Liam Gallagher has confessed that he "can't rack" Oasis's tally single 'Wonderwall'.
The band's frontman revealed that he gets angry when fans in the US only recognise him for the track, which was released from their minute album (What's The Story) Morning Glory? in 1995.
Asked about Oasis's new LP Dig Out Your Soul, Gallagher replied: "At least there's no 'Wonderwall' on there. I can't f**king stand that f**king sung dynasty! Every time I take in to sing it I want to gag. Problem is, it was a big, big tune for us.
"You go to America and they're like: 'Are you Mr Wonderwall?' You want to chin someone."
Dig Out Your Soul will be released on October 6.
More information
Sunday, 7 September 2008
Monday, 18 August 2008
Download Claudette Soares mp3
 Artist: Claudette Soares: mp3 download Genre(s): Latin Discography:  Voce Year: Tracks: 12 Claudette Soares debuted in radio set at age ten on the Clube do Guri show (Rádio Tamoio). After a laconic piece she worked for various radio stations of the Cross and was minded the claim Princezinha do Baião (The Little Princess of Baião) for her twosome performances with the King of Baião, LuÃs Gonzaga. She recorded the number one 78 rev in 1954 (consecrated to the baião), and became the balladeer of the celebrated nightclub of the Hotel Plaza (all-important group coming together point of the musicians interested in idle wrangle and the place where samba malarkey was wide skillful), working with Luiz Eça. In 1960, abandoning the baião and embrace the obechi jazz and the bossa nova, she worked in the TV Excelsior (São Paulo) and in various nightclubs of that urban center. With Pedrinho Mattar, Soares performed in the show Um Show de Show. Her number 1 solo album, dedicated to bossa nova, came in 1964, Claudete é Dona da Bossa. She likewise worked with Taiguara and the Jongo Trio in a successful exhibit in 1966 which was recorded unrecorded and released as an LP. Soares alike participated in the IFIC (Outside Song Festival) with "Chorar e Cantar." She has continued to do and record, and her in style albums ar illustration of respective phases of her calling: baião, Tropicália, bossa nova and 1960s MPB are all delineate. |
Friday, 8 August 2008
Mango
Artist: Mango
Genre(s):
Folk
Discography:
Ti Porto in Africa
Year: 2004
Tracks: 10
Disincanto
Year: 2002
Tracks: 13
I Grandi Successi CD-1
Year: 2001
Tracks: 10
Visto Cosi
Year: 1999
Tracks: 16
Credo
Year: 1998
Tracks: 13
Dove Vai: Live
Year: 1995
Tracks: 13
Come L'acqua
Year: 1992
Tracks: 11
Sirtaki
Year: 1990
Tracks: 12
Inseguengo L'aquila
Year: 1988
Tracks: 9
Adesso
Year: 1987
Tracks: 12
Odissea
Year: 1986
Tracks: 12
Australia
Year: 1985
Tracks: 9
La Mia Ragazza Un Gran Caldo
Year: 1982
Tracks: 9
Arlecchino
Year: 1979
Tracks: 10
Pino Mango - E' Pericoloso Sporgersi
Year:
Tracks: 9
Lindsay Lohan - Lohan Fumes Over Police Chiefs Comments
Tuesday, 1 July 2008
Hollywood Cougars
Wednesday, 11 June 2008
Pilot Preview: ABC’s ‘Life on Mars’ Probably Not Worth Discovering
Courtesy of ABC
This week, Vulture's taking a look at the best and worst of the new season's picked-up TV shows. Which are good? Can anything replace Cavemen? And, most important, what's worth a DVR season pass?
Title: Life on Mars
Stars: Jason O'Mara (Grey's Anatomy), Colm Meaney (The Unit), Rachelle Lefèvre (Boston Legal), Stephanie Jacobsen (Battlestar Galactica)
Network: ABC, Thursdays at 10 p.m.
The pitch: David E. Kelley's remake of the beloved BBC series (the setting is moved from Manchester to Los Angeles) in which a contemporary cop travels back to the seventies where he's free to solve crimes unencumbered by modern-day annoyances, like political correctness and search warrants. Of course, Kelley recently left his role as executive producer, and ABC now plans to either tweak or scrap the entire pilot, so it may end up a sitcom for all we know.
