Me My Head

On Thursday 3rd December an intimate and excitable rabble of Me My Head fanatics descended upon the Relentless Garage to celebrate the release of debut album Survival In No Man’s Land on MBM Records. As an expectant crowd enjoyed and endured respectively sets from energetic Italian four piece To Be Rhudes! and London based The Bridport Dagger, the electricity in the air was palpable and it was more than just the December chill sending shivers down the spine. This release has been long and eagerly anticipated by the band’s avid fans and the London boys lapped up the atmosphere and fed off the crowds’ energy.

Opening track Night Is On Fire was a raucus, thumpin’ New Wave masterpiece, delivered with pounding kick-driven drum patterns, rock-steady basslines, delay-doused pop hook guitar licks, synth riffs reminiscent of an 80’s Atari console, and spit-flecked vigour from frontman Charlie Moss whose well-deserved vocal pomposity and indie-swagger will draw comparisons to the likes of Harry McVeigh and Tom Smith. Further crowd pleasers Say It All and the epic White Lights displayed anthemic Pop choruses, infectious synth lines, and in particular with the latter, a guitar riff that will plant itself in your brain on constant ostinato loop – listen with caution. In short, these songs would be welcome echoing around the walls of far larger venues than the Garage.

A well-constructed and perfectly mixed medley of What Is Love? by early 90’s Dance act Haddaway and Poker Face by everyone’s favourite Pop diva Lady Gaga delighted the crowd, with Moss’s cracked and vulnerable vocals haunting and hanging ethereal in the air of the small venue. In a jocular and welcoming environment it would be easy for the lads to use a  cover as comic relief, so it was all the more enjoyable to witness this take on two tracks from almost 20 years apart taken seriously. Who doesn’t love a cover done well eh?

Me My Head owned the small stage for the duration of the seamless set, which was interspersed with bouts of well-constructed yet genuine banter. A professional performance then from a fantastic act, characterised by rolling thunderclap floor-tom massiveness, chugging bass drive, pop-hook Edge-esque guitar licks, delicate New Wave synth lines and anthemic vocal melodies. Like White Lies without all the death.. or a poppier Editors with more electronics, either way, check out the MySpace and buy the album. You wont regret it.

Apple spot interno – EasyPay

In questo raro spot (che Apple cerca di eliminare con tutte le sue forze, quando lo vedrete ne capirete il motivo) la casa di Cupertino (per la comunicazione interna) ha prodotto questa rielaborazione di What is love di Haddaway. Buone risate!

Nel lontano 2006 bisognava far familiarizzare i dipendenti della mela con il sistema EasyPay (che tra l’altro, orrore orrore, girava con un sistema Windows Mobile -pensate il colmo!-) e così venne commissionato questo spot interno.

La storia è breve ma divertente: una coppia di mezz’età va in un Apple Store e fa scorpacciata di prodotti ma la momento del pagamento partono cancheri e bestemmie per problemi tecnici.

Dal nulla balza fuori questo ingasato giovane, con tanto di occhialoni, sorriso e due patonzoline cinesi che gli ballano intorno: sulle trascinanti note di What is love di Haddaway diventa Maddaway e porta il verbo dell’EasyPay nel negozio, spiegando con disinvoltura e metrica azzeccata i vantaggi del nuovo sistema di pagamento.

Il risultato è a dir poco demenziale, con un gigante pos EasyPay che gode tra le due ragazze sculettando a tempo e la moglie del brav’uomo che lo prende a colpi di borsetta (stava guardando vogliosamente le due ragazze, iniziando a sbottonarsi la camicia).

Sicuramente una corporate song che non passa inosservata, decisamente il tentativo più tamarro di spiegare un nuovo sistema di pagamento, lontano anni luce dagli spot semplici ma efficaci del Get a Mac.

Concludiamo con una rassegna di spot seri, che hanno reso la Apple la grande società che è tutt’ora, con fatturati in forte attivo alla faccia della crisi. Buona visione!

Apple ADS* 1997-2001

*=ADS abbrevia Advertisement, pubblicità.

