Butterfingers Discography

 Butterfingers Discography...

1994 – 2 tracks untitled recording (Demo) 

1. Girl Friday

2. Nicc o'Tynne

1995 – 12 goats, 6 oranges and 2 angels (Demo) 

1. Wet Blanket

2. Ginseng

3. Kindergarten

4. When You're Addicted

5. Mystery

6. My Gum

7. Spoilt

1996 – Butter Couldn't Melt (Demo) 

1. LCD (Liquid Crystal Display)

2. Stolen

3. Fahrenheit

4. Jump 'n' Dive

1996 – Dragon (Demo) 

1996 – 1.2 Milligrams (Butterworld/EMI) 

          Beli CD-R Butterfingers 1.2 MG di Shoppe

1. Naive Sick Chasm

2. Chrome

3. Nicc o'Tynne

4. Me

5. Wet Blanket

6. F*

7. Royal Jelly

8. Ugly

9. In the Calm

10. Sober

11. 10db + Royal Jelly alt. take (hidden track)

1997 – Butter Worth Pushful (Butterworld/EMI) 

        Beli CD Butter Worth Pushful di Shoppe

1. Fire is a Curse?

2. Girl Friday

3. E

4. Stole 

5. Vio-pipe

6. Apple Tree

7. Skew

8. Love

9. Ruin by the Selling Out

10. Delirium

11. Garden City of Lights

12. Still River + Vio-pipe alt. take (hidden track)

1999 – Transcendence (Butterworld/EMI) 

1. The Chemistry (Between Us)

2. Epitome

3. Meltdown

4. Mermaids (Fair-God & Stone Faces)

5. Doomsday Out

6. Faculties of the Mind

7. Floating in a Vacuum

8. Weird

9. RnR (Rock & Radical)

10. Mokhsha

11. Mystery

12. Words vs Wisdom + Noise + In Hale (hidden track)

2000 – Butter Late Than Never (unreleased tracks, live and rarities)(Butterworld/EMI) 

BelI CD Butter Late Than Never+POSCARD di Shoppe

1. To Gather (demo)

2. Stolen (1.2 mg version)

3. e (demo)

4. Silk (live on Time Highway Radio 1996)

5. Hatemaster (demo)

6. Faculties of the Mind (live at The Last War, December 1999)

7. Spoilt (in the end)

8. Wet Blanket (demo)

9. Jump & Dive (demo)

10. Sober (alt. take)

11. Sad Sunday Evenin' Blues (New song)

12. Epitome (instrumental demo)

2001 – Malayneum (Butterworld/EMI) 

1. Malayneum

2. Antidotes

3. Pretty Rain

4. State of Abyssmal

5. Ginseng

6. Am I Phoney?

7. Mating Season

8. Pacific

9. No One Else

10. Suddenly

2003 – The Best is Yet to Come 1994-20XX (Butterworld/EMI) 

Beli CD THE BEST IS YET TO COME di Shoppe

1. Chrome

2. Nico O'Tynne

3. Wet Blanket

4. Fo

5. Fire Is A Curse?

6. Girl Friday

7. e

8. Vio-Pipe

9. Ruin by the Selling Out

10. Garden City of Light

11. The Chemistry (Between Us)

12. Epitome

13. Doomsday Out

14. Floating in a Vacuum

15. Malayneum

16. Mating Season

17. Antidotes

2005 – Selamat Tinggal Dunia (Butterworld/EMI) 

1. Ngilu(Hidup makan tidur mati muzik)

2. Daulat Tuanku

3. Cuai

4. Urusan Seri Paduka Baginda

5. Selamat Tinggal Dunia

6. Kabus Ribut

7. Merpati Sejoli

8. Hanyut

9. Taman Tasik Perdana

10. Tentang Tentang

2008 – Kembali (Butterworld) 

1. Joget Global

2. Bebas

3. Maharani

4. Terus Terang

5. Air Liur di Kuala Lumpur

6. Lengkap Semula

7. Merdeka

8. 1000 Tahun (mahu hidup)

9. Gelombang Cinta

10. Mendaki Menara Condong

11. Mati Hidup Kembali

BONUS:

         Beli Butterfingers Greatest Hits di Shoppe

Does music really sound better on vinyl?

Most probably, but not for the reasons you are thinking of.

