The Prince Estate in partnership with Warner Records, releases “Cosmic Day,” a previously unheard recording from Prince’s legendary vault that will be featured on the expanded reissue of Prince’s iconic Sign O’ The Times out September 25.
“Cosmic Day” was recorded at Sunset Sound, Studio 3 on November 15, 1986, by engineers Susan Rogers and Coke Johnson. It is possibly the most revered recording in the Super Deluxe collection. While the song had floated among ardent collectors as a small snippet, the full version reveals Prince at his most psychedelic. From the race car ignition sounding intro to the screaming guitar finale, Prince sings about Mermen in the sky and flying in the deep sea.
Inhabiting his “Camille” vocal throughout, Prince blends synth and real drums, guitars and several keyboard parts which add to the ethereal surrealism of the song.
Although “Cosmic Day” didn’t appear on any of the original configurations for Crystal Ball or Sign O’ The Times, elements from the song were later used by Prince in 1988 during the Lovesexy tour intermission.
The new Sign O’ The Times expanded reissue will be available this fall via all physical, digital and streaming partners, with the classic album remastered for the very first time. The Super Deluxe edition features 63 previously unreleased tracks, as well as a previously unreleased 2+ hour video concert performance from the vault. Visit the Official Prince Store to purchase Sign O’ The Times remastered and expanded editions (standalone album through Super Deluxe configurations), alongside exclusive merchandise and apparel.
In June 1970 Elvis Presley entered Nashville’s legendary RCA Studio B for a marathon five day recording session that would provide the backbone of three of his most successful studio albums of the decade.
On November 20th, these sessions will be collected in a 4CD set and digital collection, ‘From Elvis In Nashville’. Pre-order now.
Drawing on the original masters, the 4CD set presents studio tracks from the 1970 marathon sessions in pristine audio, newly mixed by acclaimed engineer Matt Ross-Spring (John Prine, Jason Isbell) without the added overdubs or orchestration appearing on earlier releases.
From Elvis In Nashville will be available in a 4CD boxed edition including two bonus discs of rare and/or unreleased outtakes from the 1970 sessions (also available digitally). A highlights package will be available in a 2LP 12″ vinyl pressing.
Elvis’ rendition of ‘I Washed My Hands in Muddy Water’, a country classic penned by Cowboy Joe Babcock, is available now, too.
That tracklisting in full:
Disc 1
01 Opening Jam (Mystery Train) (Junior Parker/Sam Phillips)
02 Twenty Days And Twenty Nights (Ben Weisman/Clive Westlake)
03 I’ve Lost You (Ken Howard/Alan Blaikley)
04 I Was Born About Ten Thousand Years Ago (Adapted by Elvis Presley)
05 The Sound Of Your Cry (Bill Giant/Bernie Baum/Florence Kaye)
06 The Fool (Naomi Ford)
07 A Hundred Years From Now (Lester Flatt/Earl Scruggs)
08 Little Cabin On The Hill (Bill Monroe/Lester Flatt)
09 Cindy, Cindy (Buddy Kaye/Ben Weisman/Dolores Fuller)
10 Bridge Over Troubled Water (Paul Simon)
11 How The Web Was Woven (Clive Westlake/David Most)
12 Got My Mojo Working/ Keep Your Hands Off Of It (Preston Foster)/(Jay McShann/Priscilla Bowman)
13 It’s Your Baby, You Rock It (Shirl Milete/Nora Fowler)
14 Stranger In The Crowd (Winfield Scott)
15 I’ll Never Know (Fred Karger/Sid Wayne/Ben Weisman)
16 Mary In The Morning (Johnny Cymbal/Michael Rashkow)
17 It Ain’t No Big Thing (But It’s Growing) (Neal Merritt/Alice Joy/Shorty Hall)
