#bobby digital in stereo

[todayinhiphophistory]

Today in Hip Hop History:

Rza released his debut solo album Bobby Digital In Stereo November 24, 1998

[waste-it-on-something-useful]

Billie Bob - Bobby's - Bob

Ghost Dog: The Way of the Samurai (Jim Jarmusch, 1999)

Billie Bob Thornton appeared in Jim Jarmusch's Dead Man (1995) and Jarmusch appeared in Thornton's Sling Blade (1996).

Maybe 'Bobby's' is also a nod to RZA (real name: Robert Diggs) and his alter ego Bobby Digital, which he originated in 1998 with the studio album Bobby Digital in Stereo.

Jarmusch named Bob Solo after two Harrison Ford characters in George Lucas films, Bob Falfa from American Graffiti (1973) and Han Solo from Star Wars.

[xerox-music]

Artist: RZA

Record: Bobby Digital In Stereo

Year: 1998

Label: Gee Street

Genre: Alternative Hip Hop

Rating: 53

Not keen on this one, the beats were interesting but not my thing, unfortunately. Probably the weakest of the solo careers from Wu-Tang.

[newmusicradionetwork]

Indie Country Music Up & Comer Seth Alexander Set To Release “Till Your Boots Are Dirty”

Nashville-based singer-songwriter and indie country recording artist Seth Alexander (Platform EightyNine Music) announced the scheduled release of his newest single “Till Your Boots Are Dirty.”* Penned by Nashville songwriters Danny Wells, Billy Croft and Richard Donahue, and co-produced by Donahue/Next Level Entertainment (Nashville, TN), the track will be available via all digital retail outlets and streaming platforms Friday, March 17, 2023. (Presale/pre-save event begins March 3, 2023; digital services provided by Ed Gertler/Digital Streaming Services.) Signature guitar licks keep steady time with hard-hitting percussion to drive home matter-of-fact lyrics that reinforce a storyline staking claim to a prideful rural recognition earned. The mid-tempo leads toward a dancefloor favorite. “I come from a small farm town in Idaho; when I initially heard the demo, it just hit home for me,” said New Plymouth, Idaho native, Seth Alexander. “Working a farm or a ranch is not a trend; you have to live the lifestyle to really understand it. Wearing dirty boots comes with the territory, and that dirt carries a lot of prideful weight.” YOU AIN’T COUNTRY  TIL YOU HELP YOUR NEIGHBOR LEND A HAND DO A FAVOR TAKE UP THE SLACK GIVE SOMETHING BACK YOU AIN’T COUNTRY  TIL YOUR FOUR-WHEEL PLOW BEHIND THE TRACTOR BREAKS SOME GROUND  AND STIRS UP SOME DUST  YEAH THAT’S A MUST YOU AIN’T COUNTRY TIL  YOU STUCK YOUR TRUCK, KNEE-DEEP OUT IN THE MUD WAY BACK IN THE STICKS THAT’S HOW IT IS LATE TO BED AND BACK UP EARLY YOU AIN’T COUNTRY NO TIL YOUR BOOTS ARE DIRTY The corresponding “Till Your Boots Are Dirty” lyric video will be available March 23, 2023. Track Info Artist: Seth Alexander Song Title: “Till Your Boots Are Dirty” Label: Platform EightyNine Music Written by: Danny Wells/Billy Croft/Richard Donahue Produced by:  Richard Donahue Distribution by: Ed Gertler/Digital Retail Streaming Services Release Date: March 17, 2023 Presale/Pre-Save Event: March 3, 2023 Run Time: 3:09 ABOUT The Oregon-born dream seeker moved to Music City in 2018. Within 12 months of Seth Alexander’s arrival, his day job landed him a chance to meet with one of Nashville’s respected producers, Richard Donahue. Donahue, who was a former band member of The Accents (signed to RCA Records for 12 years), transitioned to artist development and production. The two quickly developed camaraderie. The working relationship brought Seth into the studio where he recorded alongside the likes of Kerry Marx (Musical Director for the Grand Ole Opry), Catherine Marx and Tommy Harden (Reba’s keyboard player and drummer) and Tony King (harmony vocalist for Brooks and Dunn). Seth’s musical tastes were influenced early on by the tunes that sang from the car stereo of his granddad’s old red Datsun (Haggard, Jones, Keith Whitley, George Strait and Garth), and “cousin Bobby” who played at fairs and festivals, and carried Seth in tow. Seth learned to play guitar as a six-year-old on an instrument that his granddad bought for him at a garage sale. Honing his song craft, Seth took cues from Bobby and two of his favorite songwriters, Craig Wiseman and Jeffrey Steele. An active member of the Music City community, Seth maintains a steady writing appointment schedule with some of Nashville’s finest; he’s performed at notable venues including The Local, Live Oak and Commodore Grille. He released two original tunes in 2022 (“Millionaire” and “Neon Bar”); the corresponding “Millionaire” music video debuted on The Country Network. Read the full article

