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Online Classics in June relaunched its Web site at onlineclassics. Digital Classics TV has been available in the U. The channel's fall lineup of programs will include Pavarotti and Friends, a performance of Johann Strauss's Die Fledermaus from this summer's Salzburg Festival, Verdi's Rigoletto from Arena di Verona and a series of classical mas- ter classes. The channel now supplies classical programming through ITV Select, the digital service of one of Britain's leading commercial, terres- trial broadcasters.

It aims to expand its digital service into other Euro- pean markets in the year ahead. Sydr nev— Although classical music accounts for only 1. The guitarist performs two hours of works from Bach and Vivaldi that he learned at the Sydney Conservatorium of Music and during post-graduate studies in Madrid and Vienna. But the album also features Celtic influences, popular songs and contemporary instrumental that hint at a teen flirtation with Jlml Hendrix, as well as flamen- co represented in seven dances written by Koch.

He also plays piano and learned clarinet at the Mozarteum in Salzburg as a teenager. Koch teaches at the University of Newcastle and oversees a graduate and post-graduate flamenco studies program. The rankings reflect sales from the Dec. Rankings are determined using point-of-sale data compiled by SoundScan, with units accumulated for each week titles appear on the chart. Although the classical charts appear in Billboard every other week, they are compiled weekly and are available each week to subscribers of SoundScan and the Billboard Information Network.

The recaps were compiled by Anthony Colombo with assistance from classical charts manager Marc Zubatkin. Top Classical Artists Pot. LAB1L No. Classical Dreams Various Artists September An exquisite collection of inspiring classical music for introspection and dreaming, which will be introduced through an extensive Direct TV campaign. The origins of Angel Records go back over years ago to and the founding of Tho Gramophone Co. Today, Angel Records continues to market classical music for EMI Classics and Virgin Classics, and also signs, develops and markets a select roster of directfy-stgned classical, Broadway and adult pop artists.

Lawrence String Quartet to accompany him on some favorite pieces by J. Sibelius IE lets you place your sheet music on the Internet, where it can be seen, heard, and distributed with secure encryp- tion. It's the E-commerce choice of leaders like Hal Leonard for good reason: Sibelius IE is the only Internet solution that puts you in complete control. If you're considering an online music presence, we'd love to tell you how to get started by licensing Sibelius IE and Scorch.

Give us a call at , or e-mail to sie sibelius. I— Various Artists — St. We've Only Just Begun.

Britney Spears - Womanizer (Director's Cut) [Official Music Video]

But it isn't. Essential," "One Dark Moment," and "Up the Creek" among them — are solo Tilbrook compositions, with witty, often touching words to match the songwriter's characteristi- cally heart-melting melodies. The al- bum's U. The demand to adhere to one of several narrow nich- es is intense.

The trick is discerning which niche is overcrowded at any given moment. Given the current glut of Blink and Limp Bizkit clones, the Calling has opted to plow through ground cultivated by Creed. With help from producer Bill Laswell, Gigi's eponymous debut for Palm Pictures assimilates a wealth of influences Indian and Arabian music, funk, jazz to create distinctively pan-global pop music. Loping rhythms interlock with Gigi's call-and-response vocals as synthesizers and saxes the latter provided by jazz titans Wayne Shorter and Pharoah Sanders float above the knotted melodies.

Although every track bears Laswell's high-tech imprint, the electronic elements are deployed with a subtlety not often heard on his recent productions. Gigi's vocals are never less than intense, even in the comparatively romantic setting of "Abet Wubet. And this collection finds her at a peak, as it brims not only with all the textural impressionism of before but with a newly dramatic sen- sibility. The violin concerto Graal The- atre is indeed highly theatrical, played to the expressive hilt by Gidon Kre- mer; the cello concerto Amers al- ternately chimes and chums; and the luminous orchestral song cycle Cha- teau de VAme, with the pure-toned Dawn Upshaw, beguiles like little else from Saariaho's pen.

In our anti-intel- lectual times — and from the major label least -disposed to a modem Euro- pean aesthetic — we should be thankful to have such imaginative music-mak- ing. This is undoubtedly the contem- porary classical disc of the year. The talent is there. Time will tell if they're given a chance to put it to proper use. Blige bids farewell to the blues and em- braces a better tomorrow.

Dre-produced "Fami- ly Affair. Combining infectious guitar riffs with melodic choruses is hardly a new musical concept, but Puddle of Mudd proves to have a genuine talent for it. With a nod to the not-so-distant past '90s grunge. Puddle of Mudd seems solid- ly rooted in the present. For example, the title-cut character tries to persuade himself that he isn't so bad, as does the redneck loser-turned-murderer of "Becky's Bible.

Dan Baird's production and guitar contri- butions lend a nice edge, placing emphasis right where it belongs — on these stark, gritty songs, and this gifted artist. Boxed together the re- issues, each with bonus tracks, are also available individually , the discs show a fascinating progression: Wednesday Morning, 3 AM. The set also propels Simon's songwriting consider the hit "I Am a Rock" into high gear. Vocally, the pair proved itself to be more than sweet harmonizers, wailing away on the street- gospel "Blessed. But Book- ends, which included "Mrs. Carfunkel's ethereal vocal on "Bridge Over Troubled Water," the title track of the pair's final album, was a fit- ting swan song, while the set's other hits, particularly "Cecilia" and "El Condor Pasa If I Could ," signalled the beginning of the world-music direction that Simon would eventually take.

This set could be further testimony. Spanning '68 and broken down into "eras" according to producers and man- agement, the compilation also traces the Yardbirds' progression from their begin- nings as a blues-based garage-rock group into one of the most memorable singles bands of the '60s. Leila Cobo, Larry Flick. Carla Hay, Richard B. Bill Holland, Michael Paoletta. Deborah Evans Price. Philip vanVleck. Ray Waddcll. All albums commercially available in the U. Send review copies to Michael Paoletta Billboard, Broadway, 6th floor. And vocalist Danny Shirley and some snap- py production from Beckett are enough to make the goofy "I'm Diggin' It" work deftly.

Latin After achieving superstardom with Brazilian band So Pra Contrarian Alexandre Pires hopes to do the same in Spanish, beginning with this, his first full-length disc in that language although he has included Spanish tracks on previous albums. Alexandre Pires is a collection of mostly ballads in the classic tradition of the great Latin balladeers of the 70s.

Accompaniments are streamlined, with pared-down cho- ruses and strings fully showing off sin- gularly well-crafted melodies most were written by Estefano expressly for the artist and Pires' trademark bari- tone, understated yet compelling. There's the slightest of Portuguese in- flections in the vocals that reminds one of Roberto Carlos most of the album is stylistically reminiscent of Carlos , but beyond that, Pires' singing is heartfelt, disarmingly real, effortlessly seductive "Necesidad" and "Usted se me Llevo la Vida" are stand-outs.

