King of Prussia, PA.—(March 15, 2010)—Ultimark Products LLC, makers of the
iconic shampoo brand Prell, will shoot the new advertising commercial at Power
Plant Studios in downtown Philadelphia on Tuesday March 16th. The new commercial
will feature the new “Prell Girl”, Alexa Ray Joel.
Alexa inherited her mom Christie Brinkley’s beautiful hair and her dad Billy
Joel’s’ music abilities. The new advertising commercial will bring both
together. Alexa Ray Joel will also write and perform her new song for the
commercial spot.
Alexa said,” I am honored and excited to be the new “Prell Girl” especially
following in the footsteps of my mom. This is a wonderful opportunity for people
to hear my music.” This will be Alexa’s first ad campaign and will include both
print and TV commercials. The advertising commercial will begin airing at the
end of April.
Local Philadelphia IMPAX Marketing Group, will create, produce and edit the
advertising. “As a Philadelphia based company, we’re proud to be shooting this
commercial right in our hometown with such a wonderful new talent like, Alexa
Ray Joel“, said Chris Dominello, Chief Executive Officer of Ultimark Products,
makers of Prell Shampoo. Dominello went on to say, “Back in the mid-1980’s,
Prell was the number one branded shampoo made famous by Alexa’s mother, Christie
Brinkley. We are excited to return Prell to the glory brand it once was with Alexa Ray Joel”.
Ultimark Products, based in King of Prussia, PA, specializes in the
acquisition, development and strategic marketing of consumer products. “It’s
fitting that America’s family shampoo for more than 50 years brings this second
generation superstar to Philadelphia,” said Lance T. Funston, Chairman of
Ultimark Products. Ultimark has multiple product distribution channels
throughout North America including electronic retailing, direct to consumer and
major retailers. Primary brands include Prell® Shampoo, Denorex® Dandruff
Shampoo, Zincon® Dandruff Shampoo and other well known brands.
Friday, 6 July 2012
Friday, 27 April 2012
American Idol, The Musical Journey Is Coming To An End
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Elise was part of an all-female Bottom Three Thursday that also included Hollie Cavanagh and Skylar Laine, making only her second trip there.
The four safe Idols have surrounded Hollie and Elise, the two in danger of elimination. But Ryan sends them back to the couches. Hollie and Elise have to face the music by themselves.
After 58 million votes and several trips to the Bottom Three, Elise Testone finally reaches the end of her American Idoljourney. She says goodbye with a reprise of the song that probably kept her in the show a few extra weeks: Led Zeppelin'sWhole Lotta Love.
Elise Testone seems much more comfortable in the classic rock iteration of Idol than she has in recent weeks and the judges love her version of "I Want it All." Elise admits Idol has helped her realize that rock is her milieu, so I guess she'll give up singing in the barbershop quartet now.
Phillip Phillips is singing "Fat Bottomed Girls," but when he mouths the titular lyrics he looks more than slightly embarrassed about so publicly declaring his love for the big-arsed ladies. Maybe that's why the vein in his forehead looks extra poppy. Regardless of his humiliation, his guitar-free Southern rock version of the song is well done. Steven Tyler says that he likes watching Phil-Phil run out of breath, which is a weird thing to say, but for the fact that it's Steven who said it.
There is no excuse for the wardrobe department's decision to dress Hollie like a mini-me Celine Dion doing a turn on a holiday telethon, and yet there she is in a red satin pant suit with oversized estate jewelry. Also, Hollie singing "Save Me" sounds like a desperate and craven plea for votes. The judges don't even bother critiquing her, because she is critic-proof, like a bad restaurant that is always crowded. Not that she's bad, she's just so darn boring. Jennifer begs her to have a good time on stage, because people are watching and OH GOD SMILE ALREADY.
Buy a round for the house, because Fox still has a gaping hole in their prime-time programming and needs to kill time, so we get another round of songs by the Idol finalists. Yay?
Jessica curries some votes by saying that her father is a soldier and is about to be deployed to Singapore, but that doesn't matter. He's a soldier, he fought for his country, and she deserves your votes. She dedicates "Dance With My Father" to her father, because it never hurts to be as literal as possible on this show. Luther Vandross was J.Lo's personal friend, but Jennifer thinks Jessica's version is the best she's ever heard.
Skylar picks up a guitar, finds some extra twang under the couch and sings a song about drag-racing pickup trucks that I do not recognize, but the Internet tells me is called "Tattoos on This Town."
Josh Ledet may have a messy room, according to Hollie, but his performance of "Ready for Love" is downright neat. The judges are on their feet, and Steven even turns around to encourage the crowd to cheer. Randy claims that he doesn't even know what to say anymore that Joshua's performance has rendered him speechless, yet he still manages to ramble on for a solid five minutes.
Between performances the Idol contestants all talk about each other. Well, mostly Skylar and Hollie talk about the other contestants. It's all good clean fun, until the slightly mean-spirited critique of Elise Testone, who has probably had it up to HERE with these whippersnappers. The judges think Elise screwed up by choosing a slightly obscure Jimi Hendrix song called "Bold as Love" and she probably did.
Giggling, the girls all admit that Phillip Phillip is cute, until he opens his mouth to sing and starts twitching and writhing. Phil-Phil doesn't care what they say – he storms on stage to sing a Dave Matthews song flanked by two women, one with a sax and one a fiddle. It's a strangely compelling performance for being Dave Matthews run through a Dave Matthews soundalike. While Steven thinks it was very entertaining, very off the wall – very Phillip Phillips – J.Lo thinks he was too outrĂ© and artsy for Idol and wishes he would perform some normal songs, goddammit.
Ryan must be looped out on cold medicine, because he notes that his girlfriend, Julianna Hough, is backstage, and she thought Phil-Phil was yummy. Ryan then publicly warns her that they are going to have a serious talk after the show.
Hollie finally appears on stage dressed in something vaguely age-appropriate (if Gossip Girl chic is appropriate for a 16-year-old from Texas) for her performance of "The Climb." The judges give her a standing ovation because she is confident, holds her tone, and for once doesn't looks like she is actively dying. This song was strong enough to keep her here another week.
Tonight's Ford music video: a version of the B.o.B. hit Magic. Afterwards, the Idols visit the offices of TMZ. They've done their research: Turns out there's a male strip club in New York called Mantasia, much to Joshua Ledet's embarrassment. And Jessica Sanchez left a few really silly YouTube videos online.
Ryan's calling people down in pairs tonight. First up: Jessica and Elise.Jimmy Iovine says Jessica singing Bohemian Rhapsody was "a plain ol' mistake." On the other hand, her version of Dance With My Father was "magnificent." She understood the words and the audience, which should have given her double the vote, he says.
As for Elise, "I believe she picked the wrong Queen song," a monotone stadium anthem that came off clubby. And Bold as Love was "a double-down on bad choice for the night Elise has a problem: She's a great singer, makes bad choices."
Jessica says she's scared for the both of them. Ryan tells her it's not looking good for the other five contestants. She's safe; Elise is back in the Bottom Three.
Tuesday, 17 April 2012
Tom Hardy Calls Bane "No Joke" In "Dark Knight Rises"
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How could anyone top the Joker? The simple answer is: you can't. So Christopher Nolan and Hardy did the wise thing and took the character in an entirely different direction. As Hardy told Entertainment Weekly as part of their Summer Movie Preview, Bane is an entirely different animal.
"The Joker didn't care — he just wanted to see the world burn, and he was a master of chaos and destruction, unscrupulous and crazy. Bane is not that guy," Hardy said. "There is a very meticulous and calculated way about Bane. There is a huge orchestration of organization to his ambition. He is also a physical threat to Batman. There is nothing vague about Bane. No joke. He's a very clean, clear villain."
From the way Hardy describes his character, the Joker may have been the dog chasing the car with no idea of what to do with it, but Bane is the guy who's going to blow up the road. He knows exactly what he wants to do, and for fans, that should be a welcome change.