[hiphopscriptures]

RZA's Bobby Digital in Stereo Album Annviersary

Robert Fitzgerald Diggs, better known by his stage name RZA is an American Grammy winning music producer, author, rapper, and occasional actor, director, and screenwriter. In addition to remaining a member of the loose-knit Wu-Tang family and producing many of the group members' solo efforts, RZA also joined the Gravediggaz, helming their 1995 debut 6 Feet Deep; his first full-length solo LP, RZA as Bobby Digital in Stereo, followed in 1998. It debuted #3 on US Top R&B/Hip-Hop Albums.

Read more about RZA here.

[marvel-hip-hop-variants]

Nick Fury: Agent of Shield #1 (2017)

RZA//Bobby Digital In Stereo

[digdugdiy]

must be your skin i’m sinkin’ in

@ https://www.etsy.com/shop/digdugDIY •• 🪬

• MODDED KORG NTS1

• SOUNDWAVE III

• WHITNEY & BOBBY

• DUSTY CRATES

• STEREO BROKEN TAPEDECK

• COSMIC GOSSIP

• MYSTERY PIZZA 12BIT

• GLUE STEREO

• VISION QUEST

• DIGITAL SURF

• KISS OF DEATH

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#heady #kush #lofi #vibes #vaporwave #aesthetic #pedalgram #effectspedals #synthesizers #boombap #synthwave #bedroommusic #chillwave #sp404 #sp303 #op1 #stompbox #dreampop #shoegaze #lofihiphop #fxpedals #retrowave #chillvibes #ambient #pedalboard #opz #pedalsandeffects #stompboxes #lofibeats #tapeloops

[dustedmagazine]

Listed: Cloakroom

Photo by Vin Romero

Cloakroom are a trio from Indiana who have been making music somewhere in the regions of shoegaze, stoner rock, metal, and even-post hardcore since 2012. Dissolution Wave, their third LP and second on Relapse Records, is a concept album about a future where space miners have to write songs good enough to keep human civilization going, and it rips. Ian Mathers covered the record for Dusted and praised its “mastery of and dexterity with [the band’s] looming, frazzled sound” and said it was “the trio in all-killer-no-filler mode.” Here, Cloakroom’s impressively bearded bassist Bobby Markos lists ten records with personal connections.

Ten Records Tied to Significant Points in My Life

One of my earliest memories in life is accompanying my father as he went shopping for 45s at a local record store. He had a little handwritten list with song titles he was looking for, many of them B-sides and lesser-known cuts from his youth. Once he had a stack, we took them home and he used our home stereo system to dub the singles to cassette tapes, thus exposing me to the art of mixtapes at an early age. When our family would take long road trips to Florida or West Virginia, those tapes were our soundtracks, and before I knew arithmetic, I was learning the ins and outs of Herb Alpert, the Sandpipers, Spanky & Our Gang and other classics from the 1960s.

