Written By: Nichole Wagner

Label: Self-Released
Rating: 4 Guns

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Review by: Hilary Hughes

It’s the beginning of October, and Indian Summer is over and done with in Boston: everyone has long since settled in since the semester started, the leaves are easing from vermillion to bleeding reds and yellows, and the biting briskness in the air is more welcome than waning. The best part of school being back in session is the reviving autumn wind and the extra dose of energy that blows into town with it… and the best way to make use of this seasonal enthusiasm is to head straight to the Middle East or a basement in Allston to dance to the downbeats and scratchy refrains screaming from the amps of the local, raw talent.

On nights like these, when you see your breath curling in front of you in the cold, high-energy bands who shove you into an embrace with their guitar rock are just the ticket, and Cambridge’s own Thick as Thieves fit the bill with their latest release, True Believers in the Long Walk Home.
What I love about True Believers… is its variation and the balance it achieves with a smaller song list. If I fall head over heels for a new album, I need songs on it that’ll work for my tired train ride in the morning as well as my backing track for when I’m dancing around in my underwear before a night out (in the privacy of my own apartment, of course). Like a meticulous, composed game of tug-of-war, the tracks of True Believers… alternate between power chord pushing numbers and sleepy, heavily medicated melodies. Let’s make an example of two of the album’s stronger selections, There Were Sparrows and Weak End with No End.

With Sparrows, Tyler Litwin’s vocals approach the steady twang of the steel-stringed acoustic guitar effortlessly and two meld in the mellow, while the fierce percussive presence and sonic distortion in Weak End with No End leave the listener empowered and eager to take on the night in every capacity.

In terms of temporal taste, Thick as Thieves has a sound that suits a time in transition, be it seasonal or a little more difficult to define. True Believers in the Long Walk Home is a fulfilling listen that’ll soothe, stun and satiate you, and a band with this kind of might behind them may be just what you need to avoid a head-on collision with the impending doldrums of winter.

Like this band? You may also like: Avett Brothers, Neutral Milk Hotel

Written By: White Chicks On Rap

Leading up to the 2008 VH1’s Hip Hop Honors, VH1 has compiled a list of the 100 greatest songs of hip hop. The songs span the different styles of hip hop such as old school, house, party, gangsta rap, crunk, East Coast, Southern, etc.

There has been debates on the order of some songs on the list, but personally I agree with the top five choices because they are the songs that defined their respected styles of hip hop.
“Fight The Power” showed that hip hop can be political and inspire a generation to act instead of taking the abuse of society. “Rapper’s Delight” started hip hop and without this song, hip hop would not be the 30 year movement it has been. “Nuthin But A ‘G’ Thang” helped put West Coast rap on the map, introduced Snoop Dogg and proved that Dr. Dre is one of the greatest hip hop producers. “Walk This Way” merged rock and rap and lead the way for Korn and Kid Rock and whole rock-rap genre. “The Message” showed the rap can educate and be the voice of the streets.