A change that didn't earn much praise was the much-maligned voice Hardy used for Bane. The EW article describes the creative choice as one that harkens back to "the comic character's brains and heritage, albeit in an elliptical way. He wanted a sound that conveyed both malevolence and old-soul wisdom."
The voice, to Hardy at least, was a simple choice between what was expected and what was interesting. "There were two doors we could walk through. We could play a very straightforward villain or we could go through this very quirky door, which is totally justified by the text, but may seem very, very stupid," Hardy told EW. "It's a risk, because we could be laughed at — or it could be very fresh and exciting."
What really stands out in Hardy's interview about Bane is how well-conceived the character appears to be. There is an ideal driving him. The Joker's lack of an ideal drove him and made him a classic character because of it, but when it's Bane's role to follow that, the polar opposite could do what seemed impossible. Bane, in his "absolute evil" way, may be an appropriate next step for the series and its villains.
And if you're still worried about the voice, Hardy has two words for you: Chill out. "The audience musn't be too concerned about the mumbly voice," he said. "As the film progresses, I think you'll be able to tune to its setting."
Thursday, 12 April 2012
"American Idol": Contestants Dish On Jennifer Lopez's Divorce
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The A.I. contestants may be the closest people to Jennifer right now, so what did they have to say about the divorce news and their impression of Jen's new guy Casper Smart? Plus, what were Colton Dixon and Phillip Phillips' thoughts on Jimmy Iovine pitting them against each other in a so-called competition for female fans? We got the stars to dish after the show!
Tinseltown hadn't stopped talking about Marc Anthony officially filing for divorce from Jennifer after seven years of marriage, putting her under the magnifying glass. While she was all smiles, donning a sparkling cocktail ring where her wedding band once called home, she showed no sign of distress.
When we caught up with the contestants after the show they gave us their take on how Jennifer is handling the news.
"I'm sure Jennifer is handling things fine, Skylar Laine told us. "She's Jennifer Lopez, she can do what she wants!"
When we asked Colton how she was holding up, he was surprised to hear about the official divorce filing, but had nothing but positive things to say about her attitude on set.
"I didn't know that," he said. "Yikes. Jennifer is a superstar. I never would have known from her attitude that news [on her divorce] was released today. She's such a class act. We all love Jennifer. She's so genuine, she's a very independent woman and she knows how to handle herself that way."
A probable cause for Jennifer's impeccable composure is the distraction of her hot new romance with dancer Casper Smart. While it isn't breaking news that the pair are one of Hollywood's hottest hookups of 2012, the contestants weren't shy to talk about his presence at Idol and their thoughts on the two as a couple.
"They're cute together," Jessica Sanchez told us.
"We've seen Casper," Skylar added. "I've never met him, but I've seen him. He wears sunglasses a lot. It's whatever she wants. I'm sure he's a nice guy. She looks taller than him which is kind of funny. Maybe it's her heels."
After last week's sneak peek of Jennifer's new video for "Dance Again," Elise Testone revealed it made her feel like she got a little too close to Jen and Casper's relationship, but admits anyone as hot as Jennifer has every right to flaunt it!
"I felt a little like I was invading their personal space," she told us. "But she's so beautiful, and I really do look up to her. I think she was rocking what she's got, and that's all you can do while you're here on Earth. If I looked like J.Lo, I would do that all the time!"
"The video was mmm-mmm-good! I wasn't complaining," Phillip laughed!
Jennifer's almost-too-hot-for-TV video may have been pleasing to Phillip, but Jimmy Iovine's attempt at pitting him and Colton against each other as rivals for female attention rubbed him in all the wrong ways.
"[Colton and I] talked about that after our mentoring session last week and we were really upset about it," he told us. "We are two completely different artists and really close friends, so there is nothing to compare. If you like Colton better, you like his style better. If you like me better, then you like my style better."
Colton couldn't agree more and got a little heated talking about it.
"I hate it," he said. "I know Phillip would say the same thing. We're two completely different people. The majority of people that vote are little girls, that's just the reality of it. But we're best friends too, you know we love hanging out with each other. I definitely bit my tongue when he said that in the session."
Yikes! Looks like Jimmy better watch it!
Sunday, 1 April 2012
Justin Bieber, Taylor Lauther All Slimed At 2012 Kid's Choice Awards
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It's like a baptism into kid-dome that can come at any moment: from a hidden bucket, dumped from the rafters or exploded from little orange blimps.
"No one is safe from the slime!" screamed Smith. "You have to earn the slime! It's an honor."
Halle Berry was the first to be covered, but she was far from alone. She was joined by "Twilight" star Taylor Lautner (who won favorite "buttkicker"), "Glee" star Chris Colfer and male singer winner Justin Bieber, who was utterly drenched along with Smith at the end of the show.
The KCAs are Nickelodeon's annual celebration for kids, and it's often the most-watched children's program of the year. They draw a considerable roster of stars looking to thank their smallest fans and cater to their youngest demographics.
"This is, like, the coolest award show ever," said "Twilight" star Kristen Stewart, accepting the award for favorite movie actress.
Smith, himself a 10-time Blimp winner, started the show with an elaborate, digitally-animated skydive from Nickelodeon's trademark blimp. Smith was then hoisted from the rafters to the stage of the Galen Center at the University of Southern California in Los Angeles, where thousands of glow-stick waving fans cheered him — including first lady Michelle Obama.
Obama later presented "the big help" award for charity work to Taylor Swift. Upon receiving the award, the pop star said, "I am freaking out."
Nickelodeon introduces many kid-friendly quirks to the usual award show festivities. It rolls out an orange carpet, rather than a red one, and envelopes are the last way winners are announced. Saturday night's choices came by way of a sword eater, a statue impersonator and giant heads held aloft from the crowd.
Winners are chosen from voting online. Selena Gomez won for both favorite TV actress and female singer. Adam Sandler took home the award for favorite movie actor. And Katy Perry, shortly after performing, was given the award for favorite voice in an animated movie for "Smurfs."
"The only reason why I'm still here today — and remember this — is because I've never grown up!" Perry told the young audience.
More than 7.3 million watched last year's awards. This year, Nickelodeon badly needs the KCAs to continue such a success. In March, for the first time, the Disney Channel beat out Nickelodeon in average total daily viewers — a title Nickelodeon had held every month since 1995.
Nickelodeon's own series "Victorious" won best TV show. Jake Short, star of the Disney Channel's "A.N.T. Farm," won best TV actor.
But the most ceremonious moment of the KCAs is the slimey finale. The honor — which Smith said had been chosen by online votes — went to Bieber, who made a surprise appearance late in the show. Smith clutched Bieber as fountains of slime poured out across the stage, while Obama — splattered by a few drops — danced in the seats.
Sunday, 25 March 2012
Madonna‘s New Music Video “Girl Gone Wild” For Adults
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In “Girl Gone Wild”, the 50-something pop diva is seen strutting her stuff with super fit dudes who couldn’t possibly be straight.
The video is reminiscent of some of Madonna’s past work. The black and white cinematography, the fierce outfits, and the excessive skin are all elements of Madonna’s iconic body of work. But something about this video manages to feel fresh. The pacing is also spot on, and Madonna looks gorgeous.
My favourite part is the guys dancing with heels on. They all look fierce. There’s a lot of humping going on. (I wouldn’t expect anything less from this queen.) Madonna clearly knows her audience well!
Madonna's management has laughed off suggestions that she has renamed her new single to avoid being sued by the creator of the adult video series Girls Gone Wild, saying she has never even heard of Joe Francis, the pornographer in question.
