oh nooo, not another project with me & mario christofferson (aka dub mars) again…you might think..:)
oh yees, here we go with our disco/electro house project ‘ORDNUNGZAMT©’, which was born in 2006 and today it´s into sleep-mode.
we made a bunch of crunchy housy tunes which we packed together as a digital-only-release named ‘CTRL’ which is available in my little mp3-shop. feel free to check that out.

here we go with two tunes of us that we give away for free:

first one is a bootleg-version from a cover/remix we did of one of our favourite songs by robert palmer.
check out ‘z3r741n7y’ and do it quick – only available for a short time!!

ORDNUNGZAMT© – z3r741n7y (Bootleg Radio Mix)

second choon is my hell g. remix of ‘z3r741n7y’ featuring our former 7 Days Awake-singer mario carlucci on the vocals – more electro & more pumped-up!
enjoy the stuff!

check ORDNUNGZAMT© on MySpace!

"My Soul: A Self-Portrait"

Don’t the trees look like crucified thieves?
–Warren Zevon, “Desperadoes Under the Eaves”

Hey, guess what? The Daily Wrazz is a year old! Hey, guess whatter? This is my hunnert post! Even with dismal math skills, you’ll quickly deduce that my blog hardly qualifies as “daily.” But with a considerable graveyard of ditched verbiage in my digital past (I bore so easily — myself and others), the fact this sucker still exists is a monumental achievement.

Especially when you consider that every year at this time I sit and calmly await the onset of my annual melancholy. Well, that’s what I call it, but to be honest I’ve never been able to differentiate between melancholy and sloth. But it hits like clockwork every winter. Back when your roving scrivener was ankle-high to an AP History textbook, this would usually be the time my grades started slipping. I’d lose interest in scholastic regimen and let my homework fester like a PBJ forgotten atop a radiator. My responses to test questions — even the essay portions at which I excelled (flush am I with B.S.) — may as well have been glum variations on “What’s the use?” Compounding that was a heart heavy with pant and pine as I’d gaze into the living-room fireplace, wondering what it’d be like to unfasten a brassiere in its erotic crackle.

I don’t know what causes it. Perhaps it’s the trees, stripped of their loveliness, dead to me, dead to us all. Perhaps it’s the puffy winter garments that turn me into a bloated potato, or the harrowing conditions I face as a lowly pedestrian when God spits ice down my block, coating every surface — even candidates for necessary balance — in embarrassment and pain. Also, I’m not a big fan of white everything, or the threat of white everything. Give me a gush of visual variety besides the numbed crimson of misery-laden cheeks (what an optimist calls “rosy”).

The sad thing is that I’ve no real reason to be sad. I’ve a steady job with a reasonable income, something I enjoy doing. Plus, I received two additional potentials today that please me greatly as an unrepentant capitalist. God, did I wanna blow some cash at the news. I compromised by dropping ten on a used copy 0f the late Robert Palmer’s (no, not this one) Deep Blues, which joins other tomes on my shelf of inspiration. Best of all, I have clean clothes for tomorrow, which is nice, considering I’ve slipped into the same dress shirt and high-school athletic tee two days straight. (That, I think, is the lazy part. Perhaps a shave’s in order too.)

The First Thanksgiving: So the Indians sat at the kids' table?

Even better: Thanksgiving lands next week. A most welcome respite of family interaction, wooly sweaters, acres of gravy bleeding through dark-meat dams, banter swimming through the pumpkin-cinnamon air, and, most importantly, leftovers, so’s I don’t gotta visit the 7-Eleven to fuel nocturnal scribbles. (NOTE TO SELF: Pitch to the empire a Cranberry Sauce Big Bite, drowned in gravy and stuffing chunks ’stead o’ gross, goopy chili [Stove Top squirts 'stead o' starchy bleats].)

Then, with the gobble growing rear-view faint, I can bust out the Christmas music proper: Dean Martin, Twisted Sister, Bootsy Collins. In the holiday spirit I could ask my father to loose the Cory Frye Archives, particularly my long-lost Screaming Santas EP, with its ever-so-festive rendition of Big Star’s “Jesus Christ.” Maybe I’ll excavate enough space in my apartment rubble — now that I’m finally making enough to afford it without my savings account giving me the finger — to park a Douglas fir, along with presents and flocking and sprinkles of glittery white shit I’ll be vacuuming up and blasting off socks ’til June.

