The weekender thing seems like a unique British phenomenon to me. Here you have the chance to see and hear some of the best soul and house acts and DJs. The next big weekender is the Southport Weekender from November 4th-6th, 2005. The line-up will include a live performances from Tortured Soul on Friday, Peven Everett on Sunday, Dwele on Sunday afternoon and live PAs from Stephanie Cooke and Marc Evans on Saturday.
Plus you get a DJ line-up that reads like a who’s who: Tony Humphries, Joe Claussell, Timmi Regisford, Kerri Chandler, Karizma, Hippie Torales, Domu, Bob Jones and Snowboy to name just a few. For more infos visit southportweekender.co.uk and begin feeling sorry if you’re not living in the UK like me.

 

File under also released recently and someone wanted to do me a favour and sent me this Slum Village 12″ single from the just released album Slum Village…the only problem I’m just not the right one to judge a hip hop record since I’ve stopped listening to hip hop in the early 90s (I still have some records by Eric B & Rakim, Black Radical or Lakim Shabazz though) but now I really have no connection to hip hop music anymore. So if you’re interested in Slum Village just follow the links mentioned below :-)

Tracklisting of Prequel To A Classic: 1. My Life (clean)/ 2. My Life (dirty)/ 3. Ghetto Movie (clean)/ 4. EZ Up (long version)/ 5. EZ Up (clean) 6. EZ Up (dirty)/ 7. EZ Up (instrumental)/ 8. EZ Up (Accapella) | released 2005 by Barak Records

For more infos visit slumvillage.com and barakrecords.com.

[If you want to discuss Slum Village’s music, you can leave your comment below and also use the forum]

Dwele impressed me a few years ago with his debut album Subject. Although it hasn’t been the biggest commercial success and surely impressed more critics than the record buying public, Virgin Records hasn’t dropped Dwele and they’ve just released his new single I Think I Love You. Written and produced by Mike City this song is a pleasant neo soul inspired midtempo groove. Ok, it’s not the re-invention of soul music but it’s a solid appetizer for Dwele’s new album Some Kinda… which will be released October 4th, 2005.

Tracklisting of I Think I Love U: 1. Main/ 2. Instrumental | released 2005 by Virgin Records

For more infos visit dwele.net.

[If you want to discuss Dwele’s music, you can leave your comment below and also use the forum]

Everybody who uses the internet for more than just sending mails, chatting or reading news will know that podcasting is hyped as the next big thing. Actually I’m not really convinced since most podcasts offer a rather bad audio quality and instead of mp3 ogg (vorbis) would be the better audio codec (and yes there are DAPs who play ogg or even flac). Anyway, the mother of all jazz websites allaboutjazz.com now offers podcasts too and they start with a podcast about Sonny Rollins.

Bah Samba’s recent double album 4 is chock-a-block of good songs and potential single releases. Julian Bendall, Alice Russell and the rest of Bah Samba already put their magic touch to Teena Marie’s Portuguese Love, which was the first single lifted from the album. Let The Drums Speak, the third single (btw Calma with Isabel Fructuoso was also relased as a 12″ single) is another cover but yet it’s not your average cover version since Bah Samba actually hooked up with Bill Curtis and Johnny Flippen from The Fatback Band, who originally recorded this song.
“I set up an old Ludwig drum kit for Bill, they arrived, we manged to get Bill up the ladder, bearing in mind he’s in his 80’s! and he jammed this wicked Fatback groove for about 2 hours, we jammed downstairs with Johnny on Bass, Mark on Guitar and me on Rhodes, after that we chose the jam we liked and Bill and Johnny did a rap,” says Julian Bendall. “Later Dom (trumpet) turned up and played a similar line to ‘Let the drums Speak’ it was never our intention to do another cover on the album, it was just I had been listening to ‘Yum Yum’ all that week and asked Dom to come up with something on that vibe, the track was originally entitled ‘In a new element’ but with the horn line being too similar we agreed with Fatback’s publisher to go with ‘Let the drums speak’.
Phil Asher, who’ve worked with Bah Samba since their first release on Estereo (Reach Inside), gets involved on Let The Drums Speak as well. His Restless Soul Mix is a driving disco house version that relies on Alice Russell’s harmonies that will work well on the dancefloor. Unfortunately Phil’s version omits the ad-libs of the Fatback Band. Luckily Harvey Lindo includes these ad-libs on his 70s inspired soulful midtempo remix. And if you’ve missed the album 4 (shame on you, you’ve missed one of the albums of the year!) there’s also the great disco funk of the album version.

