CLICK HERE TO WATCH:
http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=100754491

Motion City Soundtrack’s upcoming album My Dinosaur Life will be released January 19th on Columbia Records.

By Cara Sulieman

SUSAN Boyle was all smiles during a flying visit back home to Blackburn today (Thurs) as bookies announced they were refusing to take any bets on her album reaching number one next week.

Bookmakers William Hill said they were “one hundred per cent certain” that the 48-year-old’s debut would top the charts after canvassing retailers the length and breadth of the UK.

And they have also tipped her as a favourite for the Christmas number one in the album charts – expecting her to beat Leona Lewis and even the Pope to the top spot.

Asked if she was excited about the prospect of bagging her first number one album, SuBo grinned broadly and gave the thumbs up, before waving goodbye.

“100 per cent certain she will be”

With odds of 6/4 on the Britain’s Got Talent star having a very merry festive season, she is streets ahead of another reality TV favourite Leona Lewis – who lags behind at 13/8.

But Rupert Adams, Susan Boyle expert at the bookies, said that there was outside chance she could be piped to the post by her spiritual leader who has been given odds of 16/1.

Mr Adams said: “We are refusing to give any odds or take bets on SuBo being number one in next week’s album chart because we are 100 per cent certain that she will be.

“I spoke to HMV yesterday and they are expecting the album to fly off the shelves.”

Shops are bracing themselves for a rush of customers as the debut album hits the shops next week.

Biggest selling

The nearest stockist to her hometown has already had locals asking when the record will be in stock.

And HMV stores in the capital are expecting boxes of CDs to arrive at the weekend to fill their stockrooms in time for Monday’s release date.

Entitled ‘I Dreamed a Dream’, the album topped the Amazon bestseller chart in September – three months before its release.

And it was announced just yesterday (Weds) that it is the biggest selling pre-order record in Amazon’s history.

The 48-year-old spinster captured hearts around the world when she belted out ‘I Dreamed a Dream’ from Les Miserables on Britain’s Got Talent in April.

She became an overnight sensation, racking up millions of views on YouTube and staring on TV shows around the world, including Oprah.

Her world-wide fame was cemented when news of her debut album came out and fans rushed to pre-order their copy.

And the hysteria has led the manager of WH Smith’s in Bathgate – the nearest shop to Boyle’s house that will be selling the album – to expect a “rush” on Monday.

She said that customers had already been asking when the CD would be out and if they would be stocking it.

She added: “I’m definitely expecting a few people in on Monday. I’ve already had people asking about when they can get it.”

And the Assistant Manager at HMV in Ocean Terminal in Edinburgh said that the CDs were expected in over the weekend.

Martin said: “We’ll be getting them in a couple of days before hand to make sure we’ve got enough for Monday. I’m not sure if there will be a rush, but we’ve already had people enquiring about the album.

“We’ll have to wait and see what Monday brings.”

“Touch people”

Amazon announced Susan’s pre-order achievement earlier this week, saying that it was “testament” to her talents.

Julian Monaghan, head of music buying at Amazon.co.uk, said: “Just eight months ago, no one was aware of the talents of Susan Boyle. Now, she has generated more Amazon pre-order CD sales globally than any other artist.

“That is an incredible achievement and is testament to the fact that she has captured the hearts of people all over Britain, America and the rest of the world.”

And her record label, Columbia Records, said that Susan had an ability to “touch” people.

Steve Barnett, chairman of Columbia Records, said: “One of the things that is so unique about Susan Boyle is her ability to touch people around the world.

“We’re excited that ‘I Dreamed a Dream’ holds the new record for global pre-orders and that Amazon’s customers have supported her album in this way.”

See more of our pictures at our Flickr site and videos at our dedicated channel,  Deadline TV.

Motion City Soundtrack announce a US headlining tour in support of their highly-anticipated new album and major label debut – My Dinosaur Life – due out January 19th on Columbia Records. The tour kicks-off with a hometown show at First Avenue in Minneapolis and Motion City Soundtrack will be joined by fellow rockers Set Your Goals, This Providence and The Swellers for the entire tour. Tickets for the shows listed below go on sale at 10AM this Friday, November 20th.