Marco

The other day, the radio played a fav song of my teenage years. The song in repeat mode and on max volume nearly sent my folks to the madhouse. I was thinking of a Malayalam equivalent and this is the closest I could come up with. But hey, if you have better thoughts, and more of an expert, let me know.

What is Love – Haddaway

Confusion Theerkkanamey – Summer in Bethlehem

Mr. Vain. Culture Beat 5.

What is love?. Haddaway 4.

3 a.m. Eternal. KLF 3.

The Power. Snap 2.

Ride On Time. Black Box  1.

Haddaway-What is Love?

Daca acum cateva zile am amintit de Shanon, azi m-am gandit sa scriu despre cel care ne-a incantat auzul cu “What Is Love”, adica despre Haddaway.  In acelasi timp imi aminteste si de clipul video amuzant pe aceeasi melodie in care apare Jim Carrey agitandu-si energic capul impreuna cu alti doi prieteni (preluat din filmul “A Night at the Roxbury”).  Dupa 16 ani de la lansare, hitul a evoluat de la eurodance la electro, pastrand insa elementele esentiale.

What is love?
Baby, don’t hurt me
Don’t hurt me no more
Baby don’t hurt me
Don’t hurt me no more

What is love?
Yeah

…because these are my jams.

YATTA!

Muzica de calitate!

Haddaway – What is love

Blackmore’s Night – Loreley

Parlament – E frumoasa foc

Mash-ups and remixes are spectacularly crazy and much of the time people are doing them in their own homes and getting them out to the people via youtube.  Sometimes the remix is even better than the original.  It’s not just professional djs anymore not that the pros are slacking.  Here are some of my favs pros and not.

Robin Skouteris  Madonna VS Lady Gaga VS Pitbull, Robin Skouteris VS Nirvana, Cyndi Lauper VS Missy Elliott 

LMFAO  Love LockDown Remix, Shooting Star  I think both are better than the original

SoBraLiajdyjonkt Shakira/Ciara/Justin Timberlake/Lady Gaga/Pitbull

Justice  Electric Feel, Genesis

imbastardbob Wolf Game, Love is a Circus, I kissed a girl from miles away Sometimes Songs go with other music.

I have a few more I’m going to talk about soon.  Tell me what you think about these and name some of your favs.

Kagehime

Life, Life will never be
Life, Life will never be the same

Time is getting cold
What is going on?
What is on your mind
Are your feelings gone?

Need to see it clear
Where do we go?
Why are you doing things,
All the things you do?

[REFF]
Life will never be the same
Life is changing
Life will never be the same
Life is changing
Everybody needs somebody to love, to love
Everybody needs somebody to love, to love

In the name of love
You should draw the line
Got to feel secure
That you’re still mine

[REFF]

Life will never be the same
Life is changing

[REFF]

W listach do redakcji pytacie, jak rodzą się internetowe memy. Odpowiedź jest prosta: powstają w dziale marketingu Microsoftu. Wykonuje się je z użyciem Photoshopa i wkleja na oficjalne strony tej przesympatycznej firmy. Najnowszy mem Microsoftu nazywa się What is Love/Czym jest miłość.  Historia jest taka…

Microsoft ma nową (jedną z…) stronę internetową. Ponieważ to  firma globalna, ich strony mają lokalizacje językowe. Poniższe dwa obrazki prezentuja wersję amerykańską i polską. Ale podpowiadam, że nie o język w tej nowej zabawie idzie. Znajdźcie, czym różnią sie te dwa obrazki i dlaczego…

Różnicę chyba widać czarno na białym.

Oczywiście, w pierwszym odruchu też pomyślałem, że to nie są prawdziwe zrzuty ekranowe tylko kawał. Jednak serwis Mashable donosi, że Micorsoft już oficjalnie przeprosił za niezręczną wpadkę z wyszopowanym Panem Afroamerykaninem. Oni się tłumaczą tak: to jest lokalizacja strony, a w Polsce nie ma zbyt wielu ludzi czarnoskórych.

