#michael barbiero

[x-heesy]

Sex drugs and socks with holes 🕳️

Are these sensible shoes on my feet

I wear my shades so our eyes don't meet

I'm scared every fuckin' day

I wear my headphones so i can't hear what you say

Can i run

Switch to paranoid from having fun

Will he use his hands, knife, or a gun

Knuckles are white, wrapped around my mace

Comes from living in a terrorist state

Can i run

When he's following me

He's not my brother, he's my enemy

Is he behind the door or in back of the tree

Is he under the bed, is he in the back street

Can i run

@bethanythestrange @invincible-selfxmade-punk @bigbonzo

Can I Run by L7, Michael Barbiero

[alterna2mag]

OMBRA Festival celebra una exitosa quinta edición en su nuevo recinto

Guiomar Fernández

OMBRA Festival celebró su quinta edición del 1 al 3 de diciembre en su flamante nueva ubicación, la Antigua Fábrica ENMASA Mercedes-Benz en Barcelona. Durante tres días, el EBM, la música industrial, el post-punk, el darkwave o el techno, entre otros géneros alternativos, convivieron en las desvencijadas instalaciones de un recinto que no podía ser más idóneo. Una nave enorme en desuso en la que no hacía falta cambiar casi nada.

Nos encontramos con un lago pasillo de acceso, ventanas rotas y pareces desconchadas. Lo que en su día parece que fueron unos vestuarios (aún pueden verse las taquillas oxidadas) se han convertido en pista de baile. OMBRA transformó ENMASA en una rave de tres días.

Excelente jornada inaugural con actuaciones conferencias y apertura de OMBRA GALLERY

El jueves 30 de noviembre tuvo lugar la jornada inaugural. En colaboración con la marca MAYAKI, OMBRA organizó un pequeño micro evento que ofreció unas conferencias, exposiciones y música en vivo.

Ximo Noguera (Industrial Complex) presentó su libro Atom™ El virtuoso Inconformista, que profundiza en la trayectoria artística de Uwe Schmidt, más conocido como Atom™. Le acompañó Uwe, a través de video conferencia, y unos invitados de lujo: Andrés Noarbe (Discos Rotor) y Angel Molina. Entre todos desgranaron la ecléctica trayectoria de uno de los productores más multifacéticos y versátiles de la escena electrónica internacional.

David Townsend, fundador de Townrock Energy, presentó BODYHEAT, una empresa emergente basada en sistema de generación de energía renovable a partir de las pistas de baile. El proyecto aprovecha la energía generada simplemente al bailar, transformándola en calefacción o aire acondicionado para el propio recinto. Ya está en uso en Escocia.

El artista Umwelt, cuyo nombre real es Frederic Andre Bernard Poncet, compartió su evolución en el uso de sintetizadores, con algunas fotos y vídeos de diferentes aparatos que ha ido coleccionando y con los que continúa experimentando. Durante la charla, ofreció un workshop en directo.

Finalmente, la DJ, productora Chloe Lula entrevistó al artista Ancient Methods (Michael Wollenhaupt), en una charla que recopiló algunas canciones que, de alguna forma, influyeron en su trayectoria, y que sirvió para que conociéramos las inquietudes y motivaciones del artista.

Tanto Umwelt, como Chloe Lula y Ancient Methods formaban parte del cartel del festival.

En este primer día, se inauguraron también una exposición, en colaboración con el HR Giger Museum, sobre Hans Ruedi Giger, el creador de Alien, y las instalaciones del colectivo Ex Abrupto, Evgeny Shvets, Javier Ripoll y Daniele Barbiero. De este último destacamos The Cure Division, una instalación que, a través de machine learning, combinaba en una proyección letras de ambas bandas.

Years of Denial, The Invincible Spirit y Neon Electronics, nuestros destacados por día

El cartel de OMBRA 2023 aglutinaba viejos conocidos del festival y muy variados estilos. Por supuesto con mucha presencia del sello Oraculo Records, coorganizador del festival. Por el escenario OMBRA, el principal, desfilaron artistas muy diversos. Las primeras horas del viernes, los balcánicos I Tpame I Tvrame sorprendieron con sus hipnóticos pasajes sonoros. Interesante también el proyecto, Mitra Mitra, duo capitaneado por la misteriosa vocalista Violet Candide. Junto a ella, Mahk Rumbae, cuyo proyecto en solitario, Codex Empire, también se pudo ver en el mismo escenario el sábado.

Derriere le Miroir, banda alemana con tres décadas de historia, derrocharon elegancia con temazos como Alibis. Ralf Jesek deslumbró con su característica voz y afilada guitarra. Years of Denial volvían a OMBRA, donde los habíamos visto en 2019. De nuevo se metieron al público en el bolsillo, sobre todo por la performance de su irreverente jefaza, Barkosina Hanusova. Jerome Tcherneyan despliega los beats, y ella actúa como dominatrix del escenario, cautivando con su voz y sus excéntricos bailes. Todo un espectáculo. Su prolífica discografía nos deja este 2023 un nuevo reléase, Suicide Disco Vol. 2. El siempre acertado Kris Baha cerraría el escenario el viernes.

El Operator stage deslumbró con Manisdron a primera hora de la tarde. El japonés Takafumi Okada basa su show en batería con sintetizadores, un combo explosivo. La locura de WLDV o las sesiones de grandes como Ivan Logos y Ancient Methods mantuvieron abarrotado el espacio. En Megabreakz, el tercer, y no por ello menos visitado escenario, acogió también nombres más que interesantes, como la DJ residente en Tresor, Chloe Lula.

Si el viernes había sido intenso, el sábado no se quedó atrás. Uno de los aspectos que más nos gusta de OMBRA son los horarios. En el OMBRA stage se pudieron ver Linear Movement o The Ne-21 entre los primeros. El directo de HAMMERSHØI fue un chute de adrenalina. Los franceses pusieron el escenario patas arriba. Sus líderes, Anne a los mandos y Ben se comieron el escenario. Ben, con mucha actitud y sin camiseta, lo dio todo e incluso invitó a subir al escenario a una chica tan entregada como ellos. Belgrado, unos habituales de la escena de Barcelona, cumplieron como siempre con una actuación impecable. Los franceses Little Nemo, sin embargo, resultaron algo flojos, aunque brillaron en un par de temas. The Invicible Spirit, referentes del EBM, cerraron por todo lo alto la programación del viernes. El electrizante Thomas Lüdke sacó toda su artillería con perlas como Love is a Kind of Mystery, de su proyecto Invisible Limits, o Push! El momentazo del concierto fue su cover de Atmosphere, de Joy Division, muy bien llevada a su terreno. La maravillosa Anyway, que sirvió de epílogo.