Pilot report: LAPD detective Sam Tyler (O'Mara) is on the trail of a serial killer when his girlfriend, fellow cop Maya Robertson (Jacobsen), gets abducted by a suspect. Understandably upset, Tyler walks in front of a car while listening to the titular Bowie song. When he regains consciousness, it's the seventies and he's wearing bell-bottoms. He stumbles onto a crime scene where he meets his Fourth Amendment–flouting new boss, detective Gene Hunt (Meaney), and learns the LAPD of 1972 is expecting him as a transfer. Tyler suspects he's either dead or in a coma, but a man has needs so he befriends Annie Cartwright (Lefèvre), his department's only female detective, who inexplicably buys his story, and helps him crack a murder case not dissimilar to the one he'd been working on in the future (thereby solving that one too). At episode's end, he considers leaping off a building thinking it's his ticket back to the present, but Cartwright — whom he's known for approximately a day — convinces him not to.
Representative dialogue:
Tyler: I used to get all my CDs here!
Cartwright: Your what?!
Or:
Hunt: "I don't like him. I admit he can solve crimes, but he seems kinda mental."
Breakout star: O'Mara doesn't exude much charisma, and Chaves-Jacobsen gets kidnapped before she has a chance to do any acting. If ABC keeps any of the original cast, we hope it's Lefèvre who transcends her sidekick status and manages to be charming despite her limited screen time.
Worth a season pass? Not in its current form. Kelley's pilot works from the same script as the British version's series premiere, which suffers from trying to speed through the exposition plus pack in an entire episodic story line. The fast pace requires coincidences and logical leaps even more fantastical than the show's time-traveling premise. Still, the original got better as it went on, and there's no telling how ABC might retool it. Maybe it's the next Cavemen!
Mysteries of 'Life on Mars' [LAT]
This week, Vulture's taking a look at the best and worst of the new season's picked-up TV shows. Which are good? Can anything replace Cavemen? And, most important, what's worth a DVR season pass?
Title: Life on Mars
Stars: Jason O'Mara (Grey's Anatomy), Colm Meaney (The Unit), Rachelle Lefèvre (Boston Legal), Stephanie Jacobsen (Battlestar Galactica)
Network: ABC, Thursdays at 10 p.m.
The pitch: David E. Kelley's remake of the beloved BBC series (the setting is moved from Manchester to Los Angeles) in which a contemporary cop travels back to the seventies where he's free to solve crimes unencumbered by modern-day annoyances, like political correctness and search warrants. Of course, Kelley recently left his role as executive producer, and ABC now plans to either tweak or scrap the entire pilot, so it may end up a sitcom for all we know.
Pilot report: LAPD detective Sam Tyler (O'Mara) is on the trail of a serial killer when his girlfriend, fellow cop Maya Robertson (Jacobsen), gets abducted by a suspect. Understandably upset, Tyler walks in front of a car while listening to the titular Bowie song. When he regains consciousness, it's the seventies and he's wearing bell-bottoms. He stumbles onto a crime scene where he meets his Fourth Amendment–flouting new boss, detective Gene Hunt (Meaney), and learns the LAPD of 1972 is expecting him as a transfer. Tyler suspects he's either dead or in a coma, but a man has needs so he befriends Annie Cartwright (Lefèvre), his department's only female detective, who inexplicably buys his story, and helps him crack a murder case not dissimilar to the one he'd been working on in the future (thereby solving that one too). At episode's end, he considers leaping off a building thinking it's his ticket back to the present, but Cartwright — whom he's known for approximately a day — convinces him not to.
Representative dialogue:
Tyler: I used to get all my CDs here!
Cartwright: Your what?!
Or:
Hunt: "I don't like him. I admit he can solve crimes, but he seems kinda mental."
Breakout star: O'Mara doesn't exude much charisma, and Chaves-Jacobsen gets kidnapped before she has a chance to do any acting. If ABC keeps any of the original cast, we hope it's Lefèvre who transcends her sidekick status and manages to be charming despite her limited screen time.