As a result of this practice, not only have I always had a taste in music beyond my age, but I learned to associate songs with moments. Music and nostalgia go hand-in-hand for me and listening to certain albums can be a transportive experience, taking me back to previous chapters of my life. The following are ten records that have strong links to my past (in alphabetical order):

The Beatles — Rubber Soul

Growing up, I heard a lot of Beatles tracks on the radio, as my father only listened to classic rock stations in the car, but for some reason the only physical Beatles recording we had in the house was a CD copy of Rubber Soul. When I was in high school, I started listening to it frequently, and it was here that I figured out that the band transcended the singles you would hear on the radio. And that they were so gifted in a studio setting. Not to mention, the last four tracks (“In My Life,” “Wait,” “If I Needed Someone” and “Run For Your Life”) are an incredible block of songwriting.

Boards of Canada — The Campfire Headphase

During my senior year of high school, Myspace was roaring and suddenly you could connect with people outside of your immediate city and friend circle. Common practice upon meeting someone new was sharing music, and I credit that time with turning me on to some artists I would have never come across on my own. One of those became my favorite band: Boards of Canada. Someone from Michigan sent me “Dayvan Cowboy”, claiming “this is their only good song.” I listened to that song on repeat for months before I finally dove into the rest of The Campfire Headphase, and the rest is history. Since that first listen, BoC has been my favorite artist and arguably the most influential music I’ve ever heard in my life. For being an instrumental album, it speaks louder than any other record I’ve ever heard, immediately transferring the listener to the 1960s California coast during a sunset drive. I listened to this record going to sleep every remaining night of high school, and much of my early touring years, because it became home.

Broadcast — The Noise Made By People

A dear friend of mine who was living in the Bay Area at the time sent me Broadcast’s Tender Buttons and I was immediately hooked. I was in undergrad and still living at home, using the family computer to house my digital music library. Something about Broadcast’s nostalgic sound took me back to my childhood. It was familiar but new and exciting all at once. I acquired their entire discography, and The Noise Made By People became my favorite. I love Trish Keenan’s lyrics and delivery; she was magnetic through sound waves. “Unchanging Window,” “Come On Let’s Go” and “Until Then” would be career songs for any artist, but the whole album is magnificent. I’ll always associate it with my early college years.

Earth — The Bees Made Honey in the Lion’s Skull

Once I had graduated high school and started my old band Native, I was spending more time up in Chicago with friends I’d met through playing shows. I hadn’t listened to much heavy music except my father’s Black Sabbath tapes, so bands like Earth, Sunn, Pelican, etc. were not on my radar. I knew of Dylan Carlson and Earth through his Nirvana connection but hadn’t spent much time with his discography. A friend played The Bees Made Honey in the Lion’s Skulland I had a transformative experience, It was like a chamber in my brain was suddenly unlocked. “Rise to Glory” really stuck with me. There was something in the sound that reminded me of my youth and I became obsessed. I realized that not only could music be slow, but drone music could be beautiful. I also learned the art of ambience. I began really diving into the Southern Lord catalog and found many of my favorite bands because of this. Listening to Earth also helped shape my approach to music thereafter.

José González — In Our Nature

The same person who turned me on to Boards of Canada also showed me Zero 7, and I began listening to them daily on my drives to college campus my freshman year. I really loved the tracks “Left Behind” and “Today,” and realized that José González was singing and playing guitar. I quickly dove into his solo albums and realized he had just released In Our Nature. He had an upcoming date in Chicago, so I bought tickets and went with a friend. It was the first time in my life that I had driven myself to a show that I wanted to see, and I’ll always remember that night. There was something so romantic about the lighting in the city streets. José was mesmerizing on stage, I felt starstruck just being in the room. His presence as an artist is so humble, but larger than life all at the same time.

