In an effort to gain insight and perspective, I have decided to interview the music-makers that cross my path. Here is an interview with a friend I went to high school with in Eau Claire, WI. You can see his FB fan page by searching “John Cranford” or on myspace at http://www.myspace.com/johncranford
1. Your Name? Your Band Name?
My name is John Cranford, My Band name is John Cranford and The Motion Conspiracy.
2. What type of music/instrument do you play?
I would categorize my music as electro-folk. I use loop pedals, ableton live and different/interesting sounding guitars to get my sound across. My two favorite instruments I use are a Hohner Resonator and a 1946 Marvel Archtop Guitar.
3. When did you start making music?
I started really making music in the Westerlunds basement somwhere around 4th grade. I played in band through High School, but didnt seriously pursue music as my own thing until college.
4. Do you have other jobs, or do you do music as your full-time source of income?
I work as a chef full time and play about 4 shows a month as well as continually trying to record and write new music.
5. Where do you find inspiration for your songs?
My inspiration initially comes from my gut. Music is cheaper than therapy and I think its definitely helped my mental state to get things off my chest on out to the listening public.
6. Do you like playing live or recording music better?
There is a certain rush of being onstage and playing. Both communicating an idea or an emotion to an audience, but the accessibility of record makes it easy to craft a song or an idea until you find that true sound you heard in your head from the beginning.
7. What advice would you give to a new musician just starting their music career?
PLAY PLAY PLAY! As often as you can. Doing a show or even rehearsing your material will only make you better. Another thing I have really been working on is finding a voice or certain sound that is original and yours. Play for yourself and no one else is also a big rule of thumb. Yes being a rock-star would be awesome. And would be great to make millions and have stardom, but you’ll never communicate the honesty if your trying to be Nickelback.
8. What is your pro/con list for the way the music industry is changing?
The industry had changed a ton. I think that its great we out of the boy bands, polished bullshit of the nineties. Not to say that it doesn’t exist on the top 40 or radios everywhere, but the internet and the ease of technology has made it extremely accessible for anyone to get what they’re doing out there to be heard by the masses.
9. What are the normal venues that you play?
When I’m home in Eau Claire I always wind playing clancys. Its definitely my favorite venue ever! But since I have moved south I frequently play Tantra Lounge on Broughton Street in Savannah and also occasionally play Brick Oven on Hilton Head Island.
10. What is the craziest gig you’ve ever played?
I have played a lot of shows where there are only ten people in the audience, which is kind of crazy to play to no one. But recently I played a show where a bridal party showed up and by the maid of honors request I got to kiss the bride onstage a few days before she got married! Also, go see megafaun, they will blow your f*%#ing mind!
Uh, Oh! Uh, Oh! We’ve all heard her sing the song, Mama Do was Pixie Lott’s debut single and went straight to number one on the UK charts. What a debut, I must say. The young Pixie Lott (she’s only nineteen, I was shocked) was born in Brentwood, Essex. Don’t ask me where the hell that is, but I bet they all knew here there. She must be more than the local star, by now.
Her first album, Turn It Up, came out in September 2009 so it was about damn time I reviewed the girl. She was a guest at one of the biggest Belgian music and talk shows a few months ago, and it was clear back then already what she was about. She brings the perfect mix of sexy and playful but young and by-parents-approval.
Especially, when the first single is about having a secret relationship with a bad boy thinking her parents, who she still lives with, of course, are going to kill her if they find out. The song is catchy because we’ve all been through the same, and if we haven’t, we will or we want to. Its naughty, but not nasty. And the first time I heard the song, I thought Duffy’s sister broke through and made happy music, for a change with the typical Duffy fifties flavor.
Pixie Lott – or Victoria Louise Lott – is a girl who can sing, and that enlightens me since the recent pop scene has nothing more than auto tuned empty voiced popstars. There is nothing wrong with that, and I love most of those popstars, but becuase of her voice, Pixie has an advantage.
And that advantage is very clear in Cry Me Out, the third single and second track off the album.
I honestly don’t think I could pull it off to listen to the track everyday, but its a pretty typical pop heartbreak song with her striking voice. The video, is the way it should be: singing sad Pixie Lott in black and white. I googled, because I always do and I found out that the song was released on my birthday. She was still eighteen when the song came out, and I turned eighteen. Ugh, that makes me feel jealous in so many ways.
What I love about the song, though is the cheesiness of the background singers.
You can hear the cheesiness all through the album, certainly in “Band Aid”. Band Aid is a cute song and she sings “When I hurt, when I break, you are my band aid.” I always melt at those words, for some reason. And I’m not even in love. But I’m also a teenage girl. So of course, I love it.
After the love song, theres a song about getting over a heartbreak. “Turn It up”, sounds a lot like any other of her songs, its happy and cute. But I’m sure that its the chosen favorite of every girl who’s heart got broken by a boy but doesn’t want to sob anymore. It’s the typical dance-in-my-undies-on-the-bed song, all though the whole album is. If you don’t get what kind of album this is yet, I have no other words.
Now its time for “Boys And Girls”, the second single off the album. It’s the album that attracted me to get to know Pixie. With that typical happy time dancing video, its fun. Well, of course its fun!
“Gravity” is the second ballad off the album, and its quite different sounding than the other songs since it has a typical R&B beat. In this song her pop vocals come out on a strong way again, certainly in the chorus where she sings on a specific high way.
“My Love”, is like any other Pixie Lott until now; obviously about love, with cheesy lyrics and a melody that sounds like its written by Max Martin.
The next song, “Jack”, is a different kind of song. I can’t really explain why, but its my favorite. Probably because it reminds me – and so many other girls – of that one guy that I will always remember. The song is incredibly happy, more than all the other songs on the album, if that can be possible. It’s the kind of song I’d want to kill on a Monday morning but love to death on a friday night, on my way back home. The song ends with the lyrics “After loving Jack, there is no going back.” Yep, I know what you mean.
“Nothing Compares” starts with a short guitar intro, unlike most of her songs who all start with a piano intro. It’s a ballad again, which beautifully ballasts the album. In this song, the background vocals are a strong aspect again but thats not hard to understand since she’s trying to get back with her boyfriend in this song. Teenage diary material, but good enough for me.
If Pixie Lott would live in the US, “Here We Go Again” would justify underage drinking. Thank god she’s British because Pixie Lott sings about clubbing and the not so pleasant effects of the drinking. Aka, a hang over. The song is produced by RedOne , the famous producer who for example launched Lady Gaga’s career and made Enrique and Ciara’s duet a success. The song is kind of lascivious but still typical poppy.