100 Biz Markie: Just A Friend
99 Lil Jon & The East Side Boyz ft/ Ying Yang Twins: Get Low
98 Warren G ft. Nate Dogg: Regulate
97 Eve: Who's that Girl
96 DJ Jazzy Jeff and the Fresh Prince: Parents Just Don't Understand
95 L'Trimm: Cars With The Boom
94 Master P ft. Sikk, Fiend, Mia-x and Mystical: Make 'Em Say Ugh
93 N.E.R.D. ft. Lee Harvey and Vida: Lapdance
92 Yo-Yo: Can't Play with my Yo-Yo
91 Chamillionaire ft. Krayzie Bone: Ridin'
90 Pete Rock & CL Smooth: They Reminisce Over You (T.R.O.Y)
89 Cam'ron: Oh Boy
88 Jungle Brothers: What U Waitin' 4
87 Wyclef Jean ft. Refugee All Stars: We Tryin' to Stay Alive
86 Heavy D. and the Boyz: Now That We Found Love
85 Black Star: Definition
84 UTFO: Roxanne Roxanne
83 2 Live Crew: Me So Horny
82 Chubb Rock: Treat 'Em Right
81 PM Dawn: Set Adrift On Memory Bliss
80 Three 6 Mafia ft. Paula Campbell- Hard Out Here For A Pimp
79 DMX: Ruff Ryders' Anthem (Stop Drop)
78 Arrested Development: Tennessee
77 Cold Crush Brothers: Cold Crush Bros. at the Dixie
76 Big Punisher ft. Joe- Still Not A Player
75 Lil' Kim ft. Lil' Cease- Crush on You
74 EPMD: You Gots To Chill
73 Black Sheep: The Choice Is Yours
72 J.J. Fad: Supersonic
71 Whodini: Freaks Come Out at Night
70 3(rd) Bass: Pop Goes the Weasel
69 Common: I Used to Love H.E.R.
68 Deleted due to artist being crappy
67 Mase: Feel So Good
66 House Of Pain: Jump Around
65 Spoonie Gee and The Treacherous Three: Love Rap
64 The Roots: What they Do
63 Kid 'n Play: Rollin' With Kid N Play
62 Digable Planets: Rebirth of Slick (Cool Like Dat)
61 Slick Rick: Children's Story
60 L.L. Cool J: I Need Love
59 Ol' Dirty Bastard: Shimmy Shimmy Ya
58 Ludacris ft. Shawna- What's Your Fantasy
57 Big Daddy Kane: I Get the Job Done
56 Busta Rhymes: Woo-Ha! Got You All In Check
55 Terror Squad ft/ Fat Joe and Remy: Lean Back
54 MC Lyte: Cha Cha Cha
53 Lox ft. DMX and Lil' Kim: Money, Power, Respect
52 Foxy Brown ft. Jay-Z: I'll Be
51 Doug E. Fresh & the Get Fresh Crew: The Show
50 Lil' Wayne: Tha Block Is Hot
49 Boogie Down Productions: My Philosophy
48 Nas: One Love
47 Young MC: Bust A Move
46 De La Soul: Me, Myself, And I
45 Geto Boys: Mind Playing Tricks On Me
44 Method Man ft/ Mary J. Blige: I'll Be There For You/You're All I Need to Get By
43 Game, The ft. 50 Cent: Hate It or Love It
42 Roxanne Shante: Roxanne's Revenge
41 Funky 4 + 1: That's the Joint
40 Run-DMC: It's Like That
39 Tone-Loc: Wild Thing
38 Coolio: Gangsta's Paradise
37 Rob Base & DJ E-Z Rock: It Takes Two
36 Nelly: Hot In Herre
35 Queen Latifah ft. Monie Love: Ladies First
34 Cypress Hill: Insane In The Brain
33 Bone Thugs-N-Harmony: Tha Crossroads
32 Puff Daddy & The Family ft/ Notorious B.I.G., Lil' Kim and The Lox: It's All About The Benjamins
31 Kool Moe Dee: How Ya Like Me Now
30 Tribe Called Quest: Check the Rhime
29 Digital Underground: The Humpty Dance
28 Ice Cube: It Was A Good Day
27 Beastie Boys: Hold it Now, Hit it
26 MC Hammer: U Can't Touch This
25 Fugees: Killing Me Softly
24 Eric B and Rakim: Paid in Full
23 Outkast: B.O.B.
22 Naughty By Nature: OPP
21 Afrika Bambaataa & Soul Sonic Force- Planet Rock
20 Kanye West ft/ Jamie Foxx: Gold Digger
19 Ice T: Colors
18 50 Cent: In Da Club
17 Sir Mix-A-Lot: Baby Got Back
16 Missy Elliott: Get Ur Freak On
15 Eminem: Stan
14 Tupac: I Get Around
13 Wu-Tang Clan: C.R.E.A.M.
12 L.L. Cool J: I Can't Live Without My Radio
11 Jay-Z: Hard Knock Life
10 Kurtis Blow: The Breaks
09 Salt-N-Pepa: Push It
08 Snoop Doggy Dogg: Gin and Juice
07 Notorious B.I.G.: Juicy
06 N.W.A.: Straight Outta Compton
05 Grandmaster Flash & the Furious Five: The Message
04 Run-DMC ft/ Aerosmith: Walk This Way
03 Dr. Dre: Nuthin But A 'G' Thang
02 Sugarhill Gang: Rapper's Delight
01 Public Enemy: Fight The Power