18 You Don’t Have To Say You Love Me (Vicki Wickham/Simon Napier-Bell/ Pino Donaggio/Vito Pallavicini)
19 Just Pretend (Doug Flett/Guy Fletcher)
20 This Is Our Dance (Les Reed/Geoff Stephens)
21 Life (Shirl Milete)
22 Heart Of Rome (Geoff Stephens/Alan Blaikley/Ken Howard)
Disc 2
01 When I’m Over You (Shirl Milete)
02 I Really Don’t Want To Know (Howard Barnes/Don Robertson)
03 Faded Love (Bob Wills/John Wills)
04 Tomorrow Never Comes (Ernest Tubb/Johnny Bond)
05 The Next Step Is Love (Paul Evans/Paul Parnes)
06 Make The World Go Away) (Hank Cochran)
07 Funny How Time Slips Away (Willie Nelson)
08 I Washed My Hands In Muddy Water (Joe Babcock)
09 Love Letters (Edward Heyman/Victor Young)
10 There Goes My Everything (Dallas Frazier)
11 If I Were You (Gerald Nelson)
12 Only Believe (2:58) (Paul Rader)
13 Sylvia (Geoff Stephens/Les Reed)
14 Patch It Up (Eddie Rabbitt/Rory Bourke)
15 Snowbird (Gene MacLellan)
16 Where Did They Go, Lord (2:28) (Dallas Frazier/Arthur L. Owens)
17 Whole Lot-ta Shakin’ Goin’ On (Dave Williams/Sunny David)
18 Rags To Riches (Richard Adler/Jerry Ross)
Disc 3
01 Jam 2 (Tiger Man) (Joe Hill Louis/Sam Burns)
02 I’ve Lost You – take 1 (Ken Howard/Alan Blaikley)
03 The Next Step Is Love – takes 3-6 (Paul Evans/Paul Parnes)
04 You Don’t Have To Say You Love Me – rehearsal
05 Patch It Up – take 1 (Eddie Rabbitt/Rory Bourke)
06 Twenty Days And Twenty Nights – takes 5,6 & 8 (5:54) (Ben Weisman/Clive Westlake)
07 How The Web Was Woven – take 1 (Clive Westlake/David Most)
08 Mary In The Morning – takes 3-4 (Johnny Cymbal/Michael Rashkow)
09 Just Pretend – takes 1-2 (Doug Flett/Guy Fletcher)
10 Stranger In The Crowd – takes 1-5 (Winfield Scott)
11 Bridge Over Troubled Water – rehearsal, take 1 (Paul Simon)
12 Patch It Up – take 9 (Eddie Rabbitt/Rory Bourke)
13 The Sound Of Your Cry – take 3 (Bill Giant/Bernie Baum/Florence Kaye)
14 Where Did They Go, Lord – takes 2-3 (Dallas Frazier/Arthur L. Owens)
15 Rags To Riches – take 2 (Richard Adler/Jerry Ross)
Disc 4
01 Jam 3 (I Didn’t Make It On Playing Guitar) (Elvis Presley)
02 Faded Love – rehearsal (country version) (Bob Wills/John Wills)
03 The Fool – take 1 (Naomi Ford)
04 A Hundred Years From Now – take 1 (Lester Flatt/Earl Scruggs)
05 Little Cabin On The Hill – take 1 (Bill Monroe/Lester Flatt)
06 Tomorrow Never Comes – takes 10-11 (Ernest Tubb/Johnny Bond)
07 Snowbird – take 1 (Gene MacLellan)
08 Faded Love – take 3 (Bob Wills/John Wills)
09 It’s Your Baby, You Rock It – take 3 (Shirl Milete/Nora Fowler)
10 There Goes My Everything – take 1 (Dallas Frazier)
11 Love Letters – take 1 (Edward Heyman/Victor Young)
12 If I Were You– take 5 (Gerald Nelson)
13 Heart Of Rome – take 1 (Geoff Stephens/Alan Blaikley/Ken Howard)
14 Cindy, Cindy – take 1 (Buddy Kaye/Ben Weisman/Dolores Fuller)
15 I’ll Never Know – take 3 (Fred Karger/Sid Wayne/Ben Weisman)
16 Sylvia – take 9 (Geoff Stephens/Les Reed)
17 It Ain’t No Big Thing (But It’s Growing) – takes 1-2 (Neal Merritt/Alice Joy/Shorty Hall)
18 Only Believe – take 3 (Paul Rader)
19 Life – take 2 (Shirl Milete)
Fake urine simply means artificial urine or animal urine. Synthetic urine normally contains urea, chloride, sodium, potassium, creatinine, and other dissolved ions, as stated in this Quick Fix Plus review All of these components have their range value in human urine. The components may be the same but the value of those mentioned components is not the same. This is why labs can detect fake urine and normal human urine. Over 95 percent of the urine is water which is not the case in many fake urines.