In “The Way The World Works” Pixie Lott suffers from the Lilly Allen syndrome: the happy melody vs. sad lyrics syndrome. With a little fifties influence, again, the chorus stays in your head but makes you happy on a weird way, since other people would be screaming “so tired of the way the world works!” while Pixie sings it. Like birds do on a spring day.
“Hold me in your arms” is the last song and ballad off the album and it’s one of those feel good songs. I feel good when you’re with me, and you feel good when I’m with you. So hold me in your arms, and we’ll eat some chinese. Okay, those aren’t the real lryics. In real life she sings ” Hold me in your arms, because I’m falling”, but isn’t that the same?
Turn It Up is the typical teenage drama “but I still love you” album and with the help of the nineteen year old pop voice, it makes it even more teenage-y. But the album works, and it works on so many levels a lot of songs are really big ear worms. For me anyway. For people who don’t like the bubble pop genre, don’t even bother. I’m curious for her next one. More bubbles or more clubbing?
You’ve Lost That Loving Feeling is apparently the most played song in the 20th Century. That’s quite a feat considering some of the musical memories committed to record over those hundred years especially in the second half. In as much as people may remember The Righteous Brothers for delivering it to us, perhaps music lovers would remember this as another example of the towering musical giant of the time that was Phil Spector.
A book that has gripped my attention since I opened it has been the Mick Brown biography on Spector – Tearing Down The Walls Of Sound. There was something intriguing about the premise of the book that lead me to believe it was promising much, but would it deliver on the promise? With such an enigmatic yet elusive figure courting such a range of views and opinions leading up to the controversy of his latter years would that be conveyed in suitably gripping fashion? Find out in the book review of that in an upcoming entry near you soon. Enjoy.
(BHS dress from a charity shop, 4 necklaces from New Look ‘dumpy bin’ as Husband would have it, pliers, superglue, the kind of patience that results from having a vision)
In just over a week Le Matos will be getting down at next weekend’s Neon & High Food Festival in Montreal- a 3 day epic adventure of sun, dancing, and maybe the occasional recreational drug. If you haven’t experienced Montreal before now is a good time to start. The festival is a solid way to kick off the summer shows so if you’re ANYWHERE near the city I highly recommend it. Check out the lineup for Saturday and Sunday… pretty damn good.
Le Matos are one of my favourite DJ/producing tandems from Montreal. The guys always put out great stuff. Here are a few of the notables that have come to me over the years, but the fun doesn’t stop there. Click here for more freebies.
♫ We Have Band – Honey Trap (Le Matos Remix)
♫ Numero# – Star Model (Le Matos Poindexter Remix)
♫ Coeur De Pirate – Comme Des Enfants (Le Matos Andy Carmichael Remix)
NEON & HIGH FOOD FESTIVAL – Lineup
Day 1- (March 26.10): Flying Lotus Benga
Lazer Sword
Vilify
DJ Noyl
Day 2- (March 27.10):
Duchess Says Joakim Le Matos
Why Alex Why
DJ Cherry Cola
Day 3- (March 28.10): Fake Blood Boy 8-Bit Jordan Dare Thomas Von Party Duvall & Seb Diamond (NIGHT TRACKIN’)
What, not quite six years between releases?! Sarah McLachlan, boviously spurred on from her Olympics performance and being confirmed for Lilith Fair, her new album entitled “The Laws of Illusion” is due for release on 15th June (2010 no less!) I’m expecting more of the same from Afterglow and Surfacing to be honest, although this blogs favourite album is Fumbling Towards Ecstacy. I’m sure it will be gorgeous however.
Blue Monday FM released somewhat of a concept album in late December 2009. From what I understand, their album Blue Monday FM 1 (Monday Morning 7:49) plays out like a morning radio broadcast for the start of a week.Buy it at yesasia.com.
The band sounds very J-poppy. I like it. They seem to be based in the UK, but the album was recorded in London and Tokyo. You will notice the predominately European cast in their new video.
Finding information about this band is like pulling teeth. There is not much to go on, but check out their bare bones myspace and official website. They do have a twitter, so that is probably your best bet at up-to-date info.
Speaking of, the band Blue Monday FM, released a new video for ネコの手もかりたい, which shows the ups and downs of working in the business environment in Europe. The lead singer Lilly takes on the role of secretary in the video and seems to do ALL THE WORK. Folks, never take your secretaries for granted.
Business men should never gamble. Don’t lose your pants in the video below!
Even after his passing, the King of Pop continues to make history. Sony Music Entertainment will pay the Michael Jackson Estate over $250 million dollars to release 10 Michael Jackson projects over the next seven years. This is the LARGEST record deal in history. It doesn’t surprise me that it is credited to the King of Pop. New projects will include, DVD’s of music videos, unreleased music, and more.
Don Dixon has devoted his entire life to the popular song. Whether working as a singer, songwriter, musician or producer, he has always tried to capture the essence of his life in the moment.
Don Dixon will be performing at The Winchester Music Hall in Cleveland, Ohio on Saturday, March 20th, 2010. Singer / songwriter Marti Jones will be joining him for a not-to-be-missed concert experience.
Psychedelic folk-rock band Morticia’s Chair will round out the show. Showtime is 8:30pm. Admission is $12.00. Visit The Winchester’s website at www.thewinchester.net for more information and directions.
Don Dixon
From Don Dixon’s website bio (www.dondixonmusic.com):
“[Don] Dixon is considered to be one of the key producers of what is called the jangle pop movement of the early 1980s. Around 1983, Dixon attracted attention by co-producing with Mitch Easter, R.E.M.’s landmark debut LP Murmur. He then spent several years producing the work of varied artists including Chris Stamey (formerly of The dB’s) and The Smithereens. Considered to be a highlight of this period was Tommy Keene’s Run Now EP (co-produced with T-Bone Burnett). This success led to Dixon recording his solo debut Most of the Girls Like to Dance (But Only Some of the Boys Like To), a further affirmation of his love of classic pop melodies and spiky, Nick Lowe-inspired wordplay.”