Written By: White Chicks On Rap

Jay-Z To Play Free Concerts For Obama

To support voter registration and Obama, Jay-Z will play two free concerts. One concert will be held in Detroit’s Cobo Arena and the other will be at Miami’s Bayfront Park Amphitheatre.

Kanye West Will Not Be Charged

Kanye was arrested on September 11th at the Los Angeles International Airport on suspicion of felony vandalism when he broke a paparazzo’s camera. The Los Angeles County Prosecutors said that they will not file felony charges against Kanye. A decision still needs to be made if a lesser charge will be filed.

Kayne Working With Puppets

Comedy Central and Kanye West are working on project with puppets, which has been described as hip-hop meets the Muppets.

The pilot hosted by West has been shot and it might be shown sometime in 2009. The idea is to have different celebrity guest each week. The show will feature music produced and performed by West.

Ludacris Unveils New Tracks

Ludacris unveiled four tracks from in new album “Theater Of The Mind” for fans at New York’s Tribeca Cinemas. The album is set to drop on October 21st.

The tracks played include “On Top Of The World”, “MVP”, “Last Of A Dying Breed” and “Call Up The Homies” which features the Game.

As a further treat for his fans, Ludacris showed two music videos (“What Them Girls Like” and “Undisputed”).

Written By: Michael Elwood

…then, I purchased a shovel and dug for China.

I jammed ‘er in and started upending sidewalk. This was in Brooklyn, over on Taaffe Place. You won’t believe what I discovered:

First few feet yielded soil, rock and innocuous oddities (rodent bones, bits of scrap metal, etc.)—nothing particularly exciting. Getting below all the concrete proved a terrific challenge. Wasn’t til about eight feet down that things softened up real nice.

Lower, lower. I kept at it, sweat on the brow.

An hour later, both of my peanut butter sandwiches stupidly devoured, I struck heavy masonry behind a station platform on the G line. The people on the other side of the wall—a married couple, surely—argued dinner plans. I paused to sip root beer and listen in on their conversation. When a train stormed in to scoop them up, the ground trembled.

Lower, lower. I encountered the Mole People. If I still had sandwiches I probably would have offered them up.

Lower, lower. Everything—muscles, morale, visibility—just lousy. Super lousy. I finished off the root beer.

Lower, lower. Music! It seemed to be coming from underfoot. I pressed ear to ground, wondering what in the. China seemed very far away, suddenly. I began to hyperventilate, I began to cry. Then—

(insert disaster noises)! I broke through a dirt ceiling of sorts and tumbled into a small room, landing in belly-flop fashion on a floor of, well, more dirt. First thing I remember after dazedly shaking my head was a man in Teddy Ruxpin tee and black-rimmed glasses thumbing orange plugs into my ears. He handed me a canned PBR. “Where am I?” I coughed, exhaling question and dust all at once. “Dude,” he shouted, “you’ve found the Brooklyn Underground.”

I snapped. “You fucker, I’ve been looking for this place for a year! How do you—how the hell did you guys even GET down here? And why are you wearing a Teddy Ruxpin t-shirt?”

“Well,” he screamed over all the racket, “there were no invites. If you weren’t at the Sour Cream Highway show last week at c.a.v.e., you’d have trouble findi—”

“Uh, ya think?”

“—let’s head for the stage. You gotta see this guy on the turntable. He roughs up old Dizzy Gillespie records with steel wool and acrylic paint, and then he feeds ‘em thru his phaser pedal, but backwards. Cool, right?”