En Operator se pudieron ver el sábado a artistas como Oliver Decrow, Toulouse Low Trax, o Teslasonic, entre otros. La DJ norteamericana Andi estuvo al inicio de la tarde al mando de los platos del escenario Megabreakz, donde la mejor actuación, aunque corta, corrió a cargo de los gallegos Fotocopia. El proyecto de Teo Cid González es una suerte de punk industrial con directo explosivo que voló la cabeza del público en OMBRA.

El domingo, tercer y último día del festival, actuaron en el OMBRA stage Zona Utopica Garantita, una banda italiana que bebe de grupos como DAF. Neon Electronics, liderados por Dirk Da Davo (The Neon Judgement) y Glenn Keteleer, que también actuó en OMBRA como Radical G, demostraron por qué el darkwave y el post-punk están tan en plena forma. Estos pioneros llevan desde finales de los 90 al pie del cañón, y dieron buena cuenta de ello ante un público entregado.

Otro belga, Eric Van Wonterghem (mitad de Absolute Body Control) volvía a OMBRA un año después, esta vez como Monolith. Su actuación no pudo ser más explosiva. Artillería pesada que dejó in aliento a la masa congregada, ávida de trallazos.

Todavía había tiempo para disfrutar con Terence Fixmer o el DJ de San Francisco, Solar, y para cerrar el escenario, el brutal directo de los también norteamericanos, Spike Hellis, duo de Los Angeles que empezó su andadura hace tan solo 4 años, y resultó una grata sorpresa.

El sábado sobresalieron además Spammerheads, o Umwelt en Operator, así como Maquina Corrupta en Magabreakz.

La Sala Upload sirvió de after party tanto el viernes como el sábado, con un siempre bienvenido Curses, pinchando a altas horas de la madrugada.

Tras cinco años de trayectoria, solo resta decir ¡larga vida a OMBRA!

[madeinpop]

Made In PoP - Tempo di Festeggiamenti

Ciao Ciao Made-In-PoPpers ! cerchiamo di rimanere in onda e pubblicare gli aggiornamenti per la settimana a venire:

֍ SABATO 5 Agosto il Made In PoP Party - SPECIAL edition ci auto-celebriamo per il VENTESIMO anno di attività della newsletter più sconclusionata del Veneto. saremo all' ALTROQUANDO di Sant'Alberto di Zero Branco (Tv) ci sarà il live di una band fighissima, alla propria data zero, formata da artisti della scena nostrana prima e dopo i concerti i djset vinilici di CHECcO MERDeZ (MadeInPoP/Lamette) e il grandissimo MICHAEL MYERS (HipCity/Whatever Trieste) l'evento sarà possibile grazie al supporto dell'etichetta SHYREC e di ThreeBlackBirds non mancate e portate tutt* si raccomdano scarpe comode per ballare e ampi sorrisi perchè sarà una festa dello stare bene assieme https://www.facebook.com/events/223133103526971/ invece che altro fare in giro per il Veneto? ֍ SUMMER NITE Love Festival  Parco Piscine Via Barbiero MOGLIANO Veneto (Tv) fino al 5 Agosto, tutte le sere > https://www.facebook.com/SNLFestival ֍ SOUND PETER FIELD Festival - Villa Campello via Tiso 12 CAMPOSAMPIERO (Pd) 5-6 Agosto festival di musica e arte https://www.facebook.com/events/284501360824944/ ֍ BLOOP presenta Giovedì 3 Agosto presso Garage GUINGUETTE via XIII Martiri 52 San DONÀ di Piave (Ve) il live degli inglesi GRADE 2 (punkrock) supportati dal duo THE FROG. ֍ Villa ALBRIZZI Marini via Rubelli San ZENONE degli Ezzelini (Tv) due date targate GoDown Records ► Giovedì 3 Agosto con live per ANIMAUX FORMIDABLES (duo garage-noise TO) opener The SCARLET DEW Domenica 6 Agosto dalle 19:00 sul palco SATURN BLACK KINGS + PERCOSSA FOSSILE e dalla Sardegna superospiti KING HOWL heavyblues programma intenso per tutta l'estate https://www.facebook.com/VillaAlbrizziMarini/events ֍ ARCELLA BELLA Parco Milcovich PADOVA Venerdì 4 Agosto saranno ospiti i NEW CANDYS in una pausa dei loro continui tour europei e mondiali, ad aprire ci saranno HEY HIMALAYA anche qui si va avanti tutta l'estate https://www.facebook.com/ArcellaBellaPadova/events ֍ FORTE MARGHERA via Forte Marghera MESTRE (Ve) il programma fino a fine luglio > https://www.facebook.com/events/1445617052858162/ ֍  PARCO della MUSICA Parco Europa viale Venezia 40 PADOVA Mercoledì 9 Agosto i leggendari DROPKICK MURPHYS celtic-punk + The Scratch il resto del programma qui https://www.facebook.com/ParcoDellaMusicaPadova/events ֍ MUSICA ATTIVA on air sulle frequenze di Radio Gamma 5 94 Mhz e online streamonig http://www.musicaattiva.org/ Venerdì 4 Agosto dalle 21 alle 23 intervista con la band INDASTRIA (alt-rock). e altro ancora che stiamo recuperando Made In PoP esiste perchè: - esiste SHYREC indiependente label https://shyrec.bandcamp.com/ - ogni tanto si balla con LAMETTE Party https://www.instagram.com/lametteparty

[personal-reporter]