Tracklisting of Let The Drums Speak: 1. Phil Asher Restless Soul Mix/ 2. Harvey Lindo Edit/ 3. Album Version | released November 14th, 2005 BKO Productions

For more infos visit bahsamba.co.uk.

[If you want to discuss Bah Samba’s music, you can leave your comment below and also use the forum]

The recently reviewed Move Into Soul EP made my mouth water for the upcoming album Move Into Soul. According to Oyster Music Shaun Escoffery’s new album is scheduled for a release sometime in January 2006.

I’ve mentioned in February, that Jhelisa Anderson was in New Orleans at that time to record a new album. We all know the disaster that happened to New Orleans recently and the effects of Katrina and the political failures that have been documented elsewhere on the web. Well, to cut a long story short, Jhelisa is alive and managed to escape in time. Below you find Jhelisa’s story of her escape and thoughts about what’s wrong in the USA. The Discovery Of Amazing she’s talking about in the last paragraph is the name of her new album that’s scheduled for a release in spring 2006 on Infracom Records.

August 27, 2005
New Orleans, Saturday @ 3pm I was on my way to the recording studio, I get a call from the owner of the studio saying that we have to cancel the session because there is a hurricane warning and he has to first secure his house and then secure the studio. I thought to my self what’s the big deal we had a hurricane warning 6 weeks ago, and another hurricane warning six weeks before that, and they both turned out to be mild. But after I tuned into mainstream media I realized the city officials had become very insistent, and strongly urging that everyone evacuate as soon as possible, it was then that I realized that this one could be very dangerous. I’d better take it seriously.

I had 24 hours to consider what other THINGS are important to me, other than my life, and my loved ones. I grabbed the (necessary) THINGS from my residence, and a few sentimental THINGS, and left the rest behind. THINGS become so abstract and empty in that situation.

Sunday at 4pm, we packed the car with just a couple of bags, thinking that we will go to visit my sick aunt in Texas and return to New Orleans in a few days when the storm passes. I really did not believe that this would be the big one, but I wasn’t prepared to take the chance that could be fatal. Obviously it is not everyday, that you become a part of a mass exodus of people, fleeing from the potential life threatening dangers of a violent force of nature like Hurricane Katrina. From the moment I realized we were in real danger, all of my actions and feelings felt suspended like in a dream, suspended until the reality crashed into a nightmare. A nervous caravan of cars, driving ten miles an hour for hundreds of miles was the result of a million people trying to leave the city at the same time. In all the confusion, instead of going to Texas my original destination, we somehow got redirected towards the city of Atlanta (which is luckily where my Mom lives) because of the contraflow emergency traffic system we all had to follow.

There were petrol gas shortages for hundreds of miles through Mississippi where I was born and parts of Alabama. I finally found some petrol gas about eight hours later, I was very lucky that I started with a full tank. We were still in the path of Katrina, and if we had run out of gas, we would have been stuck on the side of the road, like many other people were, stranded. The thought of running out of gas in the path of the hurricane created a mental urgency that tested my balance to the extreme, in other words I was trying my best not to freak out.

It’s Monday 3am, we’re exhausted from the stress and driving, and there were no hotel rooms vacant for hundreds of miles, they were all booked up, and like many other people, we had to try to catch a bit of sleep for a couple of hours in the car after about 14 hours of driving under stress and back to back traffic, at 6am we got back on the road still in Mississippi, and Katrina was just about to hit, only a few hours later. We made it out just in time and with great relief I finally arrived at my destination in Atlanta safely.

I feel very thankful that I had a car to get into and escape, and enough money to get a hotel room if I needed to, and loved ones and relatives to go to for refuge, unlike a lot of other people who did not have those options. My prayers are with the survivors, and the people who lost their lives in this disaster.

At the moment I do not know the condition of my house, there is no electricity or running water in the whole city, and very limited to no phone access. City officials are asking people who did evacuate not to come back to New Orleans until notified, some of the roads and highways are flooded or damaged, it could be weeks or even months before they provide the city with the basic accommodations needed, and perhaps years before “The Crescent City” will operate as a city again. I will miss it very much. I am in a quiet but relentless shock.

