New Music Singles Chart combines download and store sales

For the ARIA Singles chart, where you can seel the full 50:

http://www.ariacharts.com.au/pages/charts_display.asp?chart=1U50

I WISH I WAS A PUNK ROCKER (WITH FLOWERS IN MY HAIR) Sandi Thom

SEXYBACK Justin Timberlake

I DON'T FEEL LIKE DANCIN' Scissor Sisters PDR/UMA

MANEATER Nelly Furtado GEF/UMA

LONDON BRIDGE Fergie A&M/UMA

U + UR HAND P!nk LAF/SBME

CALL ME WHEN YOU'RE SOBER Evanescence EPI/SBME

TALLER, STRONGER, BETTER Guy Sebastian SBME

BUTTONS The Pussycat Dolls Feat. Snoop Dogg A&M/UMA

WHEN YOU WERE YOUNG The Killers IUS/UMA



Story from The Australian / The Nation:

Pop charts get in tune with online sales

Iain Shedden, Music writer
October 09, 2006

PUNK rock ushered in the future of Australian music yesterday when the first ARIA singles chart combining online and conventional sales was released.

Scottish singer Sandi Thom's I Wish I Was a Punk Rocker (With Flowers in My Hair), which has been No1 on the established ARIA singles chart for the past six weeks, came out on top of the new chart, which also recognises sales of songs bought online at websites such as iTunes and BigPond Music.

The combined chart signals a trend away from CD sales in shops towards the purchase, storage and playing of music through digital technology. Sales in the digital market have increased 30per cent since ARIA introduced a Digital Track chart in April and digital sales account for about 5.5 per cent of the overall music market in Australia.

That was an increase of four percentage points on the whole of last year.

ARIA chart and marketing committee chairman John Parker said combining both sets of retail figures was healthy for the local industry.

"The charts are a promotion tool for music," he said. "With the explosion of MP3 players, I think that digital sales will continue to grow at a rapid rate."

Twice as many digital tracks a week are bought in Australia than CD singles, although at the top end of the charts the No1 physical single outsells the top digital track by three to one.

The top of the new chart bears a striking resemblance to lastweek's conventional chart, with Thom, Justin Timberlake, Nelly Furtado and Fergie in the top five.

Further down the ladder, however, the combined chart benefited one Australian band, Perth's Eskimo Joe.

Their song Black Fingernails, Red Wine dropped out of the conventional chart last week, but re-entered the combined chart atNo23.

New Zealand trio Evermore also re-entered the singles chart with their song Running.

Canada's R&B sensation Erik Simins poised for big success down under

Australia's Blue Pie Productions and Emporium Music team up to promote new music star

Watch for the release of Erik's cd "Do Not Disturb" this autumn, followed by an Australian tour winter 2007.

See www.BluePie.com.au and www.ErikSimins.com and MySpace.com/ErikSimins for news and updates.

TAD Top 40 Digital Song Downloads - Global Music Chart

TW LW Song Artist

1 5 The Way I See It - Erik Simins
2 4 Hat Trick - Marvel
3 15 London Bridge - Fergie
4 2 Thunder On The Mountain - Bob Dylan
5 1 You Look Good On
The Dancefloor - Arctic Monkeys
6 8 Burning Man - Yuya
7 10 Welcome To Jamrock - Damian Marley
8 New When You Were Young - Killers
9 3 Baby I Love Your Way - Billy Lofton
10 6 Beirut - Burning The Day
11 11 Yeah People - Ooh La La
12 13 Breaker Breaker - Slimey Things
13 16 Unfaithful - Rihanna
14 17 Brand New Star - Sunroom
15 14 She's A Mod - Dino Jag
16 7 Smack That - Akon w/ Eminem
17 24 Chasing Cars - Snow Patrol
18 New There's A Pub Now In
My School - Gone By Ten
19 26 Who Taught You To
Live Like That - Sloan
20 9 Crazy - Gnarls Barkley
21 36 Karolina - Sheela Langenberg
22 12 Gut Bucket - James Brown
23 19 Parent's House - Erik Simins
24 18 Promiscuous - Nelly Furtado
25 New Waiting On The
World to Change - John Mayer
26 21 Mute - Burning The Day
27 29 Things To Keep - Trevor Jones
28 New When The Night Feels
My Song - Bedouin Soundclash
29 22 Lips Of An Angel - Hinder
30 27 Blues Of The World - Michael St. Clair
31 23 What Went Wrong,
What Went Right - Yuya
32 25 Don't Say Goodbye - Katie Michaelson
33 New Want To - Sugarland
34 33 Tell Me Baby - Red Hot Chili Peppers
35 39 Fake Tales Of
San Francisco - Arctic Monkeys
36 New Save Your Scizzors - City and Colour
37 31 Laqiya - Seydina
38 35 Be Yourself - Supernova
39 32 Somewhere Out There - Our Lady Peace
40 New Maneater - Nelly Furtado