Components of a Urine
Uric acid is the main component in urine as labs test fake urine, they start by checking uric acid. Some labs are not extreme when it comes to analyzing fake urine. That is why once they detect uric acid, they just conclude it is human urine. The trick is, fake urine contains uric acid but it may not contain other components of urine such as creatinine, Amino acids, metabolites of hormones, and Urea. If the urine of a person doesn’t contain that, further investigations are necessary to detect whether or not it is human urine.
The Temperature is Enough to Tell the Difference
When the lab requests for urine, the temperature of fresh urine is the same as the temperature of a normal person. Once the temperature is not the same as the person differs with great value, something should tell you that the urine might be fake. Even the odor of the urine is not the same because fake urine is not concentrated with a lot of components. The components of human urine make it smell differently from the synthetic urine. This simply means a perfect lab that devotes to detect fake urine can detect it without even doing some of the complicated tests. Fake urine degrades quicker than human urine.
Some of the Tests That Detect Fake Urine
Creatinine is a must in human urine because it is the one used to check for the functionality of the kidneys. If the kidneys are not okay, the creatinine levels will always be below the normal range. Fake urine may not be having this chemical especially if it was manufactured by incompetent labs. The lab can also check for urobilinogen which is a mixture of urea and by-products of bilirubin. Another thing the labs can test is the specific gravity of the urine. This will differ because the components of fake urine are not in the same value as the components of human urine.
Animal Urine is Not Same as Human Urine
Biologically, human urine contains the exact components of animal urine. Take for example a pig or cow, these are animals that produce a significant amount of urine. The difference comes in the value of those components. They differ greatly because the biological and physiological requirements of the animal’s body are different from the human body. If a lab is extensive enough in its investigations, it can detect all these faults and differences.
Bottom Line
Labs can detect fake urine if they decide to. The urinalysis is not enough to detect whether urine is fake or not. Some advanced tests are necessary to reveal whether or not urine is fake or original from a human being. Components of human urine are the same as components in animal urine but their value differs greatly. This is why it is easy for one detects animal urine and differentiate it from the urine of a human being. Synthetic urine that is made using the original urine may be hard to differentiate. Only the concentration can differ because human urine is often more concentrated.
Toronto R&B artist and songwriter Savannah Ré shares the official music video for her latest single, “Where You Are” today after an exclusive premiere with Complex. Filmed in her parents’ homeland of Jamaica with an all-Black female crew led by L.A.-based director Brilliant Garcia, the video brings the longing desire of Ré’s lyrics to life among the country’s luscious beauty and vibrant culture.
On the experience of filming the video, Savannah Ré shares, “A friend of mine had put me onto a director named Brilliant Garcia and I absolutely loved her work. We pitched the song to her and she immediately came up with an amazing treatment. Having a Black woman direct a visual for me was like nothing I’ve experienced before. The energy of having a whole crew of Black women, including hair and makeup artists and wardrobe stylists, was incredible. It was just a beautiful experience.”