One week later this natural disaster morphs into an organizational disaster and a national disgrace. It has now been revealed that the mayor did not properly evacuate the city, leaving the most vulnerable such as nursing homes, the mentally and physically disabled, as well as people without cars or financial means any way to evacuate they city. Local officials only provided the citizens of New Orleans who needed assistance evacuating free transportation to the Superdome. With minimal security forces at the Superdome, the city was not equipped to manage and protect thousands of people and provide them with emergency food and water in case the results of the hurricane immobilized the city indefinitely. Unfortunately this was a grave mistake. In addition, apparently the governor did not request enough national guard assistance from the feds in time enough for prompt and effective rescue missions to take place on Tuesday, which resulted in delays that caused more suffering and deaths, and general anarchy in the city from criminal elements and looting from desperate people trying to survive. Then last but not least, the federal government took too long to respond when the governor’s request finally did come in. At the moment that is the big question, WHY?

This current administration has been good at selective delays when it comes to the Kyoto treaty, the Palestine/Israel conflict, and the Rwanda Massacre to name just a few, as well as lack of competence and security that allowed the 9-11 attack to happen the way it did. This and many other international conflicts could have been avoided. I also believe this current administration has been insensitive to a fair election process. I think all of these factors and more have contributed to the slow result of the Katrina relief effort and the preventative measures that should have been and could have been taken to protect our fellow citizens from bureaucratic breakdowns. Politicians become complacent and careless when their actions are not monitored very closely. In my opinion this administration has blood on their hands.

I am angry, disappointed and deeply saddened by the practices of our political systems that are supposed to represent the people’s best interest. And baffled by the communities that allow it, by not becoming more involved and firstly holding ourselves accountable for the state of the nation, as well as holding our elected officials accountable for our well being, as well as the well being of our environment.

I judge my country and other countries by the way they treat their most vulnerable citizens, the way they treat the environment. As long as there are people dying from neglect by their governments, and the environment continues to deteriorate from the abuse and indifference, all that we have achieved as a society means very little. Throughout my elementary school years was I taught to pledge allegiance to the flag of the United States of America, every single day as a part of a ritualistic class room mantra, although ironically, civil rights abuses were allowed by law and was being committed by the government and perpetuated throughout the society. But somehow, I still took for granted that the government was on my side when I was a little girl. When I grew up I came to know how wrong my brainwashed perception was. That was a very sad day. Popular thinking says I am supposed to be American because I was born there, but what has this country ever did for me or my family, my race or my gender, that wasn’t fought for after much bloodshed. What have the corporations and the political structures that run this country ever did for me? I do not feel patriotic, why should I? We, This constitution has not lived up to the promise of liberty and justice for all, only for some. What does being American really mean?

I did not know of the history of atrocities that previous administrations had orchestrated, I did not really grasp what slavery was about until I viewed it from a world perspective, I did not see the stark contrast of inequities, because my environment was a part of a delusional perception exacerbated by the propaganda of media. I had to first admit that almost all of our institutions of education, religion, healthcare, government and even culture was just one perspective, and not necessarily the best perspective. We are not the most superior as I was brainwashed to believe. I began the process of deprogramming myself. The REAL AMERICA, layer by layer the truth becomes more and more obvious and unavoidable, I am a citizen of the planet earth, humanity is my country. I now say we need to look to a greater mind than yours George “Bully” Bush, you and your administration cannot do it alone, you must be inclusive and learn from other systems that have less poverty, and a good healthcare, education system and workforce.

There are many good people often unrecognized who are in true service to the people in need, these people are the hope of America, and my respect and thanks for this great example of the human spirit. In spite of our arrested development there are a lot of beautiful things on this planet to be inspired by. I went to New Orleans over one year ago, searching for inspiration, and I found one the of the richest music cultures in the world, my experiences there have now been suspended in memories and hope that one day, my Discovery of Amazing in America’s most unique city will live again on the streets of the “Big Easy”.

It’s always a pleasure to talk to Juliet Kelly, even if it’s via email only like for the jazz-not-jazz interview about her new and highly impressive album Delicious Chemistry. Read on to find out more about her change in sound, how she met Courtney Pine and what Nina Simone means to her.

Q: The sound is the most obvious difference between your debut and Delicious Chemistry. Why did you move away from the more traditional jazz sound to an earthier and sometimes folksy sound?

Juliet Kelly: I didn’t consciously go for a change in sound. I think any change comes from the fact that I’ve been listening to - and enjoying - so many different types of music lately. Also some of the songs from Aphrodite’s Child (my debut album) were written quite soon after leaving the jazz course I was on where I had been completely immersed in jazz. Before the course and since I’ve listened to many different kinds of artists including Stevie Wonder, Anita Baker, Sting, Soul II Soul, Massive Attack, Jamiroquai and more recently, Damien Rice, Coldplay, KT Tunstall, Madeleine Peyroux, Black Eyed Peas, Justin Timberlake, Outkast, Pink, Kelis and Maroon 5.