Dobrze, kupuję to wyjaśnienie. Tylko dlaczego nie użyto obrazka prawdziwie polskiego? Dajmy na to, takiego gdzie ludziki z notebookami  siedzą w łowickich strojach, a za oknem mają Zakopane. To byłaby dopiero lokalizacja! A tak – przecież nadal widać, że za oknem ich biura niePolska się rozpościera.

Albo: dlaczego nie użyto po prostu innego obrazka z biurem? Wygląda na to, że Pan Afroamerykanin został ze zdjęcia wyszopowany w ostatniej chwili, kiedy wszystko było zatwierdzone. Bo chyba nie z oszczędności ktoś sobie zadał ten trud.

Nie sugeruję, że Microsoft kierował się jakimś rasistowskim myśleniem.Tym bardziej nie sądzę, żeby Microsoft chciał z kolei zasugerować, że Polacy to rasiści. Wątpię nawet, że to powstało w samym Microsofcie. Ale pytanie pozostaje: dlaczego ludziom odpowiedzialnym za wizerunek, sprzedaż (czy co tam jeszcze) przyszło do głowy, że lepiej Pana Afroamerykanina z fotki wyciąć?

Nie sądzę, żeby słyszeli o pewnym szefie polskiego imperium medialnego, który wita czarnoskórych staropolskim pozdrowieniem: a gdzieś ty się chłopie nie mył. Ale z drugiej strony Polska raczej nie kojarzy się z tolerancją. I widać ktoś się wystraszył, że może sofcik z Murzynkiem nie będzie się tak dobrze sprzedawał, jak powinien.

W tym nowym Microsoftowym memie tkwi jeszcze jedna zagadka. Mashable pyta : dlaczego usunięto czarnoskórego, a Azjata (po lewej) jednak się ostał? Moja teoria jest taka: w Microsofcie myślą, że Polska to jest kraj położony w Azji.  A sprawdzić nie mogli, bo im tam nie wolno używać Google Maps. Google to jest konkurencja.

Ale mnie i tak najbardziej śmieszy coś innego niż wpadka z fotoszopem. Bawi mnie samo hasło reklamowe: What is Love. Jest to kolejny dowód na kompletny brak kreatywności i rozeznania u ludzi z Microsoftu. Bo What is Love kojarzy mi się tylko z jednym: ze starym letnim hiciorem klasy be, który na pewno przypominacie sobie z nadmorskich lodziarni i wypożyczalni kajaków na Mazurach./hlb/

What is Love. Haddaway

It struck me this week that I’ve not really tried to properly describe Georgetown on this blog since I’ve been here.

It’s a hard place to pin down. It’s on the Caribbean coast but the sea is brown and the beach litter strewn. We’re in South America but the two main ethnic groups, Indo and Afro-Guyanese, both speak a Creolese flavoured English. It feels like an old colonial capital, yet with the myriad wooden houses on stilts and long wide streets there’s a real whiff of the Deep South about the place.

There are no shades of grey, however, in one aspect of Georgetown – the noise. It is an incredibly noisy city. In a good way.

From the constant beeping of minibuses and taxis, the thud of chutney and soca music, locals bantering in the street – and occasionally shouting ‘white man’ at me – there is rarely, nay never, a pause for calm. I love it. And when the sun goes down the clamour of the city doesn’t let up – the hum of crickets and yelping of stray dogs your sleeping soundtrack.

So, partly inspired by Chris’s guest blog on the Sounds of Guyana on the My Place Or Yours site and my love of sound clips (I also recently discovered a sound recording function on my camera) I decided to try to record a few memorable sounds and things that caught my ear. What follows is a six minute hotchpotch I’ve quickly spliced together in Audacity featuring, among other things, local radio in minibuses, Creole chatter, wildlife – i.e. stray dogs and kiskadees – and a quick introduction to dominoes.

Apologies for the odd sound pop – my recorder isn’t great – and Chris’s drunken musings during Haddaway (remember that one?!)… too good not to include.

Georgetown sounds mp3 (click to play / right to click save as).

A short history regarding the influence of electronic music in my life.

