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<div>The Rolling Stones - Sticky Fingers [COMPACT DISCS] Rmst, Reissue</div> Artist: The Rolling StonesTitle: Sticky FingersCondition: NewFormat: COMPACT DISCSRelease Date: 2009Label: Umvd LabelsUPC: 602527015620 Genre: Rock, BritishAlbum Tracks 1. Brown Sugar 2. Sway 3. Wild Horses 4. Can't You Hear Me Knocking 5. You Gotta Move 6. Bitch 7. I Got the Blues 8. Sister Morphine 9. Dead Flowers 10. Moonlight MileSounding subdued, or at least more wary than most Stones albums, STICKY FINGERS' 1971 release betrayed the difficulties the band members were enduring. From Mick Jagger's breakup with the emotionally troubled Marianne Faithfull, to Keith Richards's concern about his newborn son Marlon, the band found themselves re-evaluating their lives, and this depth of emotion made it's way into the album. Be it in the terrifyingly spare "Sister Morphine" and "Moonlight Mile," or the near-dangerous, electrified "Can't You Hear Me Knocking," the songs on STICKY FINGERS are anything but innocent.&copy; DirectToU LLC. All Rights Reserved.

The Rolling Stones - Sticky Fingers  [COMPACT DISCS] Rmst, Reissue

David Baerwald Here Comes the New Folk Underground CD. 1. Why 2. Compassion 3. Crash, The 4. Nothing's Gonna Bring Me Down 5. Bozo Weirdo Wacko Creep 6. Love # 29 7. If (A Boy Whore in a Man's Jail) 8. Wondering 9. Hellbound Train 10. Me and My Girl

David Baerwald Here Comes the New Folk Underground CD

Performer Notes: <ul><li>Collapsis: Mike Garrigan (vocals, acoustic & electric guitars); Ryan Pickett (electric & slide guitars, background vocals); Chris Holloway (electric bass, background vocals); Scott Carle (drums).</li><li>Additional personnel: John Shanks (acoustic & electric guitars, bass, programming); Kevin Savigar (piano, Fender Rhodes piano, Hammond B-3 organ); David Bianco (Wurlitzer piano, Hammond B-3 organ, percussion, programming); Mike Garrigan (Wurlitzer piano); Brian MacLeod (drums); Kenny Aronoff (tambourine); Statik, Matt Chamberlain, Florian Ammon (programming); Mark Kano (background vocals).</li><li>Recorded at Mad Dog Studios, Burbank, California; Max Dylan Studio, Los Angeles, California.</li><li>Personnel: Mike Garrigan (vocals, acoustic guitar, electric guitar); Ryan Pickett (electric guitar, slide guitar, background vocals); Chris Holloway (bass guitar, background vocals); Scott Carle (snare drum).</li><li>Audio Mixers: Chris Lord-Alge; David Bianco; Neal Avron.</li><li>Recording information: Mad Dog Studios; Burbank, CA; Max Dylan Studios; Los Angeles.</li><li>Photographer: Andrew MacNaughtan.</li><li>Vocalist/guitarist Mike Garrigan had already released two previous albums as a solo acoustic performer, and had developed a strong following in his home base of Chapel Hill, North Carolina. Plucking musicians from other successful local bands, he formed Collapsis and a quick signing with Universal led to its debut, DIRTY WAKE.</li><li>David Bianco (Tom Petty) polishes the band's sound here; the result is a collection of intelligent modern rock. Tension and melody are key ingredients in "Superhero" and "Automatic," while "Believe In You" poetically describes the leap of faith one takes in embracing emotional intimacy. "I.O.L (I'm On Line)" is a powerful statement about pop culture and the faceless social wasteland in cyberspace. The song makes a serious point with a tongue-in-cheek approach; even the title takes a stab at the world's dominant Internet service provider.</li></ul>Producer: John Shanks, David BiancoFormat: CD (1 Disc); StereoStudio/Live: StudioRelease Date: 15 February, 2000Label: Universal Motown Records GroupDimensions: 14 x 0.6 x 14 centimeters (0.06 kg)