Francis has claimed Madonna's new song, Girl Gone Wild, was originally slated to take the plural – Girls Gone Wild. He said he sent the star a cease-and-desist letter after she announced the tracklist of her album, prior to her appearance at the Super Bowl halftime show on 5 February. "We won a battle but we didn't win the war," Francis told the New York Daily News, alleging that "Girls" became "Girl" as part of ongoing legal negotiations. It was "an immediate solution for them to thwart any injunctive relief", Francis said, but he still wants Madonna to license the Girls Gone Wild trademark: "We've been talking," he said, "and I think we're going to get somewhere that will be mutually satisfactory."
Madonna's manager has a different version of events. In an interview with TMZ, Guy Oseary brushed off Francis's accusations. The song title was changed to match the way Madonna sings the lyric in the chorus, he said, and he doesn't recall ever receiving a letter from Girls Gone Wild's lawyers. Furthermore, Oseary cited the dozens of other singles that have used the name Girls Gone Wild, including tracks by Ludacris, Jagged Edge and Lil Rick. The song's co–writer, Vancouver songwriter Jenson Vaughan, also denied the title had been changed for legal reasons.
Released this week, Girl Gone Wild was recorded in London with dance producers Benny and Alle Benassi. It is the second single from MDNA, Madonna's 12th studio album, due out on 26 March.
Finally, the religious reference in the beginning is a nice touch — this is Madonna telling today’s pop stars that she was the original rebel. Any claims otherwise is just reductive.
Truth be told, I’m still not a fan of “Girl Gone Wild”. The song sounds like a leftover from Confessions on a Dance Floor. But the song is consistent with Madonna’s sound post-Ray of Light. I guess she’s being true to her brand here. The song is more age-appropriate (and much better) than “Give Me All Your Luvin’” though.
It sees the star perform with a troupe of dancers and is shot in black and white.The track, the second release from her forthcoming ‘MDNA‘ album is available for download and follows the No.37 single, ‘Give Me All Ur Loving.‘ The track produced by Madonna and Benny Benassi.
There have been mixed reactions amongst fans, with one commenting: “Wow. This has got to be, hands down, the single most blatantly homoerotic video Madonna’s ever done – and considering her videography, that sure is saying a lot.”
Whilst another commented, ”I listened to her new album… I’m so disappointed… Finally I see this, and think Madonna has no more creativity.”
Friday, 16 March 2012
Avril Lavigne When You're Gone
"When You're Gone" is a song written by Canadian singer Avril Lavigne and Butch Walker. It was written for Lavigne's 2007 album The Best Damn Thing. It was co-written and produced by Butch Walker and released as the album's second single on June 19, 2007.
Avril Lavigne has said the song "is about being with someone you love, and you have to say goodbye, and all the little things you miss about them". The song may have been inspired by Lavigne's ex-husband, Deryck Whibley, although in an interview in Northern Ireland with The Belfast Telegraph she did not confirm this. According to her, she did not intend the song to be a love song, but she was writing a slow song and the process brought out "all that emotional stuff" in her. "It's not cheesy, because I wrote it", she said. "If I was older, a professional writer coming up with all that, that would be lame."
Billboard magazine describes the song as "a power ballad with a piano and synth introduction". Composer Rob Mathes orchestrated the song with genuine string section, although the brief opening note, before the piano came in, was on a synthesizer.
I always needed time on my own I never thought I'd need you there when I cry And the days feel like years when I'm alone And the bed where you lie is made up on your side
When you walk away I count the steps that you take Do you see how much I need you right now?
When you're gone The pieces of my heart are missing you When you're gone The face I came to know is missing too
When you're gone The words I need to hear to always get me through The day and make it ok I miss you
I've never felt this way before Everything that I do reminds me of you And the clothes you left, they lie on the floor And they smell just like you, I love the things that you do
When you walk away I count the steps that you take Do you see how much I need you right now?
When you're gone The pieces of my heart are missing you And when you're gone The face I came to know is missing too
And when you're gone The words I need to hear to always get me through The day and make it ok I miss you
We were made for each other Out here forever I know we were, yeah
And all I ever wanted was for you to know Everything I'd do, I'd give my heart and soul I can hardly breathe I need to feel you here with me, yeah
When you're gone The pieces of my heart are missing you And when you're gone The face I came to know is missing too
And when you're gone All the words I need to hear will always get me through The day and make it ok I miss you
Avril Lavigne has said the song "is about being with someone you love, and you have to say goodbye, and all the little things you miss about them". The song may have been inspired by Lavigne's ex-husband, Deryck Whibley, although in an interview in Northern Ireland with The Belfast Telegraph she did not confirm this. According to her, she did not intend the song to be a love song, but she was writing a slow song and the process brought out "all that emotional stuff" in her. "It's not cheesy, because I wrote it", she said. "If I was older, a professional writer coming up with all that, that would be lame."
Billboard magazine describes the song as "a power ballad with a piano and synth introduction". Composer Rob Mathes orchestrated the song with genuine string section, although the brief opening note, before the piano came in, was on a synthesizer.
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMHzpKzWuOgW6XbjReh_aIzGpxzq5NFfz8WNV1V8DSIgpq5hQoOevKuP0z08XhlxCndW8VL_JhBFkAJlx-u_rNFT4mQ4NjFANyZWHUJBqWRWktF_EKm-nHzZcPuKBKqX6MRQm4fdPjSkM/s320/avril-lavigne-when-you-gone.jpg)
When you walk away I count the steps that you take Do you see how much I need you right now?
When you're gone The pieces of my heart are missing you When you're gone The face I came to know is missing too
When you're gone The words I need to hear to always get me through The day and make it ok I miss you
I've never felt this way before Everything that I do reminds me of you And the clothes you left, they lie on the floor And they smell just like you, I love the things that you do
When you walk away I count the steps that you take Do you see how much I need you right now?
When you're gone The pieces of my heart are missing you And when you're gone The face I came to know is missing too
And when you're gone The words I need to hear to always get me through The day and make it ok I miss you
We were made for each other Out here forever I know we were, yeah
And all I ever wanted was for you to know Everything I'd do, I'd give my heart and soul I can hardly breathe I need to feel you here with me, yeah
When you're gone The pieces of my heart are missing you And when you're gone The face I came to know is missing too
And when you're gone All the words I need to hear will always get me through The day and make it ok I miss you
Friday, 9 March 2012
Justin Bieber "Never Say Never"Be Attracted With You
Justin Bieber is gearing up for the new album release on November 23rd. My World Acoustic is his new effort featuring most popular tracks from his two previous albums and a new song ‘Pray’ that he’s written “for his fans for the holidays.”
Justin presented his new video for ‘Never Say Never’ over the weekend and now he explains the video concept:For ‘Never Say Never,’ it’s kind of like a really inspiring song, so I think that, you know, for people watching it, I guess it’s really inspiring. I mean, I love sports,” Justin Bieber has told MTV. “[In the video] I was wearing a Rangers jacket, and then I was wearing a Giants hat, so, I mean, it was kind of like the idea of, like, ‘I’m not cheering for you.’ I’m a Yankees fan, so it’s like I was kind of making both teams happy.”
In case you missed it over the weekend or just want to watch it again: Justin Bieber “Never Say Never”
See I never thought that I could walk through fire.
I never thought that I could take the burn.
I never had the strength to take it higher,
Until I reached the point of no return.
And there's just no turning back,
When your hearts under attack,
Gonna give everything I have,
It's my destiny.
I will never say never! (I will fight)
I will fight till forever! (make it right)
Whenever you knock me down,
I will not stay on the ground.
Pick it up,
Pick it up,
Pick it up,
Pick it up up up,
And never say never.
I never thought I could feel this power.
I never thought that I could feel this free.
I'm strong enough to climb the highest tower.
And I'm fast enough to run across the sea.
And there's just no turning back,
When your hearts under attack,
Gonna give everything I have,
Cause this is my destiny.
I will never say never! (I will fight)
I will fight till forever! (make it right)
Whenever you knock me down,
I will not stay on the ground.