Forward: This post has been published as much for myself as for you. For some reason I found it important to capture my feelings on this subject and publish them. Thus, it’s my great pleasure to document them in public for your consideration. As per the motivation for this blog, I enjoy the discretion and ultimate finality of subjecting my thoughts for criticism, therefore you are an important judge of my ideas, or a witness to my madness, however you choose to interpret your role. This post is over 2700 words long, so grab something to eat, a drink, and enjoy.

I had a ‘moment’ a couple of months ago. A defining moment of burgeoning reflection. I had been asked what drew me into the electronic music and DJ scene – a music and community that has carved a permanent niche in my psyche. It gave me pause when I was asked this, not because no one had ever asked me before, but because of the genuine interest, coming from a person who knew me before I got into it and knows me since.

I have asked myself this question before, because it has perplexed me at different points too. See, I’m not an enthusiast of any other kind of music whatsoever. Sure I “like” other music, but the sheer span of distance between my almost organic and intrinsic passion for electronica versus my modest-at-best enjoyment of any other genre is enormous. I don’t think they’ve built a bridge that long and tall yet. I also invested heavily into the music in every aspect, including, for a time, it’s culture. I have had my wonderful wife along for much of the ride, and she’s provided me balance and steadiness throughout. I’m forever grateful to her for our partnership.

So the story goes something like this:

My affinity for electronic music started before I even knew it. At the turn of the nineties I was a big fan of the likes of MC Hammer, Snow and Vanilla Ice (yes, I’ll admit it). I was just a young lad at the time, barely a teenager. I recall many nights staying up well past my bedtime, huddled under my sheets and listening to Calgary’s late night radio – AM106 and their nightly “Top Ten at Ten.” MC Hammer’s “U Can’t Touch This” was a hit then – it aired most nights and I loved that song and those like it. Being so young, I didn’t buy a lot of music, except for the odd cassette tape. Couple that with other priorities in life like school and friends and such, musical discovery took a serious back seat.

A year or two later, MC Hammer started being replaced on the Top Ten at Ten by Pearl Jam, Oasis and Smashing Pumpkins, all of whom I despised. Well not them, but their music. I’ve never liked rock n’ roll. I continued to buy the very odd tape and CD, including MuchMusic’s Dance Mix ‘94 and ‘95, which included tracks by the likes of Enigma, Reel 2 Real, 2 Unlimited, Technotronic and Haddaway. With the dissipation of my favorite tunes on the radio, however, and with music not being particularly important to me at the time, nor knowing what to look for in the music section of CD stores, I stopped listening to music nearly altogether between 1995 and 1996. I was music-less, and over this period I grew to understand and appreciate that something was lacking.

I was in my grade 11 year in 1996, and, like any other band student (I played tenor saxophone), was reliably found in the band room most often, especially for practices. One day, a fellow band student happened to play something on the band room stereo that caught my attention. It stopped a conversation I was having. It was nothing like I had ever heard before, and entirely perfect to my ears. The song had flowing melody, haunting synth, and huge, rolling bass lines. I asked him to play it again, and again, until the other students protested. Turns out the track – Consensual Worlds – was on a CD called Semantic Spaces by Canadian duo Delerium. What was this I was listening to? I was decisively and unquestionably enamored. I couldn’t get it out of my head. I bought that CD in short order.

My dad took an interest in Delerium as well – whether for his own enjoyment, to share in my enthusiasm or because we only had one stereo in our house, I do not know, but the two of us listened to their music quite a bit together. It certainly helped that my Dad had a kick-ass stereo system, including a PSB sub woofer the size of a coffee table in our living room. I can viscerally remember my Dad driving me to an early morning dentist appointment before school one day. Sitting in the chilly car in the parking lot of the shopping centre the dentist’s office was in and holding a brand new copy of Delerium’s second release – Karma. I remember peeling off the plastic wrap and inspecting its contents. This new album contained collaborative material with the likes of Sarah McLachlan and the famed original version of Silence.

