Supergroups - Search/DESTROY

Destroy: Ringo Starr and His All-Starr Band. Should be called the retirement home for '70s and early-'80s prog rockers.

they've all had their moments, but unfortunately they were mostly boring

keith

darnit! beat me to it - except I was *so* gonna say SEARCH!!! SEARCH!!!

Land a-hoy...

i never got into june of 44 but DIM is great. What are you talking about!

D: Just about everything else.

also, i'd say search Butter 08. definitely not destroy. i love that Butter 08 record so much it's a must-play every summer.

(B-Real)

Goin' straight through the hole
You ain't got no game
I'm breakin' ya out the frame
Coming through like a train
Looking to take over the world is my goal
With my unstoppable crew takin' all control
You can't get none of this, we're runnin' this
Well taker, earth shaker, 3 point gunnin' this
Get out the lane, i'm comin' through
And if you don't wanna move then i'm comin' right through you

(Coolio)

It's like inch by inch and step by step
I'm closing in on your position and destruction is my mission
Though eight is not enough, your whole squad better duck
It's like switch when I bust
Now you're whole crew is dust
Comin' through my area, i'ma have to bury ya
The real scream team on your scream scene
It's like showdown on the range
Go tell me who wanna tangle with the
ghetto witch-doctor neighborhood superhero?

Chorus:

(B-Real)
We want it all (want it all!)
Unstoppable, we run the floor (run the floor!)
You can't take none of this hardcore (hardcore!)
In the game we take you to war (war!)
You ain't seen nothin' like this before
(all)
If I hit 'em high, hit 'em high, hit 'em high
And you hit 'em low, hit 'em low, hit 'em low
If I hit 'em high, hit 'em high, hit 'em high
And you hit 'em low, hit 'em low, hit 'em low

(Method Man)

Insane like a runaway train i'm in your lane
Like it's only 3 seconds to score to win the game
Came to bring the ultimate pain upon the brain
Untamed, you won't like it when I change
And you are type strange
Make room, manaical monster in the game
And I got my eye on you
Deadshot aim, as free throws keep comin' down like rain
You feelin' me, I'm feelin' you
The Monstar again, i'm tellin' you
Pass me the rock, now i'm headed to the basket
Get up out my way is what you better do
My tactics is unsportsmanlike conduct
You better ask it
Don't get no better than this, you catch my drift?
You get stripped by ballhandlers ruled by Swackhammer
Danger, you're dealin' with offical hoop-bangers
With hang time like a coat hanger
Jump, with thunderous 360-degree type dunks
What up doc? The Monstar funk

(LL Cool J)

Lightning strikes and the court lights get dim
Supreme competition is about to begin
Above the rim, finessin' and moves is animated
Once I get to ballin', I can't be deflated
I'm rugged raw, my Monstars is gettin' money
When clicks get to buggin', I'm snatchin' up their bunnies (Uhh!)
Every step I take shakes the ground
I'll make you break your ankles, son, shakes you down
This is my planet, I'm bout business
The best that ever done it, can I get a witness? (Uhhh!)
Cumulus clouds bring darkness up above
You in it for the money?
Or in it for the love, M.J.?
23 ways to make a pay
Loungin' in the mothership back around my way (Uhh!)
I'm 28 light years old
If the refs get political, dribble like Bob Dole
Am I gettin' lyrical?
Daddy, I think so
Monstar droppin' flavor fluid so drink slow

Chorus

(Busta Rhymes)

Yo, god bless!!
Pick up your chest
Here's an example of how I can stress your full court press
With finesse, I bench-press your stress whenever you test
We're speed ballin', on the fastbreak just like the pony express
I'm gonna mingle in your face and take the lid off
Just use your head and forfeit the game
You and your team just need to back off!!
Get off my block, gimmie the ball, I said it's my rock!!
I'm startin' a line-up by gettin' y'all to bring the livestock
Throw all your money in the pot
And make sure you bet all your money on my bank shot
When we come right through tell me what you really gonna do?
We'll leave your team name in shame and take your talent from you
While you abandon your ship, we take your championship
With nothing left for you to see except the instant replay clip
Money spending, goal tending, stay-bending teams like crash cars
Who do they be?
They be the Monstars!!!!!!