Top 40 UK Single Songs Downloads

The Official UK Download Chart : 27.09.2006
from www.BBC.co.uk/radio1/chart/downloads.shtml

TW LW Wks ARTIST TITLE (LABEL)

1 1 (7) Scissor Sisters - I Don't Feel Like Dancin'
(Universal Music)

2 2 (2) Killers - When You Were Young
(Universal Music)

3 3 (8) Justin Timberlake - Sexyback
(Sony BMG Music)

4 4 (12) Snow Patrol - Chasing Cars
(Universal Music)

5 5 (7) Nelly Furtado - Promiscuous
(Universal Music)

6 6 (5) The Feeling - Never Be Lonely
(Universal Music)

7 7 (2) Fergie - London Bridge
(Universal Music)

8 8 (5) Fratellis - Chelsea Dagger
(Universal Music)

9 28 (2) Lil' Chris - Checking It Out
(Sony BMG Music)

10 11 (5) Pink - U & Ur Hand
(Sony BMG Music)

11 13 (7) Cascada - Everytime We Touch
(All Around The World)

12 26 (2) Pussycat Dolls - I Don't Need A Man
(Universal Music)

13 15 (2) P Diddy - Come To Me
(Warner Music)

14 9 (15) Shakira - Hips Don't Lie
(Sony BMG Music)

15 38 (2) My Chemical Romance - Welcome To The Black Parade
(Warner Music)

16 12 (5) David Guetta Vs The Egg - Love Don't Let Me Go (Walking Away)
(Gut)

17 16 (7) Chamillionaire - Ridin'
(Universal Music)

18 17 (3) Lemar - It's Not That Easy
(Sony BMG Music)

19 18 (3) Lily Allen - Ldn
(EMI Music)

20 23 (3) Jamelia - Something About You
(EMI Music)

21 10 (3) Robbie Williams - Rudebox
(EMI Music)

22 20 (10) James Morrison - You Give Me Something
(Universal Music)

23 24 (8) Cassie - Me & U
(Warner Music)

24 19 (3) Muse - Starlight
(Warner Music)

25 31 (4) Bedouin Soundclash - When The Night Feels My Song
(Universal Music)

26 14 (4) Beyonce Feat. Jay-z - Deja Vu
(Sony BMG Music)

27 21 (2) Evanescence - Call Me When Youre Sober
(Sony BMG Music)

28 22 (8) Kasabian - Empire
(Sony BMG Music)

29 25 (14) Kooks - She Moves In Her Own Way
(EMI Music)

30 32 (16) Automatic - Monster
(Universal Music)

31 NEW (-) Paolo Nutini - Jenny Don't Be Hasty
(Warner Music)

32 27 (11) Rogue Traders - Voodoo Child
(Sony BMG Music)

33 30 (16) Nelly Furtado - Maneater
(Universal Music)

34 29 (13) Christina Aguilera - Ain't No Other Man
(Sony BMG Music)

35 NEW (-) Gabriella Troy - Breaking Free
(EMI Music)

36 33 (15) Rihanna - Unfaithful
(Universal Music)

37 39 (12) Razorlight - In The Morning
(Universal Music)

38 36 (2) Lupe Fiasco Feat Jill Scott - Daydreamin'
(Warner Music)

39 NEW (-) Lostprophets - A Town Called Hypocrisy
(Visible Noise)

40 40 (13) Paolo Nutini - Last Request
(Warner Music)

The Official UK Download Chart is

TAD Top 40 Digital Song Downloads

Music Chart of Popular Songs Downloaded - September 2007

1. You Look Good On The Dancefloor - Arctic Monkeys
2. Thunder On The Mountain - Bob Dylan
3. Baby I Love Your Way - Billy Lofton
4. Hat Trick - Marvel
5. The Way I See It - Erik Simins
6. Beirut - Burning The Day
7. Smack That - Akon featuring Eminem
8. Burning Man - Yuya
9. Crazy - Gnarls Barkley
10. Welcome to Jamrock - Damian Marley
11. Yeah People - Ooh La La
12. Gut Bucket - James Brown
13. Breaker Breaker - Slimey Things
14. She's A Mod - Dino Jag
15. London Bridge - Fergie
16. Unfaithful - Rihanna
17. Brand New Start - Sunroom
18. Promiscuous - Nelly Furtado
19. Parent's House - Erik Simins
20. Far Away - Nickelback
21. Mute - Burning The Day
22. Lips Of An Angel - Hinder
23. What Went Wrong, What Went Right - Yuya
24. Chasing Cars - Snow Patrol
25. Don't Say Goodbye - Katie Michaelson
26. Who Taught You To Live Like That? - Sloan
27. Blues Of The World - Michael St.Clair
28. Sexyback - Justin Timberlake
29. Things To Keep - Trevor Jones
30. Fix You - Coldplay
31. Laqiya - Seydina
32. Somewhere Out There - Our Lady Peace
33. Ding My Gong - Bob E. Ruglass
34. Tell Me Baby - Red Hot Chili Peppers
35. Be Yourself - Supernova (or Nova Heart or ??)
36. Karolina - Sheela Langeberg
37. Take A Look - Michael St. Clair
38. Bulan (Moon) - Tommee
39. Fake Tales Of San Francisco - Arctic Monkeys
40. Paranoid In The City - Trevor Jones