My Bloody Valentine — MBV

I had gotten into Loveless and the rest of My Bloody Valentine’s discography over the years, so when MBV finally was going to see the light of day, I was part of the mass surge that crashed their website, trying to purchase a copy. That was my first experience with waiting in a “digital line”, constantly refreshing to see if my cart had gone through and eagerly punching in my credit card number, in fear that all the copies would be bought before I could secure one. I’ll never forget downloading the mp3s once I had my copy ordered, and that first listen. While it may be a controversial take, this is my favorite My Bloody Valentine record — probably because I have my own personal memories tied to its release.

Nick Drake — Pink Moon

I watched a lot of MTV and VH1 when I was in grade school, and I remember seeing a special about Nick Drake. My friend Zac and I downloaded the song “Black Eyed Dog” because it was featured on the program, and really because we had never heard anything like it before. It took a few years for Nick Drake’s music to truly click with me, but once it did, it was really eye opening. It taught me that music could be minimal but impactful, and that less is more. Pink Moon is such a beautiful record. And now that I’ve become a huge fan of his as an artist, I understand what this record meant to his life. It’s mind-blowing to think that someone in their early 20s wrote music of this caliber. I wish he was still around today. I would have loved to see what the future held for him.

Nirvana — Nevermind

If you’ve ever read interviews I’ve done in the past, I often credit Nirvana with inspiring me to pursue music and shaping me into the person I am today. When I finally had my own television in my room, I can remember seeing imagery of Kurt Cobain on MTV and VH1 while flipping through the channels. I eventually figured out he was the front man of Nirvana, and after hearing “Come As You Are” on the radio one day, I convinced my mom to buy me a cassette copy of Nevermind. I was in fourth grade at the time, and soon, they became the only band I listened to until I got into middle school. Nirvana was everything to me, an obsession of my own. I started air-guitaring during this time, and it was really the first time in my life that playing music had occurred to me as a life path. When my friend Zac first put a guitar in my hands a few years later, we were learning Nirvana songs. Nowadays in Cloakroom, when I approach writing bass lines, I still reference Krist Novoselic’s playing on Nevermind.

Q And Not U — Different Damage

In high school, I was really into punk music and had started a few garage punk bands. But a friend showed me Q And Not U and it really opened my eyes to the underground indie music scene. Soon, I started my first “real” band, and No Kill Beep Beep was a huge influence on our sound. Different Damage ended up being my favorite record from the band though, and I’ll always associate listening to that record with playing my first out-of-town shows. I think this band, and this record especially, was way ahead of its time.

Stephen Malkmus & the Jicks — Sparkle Hard

Over the years, I’ve attempted to write music on my own, outside of a band setting with little success. But a few years back I began making documentary films with my father and I wrote the scores myself. That exercise turned into a side project called Documa, and I’ve been writing music on my own ever since. During that time, Stephen Malkmus & the Jicks released Sparkle Hard and it really spoke to me. I love his guitar playing and approach to songwriting, and I love that he’s had such longevity as an artist. It really inspired me to work on my own guitar playing and take the music I write at home seriously.

[krispyweiss]

Album Review: The Beatles - Get Back - The Rooftop Performance

As the bobbies moved in to bust up the Beatles’ final public performance, Paul McCartney was suddenly inspired:

You been playing of the roofs again/and that’s no good/’cause you know your mommy doesn’t like that/she gets angry/she’s gonna have you arrested!/get back!, he sang to close the last of three versions of “Get Back” the band played atop its Apple headquarters on Jan. 30, 1969.

The song had nearly fallen apart when the taciturn police arrived on the scene. But the Beatles kept it together for a delightfully ramshackle display.

The 40-minute concert - remixed in stereo by Giles Martin and Sam Okell - is finally out as the digital-only Get Back - The Rooftop Performance. And though the Beatles had spent the previous few years proving themselves masters of the studio with LPs like Revolver and Sgt. Pepper’s Lonely Hearts Club Band, Rooftop provides a glimpse of what a force they could’ve become as a live act.