Chorus

40 years old today:

https://www.youtube.com/watch?v=cmK5AHR3R7w

Love this Thin Lizzy/Wizzard/Chas'n'Dave/ELO combo:

https://www.youtube.com/watch?v=_ysSHINdExQ

sup https://en.wikipedia.org/wiki/Art_of_Anarchy

In supergroup terms Les Claypool is perhaps the Roy Wood of our times. But here we have him and Larry Lalonde, Geddy Lee, Alex Lifeson, Dean & Gene Ween plus Matt Stone of South Park fame on drums.
https://www.youtube.com/watch?v=eQ3VjAMD5gA

the best supergroups are all keiji haino + two other people

the best supergroups are all keiji haino + two other people

Can't argue with this. The one time I saw Haino, he was playing with both Mayo Thompson and George Hurley.

you could say the name for Tatsuya Yoshida. who I'm pretty sure played with Haino at some point. very much a "who has the stones to play with me" kinda deal

that South Park thing was very cool. wish I could find a full video somewhere. god if they'd done that 15 years ago it would've been so huge

https://www.youtube.com/watch?v=7aXvQ6cg9Vs

https://www.youtube.com/watch?v=T5E3znzze9U

GUEST POST: T.M. CHRISTIAN ON ‘THE MASKED MARAUDERS’ (10/18/69)
The Masked Marauders (Deity DKS 9001/2)

They began months ago, the rumours of an event that at first seemed hardly believable but which in the end was accepted as all but inevitable. After all, with Grape Jam, SuperSession, The Live Adventures of…, Blind Faith, Joe Cocker’s LP, Crosby Stills Nosh & Young, Jammed Together and Fathers & Sons, it had to happen. Set for release late this month, the Masked Mauraud­ers’ two-record set may evoke an agonizing, tip-of-the-tongue, lobe-of-the-ear recognition in some, or cries of “No, no, it can’t be true” in others. But yes, yes it is—a treasured, oft-xeroxed sheet of credits (which, for obvious contractual reasons, will not be reproduced on the album), and the unmistakable vocals make it clear that this is indeed what it appears to be: John Lennon, Mick Jagger, Paul McCartney and Bob Dylan, backed by George Harrison and a drummer as yet unnamed—the “Masked Maurauders.”

Produced by Al Kooper, the album was recorded with impeccable secrecy in a small town near the site of the original Hudson Bay Colony in Canada. Cut in late April, only three days were required to complete the sessions, though mixing and editing involved months of serious consultations on both sides of the Atlantic. Word has it that the cover art was intended as a “send-up” of Blind Faith, but none of the principals were willing to comment on the situation.

The LP opens with an eighteen-minute version of “Season of the Witch” (lead vocal by Dylan, on which he does a superb imitation of early Donovan). The cut is highlighted by an amazing jam between bass and piano, both played by Paul McCartney. Then, the tone of the album is set by the next track, “With a Little Help from My Friends” (all), followed by a very brief “In the Midnight Hour,” which collapses in giggles and is the “joke” of the set.

Side two begins with a extremely mov­ing a cappella version of “Masters of War,” sung by Mick and Paul. You’ll truly wish, after hearing this cut, that you “could stand over their graves until you’re sure that they’re dead.” This is followed by an indescribable twelve-min­ute John Lennon extravaganza, James Brown’s “Prisoner of Love,” complete with a full ten-minute false ending. “Don’t let me be a prisoner… ooo, ah, eee, uh… please don’t let me be a prisoner… ak, ow, arrrggghhh, ooo.”

The oldies craze is not slighted; Dylan shines on side three, displaying his new deep bass voice, with “Duke of Earl,” Jagger with “The Book of Love,” and John, of course, with “I’m the Japanese Sandman.” Paul showcases his favorite song, “Mammy,” and while his performance is virtually indistinguishable from Eddie Fisher’s version, it is still very powerful, evocative, and indeed, stunning. And they say a white boy can’t sing the blues!

After the listener has recovered from this string of masterpieces, side four opens with a special treat, two songs written especially for this session: Dylan’s “Cow Pie,” which is very reminiscent of Billy Ed Wheeler’s “The Interstate is Coming Through My Outhouse,” and Mick Jagger’s new instant classic, “I Can’t Get No Nookie.”

In line with the present trend toward “simplicity,” the album nears an end with a very simple duet on acoustic guitars—George and Bob—a marvelously sensitive, yearning, melancholy exploration of “Kick Out the Jams.” The final cut, a group vocal, is, what else, “Oh Happy Day.” This track will probably be released as a single.

All the hassles of creating a special label, of re-arranging schedules, chartering planes, and minimizing the inevitable “ego-conflicts” were worth it. It can truly be said that this album is more than a way of life; it is life.
T.M. Christian