The DirtBombs - Ultraglide in Black

The Tune for Today is: 

The DirtBombs - Chains of Love

(p.s lovely movie)

Darlin'
Chains of love wont set me free
Chains of love wont let me be

Try to get up in he mornin'
But i just cant make it
Youve got a spell on me
And i just cant break it
Got to love on my backside
And i just cant shake it
If you dont help me baby
I know i cant make it

Coz im suffering from the heartache
Hey Hey

Chains of love wont set me free
Chains of love wont let me be

When had your sweet love baby,
i treated you so bad
But you were so sweet an so kind
Just give back these chains of mine
Your sweet love baby!

Chains of love wont set me free
Chains of love wont let me be

Cant get to sleep at night
Thinking about you
There is a voice in my soul babe
Says i cant go on without you
Since ive lost your sweet love baby
Everythings gone wrong
But your sweet memory
With all the love on!

Coz i got Hartache
Hey Hey

Chains of love wont set me free
Chains of love wont let me be
Baby, Got to, Got to, Got to break free baby
These chains of love baby!
Whooo!
Chains of love!
Chains of love!

Review by Douglas Siwek (allmusic)

Take a stack of soul platters from the 1960s and 1970s from the likes of Smokey Robinson & the Miracles,Sly & the Family Stone, Curtis Mayfield, Marvin Gaye, and Stevie Wonder; mix generously with a propulsive mix of two bass guitars, two drummers, and the vocals of a Detroit rock legend; and you have an underrated gem in the Motor City music scene. Ultraglide in Black puts a rock spin on recognizable nuggets of soul and funk while retaining the original version's integrity and message. Most of the tunes covered here are spirited party tracks, including a sparkling version of Gaye's "Got to Give It Up" that features a strident breakdown. Vocalist Mick Collins, of the Gories fame, paints each track with a flavorful delivery which at times will have the listener literally transported to AM radio's yesteryear. The Dirtbombs have created a record that is akin to stumbling across a box of cool records in your parent's attic, and is suitable for continuous play at any house party.

Tune the album:

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Yeah Yeah Yeahs - Show Your Bones

Great News the sexy Karen O. anounced that the Yeah Yeahs Yeahs will release a album this year, until then enjoy this tune.

The Tune for Today is: 

Yeah Yeah Yeahs - Phenomena 

Hey!

Don’t touch kid, sleep with the lights on 
Touch kid, how you surprise me 
Now roll kid, knock your body off! 

You’re something like a phenomena 
Something like an astronoma 
Roll kid, rock your body off! 

Something like a phenomena, baby
You’re something like a phenomena 
Something like a phenomena, baby
You’re gonna get your body off 

Don’t fall asleep with the motor on 
She’ll make you sweat in the water 
Don’t fall asleep with the motor on
She’ll make you sweat in the water 

Hot time kid 
Hot time kid 
It’s cold under the blanket 
They loved it 
They shot it 
The fastest ran and got it 
That story that ease my 
They hide it up the sleeves, my 
They hide it 
They hide it 
They’re never gonna find it 

Don’t fall asleep with the motor on
She’ll make you sweat in the water 
Don’t fall asleep with the motor on
She’ll make you sweat in the water 

Something like a phenomena, baby
You’re something like a phenomena 
Something like a phenomena, baby
You’re gonna get your body off 
Something like a phenomena, baby
You’re something like a phenomena 
Something like a phenomena, baby
You’re gonna get your body off 

Hot time kid 
Hot time kid 
It’s cold under the blanket 
Hot time kid 
Hot time kid 
It’s cold under the blanket

Review by Heather Phares

As explosive as they seem on the surface, the Yeah Yeah Yeahs are also an ambitious, thoughtful band and keep pushing the boundaries of their music. They moved from the rawness of their early EPs to the polished art-punk of their first full-length in just over two years, and this drive to keep topping themselves is what led to breakthroughs like Fever to Tell's gorgeous ballad and hit single "Maps." After taking three years to follow up Fever to Tell, and scrapping many of the songs that they came up with while on tour supporting that album, the Yeah Yeah Yeahs returned with Show Your Bones, the yin to their debut album's yang. While Fever to Tell and "Maps" dealt with falling in love (and being more than a little freaked out about it), Show Your Bones is a breakup album. If the Yeah Yeah Yeahs had made this album earlier in their career, Karen O's cutting lyrics and Nicolas Zinner's choppy guitars would've sliced the poor ex to pieces; after all, on "Bang," from their self-titled debut EP, they (hilariously) wrote off a lame one-night stand with "as a f*ck, son, you sucked." Show Your Bones, however, tries to go much deeper than that. Even Show Your Bones' rockers are subdued. The cryptic lead single "Gold Lion" (which sounds like a mash-up of Love and Rockets' "No New Tale to Tell" and Siouxsie and the Banshees' "Peek a Boo") is a little plodding; though it eventually worms its way into listeners' heads, it's surprisingly restrained compared to previous singles. Aptly enough for the kind of album it is, Show Your Bones' softer songs are some of its strongest: "Dudley" sounds a little bit like Sonic Youth covering the nursery rhyme "Hush, Little Baby," while "Cheated Hearts" is a big, rousing ballad in the vein of "Maps." And, as on Fever to Tell, the band loosens up as Show Your Bones unfolds. "Mysteries" is a jealous cowpunk number that sounds tossed off, but has more bite and fun in it than the rest of the album. On "Turn Into," they take this twangy sound and turn it sweet, resulting in one of their best songs yet.