“After producing wife Marti Jones’ Unsophisticated Time, he released his second solo effort, Romeo at Juilliard, in 1987 and the live Chi-Town Budget Show a year later. After 1989’s EEE, Dixon’s recording career went into hiatus for several years and he returned to producing, helming efforts for The Smithereens, Richard Barone, and James McMurtry before finally releasing Romantic Depressive in 1995. Another lengthy hiatus preceded the early 2000 release of The Invisible Man and its 2001 follow-up, Note Pad #38. His latest release, The Entire Combustible World in One Small Room followed in summer 2006.”
Interested in Don Dixon’s songwriting?
Marti Jones
Joe Cocker has covered Don Dixon’s song “I Can Hear The River.”
Hootie & The Blowfish has covered Don Dixon’s song “Renaissance Eyes.”
Pop singer Marti Jones first emerged as the front woman of the group Color Me Gone before issuing her solo debut Unsophisticated Time — produced by future husband Don Dixon — in 1985.
Marti Jones is also an artist. You can see some of her paintings here: www.martijonesdixon.com
A Video of Marti Jones and Don Dixon performing together:
Ima Robot. was an Indie/Punk/Dance band based in Los Angeles, California, that formed in the late 1990s.
Ima Robot. formed in the late 1990s, after vocalist Alex Ebert’s band The Lucky 13’s broke up, and became successful in the early 2000s after signing with Virgin Records. The band’s other original members were Timmy “the Terror” Anderson, Oligee, Justin Meldal-Johnsen, and the prolific studio drummer Joey Waronker. Meldal-Johnsen and Waronker were sought-after musicians who had played with Beck before joining Ima Robot.
Their first full-length album released on September 6, 2003, was self-titled Ima Robot, and featured the singles “Dynomite” and “Song #1″ (released in the UK only). The band toured with artists such as Hot Hot Heat, The Von Bondies, Hoobastank, The Sounds and others.
In 2004 Waronker and Oligee left the band, and Meldal-Johnsen followed in 2005, with former Oleander drummer Scott Devours taking over drumming duties, Filip Nikolic taking over on bass and Andy Marlow taking over on keyboards. On September 12, 2006, Ima Robot released their second album Monument to the Masses which featured the singles “Creeps Me Out” and “Lovers in Captivity”. In June of 2008, Lars Vognstrup joined the group, having previously played with Nikolic in the band Junior Senior.
In April 2007, the band won their independence from Virgin Records and continued to work unsigned under the management of Alexis Rivera of Echo Park Records. The song “Gangster” premiered on the band’s MySpace on April 15, 2008, with its lyrics posted in a blog entry by the band.
Members:
Alex Ebert “Edward Sharpe” – Lead Vocals
Timmy “The Terror” Anderson – Guitar, Flutes
Filip Nikolic “Turbotito” – Bass Guitar
Wise words from one of my favorite pop artists of all time, Madonna. I have just finished all my readings for a presentation while drinking sambuca in preparation for an epic party that will end le Radical Queer Semaine here in Montréal. I was listening to a whole bunch of music to read and then to get pumped up and unsurprisingly I found myself landing on some good ol’ Madonna. Who, like Oasis, has been a part of my life for more than I can remember.
I know I said a mixtape was on the way, and it is, it REALLY IS, and it’s gonna be awesome. I’ve been going to a ton of shows and will have a ton coming up. I’ve yet to (possibly) do reviews on Braids, Silly Kissers, and Neon Indian who I’ve recently seen…and I have Joanna Newsom, Calvin Harris, Flying Lotus, Benga, Air, The Clientele…and EFFIN’ COACHELLA!!!
I promise to get the mixtape out by the end of the month which will cover live reviews, album reviews, as well as anticipate some upcoming Coachella artists. But enjoy two of my favorite Madonna songs in the meantime…=)
MP3: Madonna – Take A Bow (One of the best love songs of all time…rivals George Micheal me thinks)
MP3: Madonna – Human Nature (the video for this is inspiring)
Z-Day (The Zeitgeist Movement):
Our current methods of social conduct have proven to have no chance in resolving the problems of environmental destruction, human conflict, poverty, corruption and any other issue that reduces the possibility of collective human sustainability on our planet. It is time we grow up as a sp…ecies and really examine what the true problems and solutions are, as uncomfortable, untraditional and foreign as they might seem.
Chris Brown seems to smell the hate that the industry is throwing towards him! Chris Brown put out a pretty good album Graffiti but If you havent noticed we barely hear his music or anything about him on the radio, and according reliable sources he isn’t being requested to make a lot of appearances which is probably causing him a lot of money! Is America and the rest of the world still mad at Chris for the incident between him and Rihanna? Check out what Chris had to say >>>>>>>> Click Here to Listen to What Chris had to say!!!
I was in a food court the other day, in line to fill up my cup at the fountain drink machine. The woman in front of me filled her cup up with ice and started to get her drink. So while she was filling her cup up with her drink, I decided to go ahead and fill my cup up with ice. Then, the woman shot me a dirty look. I started to think about how often this situation comes up, and I realized that I might be a fountain drink a**hole.
Was I out of line? Or was she unaware of drink machine protocol? This had to be answered, so we decided to come up with some parameters to derive when it is and when it is not okay to go ahead and start getting your drink at the self-serve drink machine.
Standing in line as the drinker-at-large, you have a few options. Do you watch the girl in front of you fill up her 32 ounce drink, give her some space, and glance at the crazy decor and funny sign on the wall? Or do you show everyone waiting in line behind you that you are a courteous drink machine participant, by stepping up to the plate? You can get your ice, grab some drink from an unused dispenser, or wait for her to finish filling up her cup with whatever sweet nectar you want.
The natural way to view this scenario is to compare it to the bank-teller line at your credit union or other establishment. You wait in line, then the lady calls, “Next!” and you walk up to an open teller to deposit your $20.00 birthday check from Aunt Eyra. If this were the standard for fountain drink etiquette, then you would wait for the person already up to the drink machine to step aside (a significant amount) while filling up his or her cup, essentially giving you the “it’s okay to stand next to me while I get a Coke” signal. But this analogy still leaves ambiguity, and forces one to make individual interpretations of the rule-of-thumb.
For a more clear comparison, we must go to the tried and true baseball analogy. In the above scenario, when the lady stepped up to the drink machine, she was at-bat. When she put the cup up to the ice dispenser she made contact to the ball. Then you, as the on-deck batter, watched to see how good of a hit she made. If she moves her cup toward the same drink you want, then she’s on first and you need to start walking up to the plate. You can make it a leisurely stroll, but you need to make some movement toward the machine. If you have eyed the selection of soda you want, and notice she starts filling up with the drink 2-3 spots away from that one, then we view this as a double and she is now on second base. You are now free to make contact with the ice machine, and hit a single toward the desired cola. She is not forced to move, so she can still stay at her spot semi-comfortably, still watching what you are doing to make sure you are not a creeper. If she goes all the way to the opposite side of the ice dispenser and you want a choice from the other far end, she has hit a triple, giving you room to run. Feel free to go up to the plate with confidence, make solid contact, and take your base–or choice in drink.