The overall effect is that of a lover whispering sweet nothings into your ear. It's also, like the tour, spotty. Most of the gems are at the top, beginning with Aterciopelados' "El Album" whose inclusion, like Cafe Tacuba's, is misleading, considering that this is the act's much-touted cur- rent single and that the duo toured on its own this year instead of going with Watcha and continuing with Bersuit's "El Gordo Motoneta.

Let's hope, though, that Watcha, the album, will become as yearly an event as Watcha the tour, giving due space only to those artists featured on that given year. To his credit, the album's as excit- ing as anything he ever recorded, in- cluding the landmark LPs he cut in the early- and mid-'60s that brewed up a potent mix of bluesy bop. Because of such musical marriages, he was one of the kingpins of "soul jazz. His best-known tune, the driving "Rock Candy. The studio tracks spotlight McDuff s excellent working band, as well as former stablemates Red Hol- loway on tenor sax and Pat Martino on guitar.

This is a wonderful, kick-ass album for old and new fans alike. New York City gui- tarist Popa Chubby isn't your standard- issue blues guy. With Chubby, blues is a distinctly urban, free-association groove that slays in touch with everything from tape loops to Leon Russell, soul to Southern blues-rock. If Muddy Waters was a mod- ern blues artist, then Chubby is a post- modern bluesman. He writes tunes amid a blizzard of influences, but the gut feeling of his materia is anchored in the blues. I le resolves that tension in a fresh take on the genre, paying his respects as he breaks trail.

Over time, Ledet has handcrafted her special sound, which unites soul and zydeco to create provocative, spirited dance grooves. A serviceable accordionist at best, Ledet's strengths lie in her prolific songwriting and her distinctive, sultry vocal style. With her rich vocal timbre, she can sell anything she sings. The tune-craft and voice come together pow- erfully throughout this disc, but make particular note of the slow tune "Days Gone By," the rockin' two-stepper "All Part of the Game," and the full-tilt blues of "The Next Thing.

They may not have the iconic, world- beating qualities of that masters sym- phonic works, but Schumann's more modest essays in the form do feature some of the most transcendent passages in 19th century music. Leonard Bern- stein and Herbert von Karajan have been among the few to maximize the expression in these symphonies, but Christoph Kschenbach and his North German Radio band do them wonderful justice here, imparting a classical restraint and poise to the composer's High Romanticism.

In particular, the Second Symphony's sublime slow movement and the "Rhenish" Sym- pony's grand "Cologne cathedral" move- ment have the power to move anyone who has the great fortune to hear them. As a bonus rarity, the two-disc set in- cludes Schumann's dramatic overture DieBraut von Messina. The year-old Rautavaara's very personal brand of mystical neo-Romanticism has made him one of the most popular of con- temporary European composers, even as it has retained him respect among the cognescenti.

The highlights here show why: Isle of Bliss, a luminous pearl of a tone poem; the pungent ly rhapsodic Piano Concerto No. Also here are two of Rautavaara's most famous pieces, A Requiem in Our Time for brass and the rather overrated Canticus Arc- ticus for taped bird song and orches- tra, as well as the songful slow move- ment from the Seventh Symphony, "Angel of Light.

Distrib- uted in the U. After lying low the past couple years, the pair emerge with litis stunning col- lection on Rocketown. Out of the Grey's signature sound has always been marked by Christine's pristine, com- pelling vocals. Scott's inventive musi- cianship, and the talent they both have for penning insightful, substantive songs. Among this set's highlights are "Shine Like Crazy," "Grace. Mercy, and Peace," and "I Want Everything. Monroe Jones' skilled production combined with the Dente's evocative songs makes for a potent combination, and one of the best Christian-market releases this year.

But a decade before these artists were even embryonic, pop culture bore the youth generation of the late '60s an even greater array of guilty pleasures. The challenge of Bubblegum Music Is the Naked Truth — a col- lection of nearly essays that chew on numerous facets of the genre — is defining exactly what the "bubblegum" comprises. Of course, there are such obvious con- tenders as the Archies, the Par- tridge Family, and the Banana Splits, but editors Kim Cooper and David Smay explore less apparent sides of assembly-line kitsch that will catapult baby boomers back to a time when Bobby Sherman's latest single could be found on the back of a cereal box, "Schoolhouse Rock" was ubiquitous with Saturday mornings, and Clive Davis — as president of Bell Records, later to be renamed Arista — was promoting Robbie Benson, not Whitney Houston.

The tome also takes care to delve into the '90s with a chapter called "Dextrose Rides Again," giving proper notice to such modern-day confections as Aqua, Hanson, Spice Girls, Swedish pop producer Max Martin, and the Now compilation series. As is mandatory for this kind of manual, there are numerous lists, including a campy, broad-minded Bubblegum Top The Beatles car- toon series lands at No. Villains on the Batman TV series are No. At No. And No. Cooper traces the origins of bub- blegum to the late '60s, a time when "the American economy was in great shape, and for the first time a whole generation knew nothing of the deprivation" of World War II and the Depression.

Sea Monkeys — and a whole new kind of rock'n'roll. The Witch Is Dead. Ah, this is like bubblegum music' " While the editors claim the ini- tial bubblegum boom popped in , the species has obviously endured, cultivating its most fertile latter-day period in the past half- decade — corresponding to another economic boom time. With the times no longer so flush, let's see if bubblegum's flavor lasts. In concert, the lead singer has dedicated "Standing in a Moment" to his late friend Michael I lutchence.

A prize moment from a band that continues to surprise even as it continues to succeed on so many fronts. Goldmark and J. Jive aims to raise the youngster's profile with the first sin- gle from the new Oh Aaron with a trade- off rap with his Backstreet Boy brother, Nick. As with past efforts, young Carter blends elements of bubble-pop with jump-rope raps.

Tweens love it. Of course, with the way things are going for Backstreet Boys, it can only boost the elder Carter's profile. A gothic, gospel-inflected tale of natural disaster — with its "Oh, my Lord" refrain ringing like a plea from the very edge — "Fifteen Feet of Pure White Snow" manages to evoke a dra- matic, detail-rich world, even within the constraints of a radio edit Of course, nothing on American radio sounds quite like this, and bolder stations will surely benefit from the color that the song and Cave's voice would bring to the airwaves.

But then the guitar-inflected chorus kicks in, and Garbage's characteristic tech- no-glitter bursts in like a familiar — perhaps too familiar — friend. The starry-eyed bridge, though, with its high-flying sighs from Man- son, offers grand relief. All-around, "Androgyny" is a highly radio- friendly return — many listeners will obviously fall hard at first hearing. Let's hope the upcoming album shows that Garbage has more forward- minded tricks in store. Stone, R. Saadiq, H.

Lilly, G. Standridge, and R. Producer Raphael Saadiq crafts a bare-bones, guitar-driv- en midtempo track that acts as the per- fect sidecar for Stone's breathy vocals. Timberiake and W. It can be said that Backstreet Boys and the like have strived to be more adult- But "Gone," rife as it is with elements of old- school soul, has a decidedly mature sound — and it doesn't sound like 'N Sync is just playing dress-up in Dad's gear.