You know, it’s hard to conceive of a time before the internet; before the likes of Google, iTunes and Discogs.com. Back then, if you found music you liked and wanted more, you were hard pressed to find it, unless you happened upon a music store employee who understood what you were looking for. It wasn’t entirely my fault that it was taking this long for me to fully understand the music I had always been growing in love with – there weren’t “electronic” sections in the music stores yet. Delerium, for example, was routinely found in the “alternative” section, amongst Weird Al Yankovic and books on tape. How archaic. And it was for this reason that I slid back into a fog of musical apathy and unknowing for another period of time.

Heading to university in the fall of 1997, music had once again taken a back seat in my life. I was going away to school – to the University of Victoria. I was legally still a minor in my first year, only 18 in a province where bars admitted 19 or older. I hung around with friends who were fans of all sorts of music, but not dance music. My next door neighbor in residence was trying hard to be seen as a hardcore snowboard fanatic, and therefore had punk and hard rock playing constantly. I can’t tell you how many times I heard Pennywise’s Bro Hymn get played. I even learned how to play it on guitar.

In second year I became more cognisant of my musical tastes, yet still unaware that Delerium represented an entire genre of music that I would come to enjoy. While one friend constantly belted out U2, whom I enjoyed most of the time, another friend named Cliff introduced me to trance – a style of electronica that could be labeled dance music. He had big and horribly commercial box sets called something like Best Ever Trance 1, 2, 3 and 4. In my ignorance I rather enjoyed these, or at least a few songs on each CD. I wasn’t sure what I was listening to, but I do recall borrowing them from him on several occasions. Around this point I was somehow introduced to Robert Miles, who had recently released his famous album, Dreamland. I soon bought it.

On a fateful evening, after one of the most calamitous days of my life, Cliff and his friends took me to the bar to decompress. The bar was Evolution and a DJ from Seattle named Donald Glaude happened to be spinning. This was the first time I’d ever seen a real DJ mixing records. Despite really enjoying the music, I couldn’t understand what he was doing. He was frantically turning knobs, moving needles and changing records, but none of his actions seemed to correspond in time with the music. And what were his headphones for? I didn’t get up and dance, rather I sat back and watched from a relative distance.

In my 3rd year, circa 1999 turned 2000, I could often be found at Vertigo, the campus nightclub, each Thursday night, if not more often. Vertigo had a great sound system and was an altogether great club – one of the best in Victoria at the time. Meeting friends, hanging out and struggling to improve my consumption tolerance was the order of the day each time out, and I was having a blast. It was a relatively drunken stupor, one evening, that drew me up to the DJ booth to introduce myself to the guy on the decks, DJ Mischiff, aka Adrian. I wrestled my way through the girls to tell him how much I liked what he was playing and to buy him a drink. I really did enjoy what he was playing and told him as much: his top 40 club tunes were way better than the other bar’s top 40 (this is where you insert tongue into cheek). Jason Nevins’ and Run DMC’s “It’s Like That” was a favorite, as was Daft Punk’s “Around the World,” and Mischiff served them up tactfully and liberally to the masses every night. I asked Adrian if I could hang out on occasion and watch what he was doing. Truth be told, this was more of a strategy to beat the line-ups and avoid cover charge than pure Catholic interest, but I can only say this aloud now because the results superseded the motives (sorry none the less, Adrian). He said sure, and not long after, I was hanging out with him three nights a week. Adrian was, and probably continues to be, a genuinely nice guy and eventually he mentioned that I ought to show up at the beginning of the night, because that’s when I would maybe get a chance to try my hands on the CD decks. So I did.

I began routinely arriving at about 8:30 pm on Thursdays. This was when Adrian was provided the freedom to play what he really liked – all sorts of deep, dark and moody atmospheric tracks that didn’t have club vibes or lyrics, but shook the foundations of the building. The rhythms were reminiscent of African tribal beats. Reminiscent, in fact, of one of my Dad’s old albums – Paul Simon’s Graceland, which I remember enjoying a lot in my early years. Adrian would tell me that this was the sort of thing that he enjoyed listening to the most, but that he could only play at the beginning of the night. When people started to file in, he had been told several times by the manager to switch to club tunes because that’s what people wanted and that’s what people were drinking to. A couple of fortuitous club nights later in the year, and having discovered this new taste in music with friends and roommates, I became compelled by this music that satisfied every bone in my body.