I surveyed the crowd. There were probably thirty, thirty-five people watching the Dizzy guy. Most of them were my age.

“We got sick of above,” Teddy continued, pointing at the hole I made. “That’s why we rented out this place. We’ve even started our own label—SUBindie records. Indie’s stale, man, it’s a bullshit term. We’re shedding pretensions…fact is, all we’re after is provocative, visceral art. No guitars, no lyrics, no melody even. Just a hammer to the temple. Hope you don’t mi—”

* * *

She shakes me by the shoulder. I blink up at her, perplexed.

“You’re talking again,” she says. “What were you dreaming? Tell me about it. Was I in it?”

“Babe,” I say, “I’ve got an idea for a record label.”

Label: Limey Jam
Rating: 3.5 Guns

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Written by: Hilary Hughes

“Rock and roll is hanging by a thread”: That’s the final line of the chorus to Almost Dead, the first track on Jonny Rumble’s latest release of the same title. I definitely sank my teeth into Rumble’s biting words upon my first listen, and the abrasive-yet-attractive coupling of power chords and articulate lyrics had me hooked. Jonny Rumble speaks to themes of discontent, which are backed by harsh guitar riffs and discordant melodies. On Almost Dead, their sentiments ring through the distortion loud and clear.

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Written By: Nichole Wagner

The sophomore effort from Jenny Lewis, Acid Tongue is reminiscent of the 70s from the beginning.

The yellow sleeve with the repetitive design lists the tracks and varied guests on the back foregoing lengthy liner notes. Inside there are four Polaroid style photos and the classic Warner Brothers label graces the disc.

Like her first album, there’s no Pro-Tools or other studio magic employed to perfect vocals or guitar licks. Unlike Rabbit Fur Coat, the music is less catchy on the first listen. Instead of masquerading as a long-lost Loretta Lynn record, it’s more of an early Linda Ronstadt album: more variety, less predictability and still not quite pop.

Some of the songs that are most likable are ones that have been floating around the Internet for awhile like See Fernando and Carpetbaggers which had been on YouTube as a duet with Johnathan Rice but on the album features Elvis Costello on vocals.

Other tunes like Bad Man's World, Trying My Best to Love You and the unapologetic Acid Tongue sound better and better after a few spins.

The unlikely standout track is The Next Messiah, which at nearly nine minutes combines three different songs without reaching into the realm of jam-band repetitiveness.

Overall, it works because it’s everything we like about Jenny Lewis but it’s not a repeat performance of what worked in the past for her with either the Watson Twins or Rilo Kiley.

Label: Domino
Rating: 3.5 Guns

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Written By: White Chicks On Rap

I know this is going to seem redundant, but every review lately starts with me saying that this is the album I have been waiting for…so don’t be shocked when I say that this is an album I have been waiting for.

Tricky is a trip-hop legend and if you don’t know what trip-hop is, it is a style of music that originated from Bristol, England that blends electronica, jazz, hip hop and dub. Tricky for a time collaborated with Massive Attack (one of the original trip-hop groups) and then later became a solo artist.

Tricky’s first album Maxinquaye is considered legendary in the genre and his albums since have followed suit.

Tricky represents his hometown roots on his ninth album Knowle West Boy. The album is named after the counsel estate he grew up in. (In the UK, counsel estates are the equivalent of the projects in the US).

So many styles are on this album…jazz, rock and dancehall. What impresses me is that Tricky covers Kylie Minogue’s Slow. Originally a dance song, Tricky turns it into a dirty, scary seductive rock song.

Counsel Estates, a ska style song, samples Portishead’s 1994 song Roads. The songs shows how Tricky rose above the negativity and the image of what a counsel estate is by singing “Remember boy, you’re a superstar”.

Puppy Toy is a funny duet with singer Alex Mills (a female) about a night out and a guy having drinks with a girl that is just obsessed with money and really couldn’t love anyone. I think the line from Tricky “Yeah, I wish/Wish you'd cough up a lung/Girl, you seem insecure” is funny, but Alex’s response “There’s nothing wrong with me innit?” is the classic clueless response from someone who can’t see who they really are.