If you go round to your friend the audiophile’s house, and he gets out a vinyl and puts it on his record player, and you hear it coming through his big, 4 foot high speakers, it sounds absolutely amazing. Way better than anything you’re normally hearing.

But why?

1. The music he just put on is from his precious collection of great albums.
2. It’s coming through big, 4 foot high speakers, rather than tinny ear buds
3. His hifi (as they were called) has been carefully balanced for the ideal sound. Your earbuds or, worse, Dr Dres, on which you turned up the bass on your iPhone when you first got it and never worked out how to turn it down again, are not.
4. He has ideal separation between his speakers, for a perfect stereo image. You’re not even hearing stereo on headphones—you’re hearing binaural.
5. The album in question was recorded with low compression and played back with high amplification. It has 40dB of dynamic range. You can hear the gentle whisper of needle noise, but it doesn’t bother you. Your Carly Rae Jepsen album was recorded with the limiter set to maximum, and, despite the possibilities of digital (96dB dynamic range or better), has an actual dynamic range of 11dB on a good day, and 4dB on a bad one. (More is better.)
6. There’s a psychological effect of sitting in his sitting room, listening to carefully curated music.
7. The album artwork is immense, so the imaginative journey you go on is also much bigger.

In principle, CD or AAC can give a much better quality, but it is not usually reflected in the listening experience. It’s mainly heard on headphones, car speakers, or on boxes with a separation of about 12 inches. The headphones have got built in compensation to make some kinds of music sound better, which makes most kinds of music sound worse. There are only a few truly great albums. Most of them were recorded in the days of vinyl, and wrestling with the problems of vinyl was part of the creative process. In other words, they made the most of the medium.

There’s nothing about vinyl itself which is intrinsically better. It’s just that a huge amount of care went into production, packaging and reproduction of vinyl records. A better medium — CD or low compression audio files — will not be as good if less care has gone into the track as a whole, and the listening presentation.

---

There are a few people offering to edit the answer to say that vinyl is intrinsically better because sound is analogue.

This represents a misunderstanding. The sound you hear is ‘analogue’ (actually, it isn’t ‘analogue’, it’s just sound). It is transmitted to your speakers by an analogue means, and your speakers turn it from an electrical signal into sounds your ear can hear. This is a non-linear process, which is why some speakers sound better than others. At the other end, it has to be converted from sound into an electrical signal — by way of electromagnetism — through a microphone. It goes through a mixing desk, and various compressors, and, for analogue, magnetic tape, all of which add non-linearity. If it goes onto vinyl, it then goes through a physical process of transmuting electrical signals into grooves, and, on the player, the needle then converts these back into electrical signals. All of these are non-linear processes. Digital is just a different kind of conversion.

If you’ve ever worked with analogue tape, or analogue camera film, or any other analogue recording medium, you will remember just how hard it was to stop the intrinsic discontinuities and artefacts of analogue from destroying the signal. When you put something onto magnetic tape — and almost all analogue recordings after the early days were done this way, even if they ended up on vinyl — you are breaking it down into granular form like digital. The difference is that tape is stochastically granular, whereas digital is a granular matrix. But you’ve still split it into chunks. If the chunks are small enough, then you will not hear the difference.

ALBUM BRUTAL XPDC 1997...MASTERPIECE TERBAIK

Jamal Abdillah-Salam Aidilfitri

 Album Brutal' merupakan album hasil nukilan kumpulan XPDC yang diterbitkan pada 1997 dan menampilkan 10 buah lagu.

Album ini merupakan album paling laris dalam sejarah XPDC sehingga kini. Album ini terjual melebihi 500,000 unit , meraih anugerah 4x Platinum dan tersenarai dalam Top 5 kategori Album Rock Terbaik di Anugerah Industri Muzik 1998.