Better yet, to make a little coin on the side, I’ll install a bad-ass speaker system and transform the whole of my lair into an exclusive club. Nothing snuffs wintry sadness like the Hustle, a VIP room and a humidor. But, then, what kind of cover should I charge? Should I make exceptions for acquaintances? Will crashers exploit my natural sympathy, tug at my conscience with pleas of “But it’s Christmas!”? What kind of world do we live in when your fellow man and even your closest friends are willing to take advantage of your hospitality like that? And since department stores hail the coming yuletide as far back as August 16, does that mean I’m up to my eyeteeth in freeloaders five, six months out of the year? Whatever happened to peace on earth, good will to men? Those fucks! Those evil pricks! You know what? Shit on Christmas, piss on winter, and butt-jack that fat, jolly consumerist propoganda icon with the fossilized remnants of our moribund American economy! Aw, hell, I’m gloomy again.

Claro, si con estos tiempos es tan común “inspirarse”. ¿Ó es meritita coincidencia?

Breaking radio silence temporarily, but I was asked by my father to do a light bit of promotion for his joint photo gallery presentation, Musicians In Print: A Photo Flashback Documented by Beth Trepper and Georg W. Purvis III, to be held at the Tyme Gallery in Havertown, PA. The opening reception is on November 13 (less than a week from today), and runs until December 8, 2009.

The photos were taken by my father in the ’70s and ’80s, and may have been done so less out of artistic desire and more as a reminder to what actually happened. (Obligatory “If you remember the ’70s, you weren’t really there” joke.) Some of the bands and musicians include Little Feat, KISS, Rory Gallagher, Jeff Beck, Jackson Browne, Renaissance, Emerson, Lake & Palmer, Warren Zevon, Robert Palmer… the list goes on.

Here are a few websites to check out for more information:

Tyme Gallery

Georg W Purvis III Photography

And here’s all the information from the back of the invite, in case you didn’t get it:

Tyme Gallery
17 W. Eagle Road
Havertown, PA 19083
610-853-1215

Tyme Gallery Proudly Presents:
Musicians In Print: A Photo Flashback Documented by Beth Trepper and Georg W Purvis III

Opening Reception:
Friday, November 13, 2009
5 00pm – 9 00pm

Exhibition Dates:
November 13 – December 8, 2009

Framed prints, matted prints, gift cards, and books of this exhibit will be available for purchase, just in tyme for Christmas.

We cruised along Mulholland Drive last night from Encino to the 90068, the Hollywood Hills to our destination over looking the town.

If you haven’t seen the titular David Lynch movie, there may be something wrong with you.

Funny thing is, my friend Bryce, NYC photographer extraordinaire, went to the party destination the night before, thinking it was the right evening. Instead of the party house, he walked into a dinner party at Kyle McLaughlin’s home- star of many a David Lynch projects like Twin Peaks.  Talk about a LA experience.

If you know Lynch’s work- then we have no body switching to report to you than this bit of serendipity way above the sparkling lights of the city.

Here is what we did get into with @SuiteCaroline @Teigehertales @timbannock  @laurienlandry and @bryce_ward and Lil Ashley and Will.

Gashley & The Ghouullls gonna rock YOU.

Ash made that latex tentacle. Caroline is Edie Beale from Grey Gardens. Alissa is a Robert Palmer girl. Topie is Edgar Frog, vampire slayer from Lost Boys.

Tim & Laurie as Zombie Romeo & Juliet

Willy Bones as Willy Wonka and She-Devil

Alissa gettin’ down w/ L.A. (Lil Ash)

Happy Hallowienie to you all (insert Vincent Price laugh here)*

Robert Palmer

Addicted To Love

Robert Palmer – Addicted To Love

Robert Palmer- Addicted To Love

Robert Palmer – Addicted To Love

Robert Palmer Addicted To Love

Robert Palmer – Addicted to Love

Your lights are on, but you’re not home
Your mind is not your own
Your heart sweats, your body shakes
Another kiss is what it takes
You can’t sleep, you can’t eat
There’s no doubt, you’re in deep
Your throat is tight, you can’t breathe
Another kiss is all you need

Whoa, you like to think that you’re immune to the stuff, oh yeah
It’s closer to the truth to say you can’t get enough
You know you’re gonna have to face it, you’re addicted to love

You see the signs, but you can’t read
You’re runnin’ at a different speed
Your heart beats in double time
Another kiss and you’ll be mine, a one track mind
You can’t be saved
Oblivion is all you crave
If there’s some left for you
You don’t mind if you do

Whoa, you like to think that you’re immune to the stuff, oh yeah
It’s closer to the truth to say you can’t get enough
You know you’re gonna have to face it, you’re addicted to love
[ Robert Palmer Lyrics are found on www.songlyrics.com ]

Might as well face it, you’re addicted to love
Might as well face it, you’re addicted to love
Might as well face it, you’re addicted to love
Might as well face it, you’re addicted to love
Might as well face it, you’re addicted to love

Error: Break shortcode syntax invalid

Your lights are on, but you’re not home
Your will is not your own
You’re heart sweats, your teeth grind
Another kiss and you’ll be mine
Whoa, you like to think that you’re immune to the stuff, oh yeah
It’s closer to the truth to say you can’t get enough
You know you’re gonna have to face it, you’re addicted to love