Q: Where do you see your progress and development as singer and songwriter on Delicious Chemistry compared to Aphrodite’s Child?

Juliet Kelly: I hope - and believe - that I’m improving as a singer and songwriter and moving closer to a place that’s true to my emotions and experiences whilst carving out a style that is unique to me and encompasses all of my many influences. Several people that have listened to my new album have mentioned that there is a real progress in the songwriting as well as the peformance - all I want is to be able to keep getting better and better!

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Now here’s something to look forward to…coming soon a jazz-not-jazz radio show on radiopellenera…I’m sure you’ve all missed the opportunity to listen to some of the tunes reviewed here recently because rautemusik.fm, who hosts the radio42.com audio stream, is down for some weeks now. More infos coming soon…so stay tuned!

Hopefully you remember Monique Debose and her debut album Choose The Experience Vol. I which I’ve reviewed in May. Well, our Monique will be performing in Amsterdam, the Netherlands, soon. She will appear at Paradiso and the Sugar Factory on Friday, September 16th and Saturday, September 17th respectively. For more infos visit paradiso.nl, sugarfactory.nl and moniquedebose.com.

LAL impressed me recently with their unique soulful and melancholic sound on their album Warm Belly High Power. If you like your music more leftfield and with a message than you really should invest some money in this album. In the meantime learn more about LAL and their music in the jazz-not-jazz interview with Nick Murray aka Murr.

Q: Your album Warm Belly High Power is available in your homecountry Canada for quite some time now. How content are you with the reactions so far?

Nick Murray: We were able to tour Canada with this record also the CBC (Canadian National Government Owned Radio) has showed us a lot of love. We are content, but we recognize the need for growth.

Q: Warm Belly High Power is your second album. Where’s the difference compared to your debut Corners and where do you see your development as artists?

Nick Murray: Corners, our first record, was all done on a Roland 880 (digital 8 track) with the new record we were able to incorporate more live players. Our new album that we are working on right now will be a combination of the minimal Hip Hop feel and the worldly elements from Warm Belly High Power.

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If you like the big band jazz sound of JC Hopkins Biggish Band and the George Gee Big Band, then you should check out the Jakob Norgren Big Band Splash from Sweden. They have just released their debut album Wide Meadow Soul which features original compositions along with covers of James Brown’s It’s A Man’s World or Etta James’ Tell Mama. For more info visit widemeadowmusic.com

Exactely one month ago I told you about Nicole and Mark Hamilton and their h₂O-Productions. Their record While U Wait introduced us to an impressive number of new and fresh artists, some of them I hopefully will feature in the future with their own albums.
But back to Nicole and Mark who eventually found the time to answer the notorious jazz-not-jazz interview. So read on to share their thoughts about their own music, their influences, the music scene today in general and their musical doughnut shop.

Q: Please tell me how you’ve met each other. Did each of you make music before you teamed up?

Nicole: Actually, we were both making music prior to meeting each other. Mark was writing songs in a team with his brothers and I was just getting into producing. We met in Washington, D.C. (where Mark is originally from) through a friend of Mark’s who at the time was my boss. The mutual friend is a well known hip/hop and R&B producer named Chucky Thompson.
Hmmmm, how did we meet? Well, I studied Music Technology at New York University and worked weekends at Daddy’s House, which is a recording studio owned by Sean (Diddy) Combs. At the time, there was a lot of GREAT music coming out of the Bad Boy camp: Notorius B.I.G., Craig Mack, Faith Evans, 112, etc. Those were projects that changed the face of R&B as we know it…kinda like the introduction of Hip Hop/R&B and I was priveledged enough to be around while all of that great music was being made. ANYWAY, Chucky had just secured a sweet production deal and was about to start his own thing down in D.C. I was young, inexperienced as a producer and COMPLETELY in awe of this man’s talent, so when he and his wife at the time asked me to move down to D.C. to help them with their recording studio, I jumped at the chance! So, a few weeks after graduation, I packed up my stuff and moved into their basement in Maryland (until I could find a place of my own) and began working for what was then, Chucklife, Ent. Well, Mark and his brothers would come by Chucky’s house all the time to hang out and be in the studio with him…just to be around the music. They’d bring over songs they were working on and I’d play my tracks for them. At the time, Mark didn’t produce at all and I didn’t write lyrics. As time went on, Mark and I decided that music was something we really wanted to pursue and we buckled down and got serious. We purchased some ’starter’ equipment (analog 4 track recorder and cheap microphone) and got to work. It’s funny because there was a group of us that all kinda came up together…Mark and I, an artist by the name of Raheem DeVaughn who has an album called ‘The Love Experience’ out on Jive Records and a producer by the name of Rich Harrison (an old high school friend of Mark’s) who produced ‘Crazy in Love’ for Beyonce and most of Amerie’s first two albums. We ALL hung out at the studio, soaking up Chucky’s musical vibes and just learning about how things work in this industry. Anyway, that’s how Mark and I met. What started out as a friendship, grew into a musical/business partnership and ended in marriage…and the rest, as they say, is HISTORY!