LINE ALBUM BRUTAL 1997

Mael - vokal

Izo - gitar

Zuar - bass

Amy - drum

XPDC-RAJA KERTAS

SENARAI LAGU:

1. "Tak Nak Jadi Soh Chai"  Loloq/Izo XPDC  

2. "Hentian Ini"  J.S Kevin/J.S Kevin  

3. "Hidup Bersama"  Salamah Basiron/Salamah Basiron  

4. "Tinggalkan Semalam"  J.S Kevin/J.S Kevin  

5. "Aku Tak Kan Bising"  Mael XPDC/Mael XPDC  

6. "Senapang Patah"  J.S Kevin/Peter Chong  

7. "Cempedak Jadi Nangka"  Mael XPDC/Mael XPDC  

8. "Aku Masih Di Sini"  Azam Dungun /Izo XPDC  

9. "Semangat Yang Hilang"  J.S Kevin/Izo XPDC  

10. "Apa Nak Dikata"  J.S Kevin/Izo

Album ini merupakan album paling laris dalam sejarah XPDC sehingga kini. Album ini terjual melebihi 500,000 unit , meraih anugerah 4x Platinum dan tersenarai dalam Top 5 kategori Album Rock Terbaik di Anugerah Industri Muzik 1998.

Dapatkan di sini:

https://shope.ee/99s8W5BFmj

ttps://shope.ee/99s8W5BFmj

XPDC-APA NAK DIKATA

Menurut petikan dari Harian Metro yang diterbitkan pada Oktober 18, 2017 ...

Pemain bass kumpulan XPDC, Zua berharap pemain gitar, Izo memberikan kerjasama bagi membantu menyelesaikan kemelut dihadapi berkaitan kontrak mereka dengan syarikat rakaman Life Records. Zua atau nama sebenarnya Azuar Mat Tasi kini menganggotai XPDC bersama Mael (penyanyi), Amy (dram) dan Jeff (gitar), manakala Izo bersama Ali (penyanyi), Eddie (bass) dan Lola (dram) turut menggunakan nama XPDC. Zua berkata, Life Records membenarkan nama XPDC digunakan kedua-dua pihak dengan syarat semua anggota asal XPDC menandatangani surat yang dikeluarkan. "Izo enggan tandatangan surat pelepasan. Jika dia turunkan tandatangan, barulah mereka akan ikut tandatangan surat pelepasan yang dimaksudkan.

Jika sebaliknya, kedudukan kami tidak ke mana. Kami ada kontrak reunion XPDC membabitkan saya, Izo dan Amy yang ketika ini tergantung," katanya.

Menurutnya, dalam situasi sekarang tiada pihak berani melaburkan modal untuk lagu dan album terbaru mereka. “Apa yang ada hanya secara lisan dan ia bukan jaminan. Kami nak ia dibuat secara hitam putih sebagai bukti kami sudah bebas. "Menerusi cara ini barulah penaja akan datang. Kalau mereka nak pandai-pandai sendiri, susah juga nanti kalau kena saman dengan Life Records," katanya. Menurutnya, banyak agenda mereka untuk XPDC tertangguh hanya kerana perkara ini. "Izo hanya perlu tandatagan dan sekiranya dia dan anggota lain mahu kembali dengan Life Records, ia tidak jadi masalah. Kami juga sudah buat perubahan dari segi logo dengan memperkenalkan identiti masing-masing. Kami adalah XPDC Kita Pengyu," katanya. Sementara itu, Izo atau nama sebenarnya Mohd Zulkifly Nik Hussin berkata, surat dikeluarkan Life Records itu membawa maksud komitmen mereka selama ini sudah ditunaikan. "Ia tanda tanggungjawab kami terhadap Life Records sudah dijalankan dengan baik. Mereka keluarkan surat pelepasan kerana tidak mahu mengikat kami. "Sesiapa yang tandatangan surat itu bermakna dia bersetuju dengan kandungannya termasuk memperakui logo dan nama XPDC adalah hak milik Life Records," katanya. Menurutnya, dia enggan menurunkan tandatangan kerana perlu merujuk dengan anggota lain serta peguam sebelum membuat keputusan. "Saya takut jika saya turunkan tandatangan, adakah akan membabitkan anggota kumpulan saya yang lain dan saya tidak mahu berlaku kerugian. "Dia (Zua) tandatangan itu sebenarnya tiada kena mengena dengan saya. Kami bukan satu kumpulan. Itu hal dia dan saya dengan hal sendiri," katanya. Izo berkata, apa-apa yang berlaku adalah urusannya sendiri dan dia tidak mahu menjadi mangsa dipersalahkan dalam perkara ini.