Might as well face it, you’re addicted to love
Might as well face it, you’re addicted to love
Might as well face it, you’re addicted to love
Might as well face it, you’re addicted to love
Might as well face it, you’re addicted to love
Might as well face it, you’re addicted to love
Might as well face it, you’re addicted to love
Might as well face it, you’re addicted to love
Might as well face it, you’re addicted to love

The Twelve Characteristics of Sex and Love Addiction

Eddie Money – No Control (My Addiction)

Jay Babcock at Arthur magazine has information about an upcoming documentary about Robert Palmer (w/video trailer) and his time spent with the Master Musicians of Jajouka. To coincide with Blues & Chaos, an upcoming compilation of Palmer’s work.

Mistress Lyn at your service with a few songs to scare the hell out of you, some that are just plain silly and all of which celebrate Halloween. Welcome to the dark side.

We opened the show with THE GRAVEYARD BY MOONLIGHT, a spine-chilling instrumental piece from one of the most commercial goth bands out there, Cradle of Filth. Then it was a track that can either be seen as very creepy or extremely silly (or both): HOUSE OF 1,000 CORPSES, from Rob Zombie’s album The Sinister Urge. Named after Ed Wood’s 1961 film of the same name, Rob used the track as the opening credits for his own horror flick, made in 2003, also called HOUSE OF 1,000 CORPSES. Check out the trailer for the film which looks like my favourite kind of horror film – very dark and extremely camp.

We caught our breath with Talking Heads’ deceptively funky PSYCHO KILLER, with lyrics that get into the head of a serial murderer. And then it was The Specials with GHOST TRAIN. More a political statement than anything, but still very creepy.

Nox Arcana’s BRIDES TO DARKNESS is from their Transylvania album and is the band’s tribute to the most famous and influential of all vampire novels, Bram Stoker’s Dracula. 

Screamin Jay Hawkins is absolutely hilarious when he splutters out  I PUT A SPELL ON YOU. Recorded in 1956, Hawkins has been reported as saying that he was so drunk when he recorded the song, that he can’t remember doing so. I believe him. Then it was a more controlled Bo Diddley with BO MEETS THE MONSTER, followed by Jazz singer, Herb Jeffries with THE DEVIL IS A WOMAN. Jeffries sang for many years with Duke Ellingon and this track, which was recorded in 1953, is on that crazy list of songs that was banned by the BBC. Go Figure. 

We couldn’t leave out MONSTER MASH by Boris Pickett and the Cryptkickers, now could we? But the need for real Goth was overwhelming and who better than Concrete Blonde with BLOODLETTING (THE VAMPIRE SONG) from their Still in Hollywood album. Excellent.

There’s lots of spooky music associated with the Blues: Howlin’ Wolf warned us about all the EVIL that’s goin’ on out there and Blind Willie Johnson condenses all of human misery into a wordless, incomprehensible moan in DARK WAS THE NIGHT, COLD WAS THE GROUND. It was up to Otis Spann to elevate our mood with IT MUST HAVE BEEN THE DEVIL followed by the equally rockin’ Leon Redbone with THE WITCH QUEEN OF NEW ORLEANS.

I resisted the urge to play Michael Jackson’s THRILLER because I think we’ve all heard a lot of it lately. But there’s one of his that doesn’t get as much airplay and that’s GHOSTS. As usual, he knew how to make a great video:

More silly than sinister is David Bowie’s SCARY MONSTERS AND SUPER CREEPS and The Who’s BORIS THE SPIDER. I reckon only the Cure know how to frighten the bejezzes out of us when it comes to spiders though. Take a look at LULLABY. Haunting and beautifully dark.

Only Nick Cave can possibly surpass The Cure’s Robert Smith when it comes to Goth. Here’s Nick and the Bad Seeds performing THE CARNY from the album Your Funeral…My Trial, originally released in 1986, and recently remastered and re-released as a CD/DVD set. The clip was filmed for Live and Loud on MTV on 18 May 1997 after Cave had been nominated for the best 1996 male artist and refused the honor (see his letter to MTV on www.nick-cave.com).

I love Tom Waits album Rain Dogs and the track, SINGAPORE, from that album is a fitting song for this show, with its sinister warning to those setting sail for unknown places. Can’t wait to see Terry Gilliam’s latest film, THE IMAGINARIUM OF DR. PARNASSUS, starring the late Heath Ledger and featuring Toms Waits as, (what else?),  the Devil. Check out the trailer:

Perfect follow up to that was Robert Palmer’s CASTING A SPELL from his Heavy Nova album of 1988. And to close the show, a beautifully benign tune, after all those scary songs, Bonzo Dog Doo Dah Band’s take on the Frankenstein myth: LOOK OUT THERE’S A MONSTER COMING. 