The upcoming 2010 tour will be Motion City Soundtrack’s first trek in over a year and first in support of their new album My Dinosaur Life. Produced by Blink-182’s Mark Hoppus and mixed by Andy Wallace, this will be the band’s fourth studio album and major label debut. Fans can pre-order the album now and the band is offering a special deluxe edition only available through the MCS store which you can access via the band’s web site www.motioncitysoundtrack.com.

As the band gears up for the new album and tour ahead, fans and critics alike can follow Justin Pierre on the “Dino Trail” at www.mydinosaurlife.com and catch the guys when they join up with Weezer in December.

Check out www.motioncitysoundtrack.com for the most up-to-date information.

Confirmed 2010 Tour Dates
01/23 First Avenue – Minneapolis, MN
01/25 The Intersection – rand Rapids, MI
01/26 Bogarts – Cincinnati, OH
01/27 House of Blues – Cleveland, OH
01/29 Clutch Cargo’s – Pontiac, MI
01/31 Mr. Small’s – Pittsburgh, PA
02/01 Recher Theater – Towson, MD
02/03 Fillmore at Irving Plaza – New York, NY
02/04 Webster Theater – Hartford, CT
02/05 Crocodile Rock Café – Allentown, PA
02/06 Amos’ Southend – Charlotte, NC
02/08 Masquerade – Atlanta, GA
02/10 The Door – Dallas, TX
02/11 Emo’s – Austin, TX

Just watched the video and all  I can say is FI-NA-LLY, theres so much more substance in this video compared to Beyoncé’s others. In fact really and truly she did not need Lady Gaga to be on this song at all, If anything all it did was take away from the video. It could be because Gaga’s style was so downplayed and Beyoncé’s was how can I put it, ON POINT! It kind of made her look like an extra.

So yeah great video, nothing breakthrough, but it’s very interesting to watch and feel’s very close to the quality we got with the B’Day Album. I LOVED the swimsuit intro, so typical B she know’s how to strut, and the Army General outfit. FIYAH!!

Directed By: Hype Williams

Check out this great interview with MAXWELL by the ‘British Ambassador of Soul’ David Nathan.

Link here: http://www.soulmusic.com/ma20in4.html

Makes for informative reading …

Die US-Pop-Rock-Band „OneRepublic“ wurde schon vor fünf Jahre gegründet und es dauerte nicht lange bis sie international durchstarten konnte. Mit dem Mega-Hit „Apologize“ (produziert von Timbaland) stürmte die 5-köpfige Band die Charts und veröffentlichte letzte Woche nun das langersehnte zweite Studioalbum „Waking Up“!

© Universal

Die angesagte Rockband aus Colorado konnte mit ihrem Debütalbum “Dreaming Out Loud” überzeugen, wurde  im letzten Jahr als die Newcomer Band schlecht hin gefeiert und ihre MySpace-Seite wurde millionenfach angeklickt. Für diesen unbeschreiblichen Erfolg ist vor allem Frontmann Ryan Tedder verantwortlich. Er gehört im Moment zu den gefragtesten Songwritern. Sein Talent sensible, exzellente Songs zu komponieren stellte er bei diesen aus seiner Feder stammenden Hits unter Beweis:
- “Bleeding Love” und “Happy” für Leona Lewis
- “Halo” für Beyoncé
- “Already Gone” für Kelly Clarkson
- “Please Don’t Stop The Rain” für James Morrison

Seit dem 13.11. ist nun die zweite CD von “OneRepublic” mit dem Titel “Waking Up” endlich veröffentlicht worden. Die erste Single aus diesem Album heißt “Secrets”. Der Song wurde von Til Schweiger für den Soundtrack seines neuen Films „Zweiohrküken“(Kinostart: 17.12.2009) ausgewählt, denn Til gehört zu den “OneRepublic”-Fans der ersten Stunde und äußert sich zu der neuen Single folgendermaßen: “Ich liebe dieses Lied! Für mich ist es der legitime Nachfolger von ‘Apologize’. Mehr geht nicht! Wahnsinnig schön!”. Hier ist das Musikvideo zu dem Song:

In diesem interessanten Interview spricht “OneRepublic” über ihren Bandnamen, Bandgeschichte, ihre Zusammenarbeit mit Timbaland, usw.:

Ob “OneRepublic” im nächsten Jahr wieder auf Tour geht ist noch nicht bekannt, aber wenn wer von euch einen Wochenendtrip nach England oder Irland plant, kann die Rockband noch in diesem Jahr live erleben. Ich bin auf jeden Fall schon ganz gespannt, welche Hits “OneRepublic” in Zukunft  noch liefern wird und ob sie es wieder schaffen, wochenlang die Charts zu besetzen – wie gefällt euch diese einzigartige US-Band eigentlich?

Perusing this NYT story on Glee and music labels, I encountered a quote that made me pause and wear my “deep thought face,” for a minute or two.

“TV has basically become the new radio. It is about exposure and making an impression.” Leonard Richardson, vice president of music at the CW network.

Record labels are dumb, but you can’t accuse them of not adapting. Having been burned by new ideas such as, oh, the internet, file-sharing, online purchasing and personal media players, the suits at the majors have in recent years been much more amenable to shifting the profit paradigms of their business.

Tapping into video games was a breakthrough for labels. On that front, DJ Hero has just come out, hoping to do for hip-hop and dance music what Guitar Hero did for rock and pop.

So what’s next? After a shaky start, FOX’s Glee has exploded into a unique cultural phenomenon. Columbia records, which signed an exclusive deal with the show and its performers, is now reaping the benefits of some low-risk-high-reward foresight. From the same Times article:

Neither Fox nor Columbia would disclose financial details. But Glen Brunman, soundtrack consultant at Columbia, said: “We are hopefully going to make history together… We felt (in January) that it wasn’t just a TV show but that it had the potential to be a pop culture icon,” Brunman told Reuters. “It is unique and it is an approach with a TV show that hasn’t existed in the past.”

First off, cutting through the hyperbole of the quote, isn’t Glee using the exact model Disney has used in its movies for ages and now has applied to musical teen series and Nickelodeon TV shows? But I digress.

Brunman makes a valid point. In terms of “television being the new radio”, Glee is indeed unique; it has taken the meta-commentary out of that sales concept and used it as a purposeful selling point, not relegating music to the background through subtle product placement.

The results are plain to see. The Glee soundtrack debuted at #4 on the Billboard 200 this week. Almost all artists covered by the show have seen sales spikes. I’m sure Wicked will see a similar effect in interest after Glee covered Defying Gravity last episode, and that’s great news for musical theatre in general. I will even admit that the idea of a touring Glee concert intrigues me. Slightly.

I’m as skeptical to the corporatization of art (on the theoretical level at least), as much as the next hipster-sympathizing internet talking head. But sometimes you have to give credit where credit is due. Buying a $200 plastic drum in order for your kids to fall in love with the Beatles almost seems like a monetary investment in culture. Watching Glee? Well, I like the show and enjoy the music. It’s almost a win-win.

My questions is then: have record labels found a system where the ends can justify the means? In other words, from an artist perspective, does the phrase “Selling Out” really carry any weight these days — outside of licensing your face for a lunchbox?

I guess we’ll all just have to stay tuned to find out.

That b*tch look’s fierce alie?

Cant Wait For the Video, On Your Screens VERY soon.

Clivilles & Cole house the living shit out of this classic vocal stormer. You know the vocal, you know the beats and this is where its from. Lisa Lisa & The Cult Jam is one of my classic guilty pleasures, commercially produced dance music from two of the biggest producers of the time. Awesome vocal, I defy you not to smile

From Discogs
The original track is amazing, and this remix is just as good, albeit in a completely different way. Instead of being a breakbeat-driven affair, C+C up the tempo to 122 and make this a classic deep house cut. For all intents & purposes this is a totally new track (the vocals are pretty drastically changed & the melody is completely different), but it is just as good as the original.

Beyonce’s “I Am… Sasha Fierce” has hit 3x platinum in the UK and is still in the Top 10.  Doing much better than I expected.