Past Mistake is a love song about someone realizing that they truly hurt the person they loved because they were distant and cold, but know wants to make things right. The sound on this track is icy and dark. Classic Tricky.

If you like Tricky, I think you will enjoy these artists…Portishead, Massive Attack, Bjork, DJ Shadow and Unkle.

CWG: Where are you from originally?

Los Angeles Plays Host To The Presets & More Saturday, October 4, 2008


Written by: Mario R. Martin

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Think back to the last time you consciously and actively listened to an Australian musical act. For me, it was “Beds Are Burning” by Midnight Oil. Wait, maybe it was “Original Sin” by INXS. I don’t know, but I know it definitely wasn’t The Vines.

Regardless, Australian imports tend to be of substance (Fosters anyone? Outback Steakhouse?). And if not substance, they’re at least serious about their craft. Since music bridges the gap between cultures, The Presets have set out to blow minds and shake asses. And yes, raver kids, bring out your fucking glow sticks.

Julian “Jules” Hamilton and Kimberly “Kim” Moyes (both male) met and bonded over education and music. The duo attended the Conservatorium of Music in Sydney in the early 1990s and focused on classical music, while sharing their love for British new wave. Together, they joined the Australian band Prop. Prop brought about minor success, yet still the duo wanted something more. The Presents evolved from the duo’s desire to remix outside of Prop’s domain. The rest could in fact be history, but instead of a history lesson, good music must prevail first.

Let’s skip the fact that Daniel Johns of Silverchair lent his craft to the duo’s very first E.P. Let’s forget that their song “Girl And The Sea” was featured on The OC. Let’s just skip past all the bullshit about their direction, style, and blah blah blah.

The Presets’ “Apocalypso” (Modular Records 2008) is a massive record that everyone should hear. The record is especially important to those who teeter on the electronic scene yet still want to hear vocals. “Apocalypso” is probably one of 2008’s most relevant records because of the various influences the duo exemplify musically. Honestly, I’m not sure others could pull it off. If others did, it may seem contrived or even conceited to try something so far out of one’s wheelhouse.

The Presets - "This Boy's In Love"


Regardless, The Presets are still normal guys. They eat and sleep (well, at least I imagine they do) just like you and me, but they are a little different…they have made a standout record that should be hailed as important as Daft Punk’s “Homework”, Radiohead’s “Kid A” or whatever important record you want to insert here.

In order to know more about a record though, I feel it’s best to analyze it track by track. Honestly, I find it downright offensive when a writer tries to force feed me his thoughts on each and every goddamn track. So, I enlisted a little help from Jules and Kim directly. Together, they told me to get bent and agreed a bit too. Regardless, the result is fun, yet stimulating. Check it out:

MRM: Kicking & Screaming – This track is the ringtone on my BlackBerry. It really reminds me of early electronica with more contemporary sampling/programming. What were you thinking when you made this?

KIMBERLY MOYES: “E's are good. E's are good. E's ARE REALLY FUCKING GOOOOOODD!!!! You USA jazz cats need to get off the booga sugar and start taking your healthy dose of ecstasy: morning, noon and night! Once you start doing this, we THE PRESETS, will become the biggest band in your country and you will worship us like the gods we are. Just look at Australia for example; everyone there is cool, advanced and good looking and all because we are the band they listen too (and also because they aren't afraid to act like a total moron E-tard out the front of a club gurning their faces off to “Kicking and Screaming”).”

MRM: My People – Okay Jules, this is aimed at you. Your vocals recall Paul Robb’s voice (lead vocalist for Information Society). Who do you think you sound like? Or better yet, who do others think you sound like?

JULIAN HAMILTON: “To be honest, I don't know who I sound like. I think it's easier for journalists to make those kinds of comparisons, as they often do. I just try to be me. I don't know Information Society. Some writers in the past have said I sound like Mark E. Smith, some say I sound like the bloke from Depeche Mode. Kim sometimes teases me and says I look like Kevin Bacon!”