I’m happy to say that Theme Park will be back for another season on BayFM so next Tuesday wlll be our first anniversary and it’s also the day that Australia’s biggest horse race takes place: the Melbourne Cup. Like last year there will be a sweep, lots of prizes and we’ll cross to Flemington for the big race. And the music? I’ve decided that as last year’s was HORSES, this year it will be LUCK. Wishing you all good fortune.

Here’s this week’s playlist:

The Graveyard By Moonlight – Cradle of Filth 

House of 1000 Corpses – Rob Zombie 

Psycho Killer – Talking Heads

Ghost Town – The Specials 

Brides to Darkness – Nox Arcana 

I Put A Spell On You – Screamin’ Jay Hawkins 

Bo Meets the Monster – Bo Diddley 

The Devil Is A Woman – Herb Jeffries 

Monster Mash- Bobby (Boris) Pickett And The Crypt-Kickers

Bloodletting (The Vampire Song) – Concrete Blonde 

Evil – Howlin’ Wolf  

Little Red Riding Hood – Sam the Sham 

Plan 9 From Outer Space – Movie Clip

Ghosts – Michael Jackson 

Dark Was The Night, Cold Was The Ground – Blind Willie Johnson The Blues – A Musical 

It Must Have Been The Devil – Otis Spann 

The Witch Queen of New Orleans – Leon Redbone 

Scary Monsters (and Super Creeps) – David Bowie 

Boris the Spider – The Who 

Lullaby – The Cure 

Jeepers Creepers – Siouxie and the Banshees

The Carny – Nick Cave & The Bad Seeds 

Abbott and Costello Meet the Wolfman – Movie Clip

Hells Bells – ACDC 

Singapore – Tom Waits 

Casting A Spell – Robert Palmer 

Look Out, There’s A Monster Coming – Bonzo Dog Doo-Dah Band 

Next Week: LUCK (Suggestions always very welcome!)

Listen to Lyn McCarthy at the Theme Park on BayFM, Tuesdays 2-4pm, Sydney time.  

Also streaming on http://www.bayfm.org

Tragically also on Facebook: http://www.facebook.com/maccalyn

This past Saturday, we had our annual Halloween Karaoke party (mentioned in a previous post), and it was fantastic! Everyone was dressed in amazing costumes – all music related. I ended up going as a Palmer Girl (you know – Addicted to Love) with three of my girlfriends, and we tore the house down with our red lips and blow-up guitars

While we were getting ready, we decided we needed some help with our makeup techniques because all of us were born in the 80’s so we’re not so used to the smokey-eye shadow-up-to-the-eye brow…we found this YouTube video, which guides you through the entire process from the beginning. Amazing!

We bought our skin-tight black dresses at American Apparel, and they were perfect! Our blow up guitars were from Toys r Us. All of this with some sheer black tights, pointy-toed pumps, and slick hair bun – we were set! I highly recommend this costume for any girl who wants to look hot and act like a diva for the night – another bonus - the outfit wasn’t freezing cold because we bought long-sleeved dresses!

Oh – and don’t forget that The Palmer Girls never smile…no need to worry about your red lipstick getting on your pearly whites!

Another day, another jam.

In 1984, under the production of legendary producers Jimmy Jam and Terry Lewis, R&B singer Cherelle released her debut album, Fragile. It featured her first R&B top ten single, “I Didn’t Mean to Turn You On”, which became a hit again when pop singer Robert Palmer covered it on his 1986 album Riptide and was also covered by Mariah Carey for the soundtrack of the 2001 movie Glitter.

Robert Palmer’s version is stripped down, sexier and funkier, whereas Mariah’s version is exactly the same as Cherrelle’s production wise. My fav is Palmer’s.

Palmer took it to another level though and made it his own. Not to mention the video, which is both iconic and simply irresistible. He was def one of the coolest white dudes on the music scene at the time- he had soul and swagger like Bowie.

Ladies, he didn’t mean to turn you on. Honestly. And Gents yes, his background band IS meant to turn you on.

Músicas da minha semana, sem muita enrolação.

Robert Palmer – Addicted To Love

The Saturdays – Forever Is Over

Cheryl Cole – Fight For This Love

Dizzee Rascal – Holiday

Nelly – Ride Wit Me

Boney M – Daddy Cool

Alexandra Burke – Bad Boys (feat. Flo Rida)

Banda Black Rio – Dança do Figueiredo

Chart Position: NR

• Written by David Batteau and Don Freeman
• Produced by Bernard Edwards

Aucun rapport.

James Brown, Robert Palmer. Je viens de découvrir une vidéo de ce duo magique sur un autre site web, je ne pouvais pas résister à l’envie de la partager ici.

Enjoy !

