14
Jul
08

Playlist New Entry 14 Juli 2008

Caramel FarEastMovement Slank Daughtry
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Review, Video Clip, Podcast:

(Jauh) Tinggal kenangan – Caramel Band (versi terbaru)

Setelah gosipnya malah melintang di internet, Tinggal kenangan dan Caramel Band akhirnya masuk dapur rekaman. Jika sebelumnya kita hanya bisa menikmati versi gitar dan pianonya saja yang direkam apa ala kadarnya, sekarang kita bisa menikmati lagu ini dalam kualitas audio yang lebih bagus, versi yang berbeda dan tentu saja dikemas layaknya sebuah lagu komersial keluaran perusahaan rekaman. Silahkan dinikmati secara utuh sampai tuntas:

Menurut detikhot, perusahaan rekaman yang menangani Caramel Band adalah Trinity Production, yang juga menangani Ungu, Naff, Rossa, Sherina, Ebiet G Ade dan ST12.

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Low Ridin – Far East Movement

website: http://www.fareastmovement.com/fm/index.php

Far Easy Movement (FM) adalah kelompok rap yang terdiri dari 3 pria Asian American, Kev Nish (Kevin Nishimura), Prohgress (James Roh), and J-Splif (Jae Choung). Nama Far East Movement semakin terangkat setelah ikut berpartisipasi dalam pembuatan musik film serial CSI dan soundtrack film The Fast and the Furious: Tokyo Drift.

Dalam single terbarunya LowRidin, FM mencoba mengaransemen ulang Love Song milik kelompok musik 311 yang aslinya seperti ini

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Seperti Para Koruptor – Slank

Album : Slank – The Big Hip
Released : Indonesia 5 Juli 2008, Jepang 5 Mei 2007
website: http://www.slank.com

“Seperti Para Koruptor” adalah satu hit dari album terbaru / ke 16 Slank “Slank – The Big Hip”. Album ini berbeda dari album-album yang terdahulu karena dalam album ini Slank berkolaborasi dengan band Jepang “The Big Hip”. Misi dari pembuatan album ini, selain untuk melawan korupsi juga bertujuan untuk menyebarkan virus perdamaian ke seluruh dunia.

Dalam album ini kibordis The Big Hip – Mikio Shirai menyumbangkan beberapa karyanya,, seperti “Sora (Halilintar)” yang ditranslasi oleh Kaka, Bimbim dan Abdee; “Yumede Areba II (Semoga Ini Mimpi)”, “Utaga Utaidasu (Lagu Mulai Bernyanyi)” dan “Yuwaku (Godaan)”.

Dua lagu berjudul “Arigato Thank You” dan “Sexy Cat” tercipta saat Mikio Shirai dan drumer Tetsuya Kajiwara melakukan sesi jamming dengan Slank di markas Slank Jalan Potlot, Durentiga, Jakarta Selatan pada akhir tahun 2007.

Album tersebut sudah terlebih dulu dirilis di Jepang, pada saat Slank berkonser bareng The Big Hip di Diamond Hall, Nagoya dan Liquid Room, Tokyo (5-6 Mei 2007) – dan kini menjadi giliran Indonesia untuk juga menikmati “lagu-lagu berbeda dan unik” dari Slank dengan dilengkapi bonus VCD berisian dokumentasi eksklusif kegiatan Slank selama di Jepang saat itu.

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What About Now – Daughtry

Album: Daughtry
Released: US 21 November 2006
website: http://www.daughtryofficial.com

Everything that made Chris Daughtry insufferable as a contestant on American Idol — his utter lack of humor, his oppressive earnestness, his desire to sing every song in the same gut-wrenching fashion, a style that only suited the post-grunge brooding that is his chosen specialty — work for him on his post-Idol debut album, Daughtry. Technically, this is not a solo album, it’s the debut of a band called Daughtry, which is actually spelled all in capital letters, which could be seen as a sign that Chris Daughtry might have a bit of a credibility complex. It certainly seems as if he thinks he’ll only be taken seriously as part of a band that, like lots of bands from the grunge revolution, is spelled in a specific, exacting way, even if it means that by the rules of the internet he is, quite literally, shouting at us — which is only appropriate for a singer who is fueled by Fuel and lives by Live. And, let’s face facts, DAUGHTRY was formed by Daughtry not only after his run on American Idol, but after he recorded this debut album: the band is for show, to prove that he’s the real deal, baby, not some pansy TV singer. It’s a posture that’s not only just a teeny bit defensive, but one that’s utterly unnecessary because the album DAUGHTRY is actually very good, whether it’s judged by the standards of American Idol or by the standards of Fuel or Nickelback.

Compared to Fuel — the band that invited Daughtry to be their frontman after he was voted off Idol — Daughtry has a lighter touch not just in his delivery but also in his songs, which are far hookier than most post-grunge; and if he’s compared to Nickelback, he’s a far more appealing frontman than that lunkhead Chad Kroeger, with a greater vocal range and far more sensitivity in his singing. Daughtry’s way with a hook and empathetic emoting are placed far up in the unapologetically professional mix on DAUGHTRY, which is designed to cross over not to the pop market — everybody involved knew that DAUGHTRY had that anyway thanks to Daughtry’s TV celebrity — but to the rock market, so everybody involved made sure not to temper the guitars with layers of synths or even to indulge in too many power ballads.

The resulting album may play strictly by the rules of mainstream post-grunge and it may never achieve the sweat and grit that real rock bands do even after they’ve been cleaned up in the studio, but it follows the modern rock blueprint exceedingly well, creating drama even in its pedestrian moments. It also helps that the songs are sturdier than most post-grunge, with big, anthemic hooks on the choruses and verses that are lively enough not to bore. In short, it sounds like the work of a bunch of professionals, which is true to a certain extent: it was produced by Howard Benson, best-known for LPs by My Chemical Romance and All-American Rejects, but Benson and DAUGHTRY didn’t draft in a bunch of pros to write the songs — each tune bears a writing credit by Daughtry, and most of them are solo credits.

Listening to these songs, it would be easy to mistake them for the work of seasoned pros: they not only follow the template of post-grunge well, they do it with better hooks and a commercial flair lacking from bands like Fuel and Shinedown, bands that have inspired Daughtry but who he betters here. To put it mildly, that’s a surprise — not just that Daughtry pulled off the tricky move of being pop enough for his Idol fans and rock enough for post-grungers, but that he pulled it off on the strength of his own work. While he hasn’t shaken off all the problems that plagued him on the show — he still could learn that a sense of humor helps add depth to his music, or at least he could realize that rock & roll should be fun at least some of the time — but he’s made those qualities work on a debut that’s not only a lot more credible than any American Idol-affiliated rock album should be, but it’s a lot easier to digest than most of its ilk. ~ Stephen Thomas Erlewine, All Music Guide

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