This comparison explains drink machine etiquette better and more clearly than most analogies. Therefore, the female at the food court who scowled at me was way out of line. So, take this to heart and do a service to everyone behind you at the next fast-food restaurant: make your move when you see the opportunity. Or, if you’re the first “to bat,” then give the person behind you some room to get the drink on either side of you if he or she so chooses. It will make for a more enjoyable experience for everyone in the restaurant. I just hope inconsiderate drink-girl at the cafeteria reads this and changes her behavior. Perhaps even apologizes the next time we meet at the fountain machine.
Also to be noted, if the person in front of you is going for Sweet Tea and you want something else, then you two as a team have just hit a virtual drink machine home run. JACKPOT! Put it on the board, and relish in the moment. Is relish the right word there?
By the way, don’t ever try to load the bases unless you are sure the drink machine is wide enough to fully support that kind of usage.
Sometimes I wonder why people cannot SUSS out a good song when they hear one. You’d have thought it would have been straightforward to do it, but obviously not and so you and I know songs that are ace which have never got the time of day they deserved. So that’s what the SUSS series is all about – Seriously Underrated Stevie Songs. Bringing to light songs that you never gave a chance for a new listen and appreciation.
When it comes to Stevie Wonder it’s easy to go for the obvious songs – I Just Called To Say I Love You, Superstition, Happy Birthday, My Cherie Amour and so on. You can pick the Songs in the Key of Life as the defining album for him and get it out of the system. To me, though, it’s not been all about that ever since I got into Stevie and purchased his albums back in those halcyon university days where I was flush with the generous grant of the government which of course went to vital living expenses … like those Stevie CD’s.
With this track, though, even I have to confess that at the first, second, third, fourth etc. listen I wasn’t particularly convinced about it. Look at it my way. I’d got all the big Stevie abums and had been suitably impressed by the man’s creative genius, but agreed that by the time the 80’s came along he was doing hit and miss kind of albums that didn’t always hit the mark because the tracks on them for one reason or other didn’t appeal. Characters is the typical 80’s Stevie album. It had some enjoyable tracks here and there but as an album it wasn’t a touch on Innervisions, Talking Book or Fulfillingness’ First Finale which were the standards that Wonder set.
So understandably some songs went by the wayside. This was one of them, but then like a good dog that finds the bone wherever it is, the song came back to me and I gave it another listen. Don’t get me wrong this will never figure n my top 20 Stevie songs ever, but despite being synthed to the max, there is a feel to this song which is good. The insistent thump of the rhythm that carries you through is not too distracting, you don’t feel too put out by it. Then there’s the lyrical content and vocal rendition of it by Stevie which makes a bit more sense now. It’s a good little bit of storytelling from Stevie in line with the feel of the song that is building up. Then there is the musical interplay and backing vocal support which melds in beautifully with this track.
All to say that this song is worth giving another chance – nor disregarding because it was not a hit or on a lesser Stevie album, but appreciating the song on its own merits.
Nada Surf has been plugging away since the mid-’90s, beginning as an alt-rock one-hit wonder (with the novelty song “Popular”) and ultimately morphing into a rare creature: an indie-pop band that traffics in uplift and empathy. Not many of its peers would attempt a song with the chorus, “Always love / Hate will get you every time,” and fewer still could make the sentiment seem poignant, even profound.
Singer Matthew Caws still has one of the kindest voices in rock, but the message behind “See These Bones” feels a bit more morbid and cryptic than Nada Surf usually gets: A parsing of the words yields something about the way our pending death renders grudges useless. Instead, the group opts to dispense its feel-goodery through a heart-swelling arrangement that builds power as it progresses through five glorious minutes.
About two-thirds of the way through “See These Bones,” all that momentum suddenly leads to an almost overwhelmingly satisfying place, as a long buildup gives way to a richly produced anthem, flush with strings and full-blooded vocal harmonies. It’s the sound of a resilient band, still hitting lofty peaks more than a decade into a great career.
I came across Nada Surf back in high school when I first heard their song, “Blonde on Blonde” and since that moment I loved their music. I know that might show cliche but I really liked their style of music, they are not like other bands that play one hit and that’s it. They have kept the continuum with catchy songs that make the ears feel pleased.
Apologies for the lack of updating, very patchy internet!
Now, surely anyone who lived through the 1990s knows of TLC, and if not TLC, their song “Waterfalls”. As close to a guilty pleasure as I can get (I don’t think you should feel guilty about any music you listen to, unless it’s the Pussycat Dolls or Lady GaGa), it’s a top album. Soul music that came out undeniably pop, I love it! “Diggin’ on You” is a personal favourite of mine.
101 Running Songs (Cd 3)
Artist: Pop – Various Artists
Year: 2010
Songs: 20
Price: Only $0.99
Download 101 Running Songs (Cd 3)
Tracks List
N
Song Title
Duration
Bitrate
Size, Mb
1
Sonny J – Cant Stop Moving (Mirwais Remix)
2:56
180
4Mb
Download
2
Lily Allen – Not Fair
3:22
190
5Mb
Download
3
Pink – So What
3:35
236
6Mb
Download
4
N E R D – Rock Star (Jason Nevins Remix Edit)
3:49
210
6Mb
Download
5
Pitbull – I Know You Want Me (Calle Ocho-Radio Edit)
3:04
184
4Mb
Download
6
Groove Armada – I See You Baby
4:05
208
6Mb
Download
7
Hot Chip – Ready For The Floor (Radio Edit)
3:23
184
4Mb
Download
8
Mylo – Doctor Pressure (Kelly Rowland-Uk Radio Edit)
3:26
221
5Mb
Download
9
David Guetta – When Love Takes Over (Feat
3:24
205
5Mb
Download
10
Madcon – Beggin
3:36
159
4Mb
Download
11
Katy Perry – I Kissed A Girl
3:01
188
4Mb
Download
12
Britney Spears – Toxic
3:20
198
5Mb
Download
13
Gorillaz – Feel Good Inc (Single Edit)
3:42
174
5Mb
Download
14
Ting Tings (The) – Thats Not My Name
3:47
190
5Mb
Download
15
Kelly Clarkson – My Life Would Suck Without You
3:32
193
5Mb
Download
16
Avril Lavigne – Sk8R Boi
3:22
253
6Mb
Download
17
Outkast – Shake It
3:01
218
5Mb
Download
18
Kelis – Milkshake
3:03
219
5Mb
Download
19
Kt Tunstall – Suddenly I See (Radio Edit)
3:21
193
5Mb
Download
20
Alicia Keys – No One (Edit)
4:16
173
5Mb
Download
Just want to do a quick press to share the Opening Night Footage of “Building Character” group show with Urban Contemporary artists Jeru Gabriel, Hatziel Flores and myself at The 4th Wall Gallery in Dallas, Tx. Exhibit continues thru April 3rd.