Mael nyanyi lagu Raya sambil menangis - Memang sedih

"Siapa yang tandatangan dikira bersetuju dengan apa yang dinyatakan dalam surat itu. Secara automatik mereka sudah bebas. “XPDC sudah berpecah dan kontrak adalah atas nama individu, bukannya berkumpulan. Sepatutnya mereka sudah bebas dan boleh buat apa sahaja sekarang," katanya. Izo berkata, Zua perlu mengikut syarat-syarat ditetapkan iaitu nama dan logo XPDC adalah hak milik Life Records dan mereka perlu merujuk kepada syarikat rakaman itu. Harian Metro sebelum ini melaporkan nama dan logo XPDC sudah dipaten Life Records sejak 1 Julai 1998 dan ia adalah hak mutlak syarikat terbabit, bukannya anggota XPDC. Pengurus Promosi dan Pemasaran Life Records Sariah Idris dipetik sebagai berkata, pihaknya tidak menghalang anggota kumpulan itu menggunakan nama XPDC tetapi penganjur untuk persembahan mereka perlu menulis surat dan meminta kebenaran Life Records untuk menggunakan nama dan logo kumpulan itu

CREDIT: Kemelut Dua XPDC Berterusan

History of Punk Rock..The mistaken for “retarded boys” at a gas station in rural Texas.

Rooted in 1960s garage rock, punk bands rejected the perceived excesses of mainstream 1970s rock music. They typically produced short, fast-paced songs with hard-edged melodies and singing styles, stripped-down instrumentation, and often shouted political, anti-establishment lyrics.
Punk's sonic foundations were laid down in New York City by the same people who established the beginnings of punk style: artists like Lou Reed, the Ramones, Suicide, and the New York Dolls who wanted to strip away the bloat rock had accumulated in the psychedelic era and return it to something purer.

In its most nascent form, punk rock is non-conformist, characterized by short formats, fast tempos, distorted riffs, stripped-down instrumentation, and shouted lyrics. 
Traditionally, Punk is characterized by its anti-establishment sentiment. Unlike rock at that time, punk rejected standard beliefs and looked to defy cultural norms. The fast, loose, and manic music created an Traditionally, 

Punk is characterized by its anti-establishment sentiment. Unlike rock at that time, punk rejected standard beliefs and looked to defy cultural norms. The fast, loose, and manic music created an authentic outlet that beautifully encapsulated the raw emotions, attitude, and beliefs of its listeners. outlet that beautifully encapsulated the raw emotions, attitude, and beliefs of its listeners.
Complicated guitar solos–a statement in traditional rock–turned into plain, basic guitar breaks.15 Jun 2022

The message of Punk was thus anti-mainstream, anti-establishment, anti-commercial, and very angry. As did early Hip Hop in the United States, Punk Rock embodied a “Do-It-Yourself” or “DIY” attitude. Many bands were self-produced and self-recorded.

What was the 1st punk song?

Our first three installments have thoughtfully and credibly outlined why the Johnny Burnette Trio's “The Train Kept A-Rollin'” or the Ronettes' “Be My Baby” or “Strange Things Happening Everyday” by Sister Rosetta Tharpe are the First Punk Song Ever (a distinction that absolutely warrants the caps).

Who is the father of punk rock?

Iggy Pop

— better known by his stage persona, Iggy Pop — has earned a reputation as “the Godfather of Punk.” This is thanks mostly to his tenure as the frontman of the proto-punk band the Stooges, but also because his reckless, sui generis stage presence embodied a gleeful but slightly scary abandon that became synonymous with

Was Nirvana a punk band?

Nirvana's musical style has been mainly described as grunge, punk rock, and alternative rock. They have also been labeled as hard rock. Characterized by their punk aesthetic, Nirvana fused pop melodies with noise.

Green Day

Green Day didn't invent pop-punk. The likes of The Ramones, the Buzzcocks and Descendents had all mixed buzzsaw punk energy with infectious pop hooks before, but it was Green Day that exploded the form into the mainstream – where it's remained ever since.

994’s Dookie completely reshaped the post-Nirvana musical landscape, but the trio weren’t content with just the one culturally significant album. Released a full decade later, the politically-charged punk opera American Idiot redefined what a band from a punk rock background could do, inspiring a whole new generation in the process.

There’s certainly a case to say that Green Day influenced every even vaguely pop-punk flavoured band that came after, but here are 11 artists who owe more than most to the Berkeley veterans…

Is Green Day punk or emo?