Justin Timberiake who takes the songwriting lead here has devel- oped a warm, soulful vocal tone, as evidenced by his performance over this track's lean blend of beat-box rhythms, strings, and acoustic gui- tars. While "Gone" is a showcase for Timberlake's creativity, his comrades are more than window-dressing, as they surround his vamps with har- monies so distinctive and integral that the song would falter without them.

With "Gone" having far more mass appeal than the hyper-aggres- sive "Pop," expect this single to be the fuel to keep Celebrity in the upper regions of The Billboard , while providing a firm bridge for 'N Sync's transition from boys to men. On first listen, the peppy track sounds pretty happy, but the emotional message comes through in the lyrics. The quintet continues a busy touring schedule through the sum- mer — having performed dates on the Warped tour and opening for Blink- — and well into the fall.

Pennells and Z. As boy pop goes, "You Found Me" heralds break-out quality; it's truly one of the best among the recent bunch. As it is, this particular track isn't likely to get much further than religious FMs, with its focal lyric, "You are my God. They're also touring this summer with Aaron Carter.

These guys are likely to be blessed with a smash in the near future. Poythress, and D. It features an uncharacteristically crunchy guitar intro, matched with Clark's unique vocal style, both of which fit the quirky mood of the song. Lyrically, it's a classic country theme: a broken-hearted guy in a bar not wanting to hear anything on the jukebox that's going to rub salt in his wounds. So we've got a classic honky- tonk number performed by a beachside bar band with punk tendencies.

Needless to say, it will be a polarizing record at country' radio, but given a fair shot, it will likely win listeners over. On its lat- est single, "I Feel Loved," the group flawlessly captures the spirit of club- land. Singer Dave Gahan's harsh vocals stalk the thumping bass line, growling tike a disturbed soul awash in darkness. Striking a balance between heavier and airy themes, "I Feel Loved" is a love song that lingers on the morose, flirt- ing with darker imagery before conced- ing to exuberance.

The band synthe- sizes an eerie milieu without resorting to cheap effects; instead, it mixes echoed chords, buzzsaw distortion effects, and ghostly synth wails. All will undoubtedly make club rotations. McCain manages to blend the elements typical of AC compositions with just enough of an edge to separate him from the softies.

Still, radio hasn't sup- ported his recent singles with the same fervor as breakthrough "I'll Be," and his meandering style works its charms in a subtle fashion that may not offer the immediacy that radio calls for. That's not to say that McCain shouldn't keep on just as he is. Here's hoping that Atlantic stands by this consistent talent, even if the airwaves don't always oblige. Scott Brooks, Deborah Evans.

New YonV N. In the past few months, the Brooklyn, N. And with his Sept. He impressed not only Clue and station listeners, but also Def Jam recording artist Noreaga. Not bad for someone who didn't take the "audi- tion" seriously. Once I got there, I knew this was my opportunity. Still busy promoting the early sum- mer release of his funk-pulsating CD, Your Game Then on Aug.

Now Brown is gearing up for the Sept. The col- lection of hits and unreleased tracks throws a well-deserved spotlight on such key go-go acts as Trouble Funk, Back Yard, E. Then I went completely past that poinL" That's when Brown began cooking up his own musical specialty, fusing funk with disco's non-stop cadence and spicing it with Latin per- cussion, soul, jazz, and traditional African cali-and-response chants. Best-known for his signature No. His future slate includes gospel and jazz projects and a live recording of Grover Washington Jr.

Grover was also a great inspiration to me.

The Thing That Wouldn't Die | Revolvy

She could take any tune and make it hers. I really miss her. I can't do it by myself. I pray for the day to come when more bands incorporate horns and other real music ingredients again. She came to do the 'Superwoman' remix with him, and she asked about getting me on. While known for his laid-back style, Fabolous does get serious on his debut "You can't make every song a party song," he says.

So you have to have a little diversity. We also have two deep songs like 'One Day. That's what makes a good album. The single currently rests at No. I just wanted a feel that either coast could enjoy. They've done a great job on set-up via the streets and the industry. Clue's tapes have saturated the country in the last three years, and Fabolous has been a part of every tape. The label launched a city promo tour that began July 12, and there are also plans for a back-to-school cam- paign and a school tour.

From a retail standpoint, Fabolous' recent visibility has bolstered interest in his debut "They're checking for him in the streets," says Tony Rome, co- owner of Vision Quest Music in Yonkers, N. He hasn't done anything that hasn't been hot. I think he's going to hold his own. There's no reason for him not to — the quality is there. As I switched on the TV, the news flashed across the screen. Aaliyah is also on that list, thanks to "Try Again. How can she be gone? Now for us grown-ups, that doesn't begin to explain this tragic accident and the loss of nine people, one of whom was poised for even greater career tri- umphs.

As do others. A Virgin Records state- ment notes, "Doug [Kratz] was an extremely dedicated and talented profes- sional whose enthusiasm, energy, and spirit will be missed by everyone who worked alongside him every day. Their hard work and dedication were an invaluable contribution to the success of Aaliyah and Blackground. Our heartfelt prayers go out to all the family and friends who have been touched by this tragedy. Natalie Cole is now a member of the Verve artist roster. She was for- merly with Elektra.

The one and only Chaka Khan is reuniting with Rufus for a tour, a new album, and a documentary. Kevin Murphy key- boards. Tony Maiden lead vocals, gui- tar. That tour will also provide background fodder for a forthcoming DVD docu- mentary. While a label will be an- nounced in the near future, the album will either feature at least three new songs and revisits of past hits or all new cuts, according to a spokesman. His first was last year's Big Momma's House. Featuring tracks by Jagged Edge, the Notorious B.

Hardball hits stores Sept. The title track and first single is performed by the Lil' Rascals il. Dupri says the Lil' Rascals was inspired by the success and abundance of today's "lil' " rappers. This should be a perfect record for the kids. Specializing in hip- hop fashions for young men, Nelly's line is called Vokal.

Described as clothing that "speaks for itself," Vokal is associated with the clothing firm ALM International. Words And Sounds Vol. HM MM'11Ml. Cha-Cha Slide 20 44 3B 9 U. DO0 umti IPiatind. Eventually such cities as Atlanta, New Orleans, and Houston broke down those barriers. But Mil- waukee, the city that "feeds and sup- plies the world," had yet to tempt the hip-hop nation's palate. But he just left, and nobody has heard from him since.

Now it seems that after I got this record deal, people are coming together and collaborating on projects. Shaggy Featuring Rayvon ". Inc Singles Chart , Tommy Boy is look- ing to build off Coo Coo Cal's signa- ture flow and distinctive voice and transcend hip-hop's often debilitat- ing boundaries. Ian Steaman, Tommy Boy GM of urban music, says that after signing Coo Coo Cal earlier this year, the label felt it could expand on his regional success. Steaman reports that there have been talks about an as-yet-uncon- firmed fall college tour with Nelly.