Watch the opening night footage of ”Building Character” here
For more info visit the 4th Wall Gallery website.
or
just email Scott Kaserman directly at: scott.the4thwallgallery@gmail.com
With today’s environmental issues, it does not matter if a mobile phone is big on features. If the phone is made from hazardous materials, there is just no point in using it. The LG GD510 Pop offers to make you enjoy all the modern features, and at the same time helps save the environment. This phone does not fall short on looks as well. Sleek, slim, and fully touch screened, this mobile is the phone that you have been looking for.
Pop Features
This small, sleek, and slim mobile has all the modern features you will ever need. It comes equipped with a 3 inch full touch screen that barely has any borders. It may be small but the large screen is sure to make you enjoy your mobile experience.
Other features include a 3 megapixel digital camera that ensures high quality captured images and recorded videos. When it comes to web browsing, you will surely enjoy your social networks, web sites, and emails on its large screen. When it comes to multimedia, this phone has all the capabilities you will ever need.
LG Pop Environmental Features
The concerning state of the environment was clearly put into this phone’s design. With this mobile, you are sure to have a clear conscience.
Conservation In Mind
The problem with a lot of electronics today is that they consume too much energy, or do not notify you when the battery is full. This results in wasted energy, and the consumption of valuable resources that are dwindling as we speak. This is not the case with this mobile phone.
This mobile alerts you every time the battery is fully charged. With the LG Pop, you are sure to conserve the little resources that we have. Furthermore, this mobile phone can be equipped with a solar battery cover that charges your battery once under the sun.
Made From Eco-friendly Materials
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Packaging material used for this mobile phone is made from recyclable paper, and ink used on package is made from soy ink.
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This track is really about me old radio days and books I’ve read before. When I did radio back in university The Braxtons came out with a track called The Boos. It was alright, and before playlists came in selections were closely monitored I’d play it fairly regularly. One of the most interesting biographies I read was about Diana Ross entitled Call Me Miss Ross. I read his updated version which I believe is just called Diana Ross: The Unauthorised Biography. In any case I wasn’t too convinced about Miss Ross even before I read the book, I felt a lot of the Motown stuff was slightly overrated. Reading the biography made me dislike the portrayal of Diana even further, which wasn’t particularly helped by other presentations of her and the trouble she got into.
So it should come as a bit of a surprise that I make this selection for another day’s content. Here’s the thinking. First Miss Ross does this song better than The Braxtons and it’s a good song. Also I’m Coming Out is a fine song – yeah it has connotations that have been exploited since, but it does funky almost disco kind of feel very well. So props where it belongs. Plus this whole presentation is quality 80’s cheesy glamour concert television! Enjoy.
There are some days that I wake up full of ideas and suggestions, and unfortunately, more days that I get up with some song in my brain on endless repeat (Train’s Soul Sister has me missing Mister Mister, Broken Wings and Tina Matthews) driving all rational thought from my head. We have two particular bits of infamy in the local scene; again the UCSD situation rears its head (one symbol of intimdation — a noose — might be construed as a mistake, despite the mealy-mouthed convenient apology issued, but two means a trend, and not a joking one) and Chelsea King, whose disappearance appears to have come to a tragic conclusion.
I’m not particularly impressed by the apology issued by the student in question, which basically claims ignorance of the symbolism of a noose — quit acting uppity or it’s you next — and that it was made as a joke. You don’t put a joke on public display, and you generally don’t forget about it, either. I do appreciate that the student would take responsibility for their action, and I’m not sure what else can be done at this point. That said, the introduction and escalation — seriously, putting a Klan hood on Dr. Seuss? — speaks volumes about what those kids on kampus campus are learning, or not learning. It’s bad judgment followed by terrible decisions; there’s really not much more the administration can do short of closing the campus. Everyone must forgive; no one can forget.
I look at the massive search conducted for Chelsea King and wonder if there might have been a connection to the disappearance of another young girl last year, Amber Dubois; had the same effort be conducted on her part, would the suspect have been in custody earlier? Would we have had to talk about remote jogging trails and the promise of young people? It’s all hindsight, and it doesn’t change anything today; the would-haves of the world would fill the universe. The world I remember had me and my brother running around outdoors for hours and days without supervision and without consequence, but those days are as irrelevant as Mister Mister lately.
I liked the new version overall… but to be honest, I thought Lil Wayne, and some of the other brothas using autotune to sing was real weak. Not trying to sound like an old man, but we are the world ought to have been about talent. The black R&B singers represented well, aside from Wyclef, Kanye, and Will.I.AM, the rappers were whack (don’t get me started on that corny rap chant)! What u think, freestyle with me…
Went to see Wendy Lane Bailey tonight at Blues
Alley and had a great time. Wendy was joined by amazing music director, composer, pianist and all-around awesome person Michele Brourman. And if that wasn’t enough, the fantastic and marvelously talented Laurel Masse’ – founding member of the Grammy-winning vocal group, Manhattan Transfer – was guest vocalist.
All together it was an extremely entertaining evening. Wendy did a good job of presenting a nifty mix of well-chosen songs from various genres – pop, country, musical theatre, etc. – including several original tunes composed by Michele Brourman herself. Among the highlights of this show for me were a) a trio piece with all three ladies singing (titled Monotonous?); b) a really fun tune sung by Wendy and written by Michele titled More Is More (or is that Less Is Less?); c) how marvelously well Wendy was able to keep the audience right with her even when surprise curveballs were thrown her way (for instance, an exit sign above stage right that fell apart twice during the performance).