Dirty Wake

Tracks: Jericho When They Ring The Golden Bell Two Little Fishes Five Loaves Of Bread Beams Of Heaven Cain't No Grave Hold My Body Down All Alone Up Above My Head There's Music In The Air I Shall Know Him Fly Away How About You Precious Memories 99 1/2 Won't DoPerformer Notes: <ul><li>GOSPEL TRAIN is specially packaged in a miniature vinyl LP sleeve and features artwork from the original release.</li><li>Personnel: Sister Rosetta Tharpe (vocals, guitar); Ernest Richardson (guitar); Ernie Hayes (piano); Harry "Doc" Bagby (organ); George Duvivier, Lloyd Trotman (bass); Panama Francis (drums); The Harmonizing Four (background vocals).</li><li>Recorded at Mercury Sound Studios, New York, New York in July 1956. Originally released on Mercury (20201).</li><li>All tracks have been digitally remastered.</li><li>Personnel: Sister Rosetta Tharpe (vocals, guitar); The Harmonizing Four (vocals); Ernest Richardson (guitar); Ernie Hayes (piano); Panama Francis (drums).</li><li>Recording information: Mercury Sound Studio, New York, NY (07/02/1956/07/05/1956).</li><li>Arranger: Sister Rosetta Tharpe.</li><li>GOSPEL TRAIN consists of sessions cut relatively late in Sister Rosetta Tharpe's career. Though Tharpe's tenure at Mercury coincided with a controversy among her fan base (many considered Tharpe's forays into blues and pop material a betrayal of her gospel roots), recordings like 1956's GOSPEL TRAIN confirm where the singer/guitarist's true allegiances lay. Whether recounting biblical stories ("Two Little Fishes, Five Loaves of Bread") or testifying to the power of the spirit ("Up Above My Head There's Music in the Air"), Tharpe's combination of traditional gospel and blues (with, by this point, dashes of jazz and R&B influences) is impossible to resist.</li><li>Though Tharpe is usually remembered as a solo performer (her early recordings feature only her voice and guitar), she is equally compelling when backed by a full band. The sound on GOSPEL TRAIN is full and rollicking: guitar, piano, organ, bass, and drums help punctuate surging, downtempo blues ("Beams of Heaven") and uptempo rave-ups ("Fly Away") alike. Gorgeous, tight-knit backing vocals from the Harmonizing Four perfectly complement Tharpe's dazzling, infectiously enthusiastic singing. Overall, this set is among her best late-period offerings.</li></ul>Producer: Bryan KoniarzFormat: CD (1 Disc); StereoCountry: USAStudio/Live: StudioGuest Artist: The Harmonizing Four; Panama FrancisRelease Date: 6 August, 2002Label: VerveDimensions: 14 x 14 x 0.6 centimeters (0.03 kg)

Gospel Train

Tracks: You Never Tell Me Anything Lullaby For Rabbit Reunion Sofi If I Had Known... Brazilian Sketch Pennillium Blessing The World Pandora Tiffany's Waltz Around The CornerPerformer Notes: <ul><li>Personnel includes: Makoto Ozone (piano); Branford Marsalis (saxophone); James Genus (bass); Clarence Penn (drums).</li><li>Recorded at Avatar Studios, New York from May 8-10, 2000.</li><li>Personnel: Makoto Ozone (piano); Branford Marsalis (soprano saxophone, tenor saxophone); Clarence Penn (drums).</li><li>Recording information: Avatar Studio, New York, NY (05/08/2000).</li><li>Makoto Ozone and the Trio is joined by the award-winning saxophonist Branford Marsalis on Pandora. His trio -- Clarence Penn on drums and James Genus on bass who has replaced Kiyoshi Kitagawa -- plays 11 original compositions written by either Ozone or Penn. Of particular interest is Ozone's performance on "Pennillium," which displays his strong musical personality with excellent piano artistry: arpeggios, authentic cadences, and chord stylings. While Penn's expertise and sensitive brushwork highlights the harmony of "Sofi," Genus still has some work to do as far as applying his bass colors to Ozone's piano stylings with the right contrast. However, this can certainly be attributed to his newness with the group. Overall, Pandora is very good due to Marsalis' excellence on "Reunion" and the title track, as well as the songwriting skills of both Penn and Ozone. ~ Paula Edelstein</li></ul>Producer: Makoto OzoneFormat: CD (1 Disc); StereoCountry: USAStudio/Live: StudioGuest Artist: Branford Marsalis; Clarence PennRelease Date: 8 November, 2005Label: Verve RecordsDimensions: 14 x 0.6 x 14 centimeters (0.06 kg)