That is where I get my hits from — when I am pissed. Due Oct. San Quinn. Max Kirishima says the film, which stars Allen Payne. Billed as "the realest story ever told" and shot in South Central LA, Banged Out depicts the lives of three young men caught up in gang lifestyles.

Uncut - August by PR.n.V - Issuu

He's currently working on Brandy's new album. He has also produced and co-wrote songs for the "Rush Hour 2" Soundtrack. A Vjfis,. Hi; Hni,i M u,. Camera, Action! When they do happen, it is most often the result of an experienced marketing team com- bined with a talented artist benefiting from advance buzz and keen position- ing. Of course, for every formula, there is a wild card — one for whom the rules don't seem to apply.

One such exception is Desiree "Dez" Coleman, whose June 26 debut. Sing for Me, was spawned from an unknown label. It has also led to a string of appearances on such high-profile TV programs as 77ie? Lamont Gamer — a spokesman for Coleman's 1 1-month-old label. Destiny Music Croup — credits the record's success and top 10 gospel charting to the muscle CEO Mark Moore put behind iL Garner says, "We had street teams hitting radio real hard to make sure the market knew about the proj- ect to make way for Coleman's excep- tional showing.

Kiss FM broke the record mid-July, and secular pro- grammers down the eastern seaboard starting picking up on it and from that came calls from people requesting her for bookings. We're now getting spins on gospel stations. Of course, her past accomplishments and her beauty didn't hurt any. She says, "God said. Sing for me. I Want to Sing — says Sing for Me was a personal testi- mony: "I wrote at least half of the songs, and the music has been touch- ing so many different kinds of people.

My whole life I have been shy, and now it's about a ministry. I realize I have something to sing about. The Charlotte, N. Carner says, "We've done excep- tionally well out of the gate, and we're expecting better things to come for next year. Now in stores is the Aug. The group, minus founding member Negelle Sumpter. The company, managed by Shiba Haley, hopes to establish more clearly the personalities of Virgin's members and to present something "a little more universal. Haley adds, "the album is a little more urban — a little more pop.

King Britt, 4 Hero, the Silent Poets, and Bahamadia — all of which have enlisted Rucker to lend her poetic touch to their soundscapes. On Supa Sista, Rucker whose songs are published by U-Sun Pub- lishing, ASCAP creates a jarring aural rhapsody that implores her audience to tune in, be involved, be informed, think independently, and question everything.

It's an intimate work that not only offers an uncanny glimpse into the mind of the artist, but also presents a transcendent discourse intended to widen consciousness through an undeterred quest for truth. I hope my words and music will inspire people and encourage them to think. Highlights include "Black Boy" featuring Ovasoul7. Rucker says she was heavily influ- enced by such artists as Prince and Marvin Gave, as well as by the beat and movement of hip-hop. The album will be followed by the release of the first single, the title track — with remixes by the Roots' Amhir "?

This is a key destination channel for people interested in artists associated with the Roots, D'Angelo, and Common. In addition to raising awareness with an extensive viral Internet marketing strategy. Giant Step has devoted a page to the artist on its Web site, Giantstep. Bezalel says that the label will sell 1, limited-edition album packages directly to "independent mom-and-pop accounts for ground-level support.

On select dates, the artist will share the bill with labelmate Matthew Herbert. His col- laborations Nomad Soul. Sky- lab , productions Bjork, U2, THcky. Well, the sensations continue with the arrival Monday 3 of Howie B. That wasn't the case with the new one. If I was tap-dancing on earlier albums. I'm now homing in on my song- writing and storytelling. Folk rep- resents the first time he's made an album that's a complete joumey. He credits this to the album's collabora- tors — "I made the album with good, close friends" — and a newly discov- ered "more mature attitude.

I'm able to better express myself to me and to those around me. I've done a lot of growing since Snatch. Folk is as folk as Howie B. It's an album of cultural exploration and acceptance as seen through the eyes of a visionary producer who's wicked- ly adept at rewiring the electronica landscape as he sees fit. One of the biggest surprises of Folk is the singing debut of 1 lowie B.

This was a big move for me," he admits. It was like I was giving the big finger to myself. As for producing myself, well, that was a complete mind-fuck. It's the type of album that deserves a U. Until then, Howie B. Skelf is "all banging electro-house stuff," while Mix for Pleasure is "orig- inal music encouraging people to mix socially and musically," explains Howie B.

As if this weren't enough, Howie B. Chris Vrenna. The soulful set is preceded by this ebullient house jam, featuring D'Ambrosio's uplifting, gospel- inflected original vocal version, as well as remixer Eric Kupper's deeper and darker excursions. Sounding like a cross between songs by Kraft- werk and Talking Heads, "La La Land" finds the wickedly unique and clever Green Velvet deliver- ing one truly hypnotic electro- funk jam. House music purists will find much to admire here, particularly Watley's sultry vocals. Blaze's Shelter Vocal and Dub mixes are steeped in buoyant, live instru- mentation love those vibes , while Ron Trent's Vocal mix is all atmosphere a la Larry Heard.

Daft Punk? Destiny's Child? New Order? Christina Milian? Sunshine Anderson? Dub Pistols? Swordfish: The Album '. Soundtrack i In Stereo N. Almeria Club Curb, due Jan. On one such night, gunplay broke out in the crowd, sending Miss Audrey out the window and Hank Williams seek- ing refuge behind a stand-up bass. Decades later, when told of the inci- dent at an Almeria Club fish fry, the younger Williams, who still has many relatives in the area, was struck with the idea of recording in the building.

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The result is an exuberant, live- sounding album that owes nearly as much to blues as to country. Williams is quick to acknowledge his love for blues music apparent on such raucous Almeria Club cuts as the down-and- dirty, insinuating "Last Pork Chop. Besides, all pickers want to play the blues. I needed to put my mind in the frame of Hiram Hank' Williams, a or year-old boy listening, danc- ing, and selling peanuts. Rufus Payne was all the education he ever needed.

Miking it was the hardest part," Howard says, adding that cost-wise the record was comparable to cutting in a Nashville recording studio. Howard says that making the record was its own reward, above and beyond any commercial success it may bring. He has notched several enter- tainer of the year awards, sold 8.

He began tour- ing when he was 8 years old and remains a potent live act "I guess you could get one of those license plates that says 'classic' and hang it around my neck," Williams says. It appears he carries no chip on his shoulder, and the rebellious atti- tude so front and center for years is no longer as apparent; he seems content with his place in country music. As a songwriter, I don't think the Hank Williams Jr. But I feel pretty blessed that I have a real base of hardcore fans out there.

How many people born in can hop on a jet and get paid six fig- ures to go play somewhere? His last album, s Stormy, has sold 98, units, accord- ing to SoundScan. Still, Curb is high on his continuing clout at retail. His Greatest Hits Vol. The Southeast and Southwest are his strongest regions. A retail promotion with 1, Wal-Mart stores is on tap.

