50 Man Machine | 50 Man Machine

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World: World Fusion World: African- West Moods: Mood: Intellectual
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50 Man Machine

by 50 Man Machine

Catchy Hot world-influenced funk rock with a unique voice, bagpipes, double bass, turntables, hip-hop DJ, rhythmic guitars, steel pan drum, gospel funk drums, and electronics.
Genre: World: World Fusion
Release Date: 

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1. Cleanspace
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3:22 $0.99
2. Flagwavin'
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3:50 $0.99
3. Shattered and Confused
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5:20 $0.99
4. The Ant Hill
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1:47 $0.99
5. Little Games
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3:19 $0.99
6. In Each I Know
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3:12 $0.99
7. Nikole
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3:59 $0.99
8. Before We've Begun
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3:32 $0.99
9. Foreign War
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4:08 $0.99
10. Racewar Intro Ambience
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0:25 $0.99
11. Racewar
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4:06 $0.99
12. Hush Little Baby (hambone)
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2:39 $0.99
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ABOUT THIS ALBUM


Album Notes
50 Man Machine is THE jumping multi-cultural funky rock group. The album: solid songs naturally incorporating the influences of pop, jazz, rock, celtic, punk, funk, gospel, hip-hop, afropop, soca, reggae, calypso, tribal, ambient, improv, stream of consciousness, and folk roots into a deep kaleidoscopic groove.

50 Man Machine features singer/guitarist Collier Hyams(Rathkeltair, International Dub Corps, Chromataphoria), bassist Marvin Williams (Patti Labelle, Michael Ray and the Cosmic Krewe), hip-hop DJ Flip 1, steel pan and electronics guru Scott Smallwood (Nyquist), drummer Danny Devillier (Mem Shannon) and Neil Anderson (Seven Nations, Rathkeltair), "the Jimi Hendrix of the Highland bagpipe."

Collier Hyams, singer, songwriter, and multi-instrumentalist, was raised in several countries including Thailand and Bavaria. A world musician in the truest sense, his practical experience ranges from spending summers with the Ga tribe in West Africa studying Ghanaian drumming to hiking the Highlands and Islands of Northwest Scotland learning ancient Gaelic musical traditions such as the Highland bagpipe and lilting. This Album brings together a dynamic group of artists from very diverse backgrounds with the goal of creating true fusion and the shear joy of performance. His vision is 50 Man Machine. He tours internationally with highly regarded artists in a variety of genres. He has worked with Will Calhoun (Living Colour), Sean Lennon, Duncan Sheik, Jaron Lanier, Sussan Deyhim, Shirin Neshat, noted film composer Richard Horowitz, and many others. His live performance credits include appearances at the Montreux Jazz Festival.


Reviews


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Amanda Koulinkovitch

Sasha loves disc! I should have it memorized by now!
I thought you'd like to hear the review of your CD given by Sasha the two year old.  He was very impressed with the baby on the cover and on the CD itself.  He jumped right up to put the disc in the player.  He was mystified with the first 20 seconds of the first track.  We listened to it approximately 50 times before we heard anything else on the album.  Track two was not well received.  It was interrupted by a huge corn poop.  His favorite song was the one with the rap in it (no big surprise, little hip hop addict).  I should have that song memorized by now.  He repeated it a zillion times.
Although the review session was frequently interrupted with Lego tower collapses, the most enormous BM I've seen in weeks and one truck drawn on the kitchen floor in florescent marker, I'd say your music was well received.  Even by a toddler who prefers his apple cinnamon oatmeal be served with ketchup.
I hope you enjoyed reading your review as much as I enjoyed living through it.

J. Eric Smith

straight-ahead world music, without any gimmicks
The eponymous debut disc from 50 Man Machine offers one of the most diverse, if not perverse, instrumental attacks ever captured in a recording studio, as steel pans, turntables, bagpipes, double bass, experimental sound collages, mandolin, clarinets and even an udu or two slug it out for sonic space. In less able hands, such an eclectic mixture of textures could lead to an auditory train wreck-but under 50 Man mastermind L. Collier Hyams' able direction, the results are strikingly effective, never smacking of instrumental gimmickry or musical oddness for musical oddness' sake. Hyams' songs are, for the most part, strong and straightforward, and his guitar and vocal work underpin the whole project with a twang-flavored Americana feel, one that provides ample room for the army of other instruments and players to find, explore and exploit their own acoustic niches. Tracks featuring Scott Smallwood's steel pans and Neil Anderson's pipes generally evoke the Caribbean or Celtic flavors or those instruments' homelands (although this is as much a function of pre-conditioned listening reflex as it is a function of the songs themselves), while the remainder of 50 Man Machine taps an indescribable vein of musical internationalism without the lowest common denominator reductiveness that renders so many so-called "world music" discs so completely disposable. All told, this is a challenging and rewarding record from artists who seem willing not only to color outside the lines, but to toss the whole damn coloring book out the window, drawing instead in burnt umbers and sienas and taupes and heliotropes and fuchsias on the walls of places normally decorated in simple primaries and pastels. Worth a peek, for sure.