NO! Green Day started out as a small pop punk band in the East Bay in the mid/late 80s, and exploded in the mainstream in the mid 90s with their blend of power pop and punk and influenced from bands like Hüsker Dü and the Kinks. Emo, or emotional hardcore, emerged on the other side of the U.S. in DC in the mid 1980s.

In conclusion, there is no conclusion. Having spent the past eight months sniffing the fumes of punk rock, we learned a few things, that the Ramones were once mistaken for “retarded boys” at a gas station in rural Texas.

Digital whammy bar adds epic dives and shimmers to almost any guitar

 

THE most extreme WHAMMY development in 70 YEARS

Back in 2016, Australian startup Fomofx launched a digital whammy bar called the Virtual Jeff that could be mounted to just about any guitar, without having to modify the host instrument. Now the novel vibrato arm has gone Pro.

As before, the Pro doesn't involve breaking out the power tools to permanently modify the body, doesn't alter the string tension in any way (so no tuning nightmares), and it's made up of two main components.

Most players will likely choose to mount the vibrato arm part of the setup behind the bridge or tailpiece for familiarity, but it could be placed anywhere that doesn't interfere with existing controls and hardware. The Virtual Jeff comes with a mounting block that's attached to the guitar using supplied adhesive tape and is reckoned to take just 10 seconds to install, then the whammy just slides on.

The vibrato arm module then needs to be connected to a companion control box – though the company recommends a cabled connection between the Virtual Jeff Pro mounted on the host guitar and the control stomp on the floor, a 2.4-GHz mini-link transmitter is supplied. The host guitar's output jack also needs to be cabled up to the instrument input on the control box (though wireless systems like Line 6's Relay G10 are also supported).

The player can set exactly how far up or down the pitch travels during a sweep, and can set up and switch between two different whammy presets. A new virtual capo mode is included for instant up-shifts but also drop tuning, and pickers can blend the original guitar sound with a pitched sound for "glorious chorus, metal sub-octaves, parallel harmonies and much more." A hold feature freezes the pitch during a bend to free up the picking hand.

There are three footswitches atop the control box. The first is used to turn the system on or off, and two bypass modes are included. True bypass means that the system will not influence the guitar's output in any way, but the Pro also offers a studio-quality analog buffer for silent switching and to maintain a consistent tone. The middle footswitch hops between A and B presets, and the third is used to engage the virtual capo. It looks like you will need to invest in a separate A/B switch for the blend/hold feature though.

The Virtual Jeff Pro looks to be a sizable upgrade on the original, with the developers promising tonal transparency, ultra-low latency and "flawless tracking." And while there are floor stomps that can offer basic similar functionality – such as the DigiTech Whammy  used by Tom Morello in Audio Slave song– as you can see in the video below, using the Pro appears natural, intuitive and a whole lot of fun. It's now available for sale at US$499.

Digital Tremolo for Guitar

❤Made in Australia

❤Digital tremolo set consisting of whammy bar, special mounting system & PRO controller

❤Fits most electric and acoustic guitars as well as basses

❤Easy to install without tools - no holes or milling necessary

❤The special adhesive of the mount does not damage the finish - also suitable for nitro finishes

❤If brackets are installed on several guitars, the system can be switched from one instrument to another in seconds

❤2.4 GHz MiniLink for wireless and wired operation

❤Individual up and down pitch settings for Whammy A and Whammy B with automatic saving of settings and silent switching between the two

❤Virtual capo for drop-tuning or up-shifts

❤HOLD freezes the pitch during a bend

❤BLEND mixes the original guitar signal with the pitched signal (with balance control) for chorus, metal sub-octaves, parallel harmonies and more

❤Studio-quality analogue buffer and next-generation DSP for transparent sound

Excellent tracking and extremely low latency

❤LED: Effect On

❤Footswitch: Effect Bypass

❤Input: 6.3 mm jack

❤Output: 6.3 mm jack

❤Power supply connection: Barrel connector 5.5 x 2.1 mm, negative polarity inside

❤Power consumption: 300 mA

❤Power supply with a 9 V DC mains adapter

❤Dimensions Whammy & Mount (W x D): 85 x 40 mm

❤Weight Whammy & Mount: 110 g

❤Controller dimensions (W x D x H): 154 x 99 x 36 mm

❤Weight controller: 510 g

❤Includes power supply, carrying case, 2 mounts and adhesive, 1 mounting adapter & belt clip, 0.6m MiniLink cable and 4m cable for wired operation