For his part, Williams is happy to still be in the game, albeit on his terms. CMA Awards, announced Aug. Evans landed five nomina- tions: female vocalist, single, album, song, and music video of the year. Jackson was nom- inated for entertainer, male vocalist, album, and music video.

Lee Ann Wom- ack, Trisha Yearwood. Clute, Diamond Rio. Tuerff joined Curb in and had been the label's director of marketing prior to his promotion. Lolk-ned compilt-i am! Mercer Vs. Certification of Within a few years, Rhodes had begun experimenting with her own lorid brand of art-pop and showcasing her four-octave vocal range across a series of handmade cassette releases. To them, she was one of a group of female artists — Jane Siberry, Heidi Berry, Cassell Webb, Virginia Astley — whose own mergers of introspective folk and luxuriant synth soundscapes were inevitably overshadowed by the gobsmacking genius of Kate but still had much to ofer.

HIVE commentary on fandom during the early years of the digital age, as the newly forged connections between like-minded listeners yielded one discovery ater another. Special edition contains an actual notebook. Even that, however — despite similarities in its approach — might not have prepared them for the amorphous soundscapes here. Liner notes by David Toop. Post-classical touchstone receives the deluxe treatment Many know Max Richter as the modern classical composer who encourages his audience to drit of during concerts while he performs his eighthour work Sleep through the night.

Modestly received upon release in , its reputation has grown over time, bolstered by numerous ilm syncs and the succession of young classical-leaning composers such as Nils Frahm and Oliver Coates who. A hefty history lesson, with humour and hectic energy. The Flaming Lips have been shaped by their genuine thirst for the new and their tireless, why-the-hell-not enthusiasm, by a drive for deep audience connectivity and capacity for transcendent glee. And even though their music and live show was insane, they as people were very normal and nice.

We thought we could be like that — make freaky records and play freaky shows even though we knew we were normal dorks. Seeing… is a massive beast — 72 tracks, remastered by Coyne, bassist Michael Ivins and producer Dave Fridmann — that might intimidate even devout fans, but dipping in and out is both highly entertaining and accidentally instructive: sticking a pin in pretty much anywhere throws up surprising sympathies, striking contrasts and weird-beard curiosities.

Just one year later they released Oh My Gawd!!! How was it, revisiting all the Restless material? Well, we have revisited all of our music, I think, at one point or another. What links the Lips then and the Lips in ? Probably our sheer love of making records. We never thought of ourselves as songwriters and singers. So back then we aligned ourselves with more of the freaky punk-rock stuff that was happening. By the time Steven joined us in we had been struggling, in my mind, to become more beautiful and more emotional sounding.

We had a desire to evolve into something that was both punk rock nd emotional symphonic pop. I think from the moment Steven joined, I started to make music that would eventually lead to The Soft Bulletin. Were you wary of signing with Warners? At the beginning of signing with Warner Brothers, and still even today, I was very glad and very relieved. As insane as we were and as insane as our creative life was — and still is — we longed for stability.

Yet his genius was that at the same time his music was imbued with a joy-to-be-alive resilience and a deiant hope that one day his country would be free. Twenty-four-page booklet with track notes by Stewart Levine, who produced all the 11 original albums from which the set has been compiled. Acts still made their fame of studio recordings, and if there was a tour, it was largely a promotional junket, with short sets drowned out by screaming teens. The Grateful Dead were among the irst bands to lip that equation, developing an onstage sound that then had to be poured backwards into an LP mould.

Anthem Of The Sun was their irst attempt to solve this dilemma, a dense hybrid of studio and live that tried to capture the strange new sound they were assembling on the West Coast. The result was an experimental record, in the truest sense; one that fails more oten than it succeeds, but always in interesting and instructive ways. So where multiple album mixes can oten be a pedants-only bonus feature, the two editions included here difer in recognisable and fascinating ways.

The original version and its better-on-paper decisions — two Grateful Deads jamming simultaneously! That all got a welcome smoothing out in a remix led by bassist Lesh that was unavailable in digital formats until recent pricey boxsets. While Anthem lacks the subtlety and songwriting of those eforts, the expanded form of its chaotic splicing experiment aptly bottles the fractal disorientation of their earlier stages. It captured the band in all their monochrome, monophonic glory, on their way to becoming The Rolling Stones.

The wider Stones catalogue has been remastered before, of course — for CD in and — but never quite like this. The half-speed process is designed to enhance the depth of ield for vinyl reissues. But hopefully. A long time coming, and worth the wait. The star-spangled banjoist inally assembled this musical. Ater the release of their self-titled — and until now only — album, they disappeared, as had much of the former Dutch sea inlet that had lent them their alias. Had they released these earlier recordings, things might have been diferent. Southern-fried and glam undertones, while further inluences seep in elsewhere.

On this warm, clear afternoon in mid-April, the skies are much wider than in Toronto, where the Cowboy Junkies singer used to live and where her two brothers and bandmates Michael and Peter still reside. Ninety minutes north of the city, Simcoe County would be a quintessentially Canadian landscape — tall stands of pine trees and whiteroofed farm silos — were it not for the roadside advertisements for jet skis and jerk roti.

Every few weeks, she ventures out of the woods to return to the stage with the Junkies, an experience that even after all this time she is still not entirely comfortable with. You mean I gotta go out there and sing?! This is my other sisters — they got the wrong person here! I got used to it. But on those first nights, that walk from the side to the mic is still a bit nerve-wracking. Critically, though, it is the bond between the three Timmins siblings — and bassist Alan Anton, a family friend since the age of five — that has helped them survive the challenges that come with any long career.

The only band that really saved us was The Birthday Party. That said, the reasons why the new band got so quiet is a matter of dissent. But his sister jokes that when she first began rehearsing with her brothers — having been recruited based on her performances in school musicals — she was perfectly happy no-one could hear her in the din. T is a rainy morning in downtown Toronto, a few days later, and Michael Timmins is explaining why he would never abandon city living like his sister. Not far from where we sit in the pews — a few feet from where producer Peter C Moore painstakingly positioned the musicians 30 years ago — one man loudly sleeps on the floor.

Though raised a Catholic with his five brothers and sisters in Montreal, he never placed much significance on the religious affiliation of the site. What was once unique to the band is now audible in the pensive wintry odes of Mazzy Star, Low and Bon Iver. Although the gnarlier moments of All That Reckoning are evidence of a seldom acknowledged but fundamental ethos for the band. It was a terrible time for music because so. Trinity Revisited, meanwhile, pdated the set 20 years on.

The producer believes it was so they could keep rehearsing in their garage studio at night without incurring complaints from the neighbours.

Moral Rights

Whatever the case, Michael knew they were onto something, even if others needed convincing. Margo Timmins important impact on the sound of The Trinity Session. Moore tells of playing hated that. At the end of the night, that before growing acclaim for the LP led to a deal with made me feel less disconnected and more real. So I started to get to RCA. They were in the dark all started happening.