Q: Which musicians are your influences?

Nicole/Mark: We would just like to make the distinction between musicians we LOVE and musicians that influence us…we listen to and appreciate a LOT of different music, but as far as INFLUENCE is concerned, well…to us, that means someone who has changed or impacted the way we work…the way we approach what we do…our process of writing and producing…SO, in light of that, we’d have to say some of our influences are:
Stevie Wonder, Donny Hathaway, Jimmy Jam and Terry Lewis, Babyface, Miles Davis, Gamble and Huff, Eric Roberson, Chucky Thompson, Joni Mitchell, Earl Klugh, Michael Jackson, Quincy Jones, and the list goes on and on…

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Courtesy of Jon Freer from mosoul.co.uk here are nine reviews (sorry no cover shots or tracklistings this time):

Panoptikum feat. Blue Eyez – Black Land Of The Nile (Déjà vu)

Dripping with nu-jazzy righteousness comes this inspirational cover of a little known saintly jazz ode to the Pharaoh’s homeland, originally composed by Masequa and Jami Ayinde. Panoptikum, better known as two thirds of the Les Gammes outfit, have produced three versions of this timeless jazz number. The A side contains an epic two part version, where tender keys and relaxed percussion give way to striding beats and dancing keys. ‘Black Nile’ is a gorgeous key led broken beat instrumental, whilst the final version sees the majestic keys and walking percussion meet behind Blue’s admiring vocals.

Sun Ra Tribute – Stardust From Tomorrow (Déjà Vu)

Jazz Deity Sun Ra’s “Stardust From Tomorrow” gets shining 21st century makeovers from those with a nu-er take on proceedings. Yannah’s mix sees neat guitars, smiling brass and steady broken percussion back vocals taking a positive outlook on life. Italian Jazz leader Gerardo Frisina supplies a couple of revisions, where tear-soaked keys and beautiful brass combine wonderfully.

Gum Drop – Sinking Vibes (Altered Vibes)

Lo-fi nu hop soul is the best way to label this wonderful debut from Gum Drop, a project headed by vocalist Randolph Matthews. “Sinking Feeling” awaits destiny, as lopsided slow stepping beats, hopeful keys and a sprawling bass back Randolph’s soft vocals. “(Keeps On) Burning” smokes nicely, courtesy of a grinning bass, madcap keys and praising vocals. There are instrumental versions of both tracks, presumably for those unimpressed by Matthews’ sweet delivery.

Jamie Finlay – Little Trumpet (Wah Wah 45s)

Mr. Finlay shows he can kick it with the established forward-thinking jazz fraternity on “Little Trumpet”, which is his first offering for the hot Wah Wah 45s imprint. Logically, a beautiful trumpeting chorus is the linchpin of the track, with fattened beats and pressurizing strings also playing an important role. A name to watch…

Lost Idol – Chip Funk (Dr. Rubberfunk RMX) (Cookshop)

Cookshop’s musical menu contains many bland dishes and only a few to really tantalise the musical tastebuds. Thankfully, kitchen wiz Dr. Rubberfunk has managed to rescue the bass stumbling “Chip Funk”, by whacking it back in the oven and turning up the heat by a gas mark or two. Lazing drum action, a light-hearted guitarred bass and off-colour keys link up on the Dr’s yummy reheating.

Mark E – Scared/One Way - Your Way (Jiscomusic)

The Womacks and Al Hudson get retreated and extended in an epic fashion on the third instalment of Jiscomusic’s puzzling re-edit series. “Scared” places Womack & Womack’s loved up vocals over staring keys, a purring bass and sparkling guitars. “One Way – Your Way” sees wavy guitars, beaming keys and well-behaved guitars team up alongside mesmerised vocals.