Torino Jazz Festival 2023

Dal 22 al 30 aprile 2023 arriva l'undicesima edizione di Torino Jazz Festival 2023, quest'anno nuovamente con le direzione artistica di Stefano Zenni, per nove giorni di programmazione dove  sono previsti 93 appuntamenti organizzati in 62 luoghi sparsi in tutta la città. Il main program di quest’anno sarà diffuso sul territorio tra  OGR Torino, il Teatro Vittoria, Hiroshima Mon Amour, il Teatro Alfieri, il Teatro Monterosa, l’Aula Magna del Politecnico, la Casa Teatro Ragazzi e Giovani, il Conservatorio di Torino Giuseppe Verdi, il Bunker, l’Auditorium Giovanni Agnelli e la Sala500 del Lingotto. Al Torino Jazz Festival suoneranno 234 artisti, nazionali e internazionali, in ambienti, spazi, teatri e club distribuiti sul territorio, risuonando nei diversi ambiti della città. Lo spettro stilistico toccherà gli ambiti del jazz e promuoverà la conoscenza delle grandi figure storiche, la scoperta dei migliori innovatori attuali e nomi di ampio richiamo secondo una logica, aperta a nuove produzioni ed esclusive. Quindici club, che sono  Amen Bar, Bagni Pubblici di via Agliè, Bunker, Cafè Neruda, Comala, Combo, Educatorio della Provvidenza, Folk Club, Laboratori di Barriera, L’Arteficio (Caffè Procope), Machito, Off Topic (Cubo), Osteria Rabezzana, Piazza dei Mestieri e Bocciofila Vanchiglietta Rami secchi, , ospiteranno ognuno due concerti per un totale di 32 appuntamenti in 7 giorni. La programmazione è stata realizzata grazie agli stessi club in coordinamento e accordo con la direzione artistica per raccontare le realtà del ricchissimo panorama musicale urbano, con produzioni nuove di alto profilo artistico e di rilevante significato socio-culturale. Tra i protagonisti della sezione Cl(h)ub ci sono la Jazz School Torino, Costanza Alegiani, le big band torinesi (GP Big Band, EP Big Band), artisti internazionali come Philip Harper e Michael Rosen, l’Orchestra Coco, i Blue. Baroque, le o-Janà, i Barber House e grandi musicisti piemontesi da Alfredo Ponissi a Luigi Tessarollo, da Massimo Barbiero a Claudio Lodati, oltre a  una serata di jam session. E’ stata confermata la rassegna collaterale dei momenti musicali dedicati agli utenti dei servizi assistenziali e agli ospiti delle strutture, con  i giovani allievi delle scuole pubbliche e private di jazz come i Corsi di Formazione musicale della Città e del Conservatorio Giuseppe Verdi, di ArCoTe Jazz e della Jazz School Torino, per tenere 33 brevi concerti nelle RSA, nelle strutture per disabili fisici e psichiatrici e  nei luoghi di detenzione come l'Istituto Penale Minorile Ferrante Aporti. Read the full article

[akiyasu-k]

溌剌😎 ⁡ Anderson Bruford Wakeman Howe S/T - 1989 ⁡ Produced by Chris Kinsey, Jon Anderson Mixed by Steve Thompson, Michael Barbiero Mastered by Bob Ludwig at Masterdisk Pressed at Columbia Records Pressing Plant Artwork, Design by Roger Dean ⁡ #jonanderson #billbruford #rickwakeman #stevehowe https://www.instagram.com/p/Cm-WPMVPKof/?igshid=NGJjMDIxMWI=

[adamsong]

Ty so much @champagneformyrealfriends for tagging me. 🖤

My five songs I’ve been listening to:

My Understandings - Of Mice & Men

Vampiros - ROSALÍA, Rauw Alejandro

Test Drive - Joji

Aviation - The Last Shadow Puppets

Andres - L7, Michael Barbiero

Tagging @sapphirerozes @poopoopeepeetour @nordstarr @iamthemovie @princesserica84 @l0veconnection @toms-plaid-shirt

tagged by @eyeldritch - thank you, val! 💕

Rules : 🎶 when you get this, list 5 songs you’ve been listening to & tag 5-10 people.

$20 - boygenius

oil - gorillaz feat. stevie nicks

if this was a movie - taylor swift

ocean blvd - lana del rey

hunger - fatm

no pressure tags @harrisonwells @blakbonnet @reputation @johnsimms @skulandcrossbones @kendallroycos and whoever sees this and wants to share :) 💖

[nofatclips]

To Live is To Die by Metallica from the album ...And Justice For All

[adriheavymetal]

Odyssey (Yngwie Malmsteen album) 

my favorite malmsteen album

Released8 April 1988

Austin

Genre

Heavy metal

neoclassical metal

hard rock 

Length50:42

No.TitleLength 1."Rising Force"4:24 2."Hold On"5:12 3."Heaven Tonight"4:07 4."Dreaming (Tell Me)"5:22 5."Bite the Bullet" (instrumental)1:35 6."Riot in the Dungeons"4:26 7."Deja Vu"4:17 8."Crystal Ball"4:56 9."Now Is the Time"4:34 10."Faster than the Speed of Light"4:30 11."Krakatau" (instrumental)6:06

Personnel

Yngwie Malmsteen – guitar, Moog Taurus, bass (tracks 3–7, 10–12), arrangement, producer

Joe Lynn Turner – vocals

Jens Johansson – keyboard

Anders Johansson – drums

Bob Daisley – bass (tracks 1, 2, 8, 9)

Jeff Glixman – engineer, producer

John Rolio – engineer

Scott Gordon – assistant engineer, assistant mixing engineer

Steve Thompson – mixing

Michael Barbiero – mixing

George Cowan – assistant mixing engineer

Jim Lewis – executive producer

[continuo-docs]

Music reviews by Laurent Fairon, July 2021 Epsilon-Delta – Music for Recurring Decimals (March 2021) Dino Felipe – The Gardeners (June 2021) Shane Cooper – Happenstance (June 2021) RhaD – Metamusic (June 2021) Angel Bat Dawid – Hush Harbor Mixtape Vol. 1 Doxology (June 2021) Ron Nagorcka – Lovregana - Music From A Tasmanian Forest (July 2021)

Epsilon-Delta – Music for Recurring Decimals (433 Records) https://433records.bandcamp.com/album/music-for-recurring-decimals Lovely collection of short, poetic synth sequences build on simple mathematical algorithms by Hong Kong mathematician Addy Choi working under the Epsilon-Delta alias. Algorithms are based on decimal fractions like 4/7, 7/9 or 3/11, using the resulting digits as the basis for the sequence. Far from being arid or too cerebral, the tracks are poetic and varied thanks to the beautiful MIDI synth sounds chosen by the programmer, who is also a clever musician apparently. Tracks may be repetitive but the album isn't. This is textbook Systems Music as practiced in the U.K. during the 1980s by the likes of The Dead Goldfish Ensemble or The Lost Jockey. Exquisite album.