-Cc

I wake up at 2 a.m. with razorblades in my throat. The cold my older daughter had two days ago invaded me and I hear a faint strum of a guitar. I walk downstairs and there’s Harry Chapin singing his magnum opus:

Cat’s in the Cradle and the Silver Spoon
Little Boy Blue and the Man on the Moon
When you’re coming home Dad
I don’t know when
But we’ll get together –

CRASH! BOOM! SMASH! His guitar neck in my hand, pieces of it all over the stairs, I glare at him and say, “Sorry.” I hand it back.

“Hey! You copied me!” says John Belushi at the end of the stairs.

“I learn from the best.” I take a shot of NyQuil and go back to bed.

Later that morning, I’m up, still in a purple NyQuil haze, making a peanut butter and banana sandwich for my daughter’s lunch. I set it on the table and a hand with a ring on every finger reaches for it. I slap his wrist.

“I…I…I…I’m sorry ma’am. It’s just that I don’t get too many peanut butter and banana sandwiches in heaven.”

“That’s okay, Elvis. But it’s for my daughter’s lunch.”

“I understand, Ma’am.”

“Elvis, you know I love you honey. And you know I don’t mind you calling me ma’am. In fact, the only time I like to be called ma’am is if it’s attached to a Southern accent, which you undoubtedly have. But you need to find yourself a good chef up there.”

“None of them know how to cook hillbilly.”

“Yeah, that could be a problem. Tell ya what. I’ll put in a good word to my grandma, I heard she was a fantastic chef.”

“She know how to cook collard greens?”

“You bet!”

“Later, Tater.”

I turn on the radio and as usual, the procession begins. Robert Palmer and his ladies with slicked back hair, white faces and red lipstick set up their instruments, not that they know how to play them anyways. He starts singing,

The lights are on and you’re not home
Your will is not your own.

“Mr. Palmer! You know I got a bad case of loving you but your music is not conducive to a preschooler’s learning environment. She needs to concentrate.”

He’s dejected, but I’ve told him so many times before. Only Mozart in the morning. He’s more than welcome in the afternoon when I’m doing dishes. Wolfgang rolls in his harpsichord leaving talcum powder prints from his wig on the floor. He sits down and wails out “Rondo Alla Turca”.

I turn to put dishes in my sink and Hunter Thompson is rummaging through my medicine cabinet next to the fridge. “Hunter, you know I kicked Vicodin a long time ago.”

“Yeah, just thought you might have a few left.”

“Ha! You know as well as I do that’s not possible! Besides you won’t find anything stronger than cold medicine.”

“What about this?”

“That’s for my under-active thyroid.”

“And THIS?”

“High blood pressure. Now off you go.”

Hunter shuts the cabinet door. “Whatever happened to housewives and their ’secret’ medications?”

“Number one, we’re called stay at-home moms. Number two, thanks to Saint Erma, we don’t have to hide the fact that our jobs are sometimes crappy.”

“Oh yeah, Saint Erma.”

Just then a choir of angels sing, and Erma Bombeck appears with a glowing aura of light. I have no choice but to genuflect.

to be continued…

It was meant to be the first chance for the X Factor finalists to show the public what they’re made of.

Instead it was the judges who stole the show in an evening rocked by dramatic rows on the panel.

Dannii Minogue turned Simon Cowell incandescent by making a jibe about the sexuality of his favourite act, while Cheryl Cole flew into a fury when Cowell implied she and Dannii were no better than strippers.

The rows began within minutes of the show starting, when X Factor supremo Cowell insulted both female judges by implying they were no better than former strippers Kandy Rain.

He told them: ‘You two [Dannii and Cheryl] have performed in the past practically half-naked.’

Then in the final minutes of the show it was Cowell’s turn to lose his cool when Dannii referred to stories in the press about bisexual Danyl Johnson.

He sang  gave an audience pleasing rendition of Jennifer Hudson’s And I Am Telling You, from the musical Dreamgirls.

‘No need to change the gender references. If we’re to believe everything we read in the press,’ laughed Dannii, with a wink.

But a furious Cowell could barely contain his rage as he shouted: ‘What did you say.’

Dannii repeated her comments – leaving him seething.

‘I think we’re missing something here. I just heard one of the best performances I ever heard in my life,’ he said.

‘And you can forget playing any of those games with him. I’m not having that. This guy sang his heart out. Give him some credit.’

He even interrupted the end of the show to finish his rant.

Earlier it had been girl group Kandy Rain causing the controversy.

The girl band had walked out semi-naked in skimpy leotards and performed raunchy dance moves.

They belted out Robert Palmer’s Addicted To Love, but it wasn’t their singing that divided the judges.

‘Kandy rein it in,’ said Dannii.

Cheryl agreed: ‘You keep saying you want to prove yourself as singers. But you dress yourself provocatively and that’s the image you give off.’

Cowell, who before they performed had said ‘their problem isn’t the press, it’s the way they sing,’ defended the group.