Worth a season pass? Not in its current form. Kelley's pilot works from the same script as the British version's series premiere, which suffers from trying to speed through the exposition plus pack in an entire episodic story line. The fast pace requires coincidences and logical leaps even more fantastical than the show's time-traveling premise. Still, the original got better as it went on, and there's no telling how ABC might retool it. Maybe it's the next Cavemen!
Mysteries of 'Life on Mars' [LAT]
Thursday, 5 June 2008
Spare us toe-curling attempts at viral marketing, says Peter Robinson
Writing for websites, one of the biggest pleasures of my working day generates an inbox groaning with press releases from two sets of publicists. Twice in the last month I have been treated to a new development in the music industry's continuing failure to co-ordinate its work: a label will send over a YouTube link with a note saying, "Here's a video we've just had done", only for the same link to arrive from another representative later the same day screaming, "OMG this is funny but the label aren't happy about it."
"It's been appearing everywhere and looks like it might take off as a viral in its own right," announced one recent missive. "Let me know if you would like more info about the anonymous London hedge-fund managers and the well-known TV composers who are actually behind the song!" Cheers...
Entire industries have been built on developing viral campaigns. Movie and games companies lead the way with clever, funny and attention-grabbing ideas. These are shrewd campaigns which normal web users will instinctively Fwd to their friends. Predictably, aside from occasional successes like Wiley's Wearing My Rolex playing over footage of Macca and Heather Mills, the music industry's attempts to embrace this technique have been chronic, and a video clip sent from Band A's PR with the subject line "Here's a Band A viral clip" isn't going to win many marketing awards.
Here's a recent press release for Mötley Crüe's piss-poor Crüefest: "JVC Mobile Audio premiered a viral video featuring Josh Todd of Buckcherry and Jacoby Shaddix of Papa Roach having an 'experience' in a car surrounded by the latest JVC audio/visual technology, a cast of hot babes and a ton of soap bubbles." Well done, JVC. Well done everybody.
A few months ago I witnessed the painful sight of a PR employed by music download service We7 posting a plug for the service on an internet forum. We7's business model is to offer free music downloads, as long as downloaders also listen to an advert. The ad revenue is then passed on to record labels. By funding legitimate downloads through advertising We7 offers hope to an ailing industry, but by advocating a sneaky free plug on a messageboard kept online thanks to ad revenue, the company has talked itself out of its own business model.
Bands and singers are often launched with campaigns in which forums, MySpace pages and websites are bombarded with covert spam. Of course, labels and managers have been the source of "fan letters" to magazines and radio stations for 60 years but, tragically, the entirely innocent practice of grown men posing as 13-year-old girls may soon come to an end.
From May 26, it will become a criminal offence for brands to seed positive messages online without making their origin clear. It shouldn't be too much of a problem in the world of pop, though. All it will take is for the music industry to be transparent, honest, and to treat its consumers with respect.
What could possibly go wrong?
See Also
Tuesday, 27 May 2008
Mark Padmore on performing Schubert's song cycles
Franz Schubert was short, chubby and unlucky in love. He died of a sexually transmitted disease before he reached the age of 32, and he didn't enjoy much success in his lifetime outside a small circle of friends and admirers. He did, however, write some of the greatest music the world has ever heard. More than anything, he wrote songs, over 600 of them. His themes were love and its loss, longing and loneliness. It comes as no surprise perhaps to discover that he was Samuel Beckett's favourite composer.
Schubert's songwriting reached its apogee in the two great cycles, Die Schöne Müllerin and Winterreise, the Hamlet and King Lear of the repertoire, and in the collection of songs known as Schwanengesang, the very last that he composed.
I first got to know these pieces in my late teens and early twenties, and listened to them obsessively in much the same way that my elder brother listened to Syd Barrett or Robert Wyatt. Certain tracks got worn out with repeated playing: the heart-breaking lullaby sung by the stream to the young lad who has drowned himself at the end of Die Schöne Müllerin, the beautiful folksong of Der Lindenbaum, the mad droning of Der Leiermann that closes Winterreise, and the terrifying Doppelgänger with its gut-wrenching howls of anguish.
I set about trying to sing them, but gave up in frustration because I didn't have the voice or the imagination to do them justice. I continued to listen to them, of course, and to buy recordings: after my initiation with Fischer-Dieskau and Gerald Moore came Wunderlich, Hotter, Schreier and Schiff, Pears and Britten, Fischer-Dieskau and Brendel, Fischer-Dieskau and Barenboim, until I had more than 50 versions.