Congratualations B! , I love that pic

IMG|SOURCE: Amazon

Oh No She Didn’t. Lol Beyonce has been accused of song stealing once again but this time for Destiny’s Child’s hit “Cater 2 You”.  Check out the Federal Report Below:

 A Chicago songwriter copyrighted the song “Cater 2 U” long before Destiny’s Child came out with a song by the same name. The songwriter also says the lyrics are similar.

In dispute is a song titled “Cater 2 U” released by Destiny’s Child in a 2004 compilation called “Destiny Fulfilled.” The video features sultry scenes of the musical trio proclaiming: “Whatever you desire, I’ll aspire.”

But Chicago songwriter and performer Rickey Allen says it’s his song, and a judge has given the green light for a jury to hear his claims against Mrs. Jay-Z.

Allen first copyrighted his “Cater 2 U,” — with the same spelling — in the mid-1990s. He performed the song locally and updated the copyright three times, as recently as 2000.

Allen’s song is about “relieving the stress of a significant other, and getting them to relax.” He says Destiny Child’s version contains similar steamy lyrics.

When Allen’s song says: “I want to rub you down,” Destiny’s Child asks: “Want a foot rub?”

Allen’s lyrics say: “The tub has hot steam rising,” and “I’m waiting to soak your body through.”

The Destiny’s Child song offers to: “Let me run your bath water.”

“Do we say [Beyonce's] responsible for copying? Yes. But there’s no such thing as innocent copying, even if it’s unintentional,” said Allen’s lawyer, Matt Wildermuth. “The jury will decide the notion that these are simple coincidences.”

Allen says he passed a copy of his “Cater 2 U” to Chicago remixer Maurice Joshua, and the two planned to collaborate on a demo.

That never happened, Allen says. But Joshua later spent several hours in a session with Destiny’s Child recording a different song, according to court papers. Joshua says he never had a copy of Allen’s work.

Lawyers for the threesome say the case has no merit and asked that it be tossed.

It was Knowles who was the source for the idea of “Cater 2 U,” her lawyers said in a court filing.

“She is perhaps the most important witness for the defendants,” they said.

U.S. District Judge James Holderman has ruled there’s enough evidence for the case to go before a jury, pointing to Joshua as the link and saying it’s possible he could have provided a copy of Allen’s song before they released their hit. The trial was delayed once because of conflicts with Knowles’ schedule but is set for Dec. 10 [SOURCE]

Boyyy am I sick of posting negative stuff on B, but this is all I seem to keep hearing, NEGATIVE, NEGATIVE, NEGATIVE. I suppose it’s not such a big deal for other artist’s but when it comes to B who sooo wholesomely claims she writes her songs it is. It’s just like, why lie, why take another person’s money which is not due to you?.

Anyway likelihood is Beyonce’s team will have the case thrown out somehow, we’ll see how it unfolds.

Just So You know I hope it’s not true as Destiny’s Child was the one thing which I held to be real from B. I hope she dont let me down.

Motion City Soundtrack – My Dinosaur Life

I realize this is jumping the gun, but its never too early to get excited about new music from great bands. Though it took a few listens, I really fell in love with MCS’ last album, and obviously the two before were excellent as well. So you can imagine that I am looking forward to their next release, and first for Columbia Records, My Dinosaur Life. There are no announced formats for this record, but you have to assume at this point that we can expect a CD, vinyl and digital release. Well, at least that is what I am assuming!

]]> http://soulfoodpr.wordpress.com/2009/11/05/blues-soul-sharing-with-maxwell/ Thu, 05 Nov 2009 10:15:35 +0000 soulfoodpr http://soulfoodpr.wordpress.com/2009/11/05/blues-soul-sharing-with-maxwell/

The current issue of Blues & Soul features a rather excellent interview with Maxwell by Pete Lewis.

Check it out here:

http://www.bluesandsoul.com/feature/472/why_so_sad_maxwell/

Motion City Soundtrack’s fourth full-length, My Dinosaur Life, will be released January 19th via Columbia Records.

