Cool Rock Music

Coole Rock Music

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British Beat and Cool: Oasis / Kasabian / The Verve *Tribute Band.

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Story of rock music. for LL Cool J: autobiography, diskography, reviews, link, etc.

L.L. Cool J (or "Ladies Love Cool James", aka James Todd Smith) was the typical exponent of the second phase of hip-hop when it was the teenagers themselves from Queens (and not their DJs) who recorded the records. Need A Beat was one of the revelations of 1984. Famous only 17 years after I Can't Live Without My radio (1985), a hymn to the blaster of ghettos (the giant rappers' recorder radio), he sang the splendour and misery of the hood with cynicism worthy of the Madonna, and melodrama worthy of the Springsteen, with eroticism worthy of Prince, and above all with determination worthy of Heavy Metals, in I Need A Beat in 1985 and Rock The Bells in 1985, he sang the splendour and misery of the hood with cynicism worthy of the Madonna, and melodrama worthy of the Springsteen, with eroticism worthy of Prince, and above all with determination worthy of Heavy Metals, in I Need A Beat in 1985 and Rock The Bells in 1985.

But I' m Bath (1987), with a double bass of movie sirens and police sirens, I Need Love (1988), the first single to reach the top of the chart (the song that actually promoted him from "rude boy" to sexual symbol), and above all Going Back To Cali (1988), perhaps the masterpiece of the whole metallic oilseed rape (and certainly the most jazzy), chose his art in a form of hyper-realistic and hyperegocentric hyper-fusion.

Together with Mama Said Knock You Out (1990), Winding With a Panther (1989), Deffer ( 1988) and Winding With a Panther (1988) he came nearer to the popular genre. With 14 Shot to the Dome (1993), influenced by Ganga Ray, and Mr. Smith (1995), influenced by demanding Ray, he tried to adjust to the new style of Hi Prop.

These sagas continue in a separated domain with Phenomenon (1997), Greatest of All Time (2000), 10 (2002), Fire Finition (2004), Todd Smith (2006). In 1985 LL Cool J performed on the radio about the splendour and misery of the radio and then on the following records he coined a hyperrealistic and hyperegocentric hyper-fusion.

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