All three women are great performers in their own right. So to see them together was a real treat. And for you Manhattan Transfer fans, you should definitely try to get out and see Laurel Masse’ in a more intimate setting like Blues Alley when and if you can.
Really good stuff!
Howdy. I discovered Pearl and the Beard earlier this week and it didn’t take long before I was in love. Their amazing debut album was released in July of 2009 and added to Spotify four months later. Enjoy!
Pearl and the Beard – God Bless Your Weary Soul, Amanda Richardson
I decided that I would start something called B-side Friday. So every friday I’ll post up to 7 lesser known songs. The songs could be by known artists but they will be lesser known songs by that artist. I don’t think I have to explain the term b-side. So check out the songs.
dancing on the subway these tunes, when i’m on the subway, when i’m walking, stalking, running- it’s very hard for me to not dance around. oh yeah, i’m that crazy girl. the one that dances. hanging off the ceiling. and you know what, you will too. so what have we got here? some are all out club type pop songs. others- cheryl cole’s parachute fastforwarded. the stunners, you’re going to see more of them in the future, i’m sure. myah marie, she sounds like britney spears. so does this tune a little bit. that’s because well, she’s britney’s “backup” vocal. new christina, new paradiso girls, and some other divas that are ridiculously catchy. yeah, listen to it. you know you want to. don’t hate. samples & more – check my blog.
rar file
01 Cheryl Cole- “Parachute”
02 Kristine Elezaj- “Let You Know”
03 Shontelle- “Licky”
04 Che’Nelle- “Follow Me”
05 Ke$ha- “Backstabber”
06 Esmee Denters- “007 On You”
07 Chenelle Ray- “Starstruck”
08 Alex Young- “Music”
09 Jessica Jarrell- “Armageddon”
10 Kelis- “Scream & Shout”
11 Christina Aguilera- “Spotlight”.
12 Jade Ewan- “Had Him First”
13 Myah Marie- “Feet On The Ground”
14 Livvi Franc- “Automatik”
15 Eva Simons- “Silly Boy”
16 Kaci Battaglia- “Crazy Possessive”
17 Girlicious- “Sexy Bitch” (Cover)
18 Sugababes- “She’s A Mess”
19 The Stunners- “Dancin’ Around The Truth”
20 Paradiso Girls- “Boys Go Crazy”
21 Tami Chynn- “Hypnotico (Silly Heartbreakers)”
You shall never underestimate the power of a great Pop-song!
This wonderful new ditty by – Jack Penate – certainly ranks high in my ears right now. So much so I must have played it 5 times in a straight row by now.
Tweaked and twisted by Penguin Prison – “So Near” – turns to be a funk-fuelled, slap-bass Electro-kitten, which just penetrates you upon first listen.
Essentially it’s the perfect combination: Great songwriting, great singer, great remix – Pop meets underground in a very cool way!
Got introduced to a pretty good Mash DJ today called The Metamorphosis. I have been going since 645 am today and just got in so havnt had time to fully go through all thier songs, but the one that was left in my mailbox is good enough of me. Mashing up two of todays most popular songs, Ke$sha – Tik Tok and Jason DeRulo – In My Head a very energetic song is created. If you look through the full library of songs you will notice, like this one, the DJ takes two of the most popular songs at hte time, and blends them together, but hey… nothing wrong with that. Shouts to W.Laabs.
Casablanca Records was a record label founded in 1973 by Neil Bogart. The label was the home to such acts as Kiss [not included on this collection], Donna Summer, The Village People and Parliament among others. The label flourished during the Disco Era, but was eventually swallowed up into Mercury Records and later the Universal Music Group. Casablanca Records was primarily responsible for many of the dance hits of the 70’s and early 80’s.
Disc 1:
Love To Love You Baby [Donna Summer]—-Perhaps the signature song of Summer, this release helped to establish her career and also helped to introduce the concept of the 12″ single. Putting Summer’s sexuality of full display, the song feature minutes of moans and ecstatic sounds that leaves the listener only imagining what was going on. I have heard many mixes of this track…one lasted a full 22 minutes. This is a classic introduction to the Disco scene. Marvelous. This mix last for an incredible 16 minutes!!!
Funkytown [Lipps, Inc.]—-Riding high on the charts for weeks and weeks, this was by my understanding, released on the revamped Casablanca label before it completely disappeared from sight. This is a nice synth driven single that took over the world for a brief time. You can never forget where you were when you first discovered this track…the cowbell…the synth line, the contagious key snip and the auto-tune vocal transfixed me for months. This is fun, uncomplicated and full of energy…everything required in 1979 for a huge worldwide smash.
Tear The Roof Off The Sucker [Parliament]—-Bringing more funk than legally allowed to the dance floor, Parliament was a ‘family’ and the chorus of voices only solidifies the idea. The beat still sounds like gritty urban life and smells of block parties and non-stop jams. A wonderful piece of history.
Take Me Home [Cher]—-Still a classic and still featured in her live appearances, this kind of started the whole thing for Cher. We in the ‘community’ embraced Cher for her flamboyance and outlandish costumes. Whenever I hear this single, I think of Will & Grace….funny how minds work. This is a nice disco infused joint that still sounds fresh and accessible to me.
I Feel Love [Donna Summer]—-Proving that she was far more than a one hit wonder, Summer teamed with Georgio Moroder could do little wrong in the mid to late 70’s. This is a huge dance floor single that literally made Summer a star and Casablanca a boatload of Cocaine money!!! If you seek the definition of Disco, this is at the forefront of the explanation. Running at almost 9 minutes, this allows the signature synth line [often repeated in many, many Dance songs] to wander, explore and find its way back home again. Summer delivers a dreamy and relaxed vocal that just urges you to sway and worship the lights and swirling balls catching them. Magnificent….and a great mix of the track.
Romeo And Juliet [Alec R. Constandidos]—-A French session player and musician, Alec hit big in the mid-70’s with his Euro-Disco ode to love. The track is high energy, has some nice ‘disco strings’ on it and a beat that is undeniable. The session singers sound generic, but manage to create a huge dance floor filler that reeks of excess and drugs….fantastic!!!
Ain’t Nuthin’ Gonna Keep Me From You [Teri DeSario]—-Best known for her duet with K.C. & The Sunshine Band [Yes, I'm Ready], this track…written by Barry Gibb is a high energy and fun song that includes all the cliché’s of Disco…the thump-thump-thump, the swirling strings…the lyrics of love and the search for it. how could you go…this is great, although i doubt many people heard it outside os the bars. The Gibb sound is all over this track.