The TAD Top 40 Downloaded songs is a representative sampling with input from Yahoo Music sales, iTunes, Blue Pie, and other online music vendors. This Totally Arbitrary Digital Top 40 Online songs chart is not based primarily on sales, but rather is a reflection of a variety of music styles and bands currently popular for iPods, zoons and other portable music players.

Storm Large to join The Panic Channel? Rockstar Supernova breaking news …

Subject to the approval of current vocalist / guitarist Steve Isaacs, the collective of former Jane's Addiction players known as The Panic Channel is about to invite Storm Large to tour with them and even have her consider joining the band.

The sexual tension and energy flowing between the newly-single Dave Navarro and the former model Storm Large was never more present than when they rocked the house last night with a cover of Bowie's women's lib song Suffragette City.

Lukas blew the roof off again and is the clear frontrunner, and though Storm has the inside track to be the final runnerup, it's no secret in the industry that Supernova is already imagining life on the road with Luke. So, don't be surprised to see Storm Large and The Panic Channel coming to a stadium near you!

Toronto Islands to host music fest with Strokes, Dears, Flamip Lips, Sam Roberts, Massive Attack

http://www.vfestival.ca/en/

SAM ROBERTS BAND

"Whoever said you can't be saved by a song?" Sam Roberts asks on "Uprising Down Under," an elegiac track from his band's new album, Chemical City "Whoever said that was stringing you along."

It's a bold assertion, but it's not the first time Roberts has put himself on the line, worn his heart on his sleeve and tackled apathy head on. His band's debut album, We Were Born in a Flame, was an uncompromising collection of songs about love, faith, compassion, struggle and transcendence, on which Roberts made his now-famous declaration that he'd die for rock 'n' roll.

The Strokes

The sound of The Strokes is the result of frantic living, and the late nights and the early mornings they’ve spent making their music in New York City. Their music makes you want to forget who you are, and unlocks the possibilities of what you might want to be.

Massive Attack

Massive AttackThe pioneering force behind the rise of trip-hop, Massive Attack were among the most innovative and influential groups of their generation; their hypnotic sound — a darkly sensual and cinematic fusion of hip-hop rhythms, soulful melodies, dub grooves, and choice samples — set the pace for much of the dance music to emerge throughout the 1990s, paving the way for such acclaimed artists as Portishead, Sneaker Pimps, Beth Orton, and Tricky, himself a Massive Attack alumnus. Their history dates back to 1983 and the formation of the Wild Bunch, one of the earliest and most successful sound-system/DJ collectives to arrive on the U.K. music scene; renowned for their seamless integration of a wide range of musical styles, from punk to reggae to R&B, the group's parties quickly became can't-miss events for the Bristol club crowd, and at the peak of their popularity they drew crowds so enormous that the local live music scene essentially ground to a halt.

Massive Attack have made four albums to date, each one extraordinary in its own right. “Blue Lines”, “Protection”, “Mezzanine” and “100th Window” all pushed musical boundaries and made their mark.

With these critically acclaimed albums clocking up 9 million sales, a clutch of awards and a new album due for release in early 2007, the time felt right for a Massive Attack Best Of, an apt reminder of their musical legacy to date. The album, entitled “Collected”, features tracks chosen by the band, including such gems as “Unfinished Sympathy”, “Safe From Harm”, “Protection”, “Teardrop” and ”Angel”.

The special edition of “Collected” contains a bonus CD comprising of a new compilation of rare and reworked material as well as brand new recordings, whilst the flip side features a DVD of all the videos to date.

The album will be preceded by a brand new single, “Live With Me”, featuring Terry Callier on vocals. Written by Robert Del Naja, Neil Davidge and Terry Callier, and produced by Del Naja and Davidge, this track sees a return to a more soulful sound for Massive Attack, while retaining the lush production of their more recent albums. The powerful new video is directed by Jonathan Glazer, his first in six years.