Developed over years of touring, their fanbase has allowed the band to remain economically viable. All the while, the element of spontaneity that was baked into The Trinity Session meant their bestknown songs stayed alive to the players no matter how times they performed them. He put them across every night and the audience would fucking die. Whatever that song means to you now, you have to figure out how to put it across.

Freed from major-. Then there was The Kennedy Suite, a sprawling song cycle released on the 50th anniversary of the death of JFK assassination in Thankfully, he started getting excited about the songs that took shape over the next two years, songs that were also different than even his closest collaborators were used to. Anton tells Uncut about a running joke within the band.

Now 59, Michael Timmins figures this change of perspective was as much a product of his own middle years. Yet the references to disillusionment in songs like. Encounters with poems by William Blake gave Michael a particular view on the cyclical nature of what he saw around him, and the ways that every culture imagines its own apocalypse is around the corner. The situation in the world right now is forcing us all o be a little bit more political and forceful, and to have voice and take action.

He jokes that he ends to regard the four of them as a single singer-songwriter. Indeed, the Cowboy Junkies have clearly developed a keen nderstanding of how they fit together in musical, familial and personal terms. For one, Peter understands what he brings to the equation as the most outgoing of the Timminses. It was always about longevity, and to call the shots. So that we would end when we wanted to end, not end because the industry pulled us apart.

We never really allowed the industry into our personal world — we always protected those aspects of ourselves. We just like hanging out together. Four days on the road and I am exhausted. I find that so funny. This is not cool at all! All the same, 40 years after his debut, For You, it is possible to chart the extraordinary rise of Prince from the suburbs of Minneapolis to the global stage. A new decade and a new frontier. It was a home-built studio, but nice, where musicians gathered. This was before he had a record deal and was forged into the.

We were just musicians finding each other in Minneapolis. If you were still calling yourself a musician after high school you were in a lonely place, but there was definitely no plan B for Prince. From there, I did whatever I could to assist the cause! I joined his live band, and on the first three albums I helped in any way I could: tuning drums, getting sounds, being in the control room. He preferred to have musicians around. He appealed to the art-rock crowd with these incendiary themes. He really wanted to push the envelope. His setup was a track two-inch Ampex machine coupled with a mixing board.

It was a very small space. Not elaborate in any way. He had a really raw drum kit —. Of course. Was it genuine? If you think of it in terms of painting, it was more like a gesture sketch than something laboured over. Things happened very quickly.

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I told him that, but I loved the rebellious part of it, breaking down barriers between sexuality, love, God and religion. He was very taken with that — at least visually, hence the radical change in look. Was he doing it to shock people? He was on a mission. He was evolving as a songwriter. We did it really fast. He was going for what he believed were edgy themes, but you had to pay attention.

He was manipulating people, whether it was the audience, the band, the label or the press. The women in his songs are always co-conspirators. He was not a caveman about it. A couple of months later he gave me a final copy and we started jamming on it. He wanted a band that could be his. I was hired for the building of the Revolution. He built us like he was casting a movie; he had incredible foresight to see what it would become.

There was a lot of booing and food throwing. My guitar got hit with a grapefruit. He was climbing to stardom with this punk-rock approach to funky music, and to feel that rejection was very difficult. A coin hit him upside the head, and that was it. He stormed offstage. He was really angry at the way they treated him. He always seemed to be able to dig deep and come back with something astonishing.

Directed by Albert Magnoli and shot around Minneapolis at the end of , the highlights are the incendiary concert scenes, filmed at First Avenue, while local musicians — notably Morris Day and The Time — appear under their own names. In the control room he was playing bass and plugging the keyboard directly into the console.

He never liked people coming to him with a finished song, or with lyric or melody ideas, but he would latch on to something done spontaneously in rehearsal. He definitely wanted input, but he was very controlling about it! That particular day this chord progression showed up.

We did the basic tracks together and I left about midnight. The next morning he came to rehearsal with the song done! He finished it overnight. Set and shot on the French Riviera, the hubristic touches — the black and white stock; the downbeat ending; the star-as-director — suggest an unchecked ego calling too many shots.

It was a small bedroom on the ground level of a split-level suburban home. It was analogous to a modern project studio, where people would normally do demos. But since Prince never did demos, this is where he made records. He was ready to expand his sound. He realised that if he was going to take this to the next level, he needed input. It was very typical for him to play something live that was in his head, with very few corrections. And speed. He recorded so fast! FINK: I have watched him n a studio play all the parts, each on a first take. It went rom his mind straight o his fingertips — it was stounding.

He did a lot of hat on , working by himself. And by now he had Lisa [Coleman] and Jill [Jones] doing vocals. We would take the piss out of each other, even though we kind of liked each other. The soundtrack and movie make Prince a superstar. To me, a movie seemed outlandish and unrealistic. We took videos during the rehearsals of the band making up comedic stuff with him.

That was the kind of thing he liked to do on the side. On August 3, , we did the benefit show for Minnesota Dance Centre. Clubs were testing grounds for introducing new material and jamming. He would record the shows, so when he got back to his studio the energy was right there and he could build off it. That was the whole purpose of having a group.

He wanted to re-treat the vocals and add extra parts. Individual songs had to be pulled off the big inch reel to be worked on separately. He wanted to massage them, to have it not necessarily sound like a live record. They were set up in a warehouse in St Louis Park, Minnesota. The mic had a splitter snake that fed my recording console as well as the monitor mix console, so we could record rehearsals. Some of that involved the band, but most of it was just Prince.

The studios were linked by a courtyard, where Prince would take breaks and play basketball. He was dressed impeccably, wearing heeled boots. He got every basket. He was shy, but really funny. A very dry sense of humour, very understated. He explained that when he was writing it, he put a bass line on but then took it out and liked the feel. I thought it was phenomenal. I was just learning the song. BOBBY Z: It was a surprise to all of us that the film hit as big as it did, but it was the music, more than the acting or plot.

And the film made Purple Rain a better album, because it slowed the pace and forced a little patience. He was in a hurry all the time. Purple Rain stands alone in that he had many enforced restraints, which led to many positives. WHEN: — It was bitter sweet. We went in blind. He made everybody better. The problem was, us mere mortals still needed to go to sleep!

The first release on Paisley Park Records is a psychedelic musical playground, with Beatles overtures, childlike themes and a soulful universality. He was working with the band at another industrial warehouse, a huge open space with a cement floor, and a loading dock with big rolling doors. It was pretty ratty, but we did some wonderful work. It was an unorthodox space, but he had a more refined studio at his house at that point, and he could do vocals there. When he was being a band leader, he was so happy. That was a young animal doing what he was born to do. Prince goes through phases, and we were entering this kind of Sgt Pepper phase.