Dino Felipe – The Gardeners (self release) https://dino-felipe.bandcamp.com/album/the-gardeners Mini-LP of 16 very short tracks by Miami-based electronic musician with previous full length releases on ¡Mayday! and Schematic. The music on The Gardeners is based on samples, sound collages, occasional beats and various sound treatments like speed modification, sound stretching, accumulation, heavy reverb, or else. Felipe thus creates colorful and humorous vignettes based on ethnic music snippets, found vocals, musique concrète or cheap electronic sounds. Glitch-y textures abound, as well as grotesque sounds and weird juxtapositions, the music being deliciously direction-less and erratic.

Shane Cooper – Happenstance (Kit Records) https://kitrecs.bandcamp.com/album/happenstance Gorgeous ambient, ethnic and experimental jazz music by South African double bass player and multi-instrumentalist Shane Cooper. The album is actually constructed as a collage of short excerpts from sessions recorded with Johannesburg guest musicians in 2020. The whole project was commissioned by contemporary artist William Kentridge's The Centre for the Less Good Idea, an artist run facility he founded in Johannesburg to promote local independent art projects. Cooper obviously selected the interesting and relevant parts from two days' worth of collective improvisations and the 2 side-long tracks of Happenstance are bursting with ideas and surprises. The 1st side is rather varied in instrumentation, including superb piano and cello parts, lush Rhodes electric keyboard notes and incredible South African traditional instruments played by Cara Stacey. The music is moody and adventurous, jumping gracefully all over the place. The flip side is more about exploring rhythm textures and deep bass sounds and features Shane Cooper on double bass along 3 percussionists. The collage technique is applied here as well, producing pleasant mood changes and exciting U-turns. Cooper delivers a variety of sounds on his instrument, from walking bass lines to long-held notes played with arco (briefly played backward at some point), and also performs beautiful electric bass guitar parts with reverb. The non-linearity and unpredictability of the collage strategy used in Happenstance ensures the music is keeping away from jazz music's clichés and each new listen is surprising and interesting. Two more episodes were recorded during these sessions and are available on YouTube and other platforms, like the vocal only piece called 'Tongues'.

RhaD – Metamusic (Unexplained Sounds Group) https://unexplainedsoundsgroup.bandcamp.com/album/metamusic Standing for Research for Historical Audio Documents, RhaD is a musical project by Italian music activist Raffaele Pezzella, also known as electronic music producer Sonologyst, as well as Unexplained Sounds Group label director and publisher, not to mention radio host and sound researcher, among others. Metamusic is a 40mn sound collage of mysterious radio transmissions, found vocals, spoken words, vintage electronic sounds and a number of guest stars on classical music instruments like organ, guitar, bass or piano – respectively Michael Bonaventure, Stefan Schmidt, Daniel Barbiero, Francesco Arrighi and Mara Lepore. Adroitly avoiding any ca 2021 digital artifact along the way, Metamusic's sound design is bringing the listener back to the glorious 1960s and '70s, yet the music sounds rather timeless to these ears. Metamusic recreates the sound of early European avantgarde with plenty of tape manipulations, sound collages, buzzing sounds, French spoken word and contemporary classical music instruments. The sound crafting is superb, the collage technique creating an ever-changing musical soundscape full of weird sounds, grotesque sound manipulations and Surrealist juxtapositions. What's not to love?

Angel Bat Dawid – Hush Harbor Mixtape Vol. 1 Doxology (International Anthem) https://intlanthem.bandcamp.com/album/hush-harbor-mixtape-vol-1-doxology Very personal and original album by Angel Bat Dawid, a US clarinet player, singer, electronic musician and DJ from Chicago. Created with a few sounds and a minimum of means, devoid of spectacular solo outing, these mostly desolate tracks form a meditative musical travelogue through the Black people psyche. Track titles deal with themes of slavery, racism, and Black culture tropes, though neither the occasional lyrics nor the strange music on offer here can pass for angry or vindicatory, the music being far too personal for that. The clarinet confers a neo-classical atmosphere to some of the tracks, sometimes interestingly contrasted with synthesizer sounds or electronic beats. Harmonica and vocals on Autotune also contribute to the unique sound signature of this album, with occasional hints at gospel and rural blues. Playing in continuous mode in a kind of stream-of-consciousness style, the music would work just fine as a soundtrack to a Kara Walker exhibition—Bat Dawid actually composed the soundtrack to a Yoko Ono outdoor installation in 2020. On a side note, she also released the Harkening Etudes mini album on Longform Editions earlier in April 2021, where her classically-trained clarinet playing is contrasted with sampled piano accompaniment and electronically processed vocals in a series of short, bizarre classical music études, also worth checking out.

Ron Nagorcka – Lovregana - Music From A Tasmanian Forest (Invisibilia) https://invisibilia.bandcamp.com/album/lovregana-music-from-a-tasmanian-forest-1990-soundscapes-from-wilderness-1988 This CD reissue combines 2 cassette tapes of manipulated field recordings by Australian composer Ron Nagorcka, born 1948, namely 'Lovregana - Music from a Tasmanian Forest', 1990, and 'Soundscapes from Wilderness', from 1988. Both are based on bird recordings from northern Tasmania island, where Nagorcka relocated in 1988, building himself a house and makeshift, solar-powered recording studio deep in the primeval forest. On Lovregana, short samples of bird songs are run through a sampler and harmonized in just intonation, producing eerie soundscapes of disembodied and supernatural bird singing. The music is reconstructing a fictional and artificial forest populated by dozens of birds, some far in the distance, some near ; some slowly developing a song, others performing in sudden bursts, with a variety and unpredictability akin to actual birds in nature. To this, Nagorcka adds minimal electronic loops in the background, dreamy synthesizer notes in strange tunings and discreet didgeridoo playing, all very well integrated to the sampled bird songs. These tracks are thus poetical evocations of a primeval forest via electronic sounds. While Lovregana's tracks more or less focused on one specific bird song at a time, the two tracks of 'Soundscapes from Wilderness' take a more holistic approach to nature recordings. The 1st track, 'Black Forest, Victoria', is a reconstruction of the deep forest sounds via the accumulation of various field recordings, creating a particularly dense soundscape through layers and layers of nature recordings. Here again, the natural-vs-artificial dichotomy is what interests the composer, and arguably this forest never existed, it was rather reconstructed in the studio. The 2nd track, 'Rainforest in Northern Tasmania', uses forest sounds as the basis for slow, mysterious didgeridoo improvisations, perhaps examining how the musician can dialog with the environment, being a part of it, being one with it. The superb didjeridoo playing is what fascinates most here.   .     .     .