Motion City Soundtrack have revealed the details of their major label debut – My Dinosaur Life – through a post on their website www.motioncitysoundtrack.com today. It’s official, the album – produced by Blink-182’s Mark Hoppus and mixed by the legendary Andy Wallace (Nirvana, Sonic Youth, Kaiser Chiefs) – will be released on January 19th, 2010 on Columbia Records. In addition, they have released the final track listing for the new album and revealed the incredible cover art by renowned collectible toy artist Joe Ledbetter (www.joeledbetter.com) – also responsible for the entire album art.

01. Worker Bee
02. A Lifeless Ordinary (Need A Little Help)
03. Her Words Destroyed My Planet
04. Disappear
05. Delirium
06. History Lesson
07. Stand Too Close
08. Pulp Fiction
09. @!#?@!
10. Hysteria
11. Skin And Bones
12. The Weakends

Motion City Sountrack fourth studio album “My Dinosaur Life”  is due January 19th, 2010. Get stoked!

Click more for tracklisting.

Motion City Soundtrack第4隻專輯MY DINOSAUR LIFE於1月19日推出, 按read more看歌曲列表。

1. Worker Bee
2. A Lifeless Ordinary (Need A Little Help)
3. Her Words Destroyed My Planet
4. Disappear
5. Delirium
6. History Lesson
7. Stand Too Close
8. Pulp Fiction
9. @!#?@!
10. Hysteria
11. Skin And Bones
12. The Weakends

Missed Maxwell’s killer performance on Later with Jools Holland last week?

You can still catch the full show on the BBC iPlayer here: 

http://www.bbc.co.uk/iPlayer

Or … you could check out both songs Cold and Pretty Wings below:

Amazing, right?

Great U.S chart news for Maxwell – Pretty Wings continues to hold onto the top spot on Billboard’s Hip-Hop/R&B Songs chart for the 12th week!

Interesting note, Pretty Wings is Maxwell’s first #1 on the Hip-Hop/R&B Chart for 10 years!

Congratulations!

MAXWELL killed it on Later Live on BBC2 last night with an outstanding performance of Cold.

Check it out on the iPlayer link here: http://www.bbc.co.uk/programmes/b00npjgx

Can’t wait to see the full show on BBC2 this Friday Oct 30th at 11.35pm!

Also, anyone going to the live shows in Birmingham, Manchester or London this week, hit us back with your reviews!

Monk – Live At The Jazz Workshop, 1964
Thelonious Monk – piano. Charlie Rouse – tenor. Larry Gales – bass. Ben Riley – drums.

Thelonious Monk played his first San Francisco club engagement in October of 1959. According to all accounts, opening night (at the Black Hawk, one of the city’s two top-ranked jazz clubs) was close to a total disaster. In a complete reversal of the way legend has always typecast Thelonious, he showed up for work more or less on time – but he was the only one on the bandstand. The rest of his quartet never made it.

Well, actually Charlie Rouse, who had joined Monk almost exactly a year earlier and was to remain his constant working companion through the entire Columbia Records period, showed up for the second set. (His excuse was weird enough to have the ring of truth to it. Arriving in town that afternoon, and feeling quite travel-weary, he had checked into a YMCA near the club and took a nap that lasted quite a while longer than planned, having requested a wake-up call that for some reason was never made.) This was more than two years after Monk’s great breakthrough, when playing with the emerging John Coltrane at New York’s soon-to-be-legendary Five Spot had started him towards new heights of public acclaim. Nevertheless, the booking apparently only paid enough to enable him to take one sideman across the country. The Los Angeles bassist and drummer hired for the week showed up the next day, but it was no way for a great pianist to first encounter one of America’s great cultural centers.

I know all of this for a certainty because I was in San Francisco at the time. Actually, the only reason I wasn’t at the Black Hawk that evening was because I was recording not too far away – at the Jazz Workshop, where the young Cannonball Adderley quintet was taping a “live” album that would lead them to world-wide stardom.

(Major companies often having been slow to respond to the less obvious jazz forms of that day, both artists were then recording for my New York based independent label, Riverside.) During the week I had reason to learn that Thelonious was rapidly gaining an appreciation of the California city; I still vividly recall the day he took me to lunch at a family-style Italian restaurant in the North Beach area, where the staff greeted him affectionately.