The clothing changed, and the sound did, too. It was pretty funny. He was trying to send a message of utopia. The layers of complexity in each thought are beyond most human comprehension. He was very conscious of an album as a standalone work of art. There needed to be a look, a colour scheme, a worldview, a thread that runs through it all. He used to start in the afternoon and work all night. There was always lots of coffee and Doritos around, but we never saw him eat anything. I was a Prince fan, what better place to be spending Christmas! It was time to regroup, and what he opted for was a tactical move to appeal to the art crowd, like he did with Dirty Mind.

He even went back to the monochrome colour scheme. From that point, he played every instrument himself, moving from one to the other. Ultimately we separated them, so they could be treated and mixed differently. It was straight to recording! Under construction since mid, it was finished in , though parts of it were in use prior to that. This song just came out, and he recorded a brief demo. It had a folk type of sound. It was… interesting! I came up with a nice drum track, and then Dave had this idea where he triggered the guitar off the hi-hat on the drum machine.

He jumped up from his chair, laughing. You changed it. Do you mind if I work on it while you go to dinner? I spread the bad news to Mazarati, who were pretty angry. He totally stiffed me. I quit the band shortly after that. He gave me a ton of opportunities, so I look at the good things. We lit candles, the lights were dimmed. Lisa was on piano, with Wendy right next to her. He wanted them to play it — all he would do was the vocal. We realised that the chair that Wendy was sitting in was really creaky.

Quite stunning. And the date was April 21 [], which was the date of his passing. Purple and gold dominated the colour scheme. Lovesexy was the first Prince album to be recorded there; subsequently, all of his records were completed in-house, alongside sessions by Stevie Wonder, James Brown, Madonna, Aretha Franklin and R.

The infamous afterparties hosted everyone from Miles Davis to Kendrick Lamar. Neil Young vied with local businesses to utilise the soundstage for tour preparations, rehearsals, videos and commercials. His ashes are on display in the main entrance, in an urn designed in facsimile of the complex. After disbanding the Revolution, Prince returns with a kaleidoscopic double. Having conceived Dream Factory as a Revolution record, and plotted a further album by highpitched alter ego, Camille, Prince combines both for a triple set, Crystal Ball.

He eventually distills them all into a dizzying broth of stark social comment, candy-coloured pop, heartland rock, electro-funk and smoochy soul ballads…. There was one hour session, which was uncharacteristic. He changed tempos, keys and feel. It was not originally intended to be a duet, but Sheena Easton was around and he loved her voice, so he invited her in.

I said I had never heard a man say that before, and women want to hear it. FINK: He was sleeping four or five hours a night — tops. It exacted a toll on him. If he did that for many nights in a row, he could be a bit funny. He could be short with you. It was time for me to go as well. That gave him pause. The bands he created around him were as much for image as musicality. There was a gang mentality he liked to present to the world.

He was sadder, because the Revolution had broken up. On the heels of that, he and Susannah [Melvoin] had ended what had been a formative relationship in his life. He kicked a lot of things around at this time. Crystal Ball was a break-up record, slightly accusatory, but these were not mopey ballads, they were high energy, the passion of a couple fighting. Much of the album was done with me and Peggy at Sunset Sound, but other people came in. Prince forms the New Power Generation, with tour dancer Tony Mosley adding a rap and hip-hop garnish to the soul, funk and swing flavours.

He was trying to reinvent himself. New band, new sound. He encouraged us to do whatever we felt with it, and everything we did that day ended up on the final version. At the time we had no idea what it was, or what it was for. I thought it was a Christmas song! That was spring []. Later that year I got the call asking if I was interested in being in his new band. That was the genesis of the New Power Generation. I was living there! I never went home. Then the wheel would start all over again.

Sometimes songs would come out of those jams. Sometimes he would come in with set things. Then he started bringing in some hip-hop. That changed the situation! He realised that rap had changed, and the culture had changed. It was more socially conscious and topical at that time, and he began to take notice and wanted to dip into that area. It was quite organic. He was fearless. I think it was his idea. I was no longer a member of his organisation, but he would still ask me to play. By then he was pretty much defined as the artist that he was.

WHEN: It was a lot of recording us all at the same time. I think that was quite unique for him, that he was able to do that with his band. Bland, Barbarella and Sonny T were fired in , marking the end of the original band. We were going in! It was a unique time in his musical journey in that he was giving us space and time to shine. Of course he could do it alone, but it became more like a family to him. He got the engineers to.

But Levi said he once saw him do a vocal. He was invited n, which was unheard of. He was ully in character. The man was non-stop. Usually in the studio you play one part at a time, but I would end up having my whole live keyboard rig set up, playing multiple parts at the same time while we were recording. A lot of that ended up on the record. Twenty minutes. Levi kept singing it, and Prince just kept laughing! We tightened up the groove and got excited about it.

He said. Hannah Welton [drums] came for an audition in spring , and then Donna [Grantis, guitar] all of a sudden showed up. We were all there a month, but you never really knew what was happening! I was given a short list of songs to learn and within a week was on the soundstage at Paisley Park with Hannah, Ida and Prince. From that very first session, we had a collective chemistry that was palpable. He wanted to create this mystery. Not only could songs change on the fly, but the arrangements were very open ended.

Prince was a phenomenal band leader. We always had to keep our eyes on him, for eye contact, a nod or a hand gesture. We recorded rehearsals to capture tracks for reference — jams, grooves, new songs. Prince started writing all these songs; we were learning and recording them, but we thought it was just for reference. Everybody was in the same room. That kind of energy keeps you on your toes more than if you record with a computer and a click track.

I love the fact that sometimes you can hear everything bleeding into all the mics. When we had a collection of songs that we felt fit together, they became PlectrumElectrum. He was always trying to keep it moving. I think we would have made more records. There was just so much music in him.

Through example and guidance, he taught us so much. With the death of Prince on April 21, A reminder that he could still excite and energise like no other. The trio are pursuing solo careers. Here, we bring you a sneak preview of this lost record from The Purple One and look beyond its release to consider what else his Vault at Paisley Park might hold His modus operandi was such that — whether in the studio, at rehearsal, or onstage — he could record everything to a high standard of audio felicity. Those are sitting in there, among all the other material that has accumulated over the years.

Prince was dazzlingly productive while he was alive. Two songs, times , times [39]. Though at times Prince is clearly feeling his way into these songs, there are no stops and no mistakes. We hear him road-testing arrangements, scatting rhythmic ideas and guitar parts, playing brilliantly fluid piano and flipping through his full repertoire of vocal styles.

These working methods were typical, says his engineer, Susan Rogers. If he had an idea he would go straight to the piano — sometimes the guitar, but mostly the piano — and record. Recent examples. The day before yesterday, I walked six miles. I do that every couple of days. Of particular interest to long-haul fans is the inclusion of a dozen demos that have never previously seen the light of day. People had asked if I was going to leave America if Trump became president. Nash instigated another major upheaval in his life around the time of This Path Tonight, when he left his wife of 38 years and moved from Hawaii to New York City.

There he set up home with Amy Grantham, an artist and filmmaker half his age. People have seen it all before in New York. For Nash, every day counts. Because it very well could be. What made you uproot yourself so dramatically? I basically wrote the autobiography for my grandchildren, because the eldest is only five or six years old and they have no idea who I was.