Pick it up,
Pick it up,
Pick it up,
Pick it up, up, up,
And never say never.
Here we go!
Guess who?
JSmith and Jb!
I gotcha lil bro.
I can handle him.
Hold up, aight?
I can handle him.
Now he's bigger than me,
Taller than me.
And he's older than me,
And stronger than me.
And his arms a little bit longer than me.
But he ain't on a JB song with me!
I be trying a chill
They be trying to side with the thrill.
No pun intended, was raised by the power of Will.
Like Luke with the force, when push comes to shove.
Like Cobe with the 4th, ice water with blood.
I gotta be the best, and yes
We're the flyest.
Like David and Goliath,
I conquered the giant.
So now I got the world in my hand,
I was born from two stars
So the moon's where I land.
I will never say never! (I will fight)
I will fight till forever! (make it right)
Whenever you knock me down,
I will not stay on the ground.
Pick it up,
Pick it up,
Pick it up,
Pick it up, up, up,
And never say never.
I will never say never! (I will fight)
I will fight till forever! (make it right)
Whenever you knock me down,
I will not stay on the ground.
Pick it up,
Pick it up,
Pick it up,
Pick it up, up, up,
And never say never.
Thursday, 1 March 2012
Westlife 2012 Greatest Hits Farewell Tour
While Take That, Steps and The Stone Roses are all celebrating and cashing in on their reunion successes, it was a bolt out of the blue to hear that Westlife will be going their separate ways after they have finished their 2012 Greatest Hits Farewell Tour.
The band released a statement at 6pm last night 19 October confirming the shocking news.
The Irish foursome have been together for 14 years, and have been one of the most successful boy bands of all time.
Selling over 44 million records worldwide, the group have decided to say goodbye to their devastated fans during their Greatest Hits Tour in 2012.
Nicky, Kian, Mark and Shane thanked fans last night, saying their long career had been a dream come true for all of us.
The band will be releasing their last album of greatest hits this Christmas and will embark on their farewell tour next year.
A source told The Sun that 'The greatest hits album and the tour are their way of giving thanks to their loyal fanbase and saying cheerio.'
Cracks in the band were appearing back in March when it was reported that X-Factor boss Simon Cowell had ended his contract with them after 13 years, the boys then signed with another record company to release their Greatest Hits album.
There have also been rumours circulating that Brian McFadden, one of the original members of the boyband, will be returning to the band to play a one off Christmas special.
Fans wait with bated breath, to see if Brian will be joining the band during their final farewell tour next year.
The band released the statement confirming the split last night at 6pm it said: 'The decision is entirely amicable and after spending all of our adult life together so far, we want to have a well-earned break and look at new ventures.'
They added 'Over the years Westlife has become so much more than just a band. Westlife are a family. We would like to thank our fans who have been with us on this amazing journey and are part of our family too.'
'We never imagined when we started out in 1998 that 14 years later we would still be recording, touring and having hits together. It has been a dream come true for us.'
However, not everybody is saddened by todays news, as many have commented on the timely split and the reformation of The Stone Roses. One member of the public wrote on twitter, '#StoneRoses reform and now Westlife split up. A good week for music'.
Will we see Westlife reform and hit the stage again in another 15 years like Take That? Blimey how old will we and they be then?
The band released a statement at 6pm last night 19 October confirming the shocking news.
The Irish foursome have been together for 14 years, and have been one of the most successful boy bands of all time.
Selling over 44 million records worldwide, the group have decided to say goodbye to their devastated fans during their Greatest Hits Tour in 2012.
Nicky, Kian, Mark and Shane thanked fans last night, saying their long career had been a dream come true for all of us.
The band will be releasing their last album of greatest hits this Christmas and will embark on their farewell tour next year.
A source told The Sun that 'The greatest hits album and the tour are their way of giving thanks to their loyal fanbase and saying cheerio.'
Cracks in the band were appearing back in March when it was reported that X-Factor boss Simon Cowell had ended his contract with them after 13 years, the boys then signed with another record company to release their Greatest Hits album.
There have also been rumours circulating that Brian McFadden, one of the original members of the boyband, will be returning to the band to play a one off Christmas special.
Fans wait with bated breath, to see if Brian will be joining the band during their final farewell tour next year.
The band released the statement confirming the split last night at 6pm it said: 'The decision is entirely amicable and after spending all of our adult life together so far, we want to have a well-earned break and look at new ventures.'
They added 'Over the years Westlife has become so much more than just a band. Westlife are a family. We would like to thank our fans who have been with us on this amazing journey and are part of our family too.'
'We never imagined when we started out in 1998 that 14 years later we would still be recording, touring and having hits together. It has been a dream come true for us.'
However, not everybody is saddened by todays news, as many have commented on the timely split and the reformation of The Stone Roses. One member of the public wrote on twitter, '#StoneRoses reform and now Westlife split up. A good week for music'.
Will we see Westlife reform and hit the stage again in another 15 years like Take That? Blimey how old will we and they be then?
Sunday, 26 February 2012
Sarah Connor-Every Moment Of My Life
German pop singer and multi-instrumentalist Sarah Connor grew up listening to soul music, mostly influenced by her grandfather who was born in New Orleans. A church chorus became her first experience in the gospel music field at a very young age. After participating in different musicals while still attending middle school, Sarah Connor started sending demos to different record labels. The opportunity to achieve her goal came when rhythm & blues and urban producer TQ answered to one of them.
In 2001, their catchy debut single, "Let's Get Back to Bed...Boys," became a chart-topping song in Germany. The powerful ballad "From Sarah With Love" followed in 2002. Both songs were featured on her debut album Green Eyed Soul. A sophomore effort Unbelievable was released in several months times, however it was only available to European fans. American pop music fans got their chance to hear Connor's work when she released her self-titled album, which was a collection of her previous issued overseas, in spring 2004.
It might appear a surprise but Sarah Connor is a German singer. She happens to be a songwriter and performer of her own songs. As for me, she is just wonderful, cute, and very talented. I have recently heard about her previous album release, let’s see if you have heard any songs from it.
So, the album called Sexy as Hell (2008) is Sarah’s six studio album that has obviously drawn much attention to Sarah since she had some kind of hiatus after her daughter’s birth. I have to say, Sarah Connor is just the singer I love because her songs are so overpowering, you know. There is hardly a girl both in Germany and America who would not like her songs after the first listening. For instance, Just One Last Dance, or the song called From Sarah with Love have the most romantic lyrics I have ever heard. So, the last album’s song I’ll Kiss It Away is surely dedicated to her daughter who she named Summer. But it was the second single released from the album. The first one is Under My Skin, unexpectedly uptempo, I think the last fast track of hers was From Zero to Hero.
In a word, you may listen to all of the above songы (they are easily found on the Internet) or you may download her last album and listen to all of them. Meanwhile, I will be completing my buy essays and essay paper assignments.
Wednesday, 22 February 2012
Britain's Adele Tops UK Pop Charts For Album '21'
In the two years between the titles of Adele’s debut and this, her second album, she’s clearly seen the world. Where ‘19’ marked the turbulent swan song to a teenage life, ‘21’ introduces the realities of adult life, where grown-up responsibilities collide with heartache and emotional scars run deep.
Though imbued with intimate country leanings, it’s all about that voice. While ‘Rolling In The Deep’ extols thunderous regret, ‘Don’t You Remember’ grieves in elegant acoustics. Adele is sincere, poignant and affecting throughout; the emotive ‘Someone Like You’ closes the album magnificently.
21 is the eagerly awaited sophomore album from British singer-songwriter Adele. It's the follow up to Adele's critically acclaimed, Grammy award winning debut album 19 (both named after her age at the time the songs were written). Recorded in Malibu and London, 21 offered Adele the opportunity to work with such luminary producers and songwriters as Rick Rubin, Paul Epworth, Ryan Tedder, Dan Wilson and Fraser T. Smith, as well as continuing to work with Francis "Eg" White and Jim Abbiss.