MRM: A New Sky – It’s kind of ballsy that you kick this track off with chanting of sorts. That’s very Depeche Mode don’t you think (circa “Songs Of Faith And Devotion”)? Vocally and even musically, this track is also very Nitzer Ebb to me. What are the influences on your music?

KM: “Listen daddy-o, I didn’t pay you so you can insult my intelligence and compare us to all of the worst bands you can think of. Fact: Nitzer Ebb sucked then and still suck now, everyone knows that. Depeche Mode was all bubblegum synth-pop and then finally got an edge and wrote one good song. They are huge in Germany so that’s the only reason I rate them.”

MRM: This Boy’s In Love – My favorite track on the record guys, honestly. It’s so simple, and yet so very powerful. It almost doesn’t seem to be the same as the rest of the tracks. This is spacious and atmospheric programming and I mean it, I fucking love it. Did you plan on making the epic dance track here?

JH: “Honestly, we never really plan a track. We just start with whatever we start with - a beat, a bass-line. Then we just develop things until we are happy. We went through a whole bunch of different vocal ideas for this song. It took a long time to nail it down. Funnily enough, the vocal verse from “Yippiyo-ay” was originally on this song. After a while we decided it was too busy for this song so I simplified it a bit.”

MRM: Yippyo-Ay – Ah yes, the experimental track. The perfect throwback to the 80s.

KM: “Hmm. Experimental? Oh shit, do you mean how did the topic of hand jobs make it into a song of ours? Listen more "loosely" to the chorus.”

MRM: Talk Like That – The intro is “Thriller” gone electronic. The tempo gets up there and this is another perfectly danceable track that doesn’t detract from the vocals. What’s the writing process like? I mean, lyrics first or music first? This seems to be cohesive in the vain of simultaneous writing.

JH: “We listened to the record when we finished it, and we realized we really needed a couple more dancey numbers on it. So we wrote “Eucalyptus,” “Anywhere” and “Talk Like That” in one week. I had the line ‘Tough Titties’ written in my little book that I always wanted to put in a song. It's a classic Aussie saying. So that was it - the song had to be up tempo and it had to have that line in it. Generally the music gets written first and I put the words in towards the end - but I am always collecting words and phrases that I hear and like and try to put them in songs down the track. I think that's common with a lot of lyricists.”

MRM: Eucalyptus – Yeah, this sounds like Daft Punk gone ambient.

KM: “Again with the comparisons. Geez man, you make us sound like we don’t have an original thought in our brains! The truth is that we needed some more up tempo tracks and this is by far the fastest song we've written. We work very hard to try and make music that is honest and true to who we are, when we play this song live it is us at our fastest and loudest.”

MRM: If I Know You – Okay, electronica ballads. I usually don’t go for them, but the BPMs pick up. How do you personally know when to delve into the beat and compliment it with vocals? Often times, artists use too many vocals or too much instrumentals. What’s the formula?

JH: “We made a conscious effort with this record to keep it real simple. It's something we are always learning as producers - the less parts, and the better those parts are, the tougher and better the track is gonna sound.”

MRM: Together – This track just toys with my emotions. Toward the end of a record, you expect the falling action, like a story. This track brings you back up. The samples of a woman moaning are a nice touch. Multi-channel audio is especially tricky. I heard this track while driving to Santa Monica recently and the surround sound (throughout) offered an auditory orgasm. Getting people off sonically has to be a challenge. How do you come up with something new for each track?

KM: “Ok, now I get it! You actually like us! I've spent this whole interview thinking that you were trying your hardest to make us look stupid but in actual fact you are a super-duper fan. Well thank you!

So what were you doing in Santa Monica? When I was 12 I had a special skateboard made by Santa Monica Airlines, it was a Natas Kaupas panther mini deck and I still have it. Do you think anyone of your friends in Santa Monica would want to buy it? It’s pretty rare and pretty cool. Please contact me on myspace.com/thepresets if you want to talk about purchasing it. It’s in mint condition.”

