Check out my new video:) http://www.youtube.com/watch?v=cD7ngoW4-6k

Hey wasup thanks for stoppin by for a listen(" you got some great stuff also. if ya wanna seriously collab get at me k Peace&LOVE Ron WEss http://www.showcaseyourmusic.com/ronwess66musaq enjoy!

Nice lyrcs

That song kicks!!!

This was the first single released from Archie;s mixtape "King of Va Vol 1 and is also available on the "White Afternoon" mixtape coming soon

NICE SONG K

THIS IS THE 3RD SINGLE RELEASED FROM THE KING OF VA VOL.1 AND IS ALSO AVAILABLE ON THE "WHITE AFTERNOON" MIXTAPE THATS CURRENTLY BEGIN RECORD. ALSO AVAIBLE ON ITUNES

this here is an owesome track from a good fren who passed away sadly in october 2008 just after passng his demo to Akon who promisedto him REST IN PEACE MA DEAR FREN

Great song

BROOKS McLAREN - REDP & SHOGUN FILMS (LOS ANGELES, CALIFORNIA, USA) I came upon The Reds latest release "Early Nothing," (March 2009) when discussing a script set in Tijuana, Mexico. One of the writers was playing the album's last track, "Strangeness," and I commented how the song captured the gritty, late night vibe of TJ's red lights, where the intersection of poverty and narco excess is always a stone's throw from the U.S border. As the meeting progressed, and we were discussing a film about Iraq war veterans set in Los Angeles, the track, "Diggin' It," played. The catchy guitar riffs and surf hooks, with the ever present organ, captured the Venice beach and Sunset Boulevard of old. But it also captured the inescapable anxiety of today's America. The dark and grimy undercurrent we all feel but don't talk about: Is the party over? It was like I was speeding the windy roads of Mulholland in a stolen Ferrari, as the city below burned after the big one finally hit. Again, the music was packed with images and tone. Throughout listening to "Early Nothing," track after track, the music and lyrics kept evoking images and feelings that worked for all the films we have set for production. The album's variety and scope was perfect. After doing a little research I wasn't surprised to find The Reds have done score work for Michael Mann and other productions. It made perfect sense. What did surprise me was how long these guys have been making music. I assumed they were the tripped out peers of bands like Interpol and Artic Monkeys. I was thrilled to discover The Reds have been pushing the throttle with their own distinct sound for thirty years, a sound that's grown and captures today so soundly. But then again, maybe they knew what was coming all along.

THOMAS RATHMAN - ERASER NET BLOG (BERLIN, GERMANY) I found The Reds on last.fm. Never heard of them. But, after further investigation, discovered they're a true artifact recording since the late seventies. Currently the line-up is two of the original founding members, Rick Shaffer and Bruce Cohen. Their new recording, Early Nothing, the topic of present discussion, is an album with late sixties vitality and adventure, at times mirroring early Velvet and Stones, with a good amount of Door's swagger. However, the other part of The Reds story is their work with director, Michael Mann (Heat, Insider, Colleteral), on Miami Vice and three films, especially their Manhunter score. Their film work, along with interesting side works by Shaffer (guitar tracks on albums with Marianne Faithful, Peter Murphy, Marc Almond, the late Hilly Krystal), and Cohen (scores for stage productions in Philadelphia and NYC), keep this band's sound fresh and expanding, not just a curious time capsule. To fully appreciate Early Nothing, for this listener, is to experience it at the most sonic volume level, via a good set of headphones. Starting with Big Boy, a slow grinding groove, bluesy Doors style track, with driving organ, pumping bass, slapping back beat, edgy metallic guitars and dark, blues tone Shaffer vocals, not unlike Jim Morrison, with a bit of Jagger twang. The track further hits you with the atmospherics of sixties percussion, most notably Cohen's understated keyboard work, much like Brian Eno's approach in his atmosphere treatments. Other tracks carrying this type of feel, drive and atmosphere are Sidebuster, Diggin' It, Where We Belong, and Strangeness. Sidebuster is my favorite, because of the psycho rich textures of guitar, percussion, keyboards (the main organ signature reminds me of a warped Junior Walker sax riff), and Shaffer, a man not fully in control of himself, but with a missed sense of humor, much like Morrissey. The end of Sidebuster, with it's rocking groove and vocal refrain, "Dream Baby Dream," seems inspired by Suicide's vocalist, Alan Vega's haunting style. Additional songs, more electronic and groove oriented are, A Few Dollars More, Night Must Fall, Laying Low, and especially, Endless, a moody track that conjures up the vision of Jim Morrison singing, Massive Attack electronics, with a Robbie Krieger guitar approach. These four songs hint at the band's film work, with moments of dark slinking stories of things best left unsaid, and a world of very modern sound, yet pure, original, organic, and as adventurous as late night sixties radio and today's indie underground. Every now and then you're lucky enough to come across unique bands, deserving much greater exposure, but who never fully achieve it, so you feel compelled to help spread the word. The Reds are one of those bands. Take a listen, it's the kind of music you'll find yourself still listening to twenty years from now without ever getting bored.