Pandora

Tracks: Dark And Mad Forever Angelina Starlight Lounge Walk Of Shame Smoking In Bed Your Blue Shadow That Mountain He Was A Friend Of Mine Private Radio Beauty At The Back Door Lost HighwayPerformer Notes: <ul><li>Personnel: Billy Bob Thornton (vocals, drums); Holly Lamar (vocals); Marty Stuart (guitar, mandolin, bass); Randy Scruggs (guitar, bass); Brad Davis (guitar); Don Helms (steel guitar); Hank Singer (fiddle); Jim Cox (piano); Barry Beckett (Wurlitzer piano, Hammond B-3 organ); Steve Arnold, Larry Paxton (bass); Dennis Locorriere (background vocals).</li><li>Recorded at The Cave, Los Angeles, California. Includes liner notes by Marty Stuart.</li><li>Personnel: Billy Bob Thornton (vocals, drums, background vocals); Marty Stuart (guitar, mandolin, background vocals); Brad Davis (guitar, background vocals); Randy Scruggs (guitar); Don Helms (steel guitar); Hank Singer (fiddle); Jim Cox, Barry Beckett (piano); Greg Stocki (drums, percussion); Dennis Locorriere (background vocals).</li><li>Audio Mixer: Jim Mitchell .</li><li>Recording information: Cave, Los Angeles, CA.</li><li>Like many actors-turned-musicians, many listeners will look at Billy Bob Thornton's debut album, Private Radio, with a smug bewildered condescension, wondering what gives him the right to cut a record. The thing is, Billy Bob, like many other actors that also cut records, played in bands long before he appeared in films. It is true that his celebrity is part of the reason he was given a chance to record, but that long history of playing in bar bands serves him well on Private Radio, giving his voice a ruggedness and musicianship a welcome supplement. Of course, it helps that he's working with producer/co-writer Marty Stuart and has a team of studio veterans supporting him, giving the record a pleasing professional musicality. Private Radio is still Billy Bob's show, and he comes across like a Southern version of Tom Waits crossed with a Byrds-addicted Greg Allman, at times grumbling beat poetry over sparse acoustic guitars, at times slyly delivering roadhouse ravers, folk laments, and anthemic ballads. Sure, it's possible to imagine legions of listeners chortling at lines like "Angelina what's come between us?/Could it be the magic and mystery of love?" and there are other moments that sorta fall flat, either in their earnestness or their poetic jumble. Still, this is a pretty good record all the same, better than most Americana records of the late '90s, thanks in no small part to a terrific stretch of songs mid-record ("Walk of Shame," the rollicking "Smoking in Bed," "Your Blue Shadow," and "That Mountain"), and a good cover of Hank Williams' "Lost Highway." ~ Stephen Thomas Erlewine</li></ul>Professional Reviews: Q (10/01, p.135) - 3 stars out of 5 - "...Like Johnny Cash in a bad mood, he sounds gnarly and unshaven even when singing hardbitten love songs..." Mojo (Publisher) (10/01, p.110) - "...BB digs down to his Arkansas roots - and manages to get almost everything right. Amid slow, dark and sparse settings, his versatile growl tells stories ranging from schizophrenic to sexy..."Producer: Connie Smith, Jim Mitchell, Marty StuartFormat: CD (1 Disc); StereoCountry: USAStudio/Live: StudioRelease Date: 14 July, 2009Label: Lost HighwayDimensions: 14 x 14 x 0.6 centimeters (0.06 kg)