[blackkudos]

Stephanie Mills

Stephanie Dorthea Mills (born March 22, 1957) is an American singer, songwriter and actress. Mills rose to stardom as "Dorothy" in the original Broadway run of the musical The Wiz from 1975 to 1977. The song "Home" from the show later became a Number 1 U.S. R&B hit for Mills and her signature song. During the 1980s, Mills scored five Number 1 R&B hits, including "Home", "I Have Learned to Respect the Power of Love", "I Feel Good All Over", "(You're Puttin') A Rush on Me" and "Something in the Way (You Make Me Feel)". Mills won a Grammy Award for Best Female R&B Vocal Performance for her song "Never Knew Love Like This Before" in 1981.

Biography

Early life and career

Born Stephanie Dorthea Mills to Joseph and Christine Mills (as well as raised) in Bedford–Stuyvesant, Brooklyn, Mills sang gospel music as a child at Brooklyn's Cornerstone Baptist Church. Mills began her professional career at age nine, appearing in the Broadway musical Maggie Flynn. After winning Amateur Night at the Apollo Theater six weeks straight at age eleven, Mills went on to become the opening act for the Isley Brothers. In 1973, Mills was signed to Paramount records by Michael Barbiero, and her first single "I Knew It Was Love" was released. Mills was later signed to Motown. Her first two albums there failed to produce a hit, and Mills left the label in 1976.

1980s

Mills's career took a rise when she portrayed Dorothy in the Broadway musical The Wiz, an African-American adaptation of The Wonderful Wizard of Oz. Her song "Home" from the show would become her signature tune for years, and would be covered later by Diana Ross for the movie adaptation three years later. Commercial success in the music industry remained elusive until 1979, when she signed to the 20th Century Fox Records label. There, Mills found her niche in mainly disco music, recording songs such as "Put Your Body In It", "You Can Get Over", and "What Cha Gonna Do with My Lovin'". The resulting album, What Cha' Gonna Do with My Lovin', was Mills's first gold record and the first major hit for the James Mtume-Reggie Lucas production team. She quickly followed the success with 1980's Sweet Sensation, which featured Mills's hit "Never Knew Love Like This Before". The single became a #12 R&B and #6 Pop hit in 1980, as well as reaching #4 in the UK Singles Chart. 1981's Stephanie featured a top hit for her and Teddy Pendergrass entitled "Two Hearts".

Her 1983 album, Merciless, featured her hit cover of Prince's "How Come You Don't Call Me Anymore?", as well as the #3 dance chart hit "Pilot Error", which was her first dance hit in the U.S. In 1984, Mills had her third UK hit with "The Medicine Song" (#29), which also reached #1 on the U.S. dance chart and #8 on the R&B chart. On May 24, 1984, Mills returned to theater to star in a short-lived touring revival of The Wiz. The production closed on June 3, after 13 performances and 7 previews. In 1985, Mills's recording of "Bit by Bit (Theme from Fletch)" was featured in the Chevy Chase film, Fletch, and reached #52 on the Hot R&B/Hip-Hop Singles & Tracks chart, #78 on The Billboard Hot 100 and #15 on the Dance Chart.

Success for Mills had peaked until 1986, when her version of the Angela Winbush-penned "I Have Learned to Respect the Power of Love", hit #1 on the R&B singles chart. Mills truly returned, however, with her next release, If I Were Your Woman in 1987 under MCA Records, which she was now signed. The hits from the album include the title track, originally a hit for Gladys Knight & the Pips in 1971, a three-week #1 R&B hit, "I Feel Good All Over", and "You're Puttin' a Rush on Me", to name a few of the songs released. The album reached platinum status. That same year, she appeared in the NBC TV special, Motown: Merry Christmas along with other musical artists and actors, performing the song, "Christmas Everyday", which was written by actor/comedian Redd Foxx. Mills's success continued with 1989's Home album. The hits from that album include "The Comfort of a Man", the title track, a cover of her old standard from The Wiz and another song penned by Winbush titled "Something in the Way You Make Me Feel". It became another platinum record for Mills.

1990s

Mills would record one more album (1992's Something Real) and a Christmas album before being released from her contract with MCA in 1992. In 1993, she once again starred in the role of Dorothy in "The Wiz". This revival was also short lived, closing after 28 performances. Mills released a live gospel recording in 1995 on GospoCentric Records entitled Personal Inspirations. The set was produced by Donald Lawrence and featured a spiritualized retooling of her hit "I Have Learned To Respect The Power Of Love". Thereafter, Mills took a break from recording to care for her son.

In 1997, Mills played the lead in a major production of Stephen Schwartz's Children of Eden in New Jersey, which Schwartz has called "the definitive production" of the show. Mills was heavily featured in the cast recording CD that resulted from this production.

2000s

In 2008, Mills began a comeback with singles recorded with BeBe Winans and rapper DMX to name a few. She made a comeback in independently-releasing Born For This (released on Expansion Records in the UK) on August 3, 2004. Her first single in over a decade, "Can't Let Him Go", garnered buzz at urban contemporary radio. Mills is currently touring. A 2-disc, career-spanning greatest hits compilation entitled Gold was released by Hip-O/Universal Music earlier last year. Mills just finished production of a live DVD recorded at BB Kings in New York which will be sold online and at her shows.

Mills made an appearance in the 2007 gospel TV series Sunday Best and was recently featured in a live interview on The Yolanda Adams Morning Show, where she mentioned that she now has her own record label (JM Records). Mills performed prior to Pope Benedict XVI celebrating Mass at Yankee Stadium in New York on April 20, 2008. Her track, "Yesterday", is available for download on iTunes.

2010s

Towards the end of 2012, Mills released a new single "So In Love This Christmas", available for download. In 2015, Mills was cast as Aunt Em in the NBC live musical production of The Wiz, forty years after her initial Broadway run in the show.

Mills made headlines in August 2018 with her response to singer Sam Smith, who remarked in a video posted to Instagram that they did not like Michael Jackson, but the Jackson hit "Human Nature" was a "decent song". Mills' fiery response quickly gained traction as she criticized Smith in her own Instagram responses, both accusing Smith of cultural appropriation and referring to them as a "one hit wonder".

On June 25, 2019, The New York Times Magazine listed Stephanie Mills among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

Personal life

Mills has been married three times:

Jeffrey Daniel: (1980–1983), Jeffrey Daniel was from the R&B/soul group Shalamar.

Dino Meminger: (1989–1991).

Michael Saunders: (1993–2001), Minister Louis Farrakhan officiated the wedding ceremony.

Mills has a son, Farad Mills, who was born with down syndrome.