Tune The Album Here

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Check the Yeah Yeah Yeahs website

By the cover the new album promise to sound acid punk, YEAH! 

The White Stripes

The Tune for today is:

The White Stripes - Take Take Take 

I was sitting there in a comfortable chair
And that was all that I needed
Then my friend offered me a drink for us to share
And that was all that I needed
Well, then I felt at ease
But then I'm not too hard to please
I guess you couldn't call me greedy
Then I was shocked to look up
And see rita hayworth there in a place so seedy
She walked into the bar with her long, red, curly hair
And that was all that I needed
And I said to my friend, "good god, we're lucky men just to even see her"

Take, take, take
Take, take, take
Take, take, take

And I could not resist, I just had to get close to her
And that was all that I needed
I walked and loomed around her table for a while
And that was all that I needed
Then I said, "i hate to bug you, ma'am, but can I have your autograph?"
And that was all that I needed
She pressed her lips against a white piece of paper
And that was all that I needed
Then I saw what she wrote, my heart is in my mouth
And that was all that I needed
Then she handed it to me, and I think that she could see
That that was all that I needed
I started to walk away but then I remembered 'hey, I forgot to get a picture'
So I asked her one more time, "could I have another favor?"
That was all that I needed
She was kind and posed with me
Then I knew my friend would see my celebrity meeting

Take, take, take
Take, take, take
Take, take, take

She turned and said to me, "I need to go to sleep,"
And it seemed so mean
It's almost as if she could not appreciate how cool I was being
She said, "good night" and walked away
And I didn't know what to say
I just couldn't believe it
Well, it's just not fair
I want to get a piece of hair
That was all that I needed
Or maybe a kiss on the cheek
I wouldn't wash it for a week
That would be all that I needed
But she didn't even care
That I was even there
What a horrible feeling

According to Jack White, Get Behind Me Satan deals with "characters and the ideal of truth," but in truth, the album is just as much about what people expect from the White Stripes and what they themselves want to deliver. Advance publicity for the album stated that it was written on piano, marimba, and acoustic guitar, suggesting that it was going to be a quiet retreat to the band's little room after the big sound, and bigger success, ofElephant. Then "Blue Orchid," Get Behind Me Satan's lead single, arrived. A devilish slice of disco-metal with heavily processed, nearly robotic riffs, the song was thrilling, but also oddly perfunctory; it felt almost like a caricature of their stripped-down but hard-hitting rock. As the opening track for Get Behind Me Satan, "Blue Orchid" is more than a little perverse, as though the White Stripes are giving their audience the required rock single before getting back to that little room, locking the door behind them, and doing whatever the hell they want. Even Jack White's work on the Cold Mountain soundtrack and Loretta Lynn's Van Lear Rose isn't adequate preparation for how far-flung this album is: Get Behind Me Satan is a weird, compelling collection that touches on several albums' worth of sounds, and its first four songs are so different from most of the White Stripes' previous music -- as well as from each other -- that, at first, they're downright disorienting. As if the red herring that is "Blue Orchid" isn't enough warning that Get Behind Me Satan is designed to defy expectations, "The Nurse"'s ironically perky marimbas and off-kilter stabs of drums and guitar -- not to mention lyrics like "the nurse should not be the one who puts salt in your wounds" -- make its domestic skulduggery one of the most perplexing and eerie songs the White Stripes have ever recorded (although Meg's brief cameo, "Passive Manipulation," which boasts the refrain "you need to know the difference between a father and a lover," rivals it). "My Doorbell," on the other hand, is almost ridiculously immediate and catchy, and with its skipping beat and brightly bashed pianos, surprisingly funky. Meanwhile, "Forever for Her (Is Over for Me)" turns cleverly structured wordplay and those fluttering marimbas into a summery, affecting ballad. 

But despite Get Behind Me Satan's hairpin turns, its inspired imagery and complicated feelings about love hold it together. Though "the ideal of truth" sounds cut-and-dried, the album is filled with ambiguities; even its title, which shortens the biblical phrase "get thee behind me Satan," has a murky meaning -- is it support, or deliverance, from Lucifer thatthe Stripes are asking for? There are pleading rockers, like the alternately begging and accusatory "Red Rain," and defiant ballads, like "I'm Lonely (But I'm Not That Lonely Yet)," which has a stubborn undercurrent despite its archetypal, tear-in-my-beer country melody. Even Get Behind Me Satan's happiest-sounding song, the joyfully backwoods "Little Ghost," is haunted by loving someone who might not have been there in the first place. The ghostly presence of Rita Hayworth also plays a significant part on the album, on "White Moon" and the excellent "Take, Take, Take," a sharply drawn vignette about greed and celebrity: over the course of the song, the main character goes from just being happy to hanging out with his friends in a seedy bar to demanding a lock of hair from the screen siren. As eclectic asGet Behind Me Satan is, it isn't perfect: the energy dips a little in the middle, and it's notable that "Instinct Blues," one of the more traditionally Stripes-sounding songs, is also one of the least engaging. Though Jack and Meg still find fresh, arty reinterpretations of their classic inspirations, this time the results are exciting in a different way than their usual fare; and while the album was made in just two weeks, it takes awhile to unravel and appreciate. Get Behind Me Satan may confuse and even push away some White Stripesfans, but the more the band pushes itself, the better.

Review by Heather Phares on AllMusic

Tune the album songs here