By the time my third year ended, I moved home to Calgary and informed my parents that I was saving up for a mixer and turntables over the summer, despite literally never having touched a turntable before (club and radio DJs traditionally used push-button cd decks, while electronica DJs used vinyl and turntables, until turntables moved to digital beginning about 2002). And, as many people know about me, for better or worse, I followed through. The rest, I suppose you could say, is history (or at least another post for another time).

I’ve always thought of electronica as a beautiful collision and symbiotic relationship between rhythm and melody. Some sub-genres, specifically house, but also techno, drum and bass, and electro skew more towards rhythm, while others such as trance, ambient and chill tangent more towards melody. I find that progressive house and the now nearly-evaporated sub-genre of progressive trance are more down the middle. So what does this music do for me that is so consuming? I’ve tried to figure that out, and here’s what I have concluded so far:

The repetitive principle of electronica, the methodical progressions in tempo and the gaining and receding layers of complexity are the most compelling elements. They allow me to melt within each song and consider its environment, rather than pay attention to a lyric or a musician. Similarly, the 4:4 rhythms of both 4:4 beats and breakbeats provide an exotic, if not ancient foundation upon which the tapestry of this futuristic music is woven. And despite the similar tempo and drum beats incumbent on nearly every electronica track, the variations and variability of each track is nearly unlimited. It’s a juxtaposition – the entire genre of electronic music shares commonality across its spectrum, and yet the opportunity to be wildly different is perhaps unparalleled versus other genres in music. Why? Partly because electronica is entirely that – electronic. Instruments and drums are actually sampled sounds which are then placed into a music program from which a song is built. The lack of live instrumentation or performance confounds some people, including my dad, who enjoys music as a performance art. I, on the other hand, see the electronic and artificial aspect of the music as offering a limitlessness in its possible composition.

With pop music, for example, the formula has become almost predictable. I would suggest this is because there are far greater limitations in how pop music songs and those of other live performance genres can be written, played and scored based on the reality of the limitations and imperfections of its musicians and those faced in real-time performance and recording. This isn’t meant to knock live music; live performance is an art in itself that I appreciate. The thing about electronic music is that the final product can be written and assembled with flawless execution over countless hours, involving any degree of complexity or simplicity. In no other type of music are composers so scrutinizing.

The attribute of electronica that I appreciate the most is that it provides the most direct path to the genius of the composer, being that there are minimal instrument and live recording limitations. I think it’s a luxurious position to be in for an electronica composer to know their kick-drum will be perfectly timed and produced each and every beat. I should note that I fully respect both live instrument performance and electronica (and the hybrid – no pun intended – of live performance electronica); it’s just that I enjoy one more.

I also have a great respect for the DJ (to clarify, ‘underground’ or performance DJs, not radio, wedding or bar DJs) – he or she who combines tracks of their choosing to provide a different performance art aspect to the electronic genre. Consider someone who can compose their own concert based on other peoples’ music, or their own, and deliver an experience that is entirely different and unique than if one had listened to the same music in a different order or as songs by themselves, qualified by their skill and measured by your real-time perception. Not unlike a painting: every piece of art is derived from the same palate of colors, but the end results are so completely different. The canvas of music is unending, and the entire musical experience incorporates layers and fluctuations of tempo, intensity, and volume over a short or very long period.

Long after I’ve stopped DJing, my love for this music remains unwavering. That said, the direction many of my favorite producers and DJs have gone in recent years (since about 2005) has disappointed me quite a lot. Many of my idols are now playing musical styles unrepresentative of their earlier years, to an audience who I am not sure truly appreciates it. To me at least, today’s electronica for the most part does not carry the same meaning as it did at the turn of the century. Whether or not this is symbolic of the direction of the genre as a whole, I don’t know, but my enthusiasm for finding new artists is lacking and that’s having an impact on finding new music to enjoy. Fortunately I have many great friends who continue to toil their trade and provide me with just that little bit of kick to get me through my days. Thanks to each of them and all of my influences along the way.