Mills had a brief relationship with fellow singer Michael Jackson.

[x-heesy]

STҒU 😑🤌🏾🖕🏽🤙

Sometimes I go out and hear people talk about irrelevant things and then I tell myself this is why I don’t go out.... -Keanu phucKing Reeves 👑

(Brainz are tha nu Titts) (brainz Are 6y) use.iT 🧠

𝗣𝗨𝗥𝗥𝗙𝗘𝗖𝗧 𝗜𝗦 𝝠 𝗠𝗬𝗧𝗛 / 𝗜𝗧’𝗦 𝝠 𝗧𝗥𝝠𝗣 / 𝗕𝗥𝗘𝝠𝗞 𝗙𝗥𝗘𝗘 / 𝗤𝗨𝗘𝗦𝗧𝗜𝝝𝗡 𝗘𝗩𝗘𝗥𝗬𝗧𝗛𝗜𝗡𝗚 / 𝗖𝗛𝝝𝝝𝗦𝗘 𝗪𝗜𝗦𝗘𝗟𝗬 / 𝗪𝗘𝗜𝗥𝗗 𝗜𝗦 𝝠 𝗖𝝝𝗠𝗣𝗟𝗜𝗠𝗘𝗡𝗧 / 𝗡𝝝𝗧𝗘 𝗧𝝝 𝗠𝗬𝗦𝗘𝗟𝗙 / 𝗬𝝝𝗨 𝝠𝗥𝗘 𝗧𝗛𝗘 𝗥𝝝𝝠𝗗 /𝗧𝗛𝗘𝗟𝗜𝗧𝗧𝗟𝗘𝗧𝗛𝗜𝗡𝗚𝗦𝝠𝗥𝗘𝗧𝗛𝗘𝗕𝗜𝗚𝗧𝗛𝗜𝗡𝗚𝗦 / 𝗠𝗬 𝗖𝗥𝗘𝗗𝝝 / 𝗟𝝝𝗩𝗘 & 𝗟𝗘𝗧 𝗟𝝝𝗩𝗘 / 𝗟𝗜𝗩𝗘 & 𝗟𝗘𝗧 𝗟𝗜𝗩𝗘 / 𝗞𝗘𝗘𝗣 𝗜𝗧 𝗦𝗜𝗠𝗣𝗟𝗘 / 𝗞𝗘𝗘𝗣 𝗜𝗧 𝗥𝗘𝝠𝗟 / 𝗩𝗘𝗧𝝝 / 𝗥𝗜𝗦𝗘𝗥𝗘𝗕𝗘𝗟𝗥𝗘𝗦𝗜𝗦𝗧 / 𝗠𝝝𝝝𝗗 𝗕𝝝𝝠𝗥𝗗 /𝗣𝗨𝗡𝗞𝗦𝝠𝗥𝗘𝗡𝗧𝗗𝗘𝝠𝗗 ​/ 𝗡𝝝 𝗚𝝝𝗗𝗦 𝗡𝝝 𝗠𝝠𝗦𝗧𝗘𝗥𝗦 / 𝗣𝗥𝝝 𝗟𝗜𝗙𝗘 𝗠𝗙𝗭 / 𝗘𝗡𝗘𝗥𝗚𝗬𝗦𝗨𝗖𝗞𝗘𝗥𝗭 𝗡𝝝𝗧 𝗪𝗘𝗟(𝗟) 𝗖𝗨𝗠 / 𝗧𝝝 𝝠𝗟𝗟 𝗧𝗛𝝠 𝗟𝗨𝗩𝝠𝗭

#justanfriendlyreminder 💡

#thelittlethingsarethebigthings 🔎

#autosuggestion #pointofview #codingyourself #programyourself #endlessness #creatingyourself #neverstoplearning

#fantasy #empathy #equality #respect #love #basics

#textart #artfulquotes #typography #expressyourself #iphoneart #newcontemporary #popart #artsyfartsy #artfuckery

#quotes #quotesdaily #quotestoliveby #quotestagram #quotesaboutlife #quotesoftheday #quotestags #quotesgram #motivationalquotes #quotesandsayings #quoteslover #quotesofinstagram #quotesforlife #quotestoinspire #quotestoremember #quotestag #quotesilove #inspirationalquotes #lovequotes 4 my brothaz @frenchpsychiatrymuderedmycnut #quotesaboutlifequotesandsayings #successquotes #dailyquotes #lifequotes #quotesforyou #positivequotes #quotes4you #quotesaboutlove #instaquotes #quoteslife #quoteslove #qotd

Soundtrack: Andres by L7, Michael Barbiero

@luna-zylum @invincible-selfxmade-punk 🤘🤘

[lboogie1906]

Stephanie Dorthea Mills (born March 22, 1957) is an American singer, songwriter, and actress. Mills rose to stardom as "Dorothy" in the original Broadway run of the musical The Wiz from 1975 to 1977. The song "Home" from the show later became a Number 1 U.S. R&B hit for Mills and her signature song. During the 1980s, Mills scored five Number 1 R&B hits, including "Home", "I Have Learned to Respect the Power of Love", "I Feel Good All Over", "(You're Puttin') A Rush on Me" and "Something in the Way (You Make Me Feel)". Mills won a Grammy Award for Best Female R&B Vocal Performance for her song "Never Knew Love Like This Before" in 1981. Mills sang gospel music as a child at Brooklyn's Cornerstone Baptist Church. Mills began her professional career at age nine, appearing in the Broadway musical Maggie Flynn. After winning Amateur Night at the Apollo Theater six weeks straight at age eleven, Mills went on to become the opening act for the Isley Brothers.[11] In 1973, Mills was signed to Paramount records by Michael Barbiero, and her first single "I Knew It Was Love" was released. Mills was later signed to Motown. Mills's career took a rise when she portrayed Dorothy in the Broadway musical The Wiz, an African-American adaptation of The Wonderful Wizard of Oz. Her song "Home" from the show would become her signature tune for years. #africanhistory365 #africanexcellence #womenshistorymonth https://www.instagram.com/p/B-C17CrHnrIwTBPDGTHrn1fyRPI666L_FqSea80/?igshid=1vndbfaawde7d

[hammondcast]

A Night At Le Bar Bat Jon Hammond Late Rent Session Men

#WATCHMOVIE HERE: A Night At Le Bar Bat Jon Hammond Late Rent Session Men 

Jon's archive https://archive.org/details/a-night-at-le-bar-bat-jon-hammond-late-rent-session-men 