Massive Attack are currently in the studio and have completed seven tracks for their fifth album, “Weather Underground”, with long time cohort and co-producer Neil Davidge. At present, they are dividing time between Bristol and New York where they have been recording with Dave Sitek and TV On The Radio, one of several collaborations for the album.

The band will be performing a series of live dates and festivals throughout the summer and autumn of 2006, details of which will be announced in due course.


THE FLAMING LIPS

The Flaming Lips YOSHIMI BATTLES THE PINK ROBOTS
by The Flaming Lips
Release Date: July 16, 2002
The Impact of Death on the Sunrise

In the spring of 2000 we were on tour (somewhere on the west coast U.S. of A.) when we began to receive some strange e-mails concerning a friend of ours (a Japanese woman who worked for a magazine and ran a record store in Osaka). The e-mails were poorly translated to English from Japanese – so the message, unfortunately, was not easily understood. But as the days went by we were able to, little by little, decipher the horrible news being transmitted – our friend (the Japanese girl) had become ill – a heart ailment of some kind – and suddenly and sadly had died. Though she (our friend) had spoke and wrote English very well, her sisters who were sending the e-mails, did not – so the seriousness of the situation was hard to confirm. You see, we had seen this girl not too long before this and – although we did not know her well – she spent several days with us traveling around Japan, and seemed fine. Whatever condition we perceived her to be in then and there, she was… now – dead… and; like I said earlier, we were on tour, traveling from city to city with a very busy schedule. So, while we were receiving this news – that she had died – we were skeptically unsure – the translation being so odd. It left us a little room to still be optimistic that perhaps this was not the final word.

As weeks passed and spring became summer, the realization of her death slowly bloomed – it was very strange – never at once did it overwhelm me, it did not come like some giant black spear piercing my chest, as other deaths had done – it came a drip at a time – never a rush of the unthinkable – it came as a gentle devastation… As the summer rolled on we were set to do a remix of “Race For The Prize” for, I believe, an UK only release. We needed a B-side and, never one to pass up an opportunity, I thought I would write up a quick new song and without giving it much thought sat down and began to sing into the tape recorder (I don’t know why but it seems the more profoundly internal something is, the more intensely one wants to scream out loud about it). What came out of me was this sympathetic plea to those sisters that I could not, with any certainty, communicate my condolences – it went almost exactly as it’s heard now – “It’s Summertime and I can understand if you still feel sad – It’s Summertime and though it’s hard to see it’s true possibilities” – and what I meant was this - the aims and appreciations of life are the best defense against death and the summertime when there is such an explosion of life – everything bursting ripe – this distraction – this noticing of life erupting all around could give them comfort. I know it did for me. So, I exclaimed “Look outside – I know that you’ll recognize it’s summertime!!” – not to be some cosmic hippie solution – there is no answer – just a change… but better to express sorrow and experience sadness than to let inner emotions inflate to the point of despair – despair only leads to more death. For it’s bad enough that something wonderful in your life has left you – but to fall into despair - despair does not allow you to even enjoy what is still living… So, as the summer came to an end, we were never satisfied with the remix and the “Race For The Prize” single was never issued, but unbeknown to us at the time, this sad song about the impact of death and the victory and celebration of sunshine was the beginning of our post “Soft Bulletin” sessions.

For the next couple of years we would be in and out of the studio (primarily Dave Fridmann’s) piecing together three different and unrelated ambitions. The first of these presented itself when our friend and filmmaker Bradley Beesley was finishing up his documentary, “Okie Noodling,” about a clan of weirdo fisherman in the backwoods of Oklahoma. “The Southern Oklahoma Cosmic Trigger Contest” (not for sale yet) was the result and it consisted of music I call, “Epic Country and Western,” utilizing mainly acoustic sounds such as harmonica, banjo, upright bass, strings and occasional hiccups. The unplugged nature of these sessions was a bizarre contrast to the tracks we were beginning to assemble with Dave Fridmann (which were, at first, completely computer generated and electronic for “Yoshimi Battles The Pink Robots” and the “Christmas On Mars” musical score) not only contrasting in technical terms but also in tone. The “Okie Noodling” batch had a decidedly un-moralizing bent (unlike most C&W derived from Gospel and Folk), while the “Pink Robots” batch were of an optimistic and philosophical spirit – and (if it can be pronounced to be so as a thrichotomy of priorities) – the “Christmas On Mars” score being melancholy and sometimes crushingly depressing dirges with religious textures and spacey sound effects. Our earlier experience of working on Zaireeka (an experimental 4-disc set) while working on the “Soft Bulletin” illuminated the benefits of changing focus from one sound dimension to another and though we did not intend to be juggling all three at once – it never became an un-manageable workload and actually proved to be a wonderful change of atmosphere and process.

