framed by delicate flamenco guitar work.

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Deals on Rap music com in R&B, Hip Hop & Rap Music. Visit BizRate to find the best deals on R&B, Hip Hop & Rap Music. See which Music stores have the Rap music com that you want. Read reviews on Music merchants and buy with confidence. Find savings on NB Ridaz.com [PA] [Digipak] * - Very Best Of: Bronski Beat And The Communards.