Youtube https://fb.watch/gC8jmvkSJc/ 

FB https://fb.watch/gC8jmvkSJc/ 

A Night At Le Bar Bat Jon Hammond Late Rent Session Men

by

 Jon Hammond 

 Topics

 A night, Le Bar Bat, Mediasound Studios, Jon Hammond, Late Rent Session Men, Jazz, Blues, Hammond Organist

Language

 English

A Night At Le Bar Bat Jon Hammond Late Rent Session Men MUSICIANS:Chuggy Carter Barry Finnerty James Preston Alex Foster Jon Hammond Joe Berger - Camera / Mix  https://jonhammondband.com Formerly Mediasound Studios NYC - Bob Clearmountain, Godfrey Diamond, Michael Barbiero, Michael Delugg, Harvey Goldberg, Joe Ferla, Jeff Lesser, Alec Head, Bill Stein, Ron Saint Germain, Michael Brauer, Don Wershba, Ed Stasium, Gregg Mann, Carl Beatty, Kol Marshall, Lincoln Clapp, Joe Jorgensen, Alan Varner, Doug Epstein, Liz Saron, Trudy Schroder, Ramona Janquitto, Ron Dante, Charlie Calello, Tony Bongiovi — these are just some of the names that became the nucleus of Mediasound.In New York City, from the close of the ’60s through the birth and death of disco, Mediasound was a hit machine. Founded by Harry Hirsch, with assistance from Bob Walters and financial/business backing from owners Joel Roseman and the late John Roberts, Mediasound opened in June 1969 at 311 West 57th St. in the heart of Manhattan. Once home to the Manhattan Baptist Church, today the site is occupied by Providence (formerly the trendy Le Bar Bat), where you can still see the Gold Records on the wall.#anight #lebarbat #jazz #blues

Addeddate

 2022-11-04 10:34:33

Color

 color

Identifier

 a-night-at-le-bar-bat-jon-hammond-late-rent-session-men 

 I put Barry Finnerty's old guitar case that came with his Gibson Johnny Smith guitar in front of the AFM Local 6 musicians union on 9th street - it was shot - to see how long it would take 'til somebody walked with it: 5 minutes. Maybe it's still kicking around the Tenderloin in San Francisco, California somewhere ha hah - that g'tar case had seen plenty of action since high school days - Jon Hammond

#gibsonguitarcase

#johnnysmith

#local6musicians

#tenderloinsf

A night, Le Bar Bat, Mediasound Studios, Jon Hammond, Late Rent Session Men, Jazz, Blues, Hammond Organist 

  A night, Le Bar Bat, Mediasound Studios, Jon Hammond, Late Rent Session Men, Jazz, Blues, Hammond Organist

[aaua05]

So don't forget what I told you, don't come around. I got my own hell to raise.

All I Really Want – Alanis Morissette

Criminal – Fiona Apple

Zombie – The Cranberries

Shitlist – L7

Deceptacon – Le Tigre

Wishing I Was There – Natalie Imbruglia

Push It – Garbage

Rebel Girl – Bikini Kill

Bitch – Meredith Brooks

You Oughta Know – Alanis Morissette

Volcano Girls – Veruca Salt

What's Up? – 4 Non Blondes

Sleep to Dream – Fiona Apple

One Of Us - Short Version – Joan Osborne

Don't Speak – No Doubt

Supervixen – Garbage

Pretend We're Dead – L7

Dreams – The Cranberries

Uninvited - Live/Unplugged Version – Alanis Morissette

You Were Meant For Me – Jewel

All I Wanna Do – Sheryl Crow

Crush – Jennifer Paige

Gypsy Woman (She's Homeless) – Crystal Waters

Erotica – Madonna

Hyperballad – Björk

Thank U – Alanis Morissette, Christopher Fogel

Limp – Fiona Apple

Torn – Natalie Imbruglia

I Try – Macy Gray

No Scrubs – TLC

Doo Wop (That Thing) – Ms. Lauryn Hill

Whatta Man – Salt-N-Pepa, En Vogue

Why Didn't You Call Me – Macy Gray

It's My Life – No Doubt

Ray Of Light – Madonna

Human Behaviour – Björk

Down By The Water – PJ Harvey

Just A Girl – No Doubt

Stupid Girl – Garbage

Celebrity Skin – Hole

Andres – L7, Michael Barbiero

My Favourite Game – The Cardigans

Big Time Sensuality – Björk

...Baby One More Time – Britney Spears

Back & Forth – Aaliyah

My Lovin' (You're Never Gonna Get It) – En Vogue

Every Ghetto, Every City – Ms. Lauryn Hill

Waterfalls – TLC

Give Me One Reason – Tracy Chapman

Here With Me – Dido

Hand In My Pocket – Alanis Morissette

Get Gone – Fiona Apple

#1 Crush – Garbage

Nothing Compares 2 U – Sinéad O'Connor

Sing It Back - Boris Dlugosch Mix – Moloko

I Think I'm Paranoid – Garbage

Army Of Me – Björk

You Learn – Alanis Morissette

Paper Bag – Fiona Apple

Roads – Portishead

Queer – Garbage

Vogue - Edit – Madonna

If It Makes You Happy – Sheryl Crow

Hands Clean – Alanis Morissette

Fast As You Can – Fiona Apple

Frozen – Madonna

Kool Thing – Sonic Youth

Don't Make Me Prove It – Veruca Salt

Fast And Frightening – L7

Vow – Garbage

Sour Times – Portishead

Lovefool – The Cardigans

Milk – Garbage

Never Is a Promise – Fiona Apple

Head Over Feet – Alanis Morissette

Play Dead - Tim Simenon 7" Remix – Björk

Take A Bow – Madonna

Ironic – Alanis Morissette

Linger – The Cranberries

Special – Garbage

Man! I Feel Like A Woman! – Shania Twain

Shadowboxer – Fiona Apple

Get Up – Sleater-Kinney

Uninvited – Alanis Morissette

Doll Parts – Hole

Vibeology – Paula Abdul

Fantasy – Mariah Carey

The Sign – Ace of Base

Only Happy When It Rains – Garbage

The First Taste – Fiona Apple

I'm The Only One – Melissa Etheridge

When You're Gone – The Cranberries

Special – Garbage

The Child Is Gone – Fiona Apple

Who Will Save Your Soul – Jewel

I Don't Want To Wait – Paula Cole

Sunny Came Home – Shawn Colvin

Straight – Veruca Salt

Wargasm – L7

He's My Thing  – Babes In Toyland 

[diceriadelluntore]