In the past, we had never approached any collection of songs with an overall intention of mood, as we were doing here – our curiosity of sounds and production had usually shaped our identity more than any specific, pre-ordained idea. With these three projects happening simultaneously it would be very easy to drift from one idea to another carrying influences from the previous to the next – and we didn’t want this – we wanted each to be distinct and with its own logic and character and impression. So, without having too rigid a parameter we began throwing sonic and melody creations into different piles – one for the “Fish Movie,” one for the “Christmas Movie” and one for what ended up being “Pink Robots” (and it’s funny, but some kind of biological-psychological reaction mechanism kicks in and deduces that – any emersion in one sensation – for too long at a time – heightens the desire for the opposite - kind of like how eating a bag of potato chips detonates the panic response for a candy bar). And so it was with a relaxed urgency that we (at first) easily shifted from acoustic stuff to computer electronic stuff and from spacey Christmas stuff to beat-heavy experimental rock stuff. But, (and I know this begins to sound absurd) if you did actually do an experiment where you had a bag of potato chips and a candy bar and you repeatedly grabbed one and then the other – and you did this for say – half a million times over the period of a couple of years – you would eventually end up with some version of candy coated potato chips… and so while I believe the “Okie Noodling” tracks sound Real-McCoy hillbilly and the “Christmas On Mars” tracks (so far) sound very cosmic and religious – the “Pink Robots” tracks (because it was the most reworked, the most fucked with, and essentially the most “touched” of the three) have absorbed the influence of them more than they… it… And has emerged as something that, if looked at on paper – like you’re doing now – could seem impossible or wrong – perhaps like some genetically altered plant, it’s alive and thriving, but disturbingly unnatural… But, with any luck, such will be music’s triumph over the psyche that this concoction of confusing companions with it’s story-telling acid rock (I guess??) and it’s theme of sunshine funerals will render its listeners powerless to study or analyze it and enable them to sit back and – hopefully for a couple of minutes at a time - just simply be… entertained.

Thanks,

Wayne – April 2002


Gnarls Barkley

Gnarls Barkley, St. Elsewhere

“You are the best. You are the worst. You are average. Your love is a part of you. You try to give it away because you cannot bear its radiance, but you cannot separate it from yourself. To understand your fellow humans, you must understand why you give them your love. You must realize that hate is but a crime-ridden subdivision of love. You must reclaim what you never lost. You must take leave of your sanity, and yet be fully responsible for your actions.” -Gnarls Barkley, in a letter to the legendary rock critic Lester Bangs So who is Gnarls Barkley? Diligent pen pal to Bangs, soul giant Isaac Hayes, and Violent Femmes ringleader Gordon Gano? Well-kept romantic consort to pop stars Mariah Carey and Janet Jackson? English teacher to synth-rock legends Kraftwerk? Croupier at a mysterious annual gathering in the Bay Area that allegedly draws members of the Wu-Tang Clan and Britian's Stuckist art collective? It seems that, in the music world, Gnarls Barkley is always nearby yet impossible to find. The membership rolls of both the Atlanta hip hop collective Dungeon Family and Athens, Georgia’s psychedelic enclave Elephant Six list Barkley as an affiliate, but mention him to either group and they’ll shoot each other frightened looks and start talking basketball. The rumors fly hard in every direction and remain defiantly unverifiable. Clinton Jacks works as a cook in a Waffle House restaurant near the South Carolina coast. “One night back in the year 2000,” he recollects, “I saw Danger Mouse come in here. Cee-Lo was with him. And they had this other dude with them, dressed up like H.R. Pufnstuf. Danger Mouse and Cee-Lo ate big meals, but H.R. Pufnstuf only wanted hash browns. Then they left, Danger Mouse and Cee-Lo, but H.R. Pufnstuf stayed around for hours. He must’ve had twenty cups of coffee. I went in the bathroom, and when I came out, he was gone. But he left a $500 tip on the table. And he left a little note that said, ‘Compliments to the chef. Gnarls Barkley.’”

Pellentesque hendrerit. Aliquam ac nunc. Duis ligula libero, feugiat eget, porttitor quis, pulvinar non, magna. Pellentesque vestibulum ante id justo. Suspendisse pharetra ipsum condimentum pede. Integer quam nisi, viverra ut, faucibus nec, auctor ut, ligula. Etiam egestas. Maecenas euismod elementum risus. Morbi est. Nunc rutrum luctus lacus. Maecenas nisi. Etiam rutrum interdum felis. Duis fringilla eleifend metus. Aenean ut tellus. Praesent vel justo sit amet purus tristique ornare.