Note: Hold & Blend are only accessible via an external foot switch: Art.494439 (not included)

THE most extreme WHAMMY development in 70 YEARS

OAG....Lagenda Rock Alternatif Malaysia

 OAG (juga ditaip sebagai O@G[perlu rujukan]) merupakan sebuah kumpulan rock alternatif Malaysia. Kumpulan ini dikenali umum sebagai peneraju muzik rock alternatif Malaysia. Ditubuhkan pada tahun 1992 dan pada awalnya dianggotai Radhi (vokal dan gitar), Chi (dram), Ivan (gitar), dan Lam (bass) sebelum mengalami perubahan dalam anggota kumpulan.

Pada asalnya OAG dikatakan mewakili "Old Automatic Garbage" tetapi kemudiannya ditukar menjadi Orang Asia Genius.

Pada tahun 2008, Radhi sempat terlibat di Pusat Pengasih Malaysia untuk pulih daripada masalah ketagihan dadah dan menguruskan masalah rumah tangga yang menimpanya pada ketika itu. Hal itu menyebabkan OAG berhenti seketika daripada sebarang kegiatan muzik sekitar tahun 2009 hingga tahun 2011 sebelum kembali mewarnai industri muzik di Malaysia pada tahun 2012 .

Sejarah

OAG ditubuhkan pada tahun 1992 sebagai pemuzik underground sebelum menghasilkan sebuah rakaman demonstrasi pada tahun 1994 dan mengirimkannya kepada Paul Moss, yang ketika itu merupakan seorang penerbit di syarikat rakaman Positive Tone. Beliau yang tertarik dengan kebolehan kumpulan tersebut terus mendaftarkan mereka di bawah syarikat tersebut.

Pada tahun 1995, Lam dan Ivan meninggalkan OAG atas sebab melanjutkan pelajaran. Mereka diganti pula oleh Adin (gitar) dan Edmund (bass).

Kejayaan OAG terbukti apabila mereka memenangi anugerah Artis Baru Terbaik dalam Anugerah Industri Muzik 1996. Video klip 60's TV juga dicalonkan sebagai Video Klip Terbaik. Klip tersebut pernah berada di tangga keempat selama enam bulan berturut-turut dalam rancangan Chart Show's Best yang ditayangkan di MetroVision pada tahun 1996.

OAG juga diberi penghargaan untuk mendendangkan lagu tema Kejohanan Remaja Sedunia FIFA/Coca Cola ke-9 yang diadakan pada 16 Jun 1997 di Malaysia. Lagu yang bertajuk Name Of The Game itu digubah oleh Radhi dan liriknya ditulis oleh Paul Moss.

Dalam tahun 2000-an, OAG mula menceburi persada lagu berbahasa Melayu, bermula dengan album Opera Radhi-o Friendly (2002) diikuti dengan Satelit Ink. (2003). Pada tahun 2005, kumpulan ini juga diberi peluang merakamkan lagu tema Generasiku bagi filem Gol & Gincu dan siri televisyen susulannya.

Pada tahun 2005, OAG dibari oleh Radhi, Nizam, Eric, Zul dan Fizul. Barisan ini telah menaikkan lagi nama OAG dipersada muzik tanah air dengan memenangi anugerah Ikon Malaysia bagi katergori kumpulan. Mereka juga mewakili Malaysia bagi peringkat Ikon Asean.

Pada tahun 2006, OAG meninggalkan EMI, setelah merakamkan album terakhir bersama label tersebut, OrAnG. Pada tahun 2006, mereka dipilih untuk membantu mempromosikan Tahun Melawat Malaysia 2007 di London.

Pada tahun 2007, mereka terlibat dalam pertandingan Nokia You Make It Reel!. Lagu mereka telah digunakan oleh peserta iaitu pengarah video muzik untuk menghasilkan video untuk lagu mereka dan memenanginya. Pada tahun yang sama mereka menjuarai kategori kumpulan muzik di Ikon Malaysia.[4]

Pada tahun 2012 , Radhi merekrut 'pemuzik' baru untuk OAG, yang dipilih dari kalangan pelajar Akademi Seni Budaya dan Warisan Kebangsaan. Susunan barisan baru terdiri daripada Azzam (drum), Muhamad Nizam (gitar - sejak 2005), Nazrin Zabidi (gitar bass / vokal sokongan), dan Izmer Khasbullah (vokal keyboard / sandaran). 