‘There’s nothing wrong with a bit of pole dancing, earning a living,’ he said.

But Cheryl wouldn’t let the matter drop.

‘Would you give them a record deal?’ she shouted. ‘I’d give them a shot,’ replied Cowell.

‘I bet you would,’ she stormed.

Then as Kandy Rain were interviewed by Dermot, Cheryl could be seen waving her hand under her nose as she talked to Dannii. She then turned to Cowell and with a stern face mouthed some angry words at him.

The frostiness between the pair continued, leading Dermot to comment: ‘They’re like a pair of alley cats tonight.’

Cowell later angered Cheryl again by calling two members of Miss Frank bookends and admitting he didn’t know their names.

Miss Frank were put together as a group by the judges at bootcamp. And their performance – and newly co-ordinated performance went down well with all three.

Cheryl told them: ‘I think you’re fresh, your original. And I think there’s so much more to come from you.’

But although Simon agreed, his rudeness upset Cheryl.

‘Oh my God!’ she gasped. ‘I don’t know, it’s him!’

The show had begun on a more positive note, thanks to north London student Rachel Adedej.

She faced the terrifying prospect of being first to perform, but the 18-year-old rocked the stage – with no hint of the nerves which saw her leave the show at the bootcamp stage last year.

Dressed in a sequinned stripy top with huge padded shoulders, and a haircut shaved at the sides, she looked like the British Rihanna.

And as she sang Robbie’s hit Let Me Entertain You she danced down some perpex stairs, keeping her balance and in tune during the huge routine.

‘You can sing, you can dance. I love the new transformation. It’s like Rihanna sings Robbie,’ said Louis.

‘Fantastic job, well done!’ added Cheryl.

But Cowell admitted he hadn’t thought Rachel was much of a contender in the competition.

‘When Dannii put you through I thought ‘Why’s she put through Miss nobody? But that was a good performance. Congratulations.’

Although he did tell Rachel to tone down her make-up. But she was unimpressed, telling Dermot: ‘I think I look great!’

The first of Cheryl’s acts to perform was Rikki Loney.

And while Amy Winehouse was on Strictly Come Dancing, Rikki was murdering one of her songs on ITV.

Looking like a throwback to the music hall, in a bowler hat, the Scot sang Back To Black.

Cowell said ‘I didn’t like the way you were styled, the silly hat. For me, it was wet.

‘I can sort of see why you were singing in those pubs.’

Cheryl was more positive: ‘I’m right behind you, I’ve got your back’.

Louis came out with a clutch of his favourite phrases: ‘You’ve got a lot more to give…’

But anxious Rikki didn’t look completely convinced.

Following him onstage was Stacey from Solomon, or as she calls herself ‘Stacey from Dagenham’.

The 20-year-old produced a stunning vocal performance – singing Coldplay’s The Scientist.

And to emphasise that her soaring voice needed little embellishment, she sang with just a microphone, and one guitarist alongside her.

The judges had to talk over the screaming audience, as they refused to quieten down.

‘You have no idea how good you potentially could be,’ Cowell said. ‘I think it was genius.’

Olly Mur also went down well.

The cheeky chappy from Witham in Essex thrilled the crowd with his heartfelt performance.

But it wasn’t just his voice that won him praise. The judges revealed he was by far the backstage crew’s favourite contestant, with everyone ‘wanting to be his friend’.

And he even won a fan in Robbie Williams.

‘I love Olly Murs, I want him to be my mate,’ he told the camera.

Next up was Jamie Afro.

And Cowell was very pleased by his performance – saying he was in ‘a different league’ to everyone else.
Unsurprisingly perhaps, as Cowell mentors Jamie.

Lloyd Daniels was next onstage. The 16-year-old Welsh boy seemed intimidated by the scantily clad dancers chasing him around .

Despite looking nervous as he attempted Justin Timberlake’s Cry Me A River, he won unanimous praise from the judges.

‘I thought you came over tonight as an authentic pop star,’ said Cowell. ‘And I think your going to be here for a while.’

Lucie Jones attempted to sing former winner Leona Lewis’s I Promise You. It was a risky move as it immediately drew comparisons between the pair’s voices.

But, luckily for the fresh-faced 18-year-old, she seemed to pull it off – at least partially.

Louis told her: ‘I love Lucie. We’ve found another great female singer.

‘You were very brave to sing a Leona Lewis song, but you absolutely nailed it.’

The others agreed – apart from Simon.

‘The problem is you’re always going to be compared to the Leona version.

‘What Leona is capable of doing in the last 20 seconds of a song is hitting those big notes. The problem is there’s a ceiling.’

But Louis interrupted him: ‘I remember Leona Lewis on her first show and she wasn’t as good as this.’

The most controversial act, twins John and Edward Grimes, caused controversy on the judging panel.