MRM: Aeons – Creating sonic landscapes with muted bass and high pitch keyboards isn’t used much in contemporary mainstream music today. Why do you think that is? Would you like to see more of it?

JH: “It's funny, this track started out as this epic pop song, but we couldn't make it sit down. I just left it with Kim and said “kill it, do something crazy with this thing.” So he pretty much tore it to shreds; took out the beat altogether, layered up some mad keyboards and put down some metallic percussion. It was great. When I heard it again I was inspired, so I dubbed it up a little, programmed this grimy two step bass pattern and arranged this deep filtered breakdown thing. We both really love how this track turned out, it's one of our favorites on the record.”

MRM: Anywhere – End on a high note guys. Nice. A classic thump without the nonsense of hip-hip’s bass/hi-hat formula. The vocals seem muted as well or at least treated. This is my second favorite track. I would normally question your sequencing, but it all works so well, and if you have the disc on in the car, and it restarts, it’s almost seamless. Take a bow! The best electronica record I have heard (and enjoyed) since I don’t know when. What are your favorite records that lent some inspiration for “Apocalypso”?

KM: “I WANT you to question the sequencing. It is by far the dumbest, un-layered beat we have made. But it’s fucking cool, because we are cool. We don’t have to load shit up to make you feel something, you just feel it and that’s how we know you are human. Congratulations young human, you passed the test! See you in L.A. The drinks are on my record label!”

Written By: Nichole Wagner

Written By: White Chicks On Rap

Obama’s Official Soundtrack

The CD Yes We Can: Voices Of A Grassroots Movement, will feature songs from John Mayer, Kanye West, John Legend, Sheryl Crow, Stevie Wonder and others.

Many of the songs on the CD have been previously released such as “ Waiting On The World To Change” (by John Mayer) and “Signed, Sealed, Delivered I’m Yours” (by Stevie Wonder). New songs include “Pride In The Name Of Love” (by John Legend) and “Promised Land” (by Malik Yusef, Kanye West and Adam Levine).

The CD is being sold through the Obama campaign for $30 or you can download it for $24.99. The sales of the CD will be used to help Obama campaign. After the election, the CD will be sold through other outlets.

At this point, it is not know if McCain’s campaign will release a CD.

50 Cent & Kanye Battle Again For Number One

In a repeat of album dominance, 50 Cent will release “Before I Self Destruct” on December 9th and Kanye will release “808’s & Heartbreak” on December 16th.

Many in the music industry are split on who will out sell who. Last September, 50’s release of “Curtis” was outsold by West’s “Graduation”.

West performed “Love Lockdown” at the MTV VMA’s and it is now one of the top downloads on iTunes. 50 did a joking version of this song at a show in New York before playing his new song “Burn”.

West is taking is all in stride by writing on his blog, “I guarantee this will be 50’s favorite album of mine. This will be gangster’s album of the year.”

Weezer Heads Back To The Studio

Not resting after releasing “The Red Album” earlier this year, Weezer is heading back to the studio in November to work on a new album.

The next album will be last for DGC Records and after that, the band is not sure what their plans are for the future. Drummer Pat Wilson, told Billboard Magazine that “We’re just really focused on trying to make the best record we can and I’m sure at that point we’ll have all kinds of different options and we’ll figure out what’s the best for us.”

The band will be touring North America from September 23rd to October 25th.

Eminem May Release A New Album

The key word being may, Eminem is in the studio working on new tracks. Interscope said that an album might be out by the end of the year, but can’t confirm a date or what songs would appear. Eminem has spent the time since his last album producing for artists on his Shady Record label and working on his Sirius radio show Shade 45.

Label: Sony/BMG
Rating: 3 Guns

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Written By: White Chicks On Rap

A couple of weekends ago I was in Vegas…gambling, getting tattoos and shopping. I was at the Fashion Show mall and there is a huge monitor showing iPod ads and all weekend I heard the song “Shut Up And Let Me Go”. I found the song so catchy; I used my iPhone to download it.