This new collection of songs showcases the growth of this incredible artist, who at the very young age of twenty two, exhibits the poise of a seasoned veteran. Adele's music takes some new direction while staying true to her signature style. "I discovered lots of artists I'd never heard of, particularly Wanda Jackson, Allison Krauss, Yvonne Fair, Andrew Bird, Neko Case, Lady Antebellum and Steel Drivers who I fell in love with. Then I delved in to more from artists I've loved forever - Mary J. Blige, Kanye West, Elbow, Mos Def, Alanis Morissette, Tom Waits and Sinead O'Connor. There's something in every single one of these artists that have really really inspired 21."
Adele has now ruled the UK album charts for the seventh consecutive week with her "21" album. When released in January, the album received generally positive reviews. However it sold more than 200,000 copies in the first week and it debuted at the number one position on the UK charts.
The first single pre-released from the album late in 2010, 'Rolling in the Deep', almost hit the top spot, reaching the number two position in the UK. She released the second single 'Someone Like You' following her very highly acclaimed performance at the 2011 BRIT Awards, which continued to push the popularity of the album. In the US, the first week of sales of over 350,000 pushed the album to the number one position.
Still at the chart top, "21" has held off competition from British rockers Elbow with "Build A Rocket Boys!" sitting at number two in its debut week.
"Who You Are" by Jessie J sits at three, while Adele's 2008 release of "19" is still in the album chart and at the number four position.
In the singles charts, Adele's "Someone Like You" is at the top for the fourth week as the UK's most popular song, with Jessie J sitting at two with "Price Tag".
In 2009, Adele won two Grammy Awards for Best New Artist and Best Female Pop Vocal Performance.
Various music writers have compared Adele to different female singers over the years, singing sensations including Amy Winehouse and Duffy. But as Adele produces more magnificent recordings, the world is seeing that she is in a league of her own.
Though imbued with intimate country leanings, it’s all about that voice. While ‘Rolling In The Deep’ extols thunderous regret, ‘Don’t You Remember’ grieves in elegant acoustics. Adele is sincere, poignant and affecting throughout; the emotive ‘Someone Like You’ closes the album magnificently.
21 is the eagerly awaited sophomore album from British singer-songwriter Adele. It's the follow up to Adele's critically acclaimed, Grammy award winning debut album 19 (both named after her age at the time the songs were written). Recorded in Malibu and London, 21 offered Adele the opportunity to work with such luminary producers and songwriters as Rick Rubin, Paul Epworth, Ryan Tedder, Dan Wilson and Fraser T. Smith, as well as continuing to work with Francis "Eg" White and Jim Abbiss.
This new collection of songs showcases the growth of this incredible artist, who at the very young age of twenty two, exhibits the poise of a seasoned veteran. Adele's music takes some new direction while staying true to her signature style. "I discovered lots of artists I'd never heard of, particularly Wanda Jackson, Allison Krauss, Yvonne Fair, Andrew Bird, Neko Case, Lady Antebellum and Steel Drivers who I fell in love with. Then I delved in to more from artists I've loved forever - Mary J. Blige, Kanye West, Elbow, Mos Def, Alanis Morissette, Tom Waits and Sinead O'Connor. There's something in every single one of these artists that have really really inspired 21."
Adele has now ruled the UK album charts for the seventh consecutive week with her "21" album. When released in January, the album received generally positive reviews. However it sold more than 200,000 copies in the first week and it debuted at the number one position on the UK charts.
The first single pre-released from the album late in 2010, 'Rolling in the Deep', almost hit the top spot, reaching the number two position in the UK. She released the second single 'Someone Like You' following her very highly acclaimed performance at the 2011 BRIT Awards, which continued to push the popularity of the album. In the US, the first week of sales of over 350,000 pushed the album to the number one position.
Still at the chart top, "21" has held off competition from British rockers Elbow with "Build A Rocket Boys!" sitting at number two in its debut week.
"Who You Are" by Jessie J sits at three, while Adele's 2008 release of "19" is still in the album chart and at the number four position.
In the singles charts, Adele's "Someone Like You" is at the top for the fourth week as the UK's most popular song, with Jessie J sitting at two with "Price Tag".
In 2009, Adele won two Grammy Awards for Best New Artist and Best Female Pop Vocal Performance.
Various music writers have compared Adele to different female singers over the years, singing sensations including Amy Winehouse and Duffy. But as Adele produces more magnificent recordings, the world is seeing that she is in a league of her own.
Thursday, 16 February 2012
Avril Lavigne:Wish You Were Here
Avril Lavigne has been on the music scene now for around a decade and she is showing no signs of going away. Avril had a very good 2011, releasing her album Goodbye Lullaby back in March, which had relative success and she is set to up her game in 2012. Avril plans to work with a number of artists in 2012 who she has never worked with before and she is really looking forward to it.
Lavigne explained, "In my new record coming up, I think I want to start off by working with people I've never worked with before because that’s hard to do. When you don’t know someone you have to go in and you write together and you’re recording, you never know, you have to vibe together."
She added, "When you are having a good time making a record that always comes across in music. The energy’s good so things flow better and that’s what I’m excited about." Avril Lavigne is currently working with The Runners and has admitted that things are going very well at the moment and that he 2012 has got off to the good start that she was hoping for.
Avril Lavigne sports the latest Abbey Dawn threads in this spread for her Spring 2012 line. The talented songbird rocks everything from black stilettos, to a leopard print beret, and even a "Stop Making Sense" printed t-shirt (we wonder how David Byrne feels about that). We know that the pop star is a huge supporter of her clothing brand, so you'd think she'd at least crack one little smile for the camera. Ah, well. Check out the Canadian rocker's photo shoot — she's come a long way from her tank top and men's tie days.
Wish You Were Here - Avril Lavigne Lyrics
I love the way you are
It's who I am don't have to try hard
We always say, Say like it is
And the truth is that I really miss
[refrain]
Lavigne explained, "In my new record coming up, I think I want to start off by working with people I've never worked with before because that’s hard to do. When you don’t know someone you have to go in and you write together and you’re recording, you never know, you have to vibe together."
She added, "When you are having a good time making a record that always comes across in music. The energy’s good so things flow better and that’s what I’m excited about." Avril Lavigne is currently working with The Runners and has admitted that things are going very well at the moment and that he 2012 has got off to the good start that she was hoping for.
Avril Lavigne sports the latest Abbey Dawn threads in this spread for her Spring 2012 line. The talented songbird rocks everything from black stilettos, to a leopard print beret, and even a "Stop Making Sense" printed t-shirt (we wonder how David Byrne feels about that). We know that the pop star is a huge supporter of her clothing brand, so you'd think she'd at least crack one little smile for the camera. Ah, well. Check out the Canadian rocker's photo shoot — she's come a long way from her tank top and men's tie days.
Wish You Were Here - Avril Lavigne Lyrics
I can be tough
I can be strong
But with you, It's not like that at all
I can be strong
But with you, It's not like that at all
Theres a girl who gives a shit
Behind this wall
You just walk through it
Behind this wall
You just walk through it
[refrain]
And I remember all those crazy thing you said
You left them running through my head
You're always there, you're everywhere
But right now I wish you were here
And I remember all those crazy thing you said
You left them running through my head
You're always there, you're everywhere
But right now I wish you were here
All those crazy things we did
Didn't think about it just went with it
You're always there, you're everywhere
But right now I wish you were here
Didn't think about it just went with it
You're always there, you're everywhere
But right now I wish you were here
[chorus]
Damn, Damn, Damn,
What I'd do to have you
Here, Here, Here
I wish you were here
Damn, Damn, Damn,
What I'd do to have you
Here, Here, Here
I wish you were here
Damn, Damn, Damn,
What I'd do to have you
Near, Near, Near
I wish you were here.