Among the more important things that happened to Monk during the next few years were several returns to the jazz clubs of that city and the beginning of a long relationship with a major label. The latter move led to a much higher profile for Thelonious, including the same rare honor gained by fellow Columbia Records star Dave Brubeck – having his picture on the cover of Time magazine! In the fall of 1964, the two elements combined when Monk, this time carrying a full cadre of musicians, played successive engagements at the It Club in Los Angeles, and the Jazz Workshop in San Francisco, and Columbia elected to record him in performance at both venues. (Opening night in the City by the Bay was, without question, a much happier occasion than in 1959.)~

Of course there was a bit of maneuvering and inconvenience involved. Either economy or efficiency, or perhaps the schedule of Teo Macero, Monk’s designated producer at the label, dictated that the two chunks of location recording were jammed together – almost literally back to back. The band was recorded in Los Angeles on a Saturday and Sunday, the last two night of that stand, and then again further north on the first two of the next. (And Monk barely got time to travel – a good part of his off-day was spent in a Los Angeles studio cutting five numbers for a planned solo piano album.) It actually is a seriously bad idea to record right at the start of an on-the-road club date. The musicians haven’t yet gotten used to their new hotel rooms and how to get from the lobby to the job, let alone feeling comfortable and relaxed on the bandstand or in the backstage area, or accustomed to how they sound in the room.

But in addition to several better-known attributes, Thelonious Monk was a thorough professional, capable of working productively under almost any circumstances. It helped that he possessed limitless self-confidence – including both an instinctive faith in his own ability and the conviction that he had clothed his sidemen in the same invulnerable armor. And more than any other jazz artist in my experience, he seemed able to block out the influence of the tape machine, to proceed without appearing to be altering his performance to accommodate the requirements of recording. If you happen to be the producer in charge of the live recording session, this last quality is not necessarily a good thing. Usually – though perhaps not always – some adjustments should be made. Visual elements help make a drum solo more exciting; maintain audience interest for longer stretches of time, involve the viewer/listener more deeply through the charisma of an intriguing personality. But in constructing an album that will remain fascinating when deprived of any visual aids, it is not always possible to retain total reality. The most effective live recordings are often those that appear to be entirely natural and unrestricted, but actually are planned and disciplined. Monk was never particularly interested in or approving of simulation or compromise in connection with his music. (I have produced what I consider rather successful in-person Monk albums, but it certainly was far from easy.)

One striking characteristic of the body of music here is the lack of repetition. Aside from the set-closing theme, “Epistrophy,” only one number (“Evidence”) appears to have been played more than once a night. This much variety is certainly how Thelonious would have programmed an evening of club work, but it is definitely not the prescribed way to make a record. In the studio, standard procedure is to repeat a selection until you are satisfied, then go on to the next. Most club recording varies this only by not repeating anything immediately, but concentrates on limited repertoire and repeats almost everything in each new set – which in this era meant three or four times a night. This may partially explain why Columbia issued virtually none of the 1964 California live material for almost two decades – and then only chose to release a limited number of selections. And several of those had been trimmed in length to something closer to the duration of a studio recording, usually by drastic shortening or even elimination of bass and drum solos.

But in preparing the reissue versions of this material, I was fortunately not asked to prepare a ‘normal’ record. Instead, it could be something of more historical validity, could draw its real strength from being a valid recreation of how it felt to spend time in a club when Monk was performing. Basically this is a pretty complete recreation of what he played when the tape machines were rolling on each of his quartet’s first two nights at the Jazz Workshop. Some selections were, for whatever reasons, incompletely recorded, and there’s a good possibility that tape was not continuously rolling all the time. But this is whatever can be considered issuable from two nights of work. It seems clear that the audience for jazz records usually demands perfection in what emerges from the studio, but is quite prepared to relish quirks and imperfections in on-the-spot recordings. That works out particularly well in this instance. If what you are looking for in a ‘live’ recording is something direct and honest, possibly a little rough (as the artist recalls and reaches out for a number he may not have included in his standard repertoire for years), but never at all routine or standardized – if that’s what you have in mind, it’s hard to think of anyone better equipped than Thelonious to provide it. Via.

Orrin Keepnews – October 2000