Cheryl said they had done well to stick it out, despite the negative coverage, and ‘even come out here tonight’.

But she continued: ‘You can’t sing – fact.’

Cowell called them simply ‘a musical nightmare’.

And even their mentor Louis told them: ‘Not everyone in the charts can sing’.

Joe McElderry was perhaps the biggest surprise of the night.

The sweet-voiced 18-year-old student from South Shields won the hearts of the judges, and the audience with his performance.

Source

A La Carte, the second Loss Leaders sampler from 1979, revisits the restaurant theme (remember Hot Platters and Appetizers?) but this time, with the sexy waitresses serving you on silver platters, they are much more … uptown.  But at least Burbank’s not being as evasive as in the past: they proudly trumpet Swedish-born songstress Madleen Kane as “disco dynamite” and for former gospel shouter Candi Staton, the liner notes warn: “Watch out disco lovers everywhere – here comes Candi!”

Norman Whitfield made his name at Motown, where he wrote and produced such classics as “Money (That’s What I Want),” “I Heard It Through The Grapevine,” “Ain’t Too Proud To Beg” and “Papa Was A Rolling Stone,” among others.  About 10 years later, Whitfield had his own label that was distributed by Warner Bros., one of his acts was a hot eight-piece called Nytro.  “Nytro Express” is another song unashamedly touted as disco in A La Carte’s liner notes:  “It is disco.  It is virtually unstoppable.  And it is tasty.”  Norman not only produced, but also wrote, this tasty bit of disco.  In the early 1980s, Norman Whitfield went back to working at Motown, where he  produced a later version of the Temptations and did other projects.  Whitfield died in 2008 at the age of 68.

Due to Warners’ distribution deal with Island Records, more of those artists began to appear: the Gibson Brothers” “Cuba” fused disco with tropical riddims, British rock band Runner offered “Sooner Than Later” and Robert Palmer rocked the house with “Bad Case Of Loving You (Doctor Doctor).”  Another Brit, Duncan Browne, showed up with “The Wild Places,” which was a big hit in the Netherlands, of all places, Manfred Mann’s Earth Band takes on Dylan’s “You Angel You” and the B-52s represent New Wave with their definitive “Rock Lobster.”  The Bellamy Brothers took a country song and added enough pop touches to turn “If I Said You Have A Beautiful Body Would You Hold It Against Me” into a hit, while Emmylou Harris transformed the classic “Save The Last Dance For Me” into sophisticated roots music.

By the time of Monsters, the last 1979 Loss Leader, disco was fading into the sunset.  Warner Bros. had launched its own disco label, Warner/RFC, and they rolled out Montreal artist Gino Soccio with “Dance To Dance,” but it was already too late.  Punk rock was storming the barricades on both sides of the Atlantic and dancers were beginning to sit out the latest disco offerings, while the most interesting things were happening over in the mainstream.  Monsters is proof of that: Rickie Lee Jones kicks things off in style with the fresh-sounding “Danny’s All-Star Joint” which would become a welcome radio hit.

Some familiar names are ready to take their music into a new decade: the Doobie Brothers, ridin’ high with their No. 1 album Minute by Minute, offers “Here To Love You”; Lowell George of Little Feat goes solo with “Can’t Stand The Rain” (he would die in 1979); Bob Marley and the Wailers, over at Island, revisit “Stir It Up” live; Van Halen takes another bow with “Dance The Night Away”; and Gary Wright keeps pluggin’ away with “Love’s Awake Inside.”  Lonesome George Harrison becomes the only Beatle to officially appear on a Loss Leader with “Not Guilty,” which was actually written for the White Album but given new life on his Dark Horse Records (for a likely unofficial Beatle appearance, see Mike McGear).

And our old buddy Alice Cooper offers a bit of a morality tale with his “From The Inside,” co-written by Elton John lyricist Bernie Taupin.  Alice had apparently spent some time drying out from alcoholism, this is the title song from his autobiographical concept album.  We had sure come a long way from 1969.

MP3: “The Wild Places” by Duncan Browne (from A La Carte)

MP3: “Nytro Express” by Nytro (from A La Carte)

MP3: “If I Said You Have A Beautiful Body Would You Hold It Against Me” by the Bellamy Brothers (from A La Carte)

MP3: “Bad Case Of Loving You (Doctor Doctor) by Robert Palmer (from A La Carte)

MP3: “Save The Last Dance For Me” by Emmylou Harris (from A La Carte)

MP3: “Danny’s All Star Joint” by Rickie Lee Jones (from Monsters)

MP3: “Can’t Stand The Rain” by Lowell George (from Monsters)

MP3: “Cuba” by the Gibson Brothers (from Monsters)

MP3: “Not Guilty” by George Harrison (from Monsters)

MP3: “Stir It Up” (live) by Bob Marley & the Wailers (from Monsters)