In The Navy [The Village People]—-If there was ever a band ‘made’ for the Gay Community this would be it. Dressed in flamboyant and stereotypical costumes, the group lasted for two records of hits and then managed to eeek out a living in one form of the other for the next nearly 4o years. This track is so embarrassingly gay that it is hard for me to even listen to…this is everything i try not to be…but I embrace the history…as Stonewall and the NY scene was opening up the closet even more, this helped some but ultimately only gave the straight community more fodder to fight us with.
My Baby’s Baby [Liquid Gold]—-An in-studio creation of above DJ Constandidios, this seemed a pretty common practice back in the days when groups really did not tour. when this practiced resurfaced in the early 90’s it caused problems….i.e. Milli Vanilli. This is another generic track that manages to be huge and expected in the swirl of 12″ singles that were being pressed at the time. This has a great bass and synth line…strings that remind of early Barry White and a vocal that is unremarkable, but acceptable. Most of the song has a strong Urban beat but it is a sure dance floor filler…this is grand upon the chorus and full of energy.
Find My Baby [Cameo]—-With a galloping Disco Beat and a descending bass line, the song is a classic group effort that reeks of early day urban dance music. This is wonderfully under-produced and the result is raw and pure…you can not help but fall in love with the musical simplicity and the marvelous blend of vocal harmonies. This is nice!!!
I Found Love [Now That I Found You] [Love And Kisses]—-Probably better known as a sample used by Heavy D. in the 90’s, you can detect the basic elements in this original and you have to wonder at the same time of the genius of producers and writes to pick out tiny samples from such a huge song and build a new one around it. This is another studio created dance record that is a generic flood of vocals all coming together to create a fun record that you can dance to. Nice, but nothing special.
I like parodies when they are well executed—I love them when they’ve been spiced up (with a bit of instrumental flair) and paired with a funny video. But the thing that makes the video I’m about to show you so great is that it managed to be intelligent while being humorous.
Do not be deterred by the gun in the still-frame. xD
Without further ado, I present to you (but take no credit for): Too Late to Apologize: A Declaration [a clever remix of the One Republic single].
Even more difficult of reviewing a band I am a fan, is reviewing one I have never managed to get.
If in the first case, it’s easy to be transported by the emotions on overemphasizing each single note, in the second I am conditioned by prejudices to devaluate that.
This is why it is a week I can’t make head or tail of this Vampire Weekend review.
Vampire Weekend, despite what I have been reading over the parabolas of music journalists and bloggers over the last 3 years that saw them moving from model students at Columbia University to worldwide new independent rockstars, are not revolutionizing rock music from the musical point of view.
Shaking ingredients is a trick used since rock was born, more than a new cocktail it can bring a new freshness. It can surprise but does not change.
Vampire Weekend music follows on the path of optimistic pop-rock. Bright students writing cheerful songs for the summer parties. The use of rhythmic influences from outside Anglophone countries spices up the songs. With obvious differences the formula has been used by Talking Heads, by Police, by Peter Gabriel. It originates from the work of seminal artists as Fela Kuti and several more. Arrived to Columbia University probably because of an album borrowed by their parents’ vinyls collection: Paul Simon – Graceland.
In addition to give indie-rock scene something to dance with, instead of the depressing tunes of heartbroken lovers, Vampire Weekend mix gave music journalism all the appropriate adjectives which are in desperate need to write about a new band.
Afro-Beat is back in fashion, clever titled songs as Cape Cod Kwassa Kwassa explain the mix and the classification become easy. But Vampire Weekend’s Africa is filtered through the all-white taste of upper class New York students who don’t live in Congo but dance Congolese Kwassa Kwassa in some University bars.
Their music is clean, aseptic, perfect. There is not a speck of dust in the drums, not a pinch of soul in its veins. Guitars are shiny and sparkling as the melodies they play. There is not a hint of grease, of dirt, of distortion. The shirts are ironed with no creases for a bit of groove to creep into.
It’s the youth that grew up with Mandela out of jail and doesn’t want to know what as happened to him before they were born. They don’t question the aim of those tribute concerts. Why he has been left rotting there for decades. “You can turn your back on the bitter world” they sing in Cousins and I start from this verse to deepen into Vampire Weekend world from their lyrics.
A difficult and incomplete job for someone not American, not even English. Texts are mostly obscure, they are not explicit but quite often hide some dubious words that I wonder if have any intentionality.
There is something ambiguous in the choice of language that goes together with their image. In the end this combination is the most interesting aspect they bring to the rock scene.
Reading through the lines is one of my forbidden pleasures, so it could be very easy for me to misinterpret Vampire Weekend. If theirs is a clever irony I am one of those going to fall into the trap. Fact is Vampire Weekend are the biggest contradiction rock’n'roll has seen since Bryan Ferry black tie closed the seventies in “haute couture”.
While they are about to enter the Cambridge Corn Exchange, tenths of girls who left the several Cambridge colleges, take the risk of messing up their perfect make up to squeeze to the front. If there is a natural place for Vampire Weekend to set a gig, that place is Cambridge, UK.
Three chandeliers hang from the ceiling, they recall the cover of their debut album. They also remind me of those movies set in a colonial environments when “whites” inhabit luxurious villas in the middle of the savannah, with lions at the gates and “blacks” serving tea in white ceramic.
The four guys arrive. They are immaculate as the fans were before the wait in the crowd. Cool western colourful clothes recall the sun of the Africa they love.
This is the Vampire Weekend’s revolution. Not the music, but the image they bring into rock’n'roll clichés. They are not four rebel teenagers of the upper middle class who refused the parental status-quo assaulting their guitar in the basement. They are four excellent undergraduates that likely meets to rehears in a proper studio after the traditional afternoon tea and biscuits with their grandmothers.
Vampire Weekend image turn the concept of American college rock upside down.
A genre that blossomed from the opposition of the mainstream culture, the enemy, to espouse the “underground” culture. Theoretically, philosophically, actively, politically, in fashion and body care.
All of that is reverted. Vampire Weekend reread that mainstream culture learnt at school and use it to their advantage. It becomes a reference, not an enemy; probably not a friend either but definitely something to make a good use of. They sing it and the colour it with joyful melodies and steady rhythm.
Richard Serra is cited on White Sky the track opening tonight. Cope Cod Kwassa Kwassa follow and beyond the clever title presents to the world the debut of Louis Vitton in a rock song. Rhyming it with Benetton and citing Peter Gabriel doesn’t cancel the oddity, actually it makes it into one of their most efficacious songs.