“Where You Are” is the first single from Savannah Ré’s eagerly anticipated debut EP Opia that is due out this Fall via Universal Music Canada, the country’s leading music company. Written by Savannah Ré and Marcus Semaj (dvsn, Snoh Aalegra) and produced by Grammy Award winning producers Boi-1da (Drake, Eminem, Nicki Minaj, Kendrick Lamar) and Allen Ritter (Cardi B, Kanye West, Rihanna, Travis Scott), “Where You Are” has already racked up over 225K streams and has earned her immediate critical acclaim from outlets such as OnesToWatch who call Ré “one of R&B’s brightest new voices” and Complex who, in addition to today’s premiere, also included the song in their 10 Best Canadian Songs of the Month list.
“Where You are” follows Ré’s recent releases “DVP” and 2019’s “Best Is Yet To Come” which was selected as one of the 100 Best Songs of the Year by Apple Music.
As a highly skilled songwriter, Savannah Ré has developed an acumen for an arrestingly honest style of self-reflection that’s the mark of music’s elite. With a trained eye for capturing small details, she crafts songs that forfeit polished stories for authentic ones. It’s this carefully refined formula for songwriting that has brought her under the mentorship of Grammy Award-winning producer Boi-1da and has made her the go-to collaborator for R&B’s upper echelon where she’s written with artists like Babyface, Normani, Daniel Caesar, and Wondagurl. In addition to opening for artists like TLC and Jessie Reyez on her “Being Human On Tour” 30-date North American tour, Savannah Ré has also attended esteemed writing camps such as Amazon’s all-woman creative camp for Wondagurl’s debut album and the Keep Cool/RCA writing camp.
During a moment where all eyes are on R&B coming from Toronto, Savannah Ré is doing more than just joining a talented group of artists rewriting the rules of the genre – she’s leading the pack in her own right. Her goal is validation: to advocate for the value of authentic, collectively-held stories which ultimately become the ingredients of reclamation and resilience.
John Coltrane’s Giant Steps – the influential jazz saxophonist’s first album with Atlantic Records – continues to astound and inspire listeners 60 years after its release. Consistently lauded in music histories, Giant Steps was inducted into the Grammy Hall of Fame in 2001 and went gold in 2018. To celebrate this seminal album’s six-decade anniversary, Rhino has remastered Giant Steps and all 28 of its surviving sessions outtakes for two new collections.
GIANT STEPS: 60th ANNIVERSARY DELUXE EDITION will be available on September 18 as a 180-gram double-LP set and as a double-CD set. Both versions include the newly remastered version of the original album plus eight alternate takes. The recordings come packaged in a replica of the original sleeve and labels used for the album’s first stereo pressing, and the packages, each with a booklet, include photos, never-before-seen images of Atlantic Records ephemera, original liner notes, and new liner notes written by Grammy-winning music historian, Ashley Kahn. As a special bonus, fans who order the 2-LP set from Rhino.com will receive a limited edition 7-inch vinyl single disc featuring alternate takes of “Giant Steps” and “Naima.”
The other anniversary release is GIANT STEPS: 60th ANNIVERSARY SUPER DELUXE EDITION, which will be available to download and stream on September 18. The 35-track collection includes the original album, eight alternate takes, and 20 additional outtakes, all of which are newly remastered. Until now, many of the outtakes were only available on the 1995 set: The Heavyweight Champion: The Complete Atlantic Recordings.
Giant Steps was recorded in 1959 at Atlantic Studios in New York City. The album features Coltrane on tenor saxophone, Paul Chambers on double bass, Tommy Flanagan on piano, and Art Taylor on drums on all songs except for “Naima,” which features Jimmy Cobb on drums and Wynton Kelly on piano. It’s extraordinary to note that Coltrane began principal recording sessions for Giant Steps less than two weeks after finishing his work with Miles Davis on Kind of Blue, which became the best-selling jazz album in history.
Considered a landmark in modern jazz improvisation, Giant Steps earned a rare honor in 2004 when the album was selected by the Library of Congress for inclusion in the National Recording Registry. It is well known for Coltrane’s exploration into third-related chord movements, which are now known as ‘Coltrane changes.’ Several compositions on the album have become jazz standards, including the ballad “Naima” (named for his wife) and the title track.