JOE WAWYRZNIAK - JERSEY BEAT (WEEHAWKEN, NEW JERSEY, USA) Right from the opening sensationally sleazy slow-grinding song BIG BOY, this album filled my imagination with tantalizing trashy images of a smoky and sordid biker bar with half-naked women in skimpy black leather lewdly cavorting on stage, while the rowdy regulars booze it up and brawl with each other to the wee hours of the morning. All the right lowdown skuzzy ingredients for a prime rattling blast of first-rate "junk" rock are present and accounted for – sneering sub-Mick Jaggeresque vocals, slinky, slithering tempos, hard-diggin' guitar riffs, relentless steamroller drums, fiercely hip-n'-rippin'-zoned-to-the-funky-bone heavy keyboards, deep, thick, lingering bone-quaking groves, deliciously tawdry subject matter, and absolutely no needless artsy-fartsy pretense to get in the way of the divinely dingy and dirty straight-up-no-bullshit fun. A splendid slab of inspired grungy spew.

Don1969 - Music Emissions Listener Review (Calgary, Canada) A new Reds album, or another trip to the other side? The first track Big Boy sets you up stomping on your throat with a pounding groove, Doors like organ, and the witness to the confession Mr. Shaffer spewing venom about some fellows problem with heroin. The entire drive of Early Nothing is metallic and atmospheric, at the same time it does have a visual lyric sense, film noir as the record company states, with A Few Dollars More, Sidebuster and Endless being good examples. The album and Reds sound over the years is not for everyone, but Captain Beefheart, Iggy and The Stooges and P.I.L. are not an easy swallow either, or have vocalist's that are pretty boy crooners, or sanitized major label crap. Like the Reds, they all have a distinct sound when you hear their music. As how far the Reds can go, to these ears they seem to be exactly where they want to be. Top Tracks: Big Boy, Diggin' It, A Few Dollars More and especially Endless, which is like Massive Attack and The Doors on a bad acid trip, with an Old Crow chaser. Rating: 10 STARS (out of 10)

Louie - Music Emissions Listener Review (Calgary, Canada) Just great hard driving rock. Sort of a musical version of a cool 50's noir movie. Like the way the guitar and keyboards meld together into one very, very cool sound. Vocals are right on! Rating: 9 STARS (out of 10)

Pascal Thiel - DisAgreement e-zine (Luxembourg) Two years after “Fugitives From The Laughing House,” Philadelphia duo The Reds is back with another self-released album titled “Early Nothing". If you neglect their history, you might think they are another bunch of late '60's proto punk revivalists, but that wouldn’t do them any justice. Founded in the late '70's, they released a couple of LP's on a major label, and even entered the American charts. In the mid-'80's, they concentrated their energy more on movie soundtracks and had their music featured in Miami Vice. Guitarist Rick Shaffer was doing session work for artists like Marianne Faithful, Peter Murphy and Marc Almond, while keyboarder Bruce Cohen was writing scores for plays. They resurfaced briefly in the early '90's with their first self-released album “Cry Tomorrow,” just to go on a hiatus for the next fifteen years. It seems as if Shaffer and Cohen have finally recaptured their early rhythm, as they prove dauntlessly on their new CD “Early Nothing.” Already the opener “Big Boy” sets the pace for what to expect. Shaffer is playing a guitar that sounds as if he swapped the strings with razor blades, and his vocals have this haunting quality reminiscent of Iggy Pop and Suicide’s Alan Vega. Cohen’s keyboards cover all grounds, from psychedelic organs over repetitive piano patterns to atmospheric synth carpets. He’s also in charge of bass and percussion, although I get the impression that some of the beats are programmed, although that doesn’t disturb. In fact they add a hypnotic quality that recalls the mesmerizing years of the Velvet Underground. This all is equipped with an authentic film noir quality, as if Raymond Chandler had decided to start a second career as frontman for a rock’n’roll band. Nowadays there are many young bands that have rediscovered the chic of '60's psychedelia and early '70's proto-punk, and who are even quite successful with their revivalist art. Let us not forget though that the Reds were there when it was still in its early days, making their current releases more a continuation of what they started in the '70's than just another band trying to jump on the bandwagon. It adds to their sincerity and integrity that they not only self-release their music these days, but even sell them at customer friendly prices. Fans of the aforementioned bands are encouraged to get acquainted with the Reds and their excellent new CD “Early Nothing."