Private Radio

The Four Tops Lost and Found: Breaking Through CD. The Four Tops: Levi Stubbs, Lawrence Payton, Renaldo "Obie" Benson, Abdul "Duke" Fakir (vocals). Additional personnel includes: Billy Eckstine (vocals). Recorded between 1963-1964. All tracks have been digitally remastered. This is part of Motown's Lost & Found Series. Personnel: Billy Eckstine (vocals). The Four Tops' early years as a jazz-vocal group are generally glossed over in capsule histories. Long before they signed to Motown -- nearly a full decade as a matter of fact -- they had been one of the popular Detroit jazz-vocal groups, earning the admiration of such luminaries as Smokey Robinson and Billy Eckstine, whom the group supported. After some persuasion, the group signed with Motown on the condition that they could record jazz. Over the course of a year, they cut nearly two albums' worth of material, which boiled down to one album, Breaking Through. Berry Gordy pulled the record at the last minute, believing that it would have been a commercial failure. Gordy's fears were not unfounded -- indeed, had the album that comprises Breaking Through (1963-1964) been put out in 1964, it likely wouldn't have found much of an audience. Still, Breaking Through is a strong record, firmly within its tradition and working well on those terms. The Four Tops may not sound as distinctive singing jazz as they did with pop-soul, but they are convincing, as are the Motown house band. Neither of them take many chances, however. The songs are primarily standards, plus four new songs that feel like standards, all given good generic arrangements. This may sound like a dismissal, but it isn't; it's hard to do this kind of music right, but the group most certainly does. And it's not just one member that shines; everyone gets to take a lead, and the results are uniformly strong. Even so, Breaking Through appeals primarily to hardcore fans of the group, plus a handful of straight-ahead vocal-jazz aficionados. Reminiscent of a cross between Eckstine and the Four Freshmen, it's good stuff, but it's essentially a curiosity. ~ Stephen Thomas Erlewine

The Four Tops Lost and Found: Breaking Through CD

Come Clean marks the long-anticipated new album by Curve, one of the innovators of the U.K.'s burgeoning electronic music scene in the early '90s (featuring Toni Halliday and Dean Garcia, Curve paved the way for artists like Prodigy and the Chemical Brothers). Already enthusiastically reviewed by Alternative Press and Details, the album features "Chinese Burn" (now receiving modern rock airplay) and the next focus track, "Coming Up Roses" (video available).

Come Clean

Willie Bobo A New Dimension CD. 1. Psychedelic Blues 2. Look of Love, The 3. Grazing in the Grass 4. Quieres Volver 5. Yellow Days 6. Lisa 7. This Guy's in Love With You 8. Sham Time

Willie Bobo A New Dimension CD

Performer Notes: <ul><li>Chumbawamba: Boff Whalley (vocals, guitar); Danbert Nobacon (vocals, banjo); Jude Abbot (vocals, trumpet, flugelhorn); Lou Watts (vocals, keyboards); Harry Hamer (vocals, drums, programming); Dunstan Bruce, Alice Nutter (vocals); Neil Ferguson (keyboards, bass).</li><li>Additional personnel includes: Simon Lanzon, The Complimentary Peanuts (vocals); BJ Cole (pedal steel guitar); Armley Community Orchestra (strings, woodwinds); Toby (saxophone); Simon (trombone).</li><li>Personnel: Boff "Beagle" Whaley (vocals, guitar); Danbert Novacon (vocals, banjo); Jude Abbott (vocals, trumpet, flugelhorn); Lou Watts (vocals, keyboards); Alice Nutter, Simon Lanzon (vocals); Neil Ferguson (keyboards); One Minute Silence (snare drum); White Child Rix (scratches).</li><li>Recording information: Castleford; Lincolshire; Pudsey; Shabby Road; The Chapel; Woodlands.</li><li>After the worldwide success of TUBTHUMPING, Chumbawamba's 1998 release, the band might have been considered a one-hit-wonder. However, its umpteenth album, WYSIWYG (an acronym for WHAT YOU SEE IS WHAT YOU GET), is a work of numerous contours and textures which still maintains an ultra-pop consistency.</li><li>"She's Got All the Friends" is an infectious toe-tapper that almost sounds like a summer classic, while other noteworthy tracks include "I'm Not Sorry, I Was Having Fun," "Jesus In Vegas," and "Smart Bomb," with its funky, horn-heavy dance mix. Tongue-in-cheek humor and pop brilliance is the name of the game here, and with most of the 22 songs clocking in at two minutes, the band gives the listener plenty of value.</li></ul>Professional Reviews: Q (6/00, p.103) - 3 stars out of 5 - "...A splenetic romp..." CMJ (3/20/00, p.24) - "...just as fun-loving and irreverant as [their] last album....gorgeously sung, lushly produced pop, the songs well-dressed social and political statements...taking direct aim at the evils of Western society..." Melody Maker (4/18/00, p.47) - 4 stars out of 5 - "...Legitimate, well-aimed fury....This is misanthropy funnelled to locate specific issues....It's the closet pop has to a community-centric modern folk music....When it works, it's poignant, vulgar and disposable..."Producer: Neil Ferguson, ChumbawambaFormat: CD (1 Disc); StereoCountry: USAStudio/Live: StudioRelease Date: 4 April, 2000Label: Universal RecordsDimensions: 14 x 0.6 x 14 centimeters (0.06 kg)