In the new liner notes that accompany the vinyl and CD sets, Kahn details the album’s origins and eloquently writes about its lasting impact, while interweaving quotes and commentary from Coltrane’s peers, critics, and family. “And yet…Giant Steps is Exhibit A of how Coltrane’s obsession with the inner mechanics of music could not—and did not—impede his lyrical priority as a soloist, nor his compositional knack for inventing memorable, deeply entrancing melodies, says Kahn. “It never trips over its own intricacies, never loses sight that it is indeed music. The title track connects with an altogether hip, finger-snapping affect. “Cousin Mary” is a marvel of blues simplicity and smoky, late-night vibe; “Mr. P. C.” a burner fired by a toe-curling, R&B feel. “Naima” stands as one of Coltrane’s most wistful romantic statements, and “Syeeda’s Song Flute” one of his most playful. “Countdown” is a dizzying slalom down a mountainside, while “Spiral” thrills with a more relaxed energy, a gear-shifting exercise.”
“‘People like to talk about Giant Steps as a test for young horn players and how he’s breaking new ground with some of the pieces,’ says Ravi Coltrane, son of John, who was born in 1965 and grew up in Southern California and is one of many reed players who have spent countless hours with the music. “‘But it’s the accessibility that stands out for me. The accessibility, despite how challenging some of the material is. It’s still all very listenable and very joyful. John’s music is a joy to study and to play. It’s a joy to listen to.’”
Kahn concludes, “It remains one of the most talked-about albums of the modern era, a set of music all should have and absorb. It is music that has lived up to the grandiosity of its title: the first, yet not final, of John Coltrane’s fully realized statements, a point along a comet-like path of creative genius, an indelible marker on the timeline of popular music. It is a jazz classic recognized far beyond jazz circles. What more could a true artist hope to achieve?”
GIANT STEPS: 60th ANNIVERSARY DELUXE EDITION
LP and CD Track Listing:
Side One / CD 1
“Giant Steps”
“Cousin Mary”
“Countdown”
“Spiral”
Side Two / CD 1
“Syeeda’s Song Flute”
“Naima”
“Mr. P.C.”
Side Three / CD 2
“Giant Steps” (Alternate, Take 1, Incomplete)
“Naima” (Alternate Take)
“Like Sonny” (Alternate Take)
“Countdown” (Alternate Take)
Side Four / CD 2
“Syeeda’s Song Flute” (Alternate Take)
“Cousin Mary” (Alternate Take)
“Giant Steps” (Alternate Version Two False Start)
“Giant Steps” (Alternate Take)
GIANT STEPS: 60th ANNIVERSARY SUPER DELUXE EDITION
Shakira’s Hips Don’t Lie Itreceived several accolades, including a People’s Choice Award, an MTV Latin America Video Music Award, and an MTV Video Music Award. “Hips Don’t Lie” reached the number one spot on charts in at least 55 countries, including the US Billboard Hot 100, becoming Shakira’s first and only to date number one single in the country. It also broke the record for the most radio plays in a single week and the fastest selling digital download song in the United States.
Culturally, Astoria Bowl is an anachronism, a vestige of the sport’s mid-century heyday era. Financially, it’s a small business housed in an enormous building, in a rapidly gentrifying city. Sociologically, it’s a hub of in-person community at a moment when that vital element of life has largely moved online. But, most importantly, it’s an oasis in the truest sense of the word, a place of pure recreation and levity in a city where life tends to be serious and weighty.
Last month marked 22 years since Hello Nasty dropped and Beastie Boys went intergalactic. This era of the band was one of five captured in this poster series by Geoff McFetridge, made entirely on iPad Pro with Apple Pencil. Learn about his connection with Ad-Rock, Mike D, MCA, and Spike Jonze – and what Beastie Boys mean to him, visual art, and music culture.