But it wasn't until shortly before my 40th birthday that I summoned up the courage to perform Die Schöne Müllerin for the first time, at a lunchtime concert in Ealing Hospital. Since then I have spent hour after hour rehearsing, performing and thinking about these works of genius, and yet in many ways they still remain elusive and unknowable.
How is it that a collection of 20 songs about a young apprentice miller who falls in love with the first girl he meets, only to be rejected in favour of a more virile huntsman, can reduce grown men to tears? When I hear the jaunty, carefree opening of Das Wandern, the first song of Die Schöne Müllerin, it is impossible to imagine that this yodelling music will develop into songs that tell me what it is like to fall in love so naïvely, so open-heartedly, that rejection can lead to despair and suicide. The music, far from becoming mawkish or sentimental, achieves a transcendence that seems to make sense of the sufferings of love and comforts us with a feeling that Schubert understands our most hidden selves. He does this with music that is at once remarkably simple and highly crafted.
The optimism and enthusiasm of the first half of the cycle leads us, almost literally, along the garden path: of the first 13 songs only one, Am Feierabend, is essentially in a minor key. The upward interval of a major 6th, the most positive in western music, is everywhere, giving us hope that all will be well. From song 14, however, when the hunter arrives, the music is suddenly much darker and mostly in minor keys. Yet the most heart-breaking moments occur when, in the last two songs, we hear that upward major 6th again. It is as if, in the depths of despair, some piercing shaft of hope and happiness is remembered.
Winterreise starts almost where Die Schöne Müllerin leaves off - the title of the first song is Gute Nacht, echoing words of the earlier cycle's last verse. Musically, too, Schubert picks up themes from the latter part of the cycle; the piano's repeated F-sharps in Die Liebe Farbe become a motif of repeated notes that runs right the way through Winterreise and reaches its ultimate expression in Der Wegweiser, where the voice itself loses the ability to change pitch. The major/minor alternation that appeared so strikingly in several songs in Die Schöne Müllerin becomes all-pervasive, creating a sense of disorientation and uncertainty. And the open 5th, the bleakest of musical intervals, that was heard at the start of Der Müller und der Bach, chillingly reappears in Einsamkeit (Loneliness) and, most tellingly, in the very last song, The Hurdy-Gurdy Man. Schubert was terminally ill with syphilis when he wrote this music full of black humour, irony and a life-affirming fierceness; no wonder Beckett loved it.
Schwanengesang is an anomaly, often performed as a cycle but perhaps only made into one by an opportunist publisher after Schubert's death. The settings of three different poets, Rellstab, Heine and Seidl do, in fact, make a diverse but coherent whole, the over-riding subject being Sehnsucht - longing. The word makes its final appearance in the very last song, Taubenpost, almost as the answer to a riddle.
The variety is astonishing: strophic songs such as Frühlingssehnsucht and Abschied, in which every verse brings out a different aspect of the music; a brooding ballad, Kriegers Ahnung, with its distant rumble of war; the delightful Ständchen, a serenade that outdoes even Mozart; and then the extraordinary Heine songs. And after all this, and the hundreds of songs that have gone before, comes Die Taubenpost, the pigeon post. To be touched and moved by this song is, I think, to get to the essence of Schubert. It is music of the most incredible generosity, totally lacking in self-pity, written by a man who knew he was dying but that is completely free from irony and bitterness. There are tears of course, but also a kind, compassionate smile. No matter how many times I sing it, I feel blessed and immeasurably grateful to the most loved and most lovable of composers.
· Mark Padmore sings Schubert's Die Schöne Müllerin on May 19, Winterreise on May 21, and Schwanengesang on May 24 at the Wigmore Hall, London. Box office: 020-7935 2141. He also performs Winterreise at the Lichfield festival (01543 412121) on July 7, the Buxton festival (01298 70395) on July 14 and the Cheltenham festival (01242 227 979) on July 19. A recording of the work, with Mark Lewis, will be released on Harmonia Mundi in 2009.
See Also
Subscribe to:
Posts (Atom)