What I'd do to have you
Near, Near, Near
I wish you were here.
I love the way you are
It's who I am don't have to try hard
We always say, Say like it is
And the truth is that I really miss
[refrain]
All those crazy thing you said
You left them running through my head
You're always there, you're everywhere
But right now I wish you were here
You left them running through my head
You're always there, you're everywhere
But right now I wish you were here
All those crazy things we did
Didn't think about it just went with it
You're always there, you're everywhere
But right now I wish you were here
Didn't think about it just went with it
You're always there, you're everywhere
But right now I wish you were here
[chorus]
Damn, Damn, Damn,
What I'd do to have you
Here, Here, Here
I wish you were here
Damn, Damn, Damn,
What I'd do to have you
Here, Here, Here
I wish you were here
Damn, Damn, Damn,
What I'd do to have you
Near, Near, Near
I wish you were here.
What I'd do to have you
Near, Near, Near
I wish you were here.
[bridge]
No, I don't wanna let go
I just wanna let you know
That I never wanna let go
Let go, Oh, Oh,
No, I don't wanna let go
I just wanna let you know
That I never wanna let go
Let go, Oh, Oh,
No, I don't wanna let go
I just wanna let you know
That I never wanna let go
Let go, Let go, Let go...
I just wanna let you know
That I never wanna let go
Let go, Let go, Let go...
[chorus]
Damn, Damn, Damn,
What I'd do to have you
Here, Here, Here
I wish you were here
Damn, Damn, Damn,
What I'd do to have you
Here, Here, Here
I wish you were here
Damn, Damn, Damn,
What I'd do to have you
Near, Near, Near
I wish you were here.
What I'd do to have you
Near, Near, Near
I wish you were here.
Wednesday, 25 January 2012
The Review For Rihanna's 'Talk That Talk'
Distinctionlessness has become something of a calling card and a weapon for Rihanna, the most consistent pop star of the last five years. Last month she became the fastest solo artist in history to have had 20 Top 10 singles on the Billboard Hot 100, slower only than the Beatles. And she has pumped out these hits with little regard for style or mood — breezy dance tracks rub up against poignant, gothically ruptured rock-soul ballads. Her voice is, for the most part, certifiably blank, which is to say it belongs everywhere.
But it hasn’t always had a home. “Talk That Talk” (Island Def Jam), her sixth album, is maybe the first to suggest the place that’s been hiding in plain sight all along, placing Rihanna squarely at the center of the pop genre best suited for a singer of her fundamental evanescence: dance music, which conveniently is the mode du jour of contemporary R&B and pop.
Rihanna’s version of this sound dates to the club music of the early 1990s, an era in which she would have shone. The best songs on this lively and often great album sound synth-perfect for that time. “We Found Love” almost criminally recalls the swinging Crystal Waters singles, with triumphant percussion somewhere between church and seventh-inning stretch. “Where Have You Been” is even better, with hard, chilly synths, snares from the poppier side of house music, and Rihanna moving in and out of a curled Siouxsie Sioux tone. “I been everywhere, man/looking for someone/someone who can please me,” she sings. “Are you hiding from me yeah/somewhere in the crowd?”
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWfX242YU8co_LCIOZ2YcXTB0Jwi-MQ2Px8wY57L1lqQuO3BnJXH2OaEgzEo-KKragQn4pmnE4MEPoyWnhw9MxGq4XH8bOxVNRposytJJpJ8g661akJq2d6P0Vq8ruLw9PrwKN62RV21g/s400/rihanna-talk-that-talk.jpg)
“Talk That Talk” is the blithest Rihanna album, which is saying a lot. It has none of the dark, wounded subtext of her more recent albums, almost no sign of scarring left by her tumultuous and abusive relationship with Chris Brown that seemed to hover over her more recent work.
It also signals the extent to which the work of polyglot post-soul, post-dance artists like Santigold and M.I.A. have been absorbed into the mainstream. It’s here on songs like “Red Lipstick” (on the deluxe edition) and “Cockiness (Love It),” on which Rihanna is channeling Neneh Cherry, all pseudo-melodic sass.
“Cockiness (Love It)” is a particular triumph, its beat by the producer Shondrae a booming industrial jumble, and Rihanna easing out come-ons as if she were lapping up milk. That’s followed immediately by “Birthday Cake,” 80 seconds of squelchy bounce and consumption metaphors.
Like Jay-Z and Kanye West’s recent “Watch the Throne,”this album has major parts recorded in hotel rooms, a testament to the globalization and rootlessness of pop, to the outlandish prices of conventional studio time, to the desire to create in an environment of luxury, a liminal space with no repercussions. But that can make for an ungrounded overall experience. When Rihanna veers from the fleet stuff, she’s less certain. “Watch n’ Learn,” which has flickers of BeyoncĂ©’s recent “Party,” has good mouth feel but no taste.
And on songs like “Farewell,” the most bombastic one here, it’s tough to tell if the words have feeling, because Rihanna’s voice doesn’t. When she wants to convey emotion, as on “Drunk on Love,” she essentially shouts the lyrics — “I wear my heart on my sleeve!/Always let love take the lead!/I may be a little naĂ¯ve!” — but staggers around the melody, a victim of trying to feel too hard.
But it hasn’t always had a home. “Talk That Talk” (Island Def Jam), her sixth album, is maybe the first to suggest the place that’s been hiding in plain sight all along, placing Rihanna squarely at the center of the pop genre best suited for a singer of her fundamental evanescence: dance music, which conveniently is the mode du jour of contemporary R&B and pop.
Rihanna’s version of this sound dates to the club music of the early 1990s, an era in which she would have shone. The best songs on this lively and often great album sound synth-perfect for that time. “We Found Love” almost criminally recalls the swinging Crystal Waters singles, with triumphant percussion somewhere between church and seventh-inning stretch. “Where Have You Been” is even better, with hard, chilly synths, snares from the poppier side of house music, and Rihanna moving in and out of a curled Siouxsie Sioux tone. “I been everywhere, man/looking for someone/someone who can please me,” she sings. “Are you hiding from me yeah/somewhere in the crowd?”
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWfX242YU8co_LCIOZ2YcXTB0Jwi-MQ2Px8wY57L1lqQuO3BnJXH2OaEgzEo-KKragQn4pmnE4MEPoyWnhw9MxGq4XH8bOxVNRposytJJpJ8g661akJq2d6P0Vq8ruLw9PrwKN62RV21g/s400/rihanna-talk-that-talk.jpg)
“Talk That Talk” is the blithest Rihanna album, which is saying a lot. It has none of the dark, wounded subtext of her more recent albums, almost no sign of scarring left by her tumultuous and abusive relationship with Chris Brown that seemed to hover over her more recent work.
It also signals the extent to which the work of polyglot post-soul, post-dance artists like Santigold and M.I.A. have been absorbed into the mainstream. It’s here on songs like “Red Lipstick” (on the deluxe edition) and “Cockiness (Love It),” on which Rihanna is channeling Neneh Cherry, all pseudo-melodic sass.
“Cockiness (Love It)” is a particular triumph, its beat by the producer Shondrae a booming industrial jumble, and Rihanna easing out come-ons as if she were lapping up milk. That’s followed immediately by “Birthday Cake,” 80 seconds of squelchy bounce and consumption metaphors.
Like Jay-Z and Kanye West’s recent “Watch the Throne,”this album has major parts recorded in hotel rooms, a testament to the globalization and rootlessness of pop, to the outlandish prices of conventional studio time, to the desire to create in an environment of luxury, a liminal space with no repercussions. But that can make for an ungrounded overall experience. When Rihanna veers from the fleet stuff, she’s less certain. “Watch n’ Learn,” which has flickers of BeyoncĂ©’s recent “Party,” has good mouth feel but no taste.