When I got home, I decided to listen to the other songs on the album and I was not disappointed.

The Ting Tings (a two piece band from the UK) takes New Wave, Punk and Pop and blends it into a cool, tongue in cheek sound.

“Shut Up And Let Me Go” is such a great new wave disco song. The chorus (“I ain't freakin'/I ain't fakin' this/Shut up and let me go/Hey!”) is so bouncy, it has been in my head since Vegas, in fact I am singing it as I write this review.

The song “That’s Not My Name” reminds me so much of Toni Basil’s song “Mickey” even right down beat and timing.

“Impacilla Carpisung” is a blend of Talking Heads and Beck. The song is nonsensical, so there is no point in trying to figure out what the song is about, but I have figured out that this is a great song for the treadmill.

“Traffic Light” is sunny and jazzy. Katie White’s voice is a sweet falsetto. The song has a childlike quality about sticking by someone as they go through their problem and just telling them not to give up.

CWG: Where are you from originally?

I was born in Manila, Philippines. I lived in the San Francisco Bay Area until 6. My mom relocated my family to Virginia. During my childhood years I lived in Orange County California and Virginia. When I was 13 we returned to the San Francisco Bay Area. It all helped shape me.

CWG: What's the most unusual project you've worked on?

Ex-Nebraska Senator Roman Hruska (R-NE), dead since 1999, has returned from retirement to support John McCain and Sarah Palin in the 2008 Presidential race. The return of Hruska is widely seen as a remarkable coup for the McCain-Palin campaign.

“We used our right-wing Christian connections on this one to resurrect Roman,” said a spokesperson for the McCain campaign, “Hruska is the ideal person to support Governor Palin for Vice-President.”

In 1970, Hruska famously defended Nixon Supreme Court nominee G. Harrold Carswell by stating, "Even if he is mediocre, there are a lot of mediocre judges and people and lawyers. They are entitled to a little representation, aren't they, and a little chance?"

In her interview with ABC’s Charles Gibson, Governor Palin immediately welcomed Hruska’s help. Asked by Gibson whether she knew who he was, the Governor responded, “Of course I do, Charlie. He was in government once, Charlie, and like John McCain he supports everything I’ve memorized for this interview. Pro-family, Charlie. Strong America, Charlie, and American values. Strong defense, Charlie. Charlie, like Senator McCain, he’s for lower taxes and an end to tax-and-spend government. He wants to drill, Charlie, drill, so we can get ahead of this global warming thing once and for all, Charlie”

In the most recent Internet ad, a slightly green Hruska, with one ear rotted and his teeth more prominent with his lips having fallen away, stands shakily but defiantly on a cane and says, “I stand here today in defense ofAmerica, and John McCain is the perfect man to be standing just as I am to be President. In addition to the wisdom that comes with age, we are both proud Romans, we will defeat the thick-lipped, savage Carthaginians, and our Empire will triumphantly rule forever.”

A McCain spokesperson denied that the ad made a veiled racist reference to opponent Barack Obama. “This campaign has never stooped to racism. We respect Senator Obama even though he’s been too lazy and irresponsible to show up at his job for weeks yet expects that hard-working American people will just hand everything over to him.”

Written By: Nichole Wagner

Rating: 3 Guns

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Written by: Hilary Hughes

I’m a city girl, through and through: crowded Subway cars for me are a way of life, not necessarily a nuisance, and I’ll always prefer chain link and concrete to blinding blue skies and open fields. So, when an alt-country artist like John Paul makes his way onto my playlist with his twangy steel-stringed guitar and a voice that trips over his heartfelt lyrics effortlessly, I have a bit of an identity crisis on my hands.

Don’t get me wrong, I have my moments where there’s nothing I’d rather do than grab a beaten straw cowboy hat and dance around to “9 to 5” (in the privacy of my bedroom, of course), but I don’t find myself preferring country