What You See Is What You Get ( WYSIWYG )

The Features The Beginning [EP] CD. 1. Beginning, The (Week One) 2. Walk You Home 3. Bumble Bee 4. Two by Two 5. Stark White Stork Approaching 6. Way It's Meant to Be, The

The Features The Beginning [EP] CD

Tracks: Kiss The Rain A Few Words Too Many Tell Me You Send Me Flying Please Don't Shout First Time Mother, Daughter, Sister, Lover The Shark And The Mermaid Having Trouble With The Language Opposites Attract Much Change Too SoonPerformer Notes: <ul><li>Personnel includes: Billie Myers (vocals); Eric Bazilian (acoustic & electric guitars, mandolin, keyboards, bass, programming, background vocals); Peter Vale (acoustic & electric guitars, keyboards, background vocals); Richard Drummie (acoustic & electric guitars); George Hutchison (acoustic guitar, mandolin); Ramesh Chandra (sitar); Andrea Morris, Alison Dodds, Catherine Browning, Clare Raybould (violin); Mercedes Abal (flute, percussion); Arturo Sandoval (flugel horn); Pete Q. Harris (piano, programming); Doug Emery (organ, keyboards); Randy Cantor (organ); Desmond Child (keyboards, background vocals); Eddie Montilla (keyboards, synth bass);</li><li>Don Coffman (acoustic bass); Hugh McDonald (bass); Kenny Aronoff (drums, percussion).</li><li>Recorded at The Gentlemen's Club, Miami, Florida.</li><li>This is a DTS CD, which features DTS 5.1 Surround Sound technology and is playable on a DTS-capable 5.1 Surround Sound system.</li><li>Personnel: Billie Myers (vocals, background vocals); Eric Bazilian (guitar, acoustic guitar, electric guitar, mandolin, keyboards, drum programming, background vocals); George Hutchison (acoustic guitar, electric guitar, mandolin); Peter Vale (acoustic guitar, electric guitar, keyboards, background vocals); Richard Drummie (acoustic guitar, electric guitar); L?zaro Rodriguez (electric guitar); Ram Chandra (sitar); Alison Dodds, Andrea Morris, Clare Raybould, Catherine Browning (violin); Mercedes Abal (flute); Arturo Sandoval (flugelhorn); Pete Harris (piano, programming); Doug Emery (organ, keyboards); Randy Cantor (organ); Eddie Montilla (keyboards, bass synthesizer); Desmond Child (keyboards, background vocals); Don Coffman (upright bass); Kenny Aronoff (drums, percussion); Tom McWilliams (drums, drum programming, percussion programming); J.R. Swinga (drum programming); Eliot Sloan, Jane Dobbins, Betty Wright (background vocals).</li><li>Audio Mixer: Michael Brauer.</li><li>Recording information: Abbey Road Studi; Criteria Studios, Miami Beach, FL; Criteria Studios, Miami, FL; Deep River Studio, Cookham, Ber; Deep Rivr Studio, Cookham, Berks, England; EMI Abbey Road Studios, London, England; Gentlemen's Club, Miami Beach, FL; Gentlemen's Club, Miami, FL; The Gentlemen's Club, Miami Bea.</li><li>Photographer: Michael Halsband.</li><li>Arrangers: Jane Dobbins; Pete Harris ; Peter Vale .</li><li>Billie Myers is an artist with many faces. Her voice is a complex instrument capable of great subtlety and emotion. One minute the listener hears an echo of Tracy Chapman's bold bluesiness, the next minute, Myers is engaging in eccentric melisma a la Alanis. Produced by pop maven Desmond Child, GROWING PAINS lives and dies by the hook, and virtually every song has one big enough to hang William Perry's coat on. From the celebratory opener "Kiss The Rain" to the moody, Eastern-flavored "Tell Me," each track has Big Pop Hit stamped all over it. The production employs both lush pop sophistication and R&B rhythmic sensibilities for a cutting-edge feel.</li></ul>Producer: Desmond ChildFormat: CD (1 Disc); StereoCountry: USAStudio/Live: StudioGuest Artist: Eric Bazilian; Arturo Sandoval; Eliot SloanRelease Date: 18 November, 1997Label: UniversalDimensions: 14 x 0.6 x 14 centimeters (0.03 kg)