Radhi mendefinisikan muzik baru OAG sebagai aslinatif, gabungan muzik asli atau muzik tradisional dan alternatif. Mereka melancarkan beberapa buah lagu. Antaranya yang menjadi OST Drama TV yang berjudul Friday Im in Love . Beberapa single lain seperti Si Pengasih Muda dan Di Bawah Tanah Ayer.

Pada tahun 2014 , OAG muncul dengan beberapa orang ahli baru. Antaranya adalah kemunculan semula Drummer asal OAG iaitu Qi Razali. Radhi selaku ketua kumpulan mengekalkan Nizam Norani (Gitar) dan Nazrin (Bass Gitar) . Radhi merekrut seorang gitaris baru pada tahun 2017 iaitu Ammal. OAG kemudian merilis Single Inggeris yang berjudul Snowball pada tahun 2017 dan Infiniti yang dirilis pada hujung 2018 .

Pada 2020 Vokalis OAG iaitu Radhi telah membuat satu projek solo yang digelar' Radhi 2020AG. Radhi juga sudahpun mempersiapkan lagu Single terbaru pada tahun 2020 yang berjudul' ORI. 

Walaupun sudah lama bertapak dalam industri muzik Malaysia namun Band OAG ini masih lagi relevan dan kekal ``OAG Never Die' '.

PENGGAMBARAN FILEM TERGANGGU KERANA LABU BIN KUNDUR

 PENGGAMBARAN FILEM TERGANGGU KERANA LABU BIN KUNDUR

Umum kita ketahui bahawa P.Ramlee terpaksa membayar hutang kepada Shaw Brothers gara-gara lambat menyiapkan filem Ibu Mertua-Ku (1962). Bayaran ini berbentuk mengarahkan 2 buah filem tambahan. Maka lahirlah filem Labu-Labi  (1962) dan Nasib Si Labu Labi (1963).Menurut beberapa sumber, naskah Labu-Labi ini disiapkan dalam masa yang singkat dan P.Ramlee sendiri pernah mengeluarkan kenyataan bahawa skrip dan naratif Labu-Labi ini dibuat dengan "cincai" sahaja.

Selepas selesai pengambaran Ibu Mertua-Ku, perbincangan telah dilakukan bersama penolong pengarah S.Sudarmaji untuk membariskan para pelakon yang dirasakan sesuai. Pelakon-pelakon seperti Udo Omar, Mariani dan Rahimah Alias terpilih untuk membintangi filem ini. M.Zain dipelawa memegang watak utama selepas melihat M.Zain boleh bekerja dengan filem arahannya sebagai watak pembantu.

Semasa melakukan penggambaran filem ini, penolong pengarah S.Sudarmaji seringkali terganggu dan mengalami kesulitan akibat dari gangguan gelak ketawa P.Ramlee dan pekerja-pekerja studio. 

Sehinggakan S.Sudarmaji terpaksa memberi perintah "cut" akibat pengarah filem ini merangkap pelakon iaitu P.Ramlee sendiri tidak dapat menahan ketawanya sehingga mengganggu suara percakapan pelakon lain. Babak yang paling banyak sekali dibuat berulang kali ialah ketika M.Zain mengenakan pakaian tukang masak mengakibatkan P.Ramlee tidak dapat menahan perasaannya dari ketawa.

Populariti M. Zain meningkat dan membawa tuah kepada karier lakonannya dan menjadi antara watak yang paling diingati sehingga kini. Boleh dikatakan P. Ramlee adalah individu yang bertanggungjawab dalam menaikkan nama M. Zain di layar perak. M. Zain selepas itu tidak pernah berpeluang lagi untuk berlakon di bawah arahan P. Ramlee kerana beliau berpindah ke Kuala Lumpur pada bulan April 1964.

Teks: Mimin

Sumber :

Jejak Terbilang oleh Aimi Jarr (FINAS, 2007)

Gelanggang Film, Bilangan 16, May 1962

Berita Filem