Danger Mouse, a/k/a Brian Burton, produced the infamous Grey Album, a full-length blend of the Beatles’ music and Jay-Z’s raps that became a cult classic after it was suppressed by EMI. He recently garnered a Grammy nomination for Producer of the Year for his work with the “virtual band” Gorillaz. Having recorded with enigmatic rapper MF DOOM, not to mention a cast of voices from “Adult Swim”, Danger Mouse is no stranger to outsized characters. He admits that he helped out with St. Elsewhere, the first album credited to Gnarls Barkley. “A lot of people ask me about him,” says Danger Mouse when the topic arises. “He found one of my Pelican City records, which was this downtempo experimental stuff I did in college, and I started getting letters from him. He’s

not [Blur frontman and Gorillaz co-creator] Damon Albarn – I can blow that myth out of the water for you. A lot of people think he lives in South Carolina. Personally, I think you’d be more likely to find him in Europe.”

From beneath his shroud, Burton's spiritual adviser, the usually silent “Dr. President”, murmurs something unintelligible and then…”Not that I know where he is.”

Cee-Lo Green, a/k/a Thomas Calloway, is a Dungeon Family alumnus, once and - future member of Goodie Mob and a wildly eclectic solo artist. His music is steeped in the gospel and blues traditions of the Southeast, merging timeless soul with experimental funk and hip hop. He confirms reports that his dramatic voice and soul-rummaging lyrics appear on portions of St. Elsewhere. “Yes, I believe that I sang on at least some of the Gnarls Barkley record,” he says. “But we are not the same person. I am Cee-Lo. I am a humble trumpet, and the wind of God blows through me. You might consider Gnarls the spit valve on the trumpet, were you inclined to consider him at all.” As he walked away, Cee-Lo could be heard to mutter, “You want to know who he is? He’s the dude who owes me thirty-five dollars, that’s who he is.”

Does St. Elsewhere shed light on this mysterious personage, or does it further obscure him? It’s a complex record, to be sure. It employs the full spectra of pop music and human emotion. The warm, breezy single “Crazy” and the spry finger-snapper “Smiley Faces” recall "Songs In The Key Of Life" and “Good Vibrations” in equal measure. “On Line,” a lament for the lonely and ambitious, could be a tricked-out G-funk holdover. Often dark and unpredictable, St. Elsewhere nevertheless retains its sense of joy throughout. Even Cee-Lo’s darker moments, his introspection on “Necromancer”, and the chilling “Just A Thought,” on which our hero fights off suicidal ideation, flourish in their lush, funky surroundings. It constantly shifts its shape and never sacrifices momentum. And it contains a mess of contradictory clues about just who Gnarls Barkley actually is.

“I’ve made him my life’s work,” says Milton Pawley, a Los Angeles music writer widely considered the world’s leading Barkley scholar. “And even with all the evidence I’ve gathered, I’m still not sure he really exists. Maybe Gnarls Barkley isn’t a person. Maybe he’s out there in the wind. Maybe he’s inside of all of us. Like ‘Bob’ from Twin Peaks, only more funky and less evil.”

Perhaps Gnarls Barkley will never fully reveal himself. But if St. Elsewhere is any indication, his music bears Marvin Gaye’s depth of feeling, Jeff Buckley’s emotive theatrics, and wild courage not seen since Prince’s prime. Behold the most exciting debut of 2006. A psychedelic soul masterpiece. Gnarls Barkley may not be easily located, but he won’t be a stranger.

-Emerson Dameron

Aussie band Wolfmother masters British Rock Sound

Jackin the Union Jack?

Wolfmother is yet another Aussie band in a petticoat

from: http://www.sdcitybeat.com/article.php?id=4637

by Jim Ballew, San Diego City Beat

Australia has an identity complex. In the late 1700s, after America took England to the proverbial cleaners in the Revolutionary War, Her Majesty needed somewhere to store all of England's native scoundrels and scallywags who�d previously been housed in penal camps on American soil. Australia, with all its open desert and hot marsupial action, seemed like the perfect place to store a few thousand of England�s snaggle-toothiest criminals.

Over the past two and a half centuries, the people of Australia have formed a strong sense of national identity (Foster�s Beer, Crocodile Dundee, pictures of koalas on every-goddamn-thing). Judging by the music they�ve been putting out lately, however, it seems there�s still a subconscious longing for the comforting embrace of Union Jack�s bosom.

Wolfmother is the latest in a line of modern Australian bands that have taken to mimicking the sounds of some of England�s most famous classic-rock acts. Jet tried to ape the new Rolling Stones. The Vines blatantly ripped off The Who. And now the afro�d white boys in Wolfmother are banking on the wailing thud-rock of Led Zeppelin.

The problem with modeling yourself after visionary trailblazers, however, is that there is very little chance of doing better what the others already did so well. Like Caddyshack II, these bands are sequels to phenomenal successes and barely even scratch the surface of the originals� greatness.