And on songs like “Farewell,” the most bombastic one here, it’s tough to tell if the words have feeling, because Rihanna’s voice doesn’t. When she wants to convey emotion, as on “Drunk on Love,” she essentially shouts the lyrics — “I wear my heart on my sleeve!/Always let love take the lead!/I may be a little naĂ¯ve!” — but staggers around the melody, a victim of trying to feel too hard.
Wednesday, 18 January 2012
Drink In My Hand Song Review
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7KF3p4pDGR3pSt739dUuiLKX-NuhfhHUd_QLUHANlpUO0V6M0AqIcq6Y17MNue0FWJB1KHCqbyJx9QM0HjtAPZHLJ1CSDSTwR3Qb0ehbLxIM82Rb2FyZ6U1Y_nIHIlvQOKX1xDIWf7gg/s400/Eric+Church.jpg)
The next single from Eric Church‘s ‘Chief‘ album is as close as the singer has gotten to bringing his explosive live show to the radio. ‘Drink in My Hand’ is unrelenting, rowdy and fun without becoming offensive. It should easily become the most successful song of the singer’s three album career.
The secret to the song is that beneath the beer soaked T-shirt, Church has written extraordinarily vivid lyrics. Often times a singer’s “party song” is as big and dumb as one can imagine when under the influence of a few shots of whiskey. Church tells a much more dynamic story while giving every listener a verse to relate to.
The working man’s verse is first, and the ‘Homeboy’ singer slings this memorable lyric: “Bossman can shove that overtime / Up his can / All I wanna do is put a drink in my hand.” The second verse is for the Friday night crowd, with both driving seamlessly into the chorus.
“Filling it up / Or throwing down / When you drive me home / Take the long way around / You be my Lois Lane, I’ll be your Superman / All you got to do is put a drink in my hand,” he sings. Each time through the chorus, the singer tweaks the lyric to reflect the verse.
The softer third verse speaks to women. It’s not so much its subject, but the way he phrases words like ‘peek-e-bo0.’ “Make me wanna go ooo, ooo, ooo / When you dance like that / You got that little tattoo playing peek-e-boo on your back / Yeah if you wanna impress me / Baby here’s my plan / All you gotta do is put a drink in my hand.”
Church is basking in the attention of a huge debut week with ‘Chief,’ but the wrong second single from an album can halt momentum faster than a brick wall. ‘Drink in My Hand’ is the perfect song at the perfect time for a singer who’s poised to have a very, very big year.
Monday, 16 January 2012
Not Over You Song Review
He may only be relevant to those who still manage to sit through episodes of One Tree Hilllong after Chad Michael Murray departed, but 34-year-old Gavin DeGraw is making his best attempt at a comeback. After a few enjoyable power pop songs on his first two albums (like “Follow Through,” whose lyrics filled many an away message in the early aughts) and heavy publicity thanks to prime placement on a CW drama, DeGraw’s last two albums (Gavin DeGrawand Free) fell flat, sweeping him under the pop music rug in exchange for younger, cuter entrees like Justin Bieber and the Jonas Brothers.
Now that he’s resurfaced, with a new Ryan Teddercreation to boot, he’ll be looking to see if new album Sweeter fits in with what the kids are actuallylistening to these days, or if he’s destined to join the likes of Train on the adult contemporary shelves. (It still might win him a Grammy!)
“Not Over You” is standard DeGraw fare: introspective tales from the nice guy, with a piano-driven melody. The initial somber admittance that he spends his days reminiscing with pictures and love songs, unable to forget—or get angry with—the girl who broke his heart (“But still you’re magnificent”) sets him up as a sap who’s reached rock bottom. (Didn’t you hear the dramatic pausing? Things are really bad.) But before you can slap the pathetic out of him (or turn the song off), DeGraw’s chorus builds to full-on denial, when faced with a round of questioning from his ex (“If you ask me how I’m doing, I would say I’m doing just fine / I would lie and say that you’re not on my mind”).
It’s a defense mechanism that resonates with anyone who has suffered through unexpected run-ins with a former flame, and only when he his own denial can he begin to move on—a mantra he conveys through a series of unnecessary vocal runs and lengthy pauses that sound more laughable than emotionally resonant. “Not Over You” is not earth-shattering; it’s a song we’ve heard many times before, but its DeGraw’s distinctive voice that makes us incapable of shaking it off right away, becoming catchy to the point of delirium. Which makes us think it’ll go the way of Train, since that was the description of “Hey Soul Sister” after all.
Friday, 13 January 2012
Paradise Song Review
This morning we noted that Coldplay’s new single “Paradise” is a far moodier affair than previous single “Every Teardrop Is A Waterfall,” with dramatic strings and chords and just the right touch of melancholy for the onset of the fall season. In other words, we dug it! But what did the rest of the Internet have to say about the second single from Mylo Xyloto? Head below for our roundup of critics’ opinions on the track.
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBUp3GdYKAXf2vPrlO225NF3khFA47F24d8nItnhBxKaURomn9jz5M4RskXZ_pfZXpnzINi0EQ0PigJuNIUgerztcW0cr4TS9eSgffIKw3AWbM8UEedCRtDhrdIK_6STh47UZpUnMi6KY/s400/coldplay.jpg)
:: HitFix notes, “I find the electronic clap track unnervingly cheap as an arena-rock device, but if Coldplay’s design was to make a song that gets butts up out of the seats, they’ve got it.”
:: Los Angeles Times blog Pop & Hiss heard something familiar with the tune: “Like most things Coldplay, it sticks within a very specific sonic realm; it’s immediately identifiable as a Coldplay song; Chris Martin croons about a woman longing to escape her life for paradise, and it features one of the band’s instantly sticky choruses.”
:: Prefixmag concurred: “It’s a typical slice of anthemic balladry from Chris Martin and his band, with his heavy falsetto to the fore, plenty of strings thrown in, and a hugely bombastic chorus. In other words, petty much business as usual for Coldplay.”
:: Entertainment Weekly’s Music Mix liked what they heard: “A kinder, gentler song than the more bombastic ‘Teardrop,’ it still delivers a pretty powerful melodic punch.”
:: MTV Buzzworthy points out that “Chris Martin stays away from baby-making lyrics in favor of an emotional story.”
:: Holy Moly! also gave the song a thumbs-up: “When we said Coldplay’s last single was good, you were all like, ‘Huh?’ and we were all like, ‘Uh huh’, and you were all like, ‘No way.’ So please try not to think badly of us when we say that Coldplay’s new single ‘Paradise’ has also registered strongly on the does-not-suck-ometer.”
:: Spin points out the following: “Coldplay frontman Chris Martin says in a press release the band started writing their new album after listening to Blur’s ‘Sing,’ which appears on the U.K. version of the Damon Albarn-led British popsters’ 1991 debut album Leisure… And in fact, ‘Paradise”=; is built around slowly rotating orchestration that quite a bit resembles the early Blur track’s hypnotic chords. Martin steps back out in front on the more traditionally stately, piano-driven verses, but the swooning, impressionistic hook again recalls some of that influential Albarn group’s art-school leanings.”
:: Says Paste, “Chris Martin, who cites early Blur as the song’s chief inspiration, delivers a hooky falsetto chorus consisting of the repetition of ‘para-para-paradise,’ lacing the Brian Eno-treated sea of sound with an lighter-than-air pop sheen.”
:: Britscene chimed in with this: “You can definitely imagine this tune being featured on movie soundtracks and TV commercials as it has this well crafted Coldplay anthem feel, with a string arrangement and solid progression.”
:: Finally, Stereogum called “Paradise” a “grandiose cut with a bare, pretty melody accented by a chorus of strings.”