MP3: “Dance The Night Away” by Van Halen (from Monsters)

Inside the WB/Reprise Loss Leaders at Dustbury.com

30 Days Out’s series on the WB/Reprise Loss Leaders

Lezers,

Het is bekend dat muzikanten er zo nu en dan niet de meest gezonde levensstijl op na houden. Het doet ons dan ook deugd dat wij enkele van onze Medische Vrienden bereid hebben gevonden op deze zaterdag een speciaal spreekuur te houden voor het muzikantenvolk. Laten we eens zien met welke kwaaltjes men zoal langskomt vanochtend…

Beatles – Dizzy Miss Lizzy

Robert Palmer – Bad Case Of Loving You

Eagles – Heartache Tonight

Bon Jovi – Bad Medicine

Música divertida, modelos , una gran voz…. solo podria tratarse del gran Robert Palmer Q.E.P.D

Robert Palmer

http://open.spotify.com/track/0gFFh2BwvavXb66jbvzwpz
Robert Palmer – Addicted to Love – Addicted to Love – 1986

Robert Palmer

http://open.spotify.com/track/5DesscA90H3An2JQmSfDx2

Robert Palmer – Simply Irresistible – Simply Irresistible – 1988

Continuing with the 80s theme, here’s a few clues to songs that could be used in the music round on Sept. 16. The link will take you to iTunes to hear a sample of the songs.

• Jungle Love – The Time
• What I Am – Edie Brickell & New Bohemians
• Jack & Diane – John Cougar
• Wishing Well – Terence Trent D’Arby
• Addicted to Love – Robert Palmer
• Shout – Tears for Fears

Even when you don’t have a job, Sunday is still an excuse to relax, have a few drinks and do very little. While I’m all for a lack of productivity, I am naturally restless, which makes this set of activities, or inactivities, difficult. This is where a soundtrack comes in. It completes the picture, hones the mood and carves out a comfortable piece of the day in which to settle.

For a Sunday soundtrack wisdom says something easy, something happy, but the energy is delicate, and capturing it complicated. Too fast and the music is passing you by. Too slow and it’s bringing you down. That’s why I turn to the blues, an art form of shifting tempos, ranging moods, soulful soliloquies and solo songsters. I pray to the master: Charlie Patton.

(Enlarged)

The top photo is the only one of Patton known to exist. He is considered by many to be “the Father of Blues” (a title also extended to W.C. Handy, with whom Patton is thought to have briefly played), and his influence can be found in the work of every bluesman since his first recording in 1929.

At the age of nine, Patton moved with his family to the Dockery Plantation, the place where Robert Johnson would later receive his first guitar. It is here that Patton met his mentor, Henry Sloan. Sloan was known for a new, peculiar style of guitar, which today would be most closely related to modern blues. Patton learned everything he could from Sloan and later inspired such legends as John Lee Hooker and Howlin’ Wolf, both of whom lived at Dockery.

Patton was known for a booming voice, rumored to project upwards of 500 yards without amplification, and a flashy style that involved playing the guitar in numerous iconic positions such as behind the head and back.

In 1933, Patton’s throat was slit, almost killing him. This inspired one of most productive recording periods of his career. He died a year later of heart failure.

The 54-odd recordings he left behind are some of the most significant in recorded history and, without a doubt, some of the best I’ve ever heard. “Pony Blues”, a song Patton composed by the age of 19, is in the Library of Congress’ National Recording Registry and the first in a series of wondrous accomplishments. Patton’s technique and progressions have defined a genre of music for nearly a hundred years and, on these recordings, they still manage to sound fresh and surprising. Desensitize yourself to the strong hiss of tape and it falls away, revealing a smooth and sharp guitar sound that digs, digs, digs into your pleasure centers. Patton’s deep, gutteral voice shifts nimbly from a bellow to a howl to a hiss and whisper. Time dissolves and so does age.

Robert Palmer, musicologist, describes Patton as a “jack-of all-trades bluesman”, Tom Waits as “one of the pillars of the Delta Blues.” He goes on to say that Patton was, “clearly not only a blues man but a songster as well and a teacher to all who would follow”.

His guitar soothes. His singing saves. In the spirit of Sunday, he is a preacher and his songs a sermon for all time.

Robert Palmer es para mi uno de los músicos clásicos de los últimos 40 años de los EEUU. Fue una pérdida importantísima su muerte, ya que fue uno de los grandes innovadores del techno-pop y el rock (haciendo incursiones en el blues de manera muy notable), y su sonido electrónico fue uno de los más frescos de su época. Después de buscar mucho he conseguido encontrar este vídeo sin impedimentos para la inserción (resulta casi imposible encontrar un buen vídeo suyo que no esté pillado por las discográficas), así que espero que lo disfrutéis, siendo esta una de sus mejores canciones ligeras.