In fact, they hardly seem necessary at all.

Hopefully, Wolfmother will find their own unique voice for their subsequent recordings. Because a kangaroo dressed up like Henry XIII, while hilarious, is still just a kangaroo.

Note from Yuya:

Wolfmother to play Virgin Festival in Toronto with The Strokes, Gnarls Barkley, The Flaming Lips, Massive Attack and many more.

http://www.vfestival.ca/en/

Beirut's diverse, thriving music scene now battered by war

from www.Haaretz.com

When the last note sounds on peace

By Noam Ben Ze'ev

"All that is banned is desired," goes the Arabic proverb. This expression is the title of a new brochure published by the Freemuse organization - the only international organization that is focused on the struggle against music censorship and which promotes freedom of expression in music. The brochure cites discussions from the Freemuse Conference on Freedom of Expression in Music, which took place in Beirut last October, and reflects Beirut's rich musical scene and climate of freedom - before the strikes began there last month.

The sensitive topics discussed in the course of the week-long convention point to why Beirut was chosen as the host city.

"We chose Beirut because only in that city, in conditions of freedom of expression, could musicians from all over the Middle East and its periphery speak openly and without fear about the censorship and the oppression that they suffer, and about the real threat in whose shadow many of them work," says Marie Corpe, the chair of the organization, whose headquarters are in Denmark.

In a phone conversation from Amman a few days ago, Jordanian-Palestinian oud player Ahmed al-Khatib, one of the featured speakers at the conference, described the musical and cultural climate in Beirut: "It's hard to describe the tremendous cultural progress that has taken place in the city since my first visit there in 1993, when it was in ruins after the war."

Al-Khatib came to Ramallah at the end of the last decade and became one of the founders of the city's conservatory and a leading teacher. However, in 2002 he was arrested by the Israeli army, and since then he has not been allowed to return to Israel and the Palestinian territories.

"I though that Ramallah was the height of cultural flourishing until I came to Beirut," he continued, "a city that is unlike any other city in the Arab work: bustling with music, with full concert halls, wonderful artists, recordings and new trends in composition."

The spirit of freedom

In a phone conversation from Copenhagen, Marie Corpe also describes pre-war Beirut as a city that enjoyed a renaissance of construction, theater, music, master classes and conventions attended by people from all over the Middle East - not to mention jazz cafes full of intellectuals and university students. "A large number of journalists and television people took an interest in our conference, the first in the Middle East devoted to freedom of expression," she says. "Even the people from Hezbollah's Al-Manar television station confirmed their attendance but they canceled at the last minute."

To kick off the convention, as a point of reference for later deliberations, they screened a documentary film about Lounes Matoub, the popular Algerian singer of Berber origins. Matoub was kidnapped in 1994 by the Armed Islamic Group (GIA), released in the wake of demonstrations by millions who spontaneously took to the streets, was exiled to France, but returned after four years because of his longing for Algeria - and was then murdered.

In lectures and discussions held after the film, different facets of the oppression of musicians surfaced, which not only threaten musicians in Algeria, but in the entire region - including Syria, Morocco, Iran, Saudi Arabia and Bahrain. These threats were described by players and singers, producers and radio people, newspaper music critics and artists from these countries.

A discussion with the head Egyptian censor, Ali abu-Shadi, revealed only a few of the methods used to silence music in that country. Ahmed al-Khatib also shed light on the complexities inherent in the Palestinian situation. He said musicians and teachers were trying to establish a musical and educational infrastructure under the terrors of the occupation, all the while within a political, social and economic context that prevents them from flourishing. "It is difficult to divert the attention of children from the violent situation surrounding them, and to make them concentrate on music," said Al-Khatib. And outside intervention, by political forces as well as by foreign donors, is in itself censorship."

The desperate situation of the artists who live under the yoke of totalitarian regimes in Arab countries, or under occupation, only serves to emphasize the growing spirit of freedom in Beirut prior to July 2006. A unique expression of this spirit was showcased at the conference by a cleric, Sheikh Ibrahim Ramadan al-Mardini, from the Beirut Studies and Documentation Center. In an exhaustive survey the sheikh explained the main points of Islam's attitude towards music - both according to the Koran and according to Muslim law. "The censorship of music and arts is a tool used by the totalitarian regimes to preserve themselves, and is opposed to religion," he said, pointing to many examples from theology to prove his arguments. "Islam opposes any coercion relating to thoughts and ideas, including in the field of music - because it is an abstract, neutral language of expression, which does not reflect nationality, gender, identity or religion. Therefore, everyone is permitted to express himself through it."