Growing, Pains

Spin Doctors Here Comes the Bride CD. Spin Doctors: Chris Barron (vocals, guitar); Ivan Neville (vocals, keyboards); Aaron Comess (guitar, accordion, keyboards, bass, drums); Eran Tabib (guitar). Additional personnel: Judith Tsui (cello); Arnie Lawrence (saxophone); Todd Horton (trumpet); Andrew Lippman (trombone); Mark White (bass); Joe Bonadio (tambourine, hand drum); Catherine Russell, Lani Groves (background vocals). Producers: Aaron Comess, Peter Denenberg, Spin Doctors. Recorded at His House Studios, New York, New York and Acme Studios, Mamaronek, New York. Personnel: Chris Barron (vocals, guitar); Ivan Neville (vocals, keyboards); Aaron Comess (guitar, accordion, keyboards, snare drum); Eran Tabib (guitar); Judith Talvi (cello); Arnie Lawrence (saxophone); Todd Horton (trumpet); Andrew Lippman (trombone); Joe Bonadio (tambourine); Lani Groves, Catherine Russell (background vocals). Audio Mixers: Aaron Comess; Peter Denenberg. Recording information: Acme Studios, Mamaroneck, NY; His House Studios; House Studios, New York, NY; Sunset, Marquis. The Spin Doctors' career is an excellent example of the music industry's fickleness. After selling millions of albums and dominating the radio in the mid-'90s, a couple of non-million sellers was all it took to get the band dropped from its label and dumped into the where-are-they-now bin. Not content to leave it at that, the band regrouped for a new album on a new label. The lineup on HERE COMES THE BRIDE is significantly altered. While scatting neo-hippie Chris Barron remains the front man, the lion's share of the instrumental chores are handled by Aaron Comess, who previously limited his talents to the drums. Though there's a fair amount of the band's trademark pop-funk, there are other influences at work. "The Man" sports a hip-hop production complete with retro analog synth and looped-sounding beats. The sprightly "Wow" adopts a gentle reggae feel. On several tunes, the guitar attack is harder and less fluid than on the band's early recordings. All the changes displayed on this disc make it plain that the Spin Doctors are a band more concerned with musical development than the maintenance of fame.