Vampire Weekend at a first glance sound innocuous. They are welcomed in admiration by those students that until today identify themselves more with a Louis Vitton bag than with an indie-rock band.
M79 is the name of a grenade launcher used by Marines in Vietnam, this until the song arrives to the first line and you discover it is also a bus crossing Central Park. California English brings its load of ambiguity citing “Contra”, the word that also titles their latest album. In the hand of Vampire Weekend it is a remote tourist resort in California, for the rest of the world a guerrilla fighter sponsored by CIA to combat Sandinista in Nicaragua.
Cousins is the song that suggests “You can turn your back on the bitter world”, where bitter in fact is the sentence that invites to ignore the world. Everything is well hidden in another gem of a pop song which is the constant formula that keeps fans dancing, apparently unaware.
I don’t want to imply all rock music has to be socially and politically concerned, I appreciate the need of leisure but I find difficult to understand the need of inserting odd words and dubious statements if it is all about having fun.
Taxi Cab goes “Like a real aristocrat…” and Run opens with “Every dollar counts…” to bring capitalism into rock’n'roll and the concert into their biggest hit. A-Punk causes the educated euphoria that Trinity College students can let themselves go for a favourite song. As Christ was crucifixed at 33, the noble word punk is crucifixed here, 33 years since it was invented. Deprived of any meaning it had since. Punk doesn’t go beyond the title, not into the lyrics and, it goes without saying, far from the music.
The chorus-with-hiccup “Look outside at the raincoats coming, say ‘oh’” is catchy as much as it is annoying “‘Ey, ‘ey, ‘ey, ‘ey!”
One (Blake’s Got a New Face) and The Kids Don’t Stand a Chance keep the audience happy. It doesn’t come everyday that an independent album tops Billboard top 200 album chart. The image of the girls from Contra cover is hanging, huge, from the back of the stage pointing her lit eyes to the crowd. They change colour giving the clean face a ghastly look.
Contra is not very different from Vampire Weekend debut. They keep walking the road from New York to Soweto and Diplomat’s Son (!?) doesn’t move their musical proposal an inch further.
Ezra Koenig finds some seconds to adapt a rare B-Side, Boston (Ladies of Cambridge), written for the Harvard’s girls of Cambridge, Massachusetts, to dedicate it to the British girls of the old, sweet, original Cambridge, UK. Birthday present for a city that just turned 800 years.
The finale sees Giving Up the Guns introducing Campus, a rant against a professor. It works as a perfect assist and medley with Oxford Comma which is another tirade, about the uselessness of a grammar rule. If Franck Black was wondering “where is my mind?” when Vampire Weekend were babies, twenty years on it seems proper education gave them very clear answers. To the point of deserving two songs.
With two albums published is easy to guess what’s next. Horchada is their first single from Contra, another landmark Vampire Weekend song with a couple of mysterious verses “In December, drinking horchata, I’d look psychotic in a balaclava” which become even more mysterious in Mansarda Roof “The Argentines collapse in defeat, The admiralty surveys the remnants of the fleet”.
While Walcott, their first ever song closes the show and people head to the merchandise stall, I sit in the press area asking myself where these guys are bringing rock’n'roll.
15 years since Oasis brought the working class to top the chart and Blair to 10, Downing Street, Vampire Weekend bring New York Bourgoise to a decade destined to have a Tory government in a couple of months. I don’t believe in coincidences, history mirrors the society.
Dancing to the happy, vaguely exotic rhythms that invite to turn the shoulder to the bitter world, Vampire Weekend bring ambiguity into the dance floor.
A band which music sounds pleasant and innocuous, by four guys which appearance challenges anything your parents have been telling you about rockstars. Their daughters stand on the first row keen on being noticed, hoping to enter the after show party. Instead of causing their mums worries they must generate envy in their forbidden thoughts.
Meet Vampire Weekend on their [website] [myspace] [facebook] [spotify]
Photo tip
It suits Vampire Weekend in a strange way, but it does. I post here an answer I was asked several times about holding gear during the three songs photo set.
Obviously if you shoot with one camera and a zoom the problem does not exist and you can dress as you please.
When you have 2 cameras and few lenses and you need to change them and be quick, the question arises.
Any camera bag is not a solution for concert photography. They are bulky and press pit (when existent) are usually very narrow, so you are not operational with it and most important disrupt the efficiency of your colleagues. Leave it just under the barrier.
While shooting I keep all my stuff in one of those multi-pockets jacket, I find it very useful.
It does not look cool, at the gig a girl told me I looked like an explorer ready for a safari, (I answered I heard I was going to listen to Africa beat), but if you are not going to photograph a gig to look cool (I can tell you many photographers in the pit do) but to take cool pictures, that is my favourite option.
It holds many lenses, you can even hide a flash (you never know), everything is at your hands and relatively protected from shocks, dust and flying pints.
If you have a better solution, or want to share your way, let me know in the comment box below.
Uh, Oh! Uh, Oh! We’ve all heard her sing the song, Mama Do was Pixie Lott’s debut single and went straight to number one on the UK charts. What a debut, I must say. The young Pixie Lott (she’s only nineteen, I was shocked) was born in Brentwood, Essex. Don’t ask me where the hell that is, but I bet they all knew here there. She must be more than the local star, by now.
What, not quite six years between releases?! Sarah McLachlan, boviously spurred on from her Olympics performance and being confirmed for Lilith Fair, her new album entitled “The Laws of Illusion” is due for release on 15th June (2010 no less!) I’m expecting more of the same from Afterglow and Surfacing to be honest, although this blogs favourite album is Fumbling Towards Ecstacy. I’m sure it will be gorgeous however.
new christina, new paradiso girls, and some other divas that are ridiculously catchy. yeah, listen to it. you know you want to. don’t hate. samples & more – check my blog.
Got introduced to a pretty good Mash DJ today called The Metamorphosis. I have been going since 645 am today and just got in so havnt had time to fully go through all thier songs, but the one that was left in my mailbox is good enough of me. Mashing up two of todays most popular songs, Ke$sha – Tik Tok and Jason DeRulo – In My Head a very energetic song is created. If you look through the full library of songs you will notice, like this one, the DJ takes two of the most popular songs at hte time, and blends them together, but hey… nothing wrong with that. Shouts to W.Laabs.