But after I wrote it I began to re-evaluate my life. James Montgomery from MTV said that "Saturday" is "everything you'd imagine", but cited her mature side poking through. It was released as the second single from the album internationally. The song was released for digital download on June 17, and serviced to mainstream radios on August 16, in the United States, through Hollywood Records. It was written by Antonina Armato and Tim James while both receive production credits under the stage-name Rock Mafia. The song, according to Gomez, was meant to sound different from her previous material, achieving a "high fashion" sound.

The lyrics deal with a love relationship in its primary stage. It was released on December 2, Spears' 27th birthday , by Jive Records as the second single from the album. Written by Dr. After she listened to the track for the first time, she felt inspired to create an album and a tour with a circus theme. The song's lyrics talk about being an entertainer and putting on shows. The song reached number three on the Bill. Before the song was given to Spears, it was originally offered to girl group Melodi Brown, although they never released the song or indeed any material.

Spears, however, wanted to shoot a music video for it, and had to convince her record company. It was then released on February 14, by Jive Records as the second single from the album worldwide except North America. The dance-pop song features usage of electric guitars, and its lyrics allude to having a good time and not caring about other people's judgement. It appears on the album The Works , and was released in three versions: album, single and extended.

It came to be included in most live concerts by the group, in several videos and in The Freddie Mercury Tribute Concert where it was sung by Lisa Stansfield. The song is largely known for its music video for which all the band members dressed in women's clothes, a concept proposed by Roger Taylor, which parodied the long-running ITV soap opera Coronation Street. The second part of the video included a composition rehearsed and performed with the Royal Ballet and choreographed by Wayne Eagling. Whereas the parody was acclaimed in the United Kingdom where cross-dressing is a popular trope in British comedy,[2] it was considered controversial in the United States.

The song was co-written with and produced by Kevin Kadish. Lyrically, it consists of themes of chivalry and marriage, and lists qualities that Trainor requires in a romantic suitor. The song peaked in the top ten of the record charts in Australia and South Africa. In the United States, the song peaked at number 14 on the Billboard Hot , while in the United Kingdom it peaked at number The song's accompanying music video was directed by Fatima Robinson, who previously directed Trainor's music video for "All About That Bass".

It depicts Trainor testing potential suitors, and features a guest appearance by Charlie Puth. The video premiered on March 16, , and attracted 2. It was released as the lead single from the band's untitled seventh studio album on 28 March It was their first piece of new music released since "Mein Land" in The track is currently nominated for a Kerrang! Award for Best Song. The video preview sparked criticism a few hours after release.

German actress Rub. It was released as the second single from the band's untitled seventh studio album on 26 April Lyrically, the song addresses the cultural situation of the German Democratic Republic, in which secretly listening to western radio stations and their music, which were deemed illegal by the East German government, was a way to escape the political restrictions. The music, especially the use of synthesizers in this song, is reminiscent of Kraftwerk, who are widely considered innovators and pioneers of electronic music. Music video The video, which is almost entirely black and white, was released online on 26 April at CET following a second black and white preview[1] for the video two days prior, containing Kraftwerk and Klaus Nomi references.

The backbeat is inspired by, and contains some samples from, Carl Orff's Carmina Burana. It was ranked on XXL's best songs of the s. Overview Controversy The music video for the single, directed by Hype Williams and featuring Nas being crucified, was the subject of extreme controversy, as the original edit also featured Puff Daddy on the cross.

Stoute later sued Puffy, the suit was settled out of court. Nas later related the making of the song and the subsequent incident: "It was a track D-Moet Produc. On 28 January , a special allocation draw was held which placed each country into one of the two semi-finals, as well as which half of the show they would perform in. Poland was placed into the first semi-final, to be held on 14 May , and was scheduled to perform in the first half of the show. Once all the competing songs for the contest had been released, the running order for the semi-finals was decided by the show's producers rather than through another draw, so that similar songs were not placed next to each other.

Poland performed in position 4, and did not qualify for the final. It was released as the second single from Escapology on 31 March , by Chrysalis Records. He then proceeds to walk around the house, wearing pink socks, as flashbacks of the events of the night before are shown. As the song reaches its climax, Williams is seen participating in three-way sex with two women who are in fact porn stars. These shots are interspersed with.

Track listing Digital download[1] No. Title Length 1. At present it is possible to see by YouTube only the persons of legal age. Octavio Caviares: drums. Lego Moustache: keyboards and percussion. Zeta Moustache: keyboards and bass. Soundtrack of the Chilean film Aftershock produced by Eli Roth. References Descarga el nuevo single de Astro Youtube censura.

The official music video for the song premiered on 16 October and generated controversy for some because of its usage of black body paint, as well as poking fun at Lady Gaga which triggered a response from her on Twitter. Described by Die Antwoord, the video is a "bright and colourful African adventure, complete with wild animals, zef savages singing and dancing in the streets, and a special guest appearance by a sneaky little prawn star.

Eilish and her brother Finneas O'Connell co-wrote "Bad Guy", with the latter producing it and the former providing additional production. The song was described as pop-trap and nu-goth pop in press reviews, for which synth bass, a kick drum, finger snaps and bass provide minimalist instrumentation.

During the song's lyrics, Eilish taunts her lover for being a bad guy although suggesting that she is more resilient than he is. The song is also about misandry and sarcasm. Upon its release, "Bad Guy" mainly received positive reviews from music critics, several of whom praised its lyrics. The song was written by band members Florence Welch and Isabella Summers while the production was handled by Paul Epworth.

Island Records released the song as the second single from the album on 16 January The song was the first one written for the album in the band's tour bus in Amsterdam. Lyrically, in the song, Welch is expressing frustration about the state of her fragile relationship and she further tries to keep it together. It was also placed on several critics' year-end lists of best singles.

An accompanying music video for the song premiered on 18 November and is directed by Ic. It served as the album's lead single, released on February 6, through Parkwood Entertainment. It received mixed response for its alleged anti-police stance, which the singer denied, in addition to controversy over documentary footage used in the video. However, some critics praised its depiction of African-Americans not frequently seen in mainstream media.

The song was inspired by a newspaper article Vedder read about Jeremy Wade Delle, a high school student who shot himself in front of his English class on January 8, The original music video for "Jeremy" was directed and produced by Chris Cuffaro. Epic Records and MTV later rejected the music video, and released the ve.


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The song is taken from the album Trap Capos: Season 1 It was released as the album's first single on 7 October through Sony Music Latin. Maluma co-wrote the track with Myers, Noriel, Jorge J. It was produced by Santana the Golden Boy. Controversy This song has received much controversy over its lyrics as they arguably appear to suggest direct violence towards women. A petition was posted on Change. Music video The music video for "Cuatro Babys" premiered on 1. Baby One More Time" is the debut single by American singer Britney Spears from her debut studio album of the same title