Artist: Aceyalone with RJD2
Genre(s):
Rap: Hip-Hop
Discography:
Magnificent City
Year: 2006
Tracks: 14
Wednesday 6 August 2008
Aceyalone with RJD2
Artist: Aceyalone with RJD2
Genre(s):
Rap: Hip-Hop
Discography:
Magnificent City
Year: 2006
Tracks: 14
LiveDaily Sessions: Rogue Wave
Rogue Wave [ ], a four-piece alt-rock band based in Oakland, CA, have down pat the artistry of producing soundtrack singles. Together since lead singer Zach Schwartz (a.k.a. Zach Rogue) founded the group back in 2002, the dynamic bikers have contributed to Xbox's "Stubbs: The Zombie Soundtrack," "Napoleon Dynamite" and "Just Friends," as well as episodes of notable idiot box shows "Heroes," "Friday Night Lights" and "Weeds," among others.
[Click here to view the video footage of Rogue Wave's performance.]
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The quartet's showtime two albums, "Out of the Shadows" and "Descended Like Vultures," resulted in national support tours, followed by their most late release, September 2007's "Asleep at Heaven's Gate," on Jack Johnson's Brushfire embossment. Rogue Wave [ ] is currently in the midst of a summer tour supporting Johnson, with dates scheduled through the end of August.
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Tree63
Artist: Tree63
Genre(s):
Other
Discography:
King
Year: 2004
Tracks: 3
The Life and Times of Absolute Truth
Year: 2002
Tracks: 10
Originally known just as Tree, Tree63 is an alternative CCM mathematical group from Durban, South Africa, influenced by bands like hallucinating? and Sonicflood, with dashes of U2, Jars of Clay, and other dc Talk for estimable standard. Guitarist/lead singer John Ellis, bassist Scoop, and drummer Daryl Swart got together in late 1996 to do at a local Christian music festival assembled by producer Martin Engel. Over the first base half of 1997, Tree continued honing its alive act, and recorded their debut album, Overflow, at Engel's studio around mid-year. The record helped domain Tree a touring slot possibility for the more dance-oriented Christian outfit MIC in 1998, and subsequently that year, the band was invited to clear for their heroes excited? at the U.K. Soul Survivor festival. Warmly received by the hearing, the band was invited back for the side by side class, and jell around transcription their second album in a higher-tech U.K. studio. Titled 63 (after the psalm), the record album was released in the U.K. in mid-1999 and in South Africa toward the goal of the year, by which time Martin Engel had replaced Scoop as the basso thespian. Tree scored a major strike in their fatherland with the single "A Million Lights," which crossed all over onto mainstream wireless as well, making them the first Christian band to find mainstream achiever in South Africa. Word of mouthpiece around 63 filtered over to American shores as easily, and the group signed to the American inpop label, upon which point they officially changed their identify to Tree63. Their first base American pour forth, a self-titled solicitation of songs re-recorded from their first dickens albums, hit stores in summer 2000.
New Boyfriend for Britney Spears?
Sixty Six - movie review
Preteen years can be so awkward, especially when you're in the shadow of a bully
big brother. And an obsessive-compulsive father. And a blind rabbi preparing you
for your Bar Mitzvah. This is the sweet, goofy story of North London's Bernie Rubens,
a non-athletic, bespectacled son waiting excitedly for his Jewish transition into manhood.
But the year is 1966 (thusly, the championship), and as any Brit knows, thither was something
else going on that year.
That "something else" was the presence of the underdog England soccer club in the
World Cup Final. With a last match scheduled for the same day as inadequate Bernie's Bar
Mitzvah celebration. In music director Paul Weiland's "true-ish narration" (a good establishing
trick there), our slight paladin carefully prepares, with Martha Stewart-like preciseness,
to at long last take his place as the nerve center of attention. But there's that nettlesome football
squad everyone is rooting for�
Weiland, with written material team Bridget O'Connor and Peter Straughan, could have simply
drawn the analog between the two events, but Sixty Six aims for more, and ordinarily
succeeds. The filmmakers add together depth to Bernie's woes by exposing his household issues,
most notably those of his ultra-nebbish padre Manny.
As Manny, character worker Eddie Marsan (The Illusionist, Hancock) makes the most of his bulging
jowls and inward face, developing a shlumpy Willy Loman-type who's incessantly sad,
aflutter and proud at the same time. The sticky relationship betwixt Manny and Bernie
(assured newcomer Gregg Sulkin) is initially played for giggles -- unrivalled a morsel far on
the ridiculousness scale -- but is later the pivot percentage point of Bernie's warm recollections.
The absurd moment, involving a terribly unrelenting dog, illustrates Weiland's episodic
weakness in combining to a fault many styles, a common move in the "advent of geezerhood" genre.
Most of the film resides in that funny-yet-sad territory, but when Sixty Six goes toward
goofier humour -- and yeah, there's a blind gag with the rabbi -- the narrative loses
a piece of focus.
The saving good will is that Weiland does each of the tones very well. The timing is
solid whether the laugh is visual or dialogue-based, and the heartwarming moments
are indeed touching. For many viewers, this level of layers may be seen as more of
a plus than a problem.
While Marsan and Sulkin command the most attention, two Oscar nominees play a bit
of second fiddle, and do so praiseworthily. Helena Bonham Carter is Bernie's fast and
healthy mom; Stephen Rea participates in a bit purpose as an asthma dr. who
helps Bernie with his ventilation and newfound interest in world football.
Which leads us to the fantastic footage of the 1966 World Cup, which Weiland uses
gracefully to create analog action or insert the Rubens' tarradiddle within a far larger
nationalist circumstance. Early in the photographic film, Manny, a grocer, warns a much larger competition tha
t England loves an underdog. The land certainly did that twelvemonth, and Weiland is
bright enough to work a little cinematic magic during that World Cup final.
It's a termination that eventually overstays its welcome, sliding into a bit of melodrama.
But for a few shiny moments then and end-to-end, Sixty Six is a satisfying trivial
surprise, exactly like Bernie and that scrappy small soccer team.
(Side note: The release of Sixty Six comes just about the same time as the DVD issue
of The Year My Parents Went on Vacation, another foreign film near a Jewish neighborhood
during the World Cup (Brazil, 1970). Talk about a specific genre and a weird coincidence...)
Mazel tov!
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