Johnny Houston - Xiie.net (Roswell, New Mexico, USA) Big Boy stands out . . . . Really cool blend of styles that deliver a bit of blues and a bit of funk. Big Boy delivers, well worth a lousy 75 cents any day of the year, take a listen and leave your comments behind . . . Rock on Reds!

FEDERICO GUGLIEIMI - RUMORE MAGAZINE (ROME, ITALY) Artistic results are reached time after time by The Reds, and writing about this band cannot be considered a tough job, especially for someone like me, who has been following with passion the ensemble from Philadelphia since their first LP on A&M Records in 1979. Veterans of the USA underground (their first single "Joey" was released in 1977) and authors of effective "punk and roll," with exciting new wave influences, characterized by the wonderful voice of Rick Shaffer. The Reds new release "Cry Tomorrow" is made up of only two of the original band members (Rick Shaffer, voice & guitar, and Bruce Cohen, keyboards) and is a pleasant collection of rarefied and hypnotic songs that keeps the interesting charm of the original style of the band. It is right and proper to give The Reds a listen.

Johnny Houston - Xiie.net (Roswell, New Mexico, USA) Very upbeat track that captures your imagination and causes your foot to start tapping to the beat while delivering a vocal track that is not overpowered by the music itself. Read about The Reds on XIIE they have a strong, long history. Nice job Reds!

MERLIN'S MUSIC BOX (ATHENS, GREECE) Strange thing, a duet who after one album on A&M, two independent albums and another on Sire/WB, leap into a brand new company, Tarock Music (this is the company’s first release). The Reds consist of Bruce Cohen (keyboards) and Rick Shaffer, guitar & vocals), who both hail from Philadelphia, and if you were a fanatic follower of "Miami Vice" you might remember their names from the music credits from a number of episodes. This fifth album depicts the 'dark side of things," a portrayal with serious undertones, painting an often frightening picture. The Duet succumbs to an egocentric discovery in these pieces. Shaffer's voice is other worldly several times, as other worldly as the album. There is a similarity here to "Gimme Shelter," but I don't know, something frightens me, yet attracts me at the same time. The producer is Mike Thorne (Peter Murphy, Soft Cell, Blur, Wire).

KERRY DOOLE - MUSIC EXPRESS MAGAZINE Three out of four serial killers name The Reds as their favorite band. Actually, I just made that up, but it's not beyond the realm of possibility. After all, director Michael Mann hired them to score Manhunter the chilling prequel to Silence Of The Lambs, as well as using their music in Band Of The Hand, and episodes of Miami Vice. This Philadelphia duo certainly won't get confused with Hall & Oates, for they deal in a menacingly modern sound worthy of far greater exposure. Since 1979, singer/guitarist Rick Shaffer and keyboardist Bruce Cohen recorded four albums for four different labels, and Cry Tomorrow appears on indie alternative label Tarock Music. The Reds have an immediately identifiable sound via the combination of droning keyboards and guitar, and Shaffer's haunting monotone vocals, and they come up with hooks that creep insidiously into the brain. Female backing vocals are used liberally to further push the sounds home, and producer Mike Thorne (Wire, Soft Cell, Peter Murphy) keeps it all as clean and sharp as a new scalpel. Those raised on the sonic bludgeoning of industrial and metal styles will likely find this a little too understated, but that's their loss. The cover of the Rolling Stones classic Gimme Shelter is a logical one, but the song's familiarity robs it of some potency. Standout cuts include Terror In My Heart, Cry Tomorrow, and the sinister Waiting For You. Cry Tomorrow remains Better Dread From Reds.