It’s there in the way the band tunes before “Dig a Pony” and kicks around “God Save the Queen” as the camera are reloaded. It shines as John Lennon ad libs in the second of two versions of “I’ve Got a Feeling” - everybody had a head dream, he sings. And it’s evident in the way he and George Harrison vary their guitar solos throughout the open-air gig.

McCartney is particularly thrilled to be back, laughing as he sings, tearing up his vocal cords on “Feeling” and singing in sweet harmony with Lennon on both versions of “Don’t Let Me Down.”

Ringo Starr plays drums as only he did and Billy Preston’s electric piano - dig his raucous playing on “One after 909” - make him the only fifth Beatle to have performed publicly with the Liverpudlian lads.

There are plenty of what-ifs associated with this recording. What if they’d played longer? Revisited their back catalog? Done some covers? Gone on tour?

But none of that matters now. The Rooftop Performance is finally - thankfully - officially available in high-quality sound for all to hear.

And it’s Fab.

Grade card: The Beatles - Get Back - The Rooftop Performance - A+

1/28/22

[msgier]

IG88 is ASSASSIN DROID 
Drawn in 2018 pre-Mandalorian, colors added 2020 with Procreate.
Inspired by Bill Sienkiewicz’s album art for the RZA’s ��Bobby Digital in Stereo.’

[todayinhiphophistory]

Today in Hip Hop History:

Rza released his debut solo album Bobby Digital In Stereo November 24, 1998

[thehiphopunderground]

Today in Hip-Hop History: RZA Released His Debut Solo LP ‘Bobby Digital In Stereo’ 24 Years Ago

Today in Hip-Hop History: RZA Released His Debut Solo LP ‘Bobby Digital In Stereo’ 24 Years Ago

[hiphopdinromania]

24/11/1998 RZA - Bobby Digital in Stereo

#hiphopdinromania #rza

http://www.hiphopdinromania.org/2016/11/de-afara-rza-bobby-digital-in-stereo.html

Bobby Digital in Stereo este albumul de debut solo al lui RZA și a fost lansat în data de 24 noiembrie 1998, prin Gee Street, V2 & BMG Records.

http://www.hiphopdinromania.org/2016/11/de-afara-rza-bobby-digital-in-stereo.html

[berlysbandcamp]

After a year-long hiatus, Dub-Stuy heralds the return of good vibes with a new installment in their riddim series. This time, they take on one of the most iconic and instantly recognizable riddims in history with “Answer 2021 Riddim”. As usual, Dub-Stuy calls upon an international line-up of top features, led by legendary duo Luciano & Mikey General, Spain’s Sr Wilson and Brooklyn’s own Jonny GoFigure. The Answer riddim, originally recorded by Clement “Coxsone” Dodd for Slim Smith in 1967, is undoubtedly one of the most versioned riddims of all time, and everyone from Dennis Brown to Frankie Paul has lent their hand to the tune. For this 2021 spin on the classic, DJ Madd invokes early digital productions ala Prince Jammy and Bobby Digital but with the signature Dub-Stuy twist: high-powered, heavyweight and minimalist production. Bouncy, rubber-band basslines and hypnotic snare hits make Answer 2021 Riddim danceable and upbeat, bringing to mind late summer nights dancing with friends as the selector rides the groove. Leading the charge on the vocals, Luciano and Mikey General return to their top form, bringing us back to the heyday of late 90's roots revival. With their soaring harmonies and golden voices, “Redemption” calls for a return to conscious music while uplifting the listener, with an infectious hook. Sr. Wilson comes next, with his ‘Foodie session’, uniting the world over a shared love for street food cultures. Finally, hometown sensation Jonny GoFigure mashes up the dance lyrically on ‘A Different Answer’. Answer 2021 isn’t just a riddim; It's a sonic cure to our collective anxiety in these uncertain times, bringing people together and inviting them to take a deep breath, close their eyes, and crank up their stereo.