Audiomontage – Naughty Neighbour (Freerange)

This Audiomontage monikered offering from Jamie ‘Jimpster’ Odell should keep Freerange House fans happy. “Naughty Neighbour” is a groovacious little number, with fx laden spacey synths, a bubbling bass and warm keys. “Vision 2 Vision” is an impolitely beaten and stretched out synth driven number, as an elegant flutist adds a level of sophistication to the EP on “Junglism”.

Def1 – She Was (Lossol Entertainment)

Darius Ellington Forde opens his account under the name Def1, with a tribute
to a former squeeze. Golden-tinted brass, opulent strings and stolen soul
vocals back Def1’s narrative about the older lady he adored.

V/A – Sabai Sunsets (Altura)

Sabai is a refreshing wine and hibiscus based alcoholic beverage, which is gentle on the tastebuds and rather calming. “Sabai Sunsets” is a sumptuous blend of horizontal tracks selected by globally aware chilling bigwig Pathaan. Ranging from a barely mobile opener to a patient D&B closing track, this five-track taster acts as a showcase for Pathaan’s compilation series on Altura as well a PR tool for Sabai. Staying the exciting side of relaxed music, highlights come in the form of Crazy Penis’ demonstrative strings driven “You’ve Lost That Loving Feeling” and Hawke’s carefully keyed “Mass”.

I first discovered the music of Rosina Kazi and Nick Murray aka LAL via their 12″ singles Brown Eyes Warrior and Dancing The Same in May 2005. Finally the album Warm Belly High Power of this Canadian duo is available in Europe. Actually LAL already entered the scene in 1998 when their song Last Stop was included on the Metropass EP on the Public Transit label. By 2000, LAL had released their first full-length CD Corners in Canada. Their music has been remixed so far by the likes of Nick Holder, Moonstarr, Abacus, and Nu Era.
LAL’s music draws its inspiration from carefully watching contrasts, balancing political and cultural contradictions. Both musicians are children of emigrants. Rosina’s parents hail from Bangladesh and Nick’s from Barbados — both families settled near Brampton, Ontario. In their childhood both listened to their parent’s traditional music and raised themselves on local urban sounds. They both met as employees at the same record shop and finally moved in with each other and the rest is - as they say - history.
The original versions of the above mentioned singles are a good example of the sound present on this album. It’s a soulful and melancholic melange of dub, lounge, trip hop and electro, somewhere between early Massive Attack, Morcheeba, Tricky and 3 Generations Walking.
Warm Belly High Power is divided in four parts following the seasons starting with the fall and ending with the summer. And it’s one of these albums that works best as a whole with its releaxed and calm grooves and beats that provides the perfect chill out background and yet offer food for thought if you listen carefully to Rosina’s political lyrics.
Nevertheless let me pick a few songs besides the already praised Brown Eyed Warrior and Dancing The Same. Orange is a great starter for the album with its warm and slow beats softly caressing Rosina’s ethereal and melancholic voice.
Two of the songs paying tribute to Rosina’s Asian roots are Pale and Creep with their sitars and tablas and Indian sound at the beginning. For maximum Mid-Eastern sounds listen to the last part of the Bonus B.E.W., Bloodlines.
To sum it up Warm Belly High Power is a very good and interesting album with its blend of different music styles and its subtle melancholy.

Tracklisting of Warm Belly High Power: 1. Orange/ 2. Brown Eyed Warrior/ 3. Forget to Say/ 4. Pale/ 5. Creep/ 6. Saturn/ 7. Raindrops/ 8. Faithful/ 9. Musty City/ 10. Shallow Water/ 11. Dancing the same/ 12. Invincible/ 13. B.E.W. Epilogue .. Think .. Bloodlines | released September 26, 2005 Public Tranist Records

For more infos visit ptrmusic.com, lalforest.com and grooveattack.com.

[If you want to discuss LAL’s music, you can leave your comment below and also use the forum]

Mica Paris will release a new album Soul Classics on Sanctury September 26, 2005. Wasn’t it only a few months ago that she had released If You Could Love Me on Wounded Bird records?
Like the title of Mica’s new album suggests it’s one of these cover versions only albums. Here’s the tracklisting:
1. Tracks Of My Tears
2. Lets Stay Together
3. Standing In The Shadows Of Love
4. I Can’t Stop Loving You
5. You Send Me
6. Walk Away From Love
7. What Becomes Of The Brokenhearted
8. In The Ghetto
9. Amazing Grace
10. Whats Going On
11. I’m Gonna Make You Love Me