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBUp3GdYKAXf2vPrlO225NF3khFA47F24d8nItnhBxKaURomn9jz5M4RskXZ_pfZXpnzINi0EQ0PigJuNIUgerztcW0cr4TS9eSgffIKw3AWbM8UEedCRtDhrdIK_6STh47UZpUnMi6KY/s400/coldplay.jpg)
:: HitFix notes, “I find the electronic clap track unnervingly cheap as an arena-rock device, but if Coldplay’s design was to make a song that gets butts up out of the seats, they’ve got it.”
:: Los Angeles Times blog Pop & Hiss heard something familiar with the tune: “Like most things Coldplay, it sticks within a very specific sonic realm; it’s immediately identifiable as a Coldplay song; Chris Martin croons about a woman longing to escape her life for paradise, and it features one of the band’s instantly sticky choruses.”
:: Prefixmag concurred: “It’s a typical slice of anthemic balladry from Chris Martin and his band, with his heavy falsetto to the fore, plenty of strings thrown in, and a hugely bombastic chorus. In other words, petty much business as usual for Coldplay.”
:: Entertainment Weekly’s Music Mix liked what they heard: “A kinder, gentler song than the more bombastic ‘Teardrop,’ it still delivers a pretty powerful melodic punch.”
:: MTV Buzzworthy points out that “Chris Martin stays away from baby-making lyrics in favor of an emotional story.”
:: Holy Moly! also gave the song a thumbs-up: “When we said Coldplay’s last single was good, you were all like, ‘Huh?’ and we were all like, ‘Uh huh’, and you were all like, ‘No way.’ So please try not to think badly of us when we say that Coldplay’s new single ‘Paradise’ has also registered strongly on the does-not-suck-ometer.”
:: Spin points out the following: “Coldplay frontman Chris Martin says in a press release the band started writing their new album after listening to Blur’s ‘Sing,’ which appears on the U.K. version of the Damon Albarn-led British popsters’ 1991 debut album Leisure… And in fact, ‘Paradise”=; is built around slowly rotating orchestration that quite a bit resembles the early Blur track’s hypnotic chords. Martin steps back out in front on the more traditionally stately, piano-driven verses, but the swooning, impressionistic hook again recalls some of that influential Albarn group’s art-school leanings.”
:: Says Paste, “Chris Martin, who cites early Blur as the song’s chief inspiration, delivers a hooky falsetto chorus consisting of the repetition of ‘para-para-paradise,’ lacing the Brian Eno-treated sea of sound with an lighter-than-air pop sheen.”
:: Britscene chimed in with this: “You can definitely imagine this tune being featured on movie soundtracks and TV commercials as it has this well crafted Coldplay anthem feel, with a string arrangement and solid progression.”
:: Finally, Stereogum called “Paradise” a “grandiose cut with a bare, pretty melody accented by a chorus of strings.”
Wednesday, 11 January 2012
We Found Love Lyrics
[Rihanna]
Yellow diamonds in the light
And we're standing side by side
As your shadow crosses mine
What it takes to come alive
It's the way I’m feeling I just can't deny
But I've gotta let it go
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
Shine a light through an open door
Love and life I will divide
Turn away cause I need you more
Feel the heartbeat in my mind
It's the way I'm feeling I just can't deny
But I’ve gotta let it go
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
Yellow diamonds in the light
And we're standing side by side
As your shadow crosses mine...
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
Friday, 6 January 2012
Do You Like The Song "Someone Like You"?
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Already released in the UK as a single off her international multi-platform monster of an album, 21, Someone Like You got to #1 after a brilliantly heartbreaking show-stopping performance at the Brits. Why review the song now? Well, what better opportunity to write an extensive praise of such brilliance than when this unconventional choice for US radio is preparing to hopefully become a hit there as well?
Someone Like You is a song about the regret that you feel but cannot share. It’s a deeply personal song about all the words Adele couldn’t say to the person to whom this song is meant. Someone Like You starts with things Adele heard about him. He settled down, found a girl and married her. She tries to feign courage by asking him why he’s shy, since it’s very unlike him. And then she confesses that she she had hoped by turning out of the blue, uninvited, and by seeing her face, he’d be reminded that for her, it’s not over.
And then Adele sings the heartbreaking chorus: “Nevermind, I’ll find someone like you. I wish nothing but the best for you two…” You can feel the desperation in her voice as she sings those lines. Her voice breaks when she wishes nothing but the best for them two. And then she begs: “Don’t forget me, I beg. I remember you said, sometimes it lasts in love but sometimes it hurts instead.”
The song proceeds to the path of memories. “You’d know how the time flies, only yesterday was the time of our lives… we were born and raised in a summer haze, bound by the surprise of our glory days,” alluding to a summer romance that took place between the two before she apologizes again about showing up out of the blue uninvited, hoping that when he had seen her face, he’d be reminded that it’s not over.
Someone Like You is not a song about Adele being bitter. It’s about her being in love – so in love, in fact, that she can let the person go and wish nothing but the best for him, regardless of how much that might hurt her.
Someone Like You is a hypothetical song that Adele is singing to herself, not her former lover’s face. She’s imagining herself standing in front of him and giving her heart away. The whole scenario of how he would act and how she would response is in her head, sort of like the countless times when we imagine scenarios and play them out in our imagination before trying to act on them. But she knows acting on the plot she set up with “Someone Like You” is not the correct thing to act on. She cannot show up out of the blue and have such a confession for him. It would be wrong from her part. So even though she wants him to remember her and even though she still loves him, she hopes, in the song, to hopefully find someone like him, someday, to make her feel that sensation of love. With whom she can share her memories, her moments and her life.
Rolling In The Deep was a song that basically said: “you’re leaving? fine. Go. I don’t care.” With Someone Like You, Adele is crawling back slowly to her former lover, acknowledging that she’s not as strong as she thought – “who would have known how bittersweet this would taste?”
On Someone Like You, Adele delivers a brilliantly chilling vocal performance that is so full of nuances that it delivers the lyrics without much effort. There is a sense of vulnerability with her delivery that channels the pain she’s feeling when she was recording this masterpiece. And she makes it look so easy. How so? Every single performance she has delivered of this song was even better than the album version. Her Brits performance got this song to go to #1 in the UK almost overnight due to the massive sales she generated after bringing people to tears.
What’s more of a testament to the strength of this song is that it’s deeply personal. The lyrics were written in a way not to let it seem open-ended. It was written for a specific person, with no intention of making it something that everyone can relate to. At least that’s what Adele said. But everyone related to Someone Like You because everyone found something that struck a cord within the specific vulnerability conveyed among the lines of that song.
With Rolling In The Deep, US pop radio took a bold step in the correct musical direction. It gave a deserving and great song the chance to be a huge hit and it ended up staying at #1 for 7 weeks at the Hot 100. With Someone Like You, one only hopes pop radio would also give a gut-wrenching ballad the chance to be something big. Simply becauseSomeone Like You is one of the greatest songs released this year.
Listen to the album version of Someone Like You here:
Monday, 2 January 2012
Guitar Slinge Released New Album
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Vince Gill recently released his latest album, ‘Guitar Slinger,’ which is the first collection of new tunes from the singer and guitar genius in five long years. Gill recently revealed some reasons as to why fans had to wait so long for new material.
“I had to practice,” Gill tells People of the reason for the long break in music. “This record has really been done for about a year, but I’m forever afraid to let something go. I keep revisiting things … I just want to fix that part right here or re-sing that song.”
Lucky for Gill fans, they won’t have to wait that long between projects any more. In fact, Gill is hinting that the rest of his career will be even more musical than the road that has led him to now.
“I built a studio in my home, and I feel completely energized,” Gill says. “I think the next 20 years will bring a whole lot more music than the last 20. Plus, mortality is rearing its ugly head. I want to create my biggest body of work while I still have my voice.”
Gill, a member of the Country Music Hall of Fame, will hit the road starting in March to support the release of ‘Guitar Slinger.’ To see a complete list of those dates or to order a copy of ‘Guitar Slinger,’ visit below.
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