[kari3622-blog]

The Cannonball Adderley Collection Volume 3 Cannonball Adderley Sextet "Jazz Workshop Revisited" #LandmarkRecords レーベル‎ (LLP-1303)、1985年リリース。 私的コレクション#352:The Cannonball Adderley Collection "Volume 4 : Cannonball Adderley And The Poll-Winners Featuring Ray Brown, Wes Montgomery"に続いて、これでVol. 1, 3, 4, 5, 6が揃いました。あとは2だけ。 The Jazz Workshop, San Franciscoのライヴ、2-2, 2-5:1962年9月25日(土)夕刻録音、1-2:1962年9月23日(日)夕刻録音、他は1962年9月23日(日)午後の録音。 オリジナルは、1963年リリース "Cannonball Adderley Sextet : Jazz Workshop Revisited"、Riverside 9444 (stereo) and 444 (mono)。 早速、録音評から... その前にレコクリン。汚れが完全には取れませんが音質には影響なし。オープニングはジュリアンのスピーチ、そして、ユセフのフルートへ... 好みは別にして録音は、楽器の分解能や左右のStereo感、余韻や会場の臨場感や距離感も感じられ、なかなかの出来映えでは。楽器の音質も申し分ありません。演奏の質も高いし、聴衆もノリノリで、とても活気のある素晴らしいライヴです。 このシリーズのデジタル・リマスタリングは大変音質が良いので、お薦めです。 タイトルにある"Revisited = 再訪"ですが、彼の名ライヴ盤として名高い"The Cannonball Adderley Quintet In San Francisco"が、同じThe Jazz Workshop, San Franciscoで1959年10月18,20日録音なので、約3年振りの凱旋ライヴと言うことかも。その時のピアノのBobby Timmons はJoe Zawinulに変わり、 Yusef Lateef を加えセクステットに、他のメンバーは同じ。 キャノンボールはマイルス・グループを離れた後に、弟ナット・アダレイのコルネットとクインテットやセクステットを再結成、ライヴ活動を中心に息を吹き返しましたが、その絶好調時代の記録のひとつが本作です。 注目は、やはり聞き慣れないYusef Lateef(ユセフ・ラティーフ)では。私も全く聞いたことがなく、ウィキペディア日本語版にはページもない。テナー・サックス奏者ですが、それ以外にフルート、オーボエ、尺八などの竹製の笛、日本の琴など世界各国の民族楽器やマイナー楽器を演奏、独特の音楽世界を作り上げた風変りな異色のジャズ・メンであり音楽家。1920年テネシー州生まれの生粋のアメリカ人ですが、1950年にムスリムに改宗しイスラム教風の名前に改名。つまりラティーフは、ジャズに世界中の民族楽器を持ち込み、イスラム教徒に改宗したテナー・プレイヤーです。 Original recording engineer - #WallyHeider Digital rerecording - #DannyKopelson ,Fantasy Studios (Berkeley CA) and Bob Norberg, Capitol Studios (Hollywood) Mastering - #GeorgeHorn , Fantasy Studios #CannonballAdderley (as) #YusefLateef (ts, tracks: 1-3, 1-4, 2-3, 2-4) Yusef Lateef (fl, tracks: 1-2, 2-2) Yusef Lateef (ob, tracks: 2-2) #SamJones (b) #NatAdderley (co) #LouisHayes (ds) #JoeZawinul (p) Liner Notes, Producer, Reissue Producer - #OrrinKeepnews Original Recordeding - #WallyHeider Mastered By - #GeorgeHorn Digital Rerecording - #BobNorberg , #DannyKopelson Cover Design - #KenDeardoff Cover Photo - #JamesMoore Art Direction - #PhilCarroll #jazz #fuzey #vinyl #jazzvinyl #vinylcollection #ジャズ #スイングジャーナル #レコード #ビニールレコード *作品を知るとジャズはもっと輝きます。情報くださる先輩諸氏に感謝。 https://www.instagram.com/p/CTGvSYUJRiF/?utm_medium=tumblr