She really turned the early 90s’ dance floor stomper into a deep and eloquent ballad. If you ask me, it should have been on the album, but I hear it’s on the set list on her live shows. She is really growing on me. Bible Belt is one of the best albums of the year. It’s vintage without trying to hard, soulful but without overproduction or vinyl scratches for authenticity, a la Christina Aguilera.

झूठा ही सही…

Hmm, ja rozumiem fuszerkę i przeróbkę twórczości własnej, ale tak cudze kompozycje kraść?!
/Hmm, I understand botch-up and remaking own creativity, but stealing someone else?!/

Ace of base – All that she wants

The Buggles – Video Killed the Radio Star

AR Rahman – Chaiyya chaiyya

Black Eyed Peas – My humps

Toto Cotugno – Italiano Vero

JTL – My lecon

Jeanette – Porque te vas

ABBA – Take a chance on me

Ricky Martin – Jaleo

Blue - One love

Sasha – I Feel Lonely

Haddaway – What is Love?
[The Genleman]
Michael Jackson – Smooth criminal

Jose Feliciano – Listen to the falling rain

this video is EPIC

Turbo B This summer some very famous acts from Bulgaria have made a nice collaborations with world known artists which brings them more international popularity.

The most explosive combination is between the rappers duo Rumanetsa & Enchev and Turbo B from Snap! Rumanetsa is a half romanian-half bulgarian and Enchev is a natural bulgarian singer.

Turbo B was their idol with his unique rapping style and thats why when they met him at a concert in Bulgaria, they reffer him an old tape to listen. The US star loved the music and agreed to do a new vocals to it.
So the new hit Don’t Cha Know was born. These guys invited the Holland singer Miss Romagna from the band R.O.O.M. to join them and put some sexy vocals. The single entered the bulgarian radio charts last week and will be released later as a maxi in America, Holland, Turkey and Romania.

DON’T CHA KNOW

Info by Krassik (http://musicexpress2000.blogspot.com/)

Haddaway ’s hit single “What is love” was remixed by the german dj Klass and was released on 27th July.

Here are the track list of the single:

1 What Is Love 2K9 (Klaas Radio Edit)
2 What Is Love 2K9 (Klaas Impact Mix Edit)
3 What Is Love 2K9 (Bodybangers Remix Edit)
4 What Is Love 2K9 (Spinnin Elements Remix Edit)
5 What Is Love 2K9 (Cansis Remix Edit)
6 What Is Love 2K9 (Klaas Club Mix)
7 What Is Love 2K9 (Klaas Impact Mix)
8 What Is Love 2K9 (Bodybangers Remix)
9 What Is Love 2K9 (Spinnin Elements Remix)
10 What Is Love 2K9 (Cansis Remix)

More infos here

DeepZone The bulgarian dance band released their 4th single called “Summer is Here” soon will be released and on Toco International compilation all over the Europe. For more infos check Deepzone site

Thanx for the infos to Krassik

This week’s Video of the Week poses a very big question .  .  .

What is Love?

There seem to be so many answers to this question.  I have often thought about an answer for myself.  The best that I can come up with is this:

Love is the willingness to be vulnerable towards someone you care for very deeply.  It comes with the hope of being blissfully happy,  of connecting completely with another human being, and of tender intimacy.  Conversely, it comes with the risk of getting hurt and possibly losing more than what you willingly came with.

I’m not sure that I fully know the answer to this question because I don’t think I’ve found love yet.

This week’s featured video is footage of fellow pianist Diane Birch performing her rendition of the early 90’s dance hit “What Is Love” by the group Haddaway.  I love the original, but Diane’s version is hauntingly good.

Hear it for yourself .  .  .

Diane Birch has just released her major label debut album “Bible Belt”:

She’s a southern girl with a rich, gospel/soul-tinged voice.  To find out more about her, feel free to visit her official website:

http://www.dianebirch.com

If you know what love is, feel free to leave a comment and tell me.  I’m curious to understand what others have come to experience.

Happy Friday!

-g