Spin Doctors Here Comes the Bride CD

Lost & Found: Along Came Love (1958-1964)

Performer Notes: <ul><li>Personnel: Sticky Fingaz (rap vocals); Omar Epps (spoken vocals); Tony Prendatt (various instruments, programming); Black Child, Raekwon, Rah Digga, Redman, Dave Hollister, Firestarr, Eminem, X1, Still Livin, Scarred 4 Life, Superb, Guess Who, Petey Pablo, Canibus, Columbo The Shining Star, Choclatt (vocals); Nate Smith (keyboards); Charles Shaw, Roger Munroe (programming).</li><li>Producers include: Sticky Fingaz, Joe Naughty, Rockwilder, DJ Scratch, Self.</li><li>Recorded at Unique Studios, New York, New York and Lo Rider Studios, Englewood, New Jersey. Includes liner notes by Sticky Fingaz.</li><li>Personnel: Sticky Fingaz (rap vocals); lack Child, Raekwon, Rah Digga, Redman, Dave Hollister, Firestarr, Eminem, X1, Still Livin, Scarred 4 Life, Superb, Guess Who, Petey Pablo, Canibus, Columbo The Shining Star, Choclatt (vocals); Omar Epps (spoken vocals); Tony Prendatt (various instruments, programming); BNate Smith (keyboards); Charles Shaw, Roger Munroe (programming).</li><li>Producers include: Sticky Fingaz, Joe Naughty, Rockwilder, DJ Scratch, Self.</li><li>Recorded at Unique Studios, New York, New York and Lo Rider Studios, Englewood, New Jersey. Includes liner notes by Sticky Fingaz.</li><li>Personnel: Nate Smith (keyboards); Charles Shaw (programming); Petey Pablo (background vocals).</li><li>Audio Mixers: Dave Pensado; Ken "Duro" Ifill; Brian Stanley ; Richard Travali; Tommy Uzzo; Tony Prendatt.</li><li>Recording information: LoRider Studios, Englewood, NJ; Unique Studios, New York, NY.</li><li>Editors: Sticky Fingaz; Tony Prendatt.</li><li>Photographer: John Eder.</li><li>Unknown Contributor Roles: Dave Hollister; Fredro Starr; Raekwon; Rah Digga; Redman.</li><li>Sticky Fingaz, otherwise known as Kirk Jones, presents an ambitious hip-hop outing that draws on a wide variety of influences in service of a theatrical vision of rap as multi-media experience. BLACK TRASH is packaged as the soundtrack to a nonexistent film. While this is an idea that's been pursued before, Jones so thoroughly transforms the gangsta aesthetic through his cinematic conceptualism that it seems like a completely fresh notion. The use of film soundtrack-style backing tracks and melodic structures that could have come straight from a Broadway musical, as well as the theatrical context, make the violent elements of the lyrics much more palatable. And the spoken interludes have a much more substantial reason for being than on most rap albums. The gem here is undoubtedly "What If I Was White," which features Eminem, and finds Jones tackling the racial turnabout in a novel, winningly humorous way. And the misogynist's apology "Sister I'm Sorry" is as welcome as it is overdue.</li></ul>Professional Reviews: Rolling Stone (2/15/01, p.78) - 3 out of 5 stars - "...[This] has some great moments....[It] manages to bring some new ideas and energy to the rap game." Uncut (8/01, p.112) - 4 stars out of 5 - "...Kirk Jones' extraordinary LP merits reassessment: it runs the gamut from satiric outrage to gospel rapprochement..." Vibe (p.76) - "[E]ven when he deviates from the script, like on the Eminem-assisted single 'What If I Was White,' he's funny, insightful, and one helluva storyteller." Vibe (12/00, p.199) - 3.5 stars out of 5 - "...An engaging fictional account of the life of an ex-con, Sticky finds balance between acting and rapping....proving that [he] is a lot more thoughtful than he used to be..." The Source (12/00, p.252) - 4 mics out of 5 - "...An artistic apex....arguably hip-hop's most visual work of the new millenium...a cinematic experience....a hip-hop treasure." NME (Magazine) (6/9/01, p.40) - 7 out of 10 - "...Magic realism, hip-hop style..."Format: CD (1 Disc); StereoCountry: USAStudio/Live: StudioGuest Artist: Redman; Eminem; Raekwon; Canibus; Rah Digga; Dave Hollister; Black Child; Still Livin; X1; Sca

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