Oggi è il cosiddetto Black Friday, evento preso dagli Stati Uniti che oggi, il venerdì dopo il giorno del Ringraziamento, hanno forti sconti sui prodotti in vista del Natale. Ho scelto oggi un album “nero”, di una band americana che non solo con questo disco vendette milioni di copie, ma fu accusata di essersi svenduta. La band di oggi nasce agli inizi degli anni ‘80 in California quando James Hetfield, chitarrista, già in alcuni gruppi, incontra Lars Ulrich, batterista di origini danesi. Ulrich è amico di Brian Slagel, che nello stesso periodo stava fondando una etichetta musicale e una rivista: i due decisero di chiamare rivista e etichetta Metal Blade, e la band Metallica. Per Slagel scrivono Hit The Lights che finisce nella seminale compilatioin Metal Massacre Vol. I (1982) che viene considerata l’alba del thrash metal: riff allucinanti e allucinati, batteria che picchia fortissima, una velocità di esecuzione vicina a quella della luce. I Metallica si candidano ad esserne i paladini, quando nel 1982 con l’arrivo di Dave Mustaine e Ron McGovney il gruppo inizia a suonare da spalla a grandi gruppi durante i concerti, incidendo una demo di No Life ‘Til Leather, che diventerà un brano leggendario nonostante non fosse mai stata ufficialmente pubblicata. McGovney se ne va, sostituito da Cliff Burton, e così fa pure Mustaine, che però ha già imparato abbastanza per fondare i Megadeth, altro futuro gruppo culto del thrash. Viene consigliato al gruppo un funambolico chitarrista, Kirk Hammett, da allora pilastro sonoro della band. Tutto è pronto per l’esordio discografico, che arriva con Kill ‘Em All (1983): una bomba per potenza sonora, un suono cattivo e fulminante nelle hit Jump In The Fire, Hit The Lights, Seek And Destroy, Metal Militia: é nata una stella. Nel 1984, già al secondo disco, inizia un lento processo di cambiamento, con il durissimo Ride The Lighting, che contiene sempre la solita granitica musica thrash ma i testi iniziano ad essere più profondi, indagano sulla vita giovanile ed iniziano a sfoderare citazioni colte come in Call Of Ktulu, che omaggia il gotico di H.P. Lovencraft. Passano alla Elektra, e nel 1986, Master Of Puppets li proclama eroi mondiali del metal. Disco che apre alla melodia, dimostrando che oltre al rumore sanno sia suonare che cantare, e ormai i loro concerti riempiono gli stadi, con nuovi inni tipo Welcome Home (Sanatorium). Lo stesso discorso si riscontra con ...And Justice For All (1988), prodotto insieme a Michael Barbiero, Steve Thompson e Flemming Rasmussens, con il nuovo bassista Jason Newsted, dove compare la prima ballata che farà storcere il naso ai puristi, One. Dopo un grande tour mondiale, che li fa diventare ancora più popolari, i quattro chiamano a dirigere Bob Rock, che cambia radicalmente il loro modo di lavorare: non più parti suonate da soli e poi missate, ma registrazioni in presa diretta, un controllo corale del lavoro di scrittura di Hetfield e Ulrich, un’opera di perfezionamento sonoro che portò l’album a tre completi rimissaggi, con un costo di produzione che superò il milione di dollari. Nell’ottobre del 1991, esce Metallica, che subito viene ribattezzato Black Album per via della copertina totalmente nera, dove compare il serpente della bandiera di Gadsden, simbolo della Rivoluzione Americana del 1776. L’album è più maturo, diviene bandiera del nuovo heavy metal, smussando i toni ed i tempi del thrash e aumentando le parti melodiche. Basta l’intro e il riff micidiale della stupenda Enter Sandman (in omaggio al personaggio della graphic novel di Neil Gaiman) per sancire il passaggio alla maturità, così come l’assolo di Hetfield in Sad But True, le power ballad come The Unforgiven, il portentoso suono di Wherever I May Roam, divenuta famosissima. Don’t Tread On Me, che riprende il motto della bandiera di Gadsden, per molto tempo fu pensata una canzone pro guerra (si era nel periodo della Guerra del Golfo), diviene uno dei momenti clou dei live, che diventeranno oceanici. Ma il tocco che farò gridare allo scandalo i fan della prima ora è la sofferta e magnetica Nothing Else Matters, che li farà diventare star del rock. L’album viene ripudiato da chi li seguiva già, ma diviene uno dei più grandi successi di tutti i tempi, avendo venduto decine di milioni di copie in tutto il mondo. Apro qui una parentesi sulle critiche, piovute anche da loro colleghi, sul fatto che si sono “venduti”, critica che trovo per molti versi inaccettabile: si può tranquillamente fare una critica estetica al lavoro, e fin qui nulla da dire. Ma accusare una band che aveva già venduto decine di milioni di copie di essersi “venduta” quando già allora facevano questo di mestiere, per lo più al massimo livello, è la critica meno incisiva possibile, che tra l’altro si scaglia con la libertà, di qualsiasi artista, di sperimentare ciò che vuole.  I Metallica sentirono tantissimo le tensioni dei cambi portati da questo album, soprattutto in fase di costruzione, tanto che tre dei 4 divorziarono dalle loro mogli. Bob Rock fu accusato di essere il maestro della svendita, un po’ come lo fu Teo Macero per Bitches’ Brew di Miles Davis. I Metallica tra l’altro non scriveranno niente di paragonabile, tranne lo stupendo S&M (1999) dove rifanno i classici, soprattutto del Black Album, in versione orchestrale con la Filarmonica di San Francisco diretta da Michael Kamen. Un’altra offesa per molti, per altri un modo di reinventarsi e per fare esperienze. 

[akula51]

Liked on YouTube: One Man Stands https://www.youtube.com/watch?v=qC_gzLyQ3k0 Provided to YouTube by Universal Music Group One Man Stands · Anthrax Persistence Of Time ℗ 1990 The Island Def Jam Music Group Released on: 1990-01-01 Producer: Anthrax Producer: Mark Dodson Studio Personnel, Mixer: Steve Thompson Studio Personnel, Mixer: Michael Barbiero Composer Lyricist: Daniel Alan Spitz Composer Lyricist: Ian Scott Rosenfeld Composer Lyricist: Frank Joseph Bello Composer Lyricist: Charlie C. Benante Composer Lyricist: Joe A. Belladonna Auto-generated by YouTube.