The participation of Lebanese composer and oud player Marcel Khalife may have been the best indication of the victory of freedom of expression in his country. In 1999 Khalife was arrested for insulting the religion and for heresy because of his song: "Father, I am Yusuf," set to the words of Palestinian poet Mahmoud Darwish an allegory on the story of Joseph and his brothers. At his trial, which was taped on camera, Khalife courageously spoke harshly to the judges, and freely expressed the contempt he felt for his prosecutors: "Why does the court of justice, which conducts its meetings in the name of the people and makes its rulings in the name of the people, close its doors to the people?" he said defiantly. "Did you throw me into the cage of the accused only because I am a creative artist? Placing me on trial is a crude and arrogant act, which subverts a person's right to interpret any idea according to his understanding."

In the verdict, the Lebanese judges ruled that disobeying the laws of religion did not necessarily mean desecrating its holy men. "After listening to the disc we discovered that the accused sang the song out of respectful awe," they added, "without desecrating his holiness, and without intending to incite against him - neither by the words and their meaning, nor by the music." Khalife was declared innocent; and in his lecture at the conference he once again opposed censorship of any kind, claiming that the censorship official was nothing but a police officer, and emphasizing the importance of the intellectuals and artists in society: "The artist needs wings, and we must help him fly."

Just like Tel Aviv

Lebanese composer Joelle Khoury's stories about up and coming music in Lebanon and the status of the female artists in the music scene; rapper Klotair K's description of the hip-hop scene, and the story of American musician and scholar Mark LeVine, emphasize a progressive Lebanon, which exists alongside reactionary forces. "In Beirut's jazz clubs, Shi'ite and Christian girls dance with one another, and all the borders - sexual, ideological, nationalist, religious - are crossed in the climate of the youth culture there," says LeVine, a professor of modern Middle Eastern history and Islamic studies at the University of California at Irvine, during his lecture at the convention.

LeVine speaks Hebrew. He lived for over a year in Tel Aviv, and has written books and articles about the Western-Islamic conflict - including that of the Israelis and Palestinians - from the music angle.

In a phone conversation from California last week, he described Beirut as a city that is more reminiscent of Tel Aviv than one that suits the image of an evil enemy: "When you sit there on the beach, it is impossible to tell whether you're in Beirut or in Tel Aviv," he says, "and the same is true in the cafes, the pubs and the nightclubs - the same dj's play in both places. Now a friend of mine who is a rapper tells me that just like in 1982, he once again goes to sleep with heavy metal rock and Jimi Hendrix on his stereo system, in order to drown out the thunder of the bombs. The artists have stopped believing that there is a chance for peace with Israel - and that's terrible, because they are usually the last ones to give up. They will be able to reconstruct Beirut with the billions from the Gulf states; the anger and suspicion against Israel, and the disappointment and fear of it, these have already been an issue for generations."

Canada's Isis a Goddess of Lyrical Prowess

By Del F. Cowie
Exclaim.ca, Canada's Music Authority
August, 2006

With the release of her debut EP, Toronto-based Isis who has only been describing herself as an MC for just over a year is serving striking notice of her skills, charisma and versatility. On her debut EP, the 20-year-old MC of Nigerian origin issues battle-ready displays of dazzling wordplay on tracks like “The Fly Trap (Remix)” with infectious energy, wilfully taking on foes and nay-sayers. However, Isis also has the knack to compose compelling narratives. “U Know What Love Is” is visually striking, tackling the topic of domestic abuse and “Ask A Woman” outlines an often abstract balance of introspection and history. While the production and choice of mix-tape-style instrumentals is strong throughout, it’s highly evident that Isis isn’t dependent on a beat to bolster or mask her skills. Showcasing a variety of styles, this EP makes you wonder what this promising MC can accomplish in another year.

You mention on record that you have broken up with hip-hop in the past. What made you leave the music and what brought you back? I spent a while loving hip-hop only because my older brother loved hip-hop and I wanted to be like him. I used to freestyle on the block when I was 13 with a bunch of guys. And then when I was like 16 or 17 it was the “jiggy” era and I was like what the fuck is this? I got into poetry, became a vegetarian, did poetry slams and got attention and ego strokes. But then one day I started listening to Jay Dee. Then it was Stones Throw, and then I heard Quasimoto’s The Unseen and all this good hip-hop music. I kind of credit my ex-boyfriend because I would literally wake up to good hip-hop music every day.

Determining one’s fate seems to be a theme, particularly on ‘Starchild’, can you expound on what that means to you? I think that there’s a new generation of youth right now that are capable of reaching amazing feats and making history and we have to remind ourselves to realise our true potential. I have to remind myself. As females in this industry, we tend to go as far as the glass ceiling, but we can go through it. From far away it seems big, but when you get close it’s just a bubble, an anthill. A lot of things are about to change for our generation and the ones coming after us, the possibilities are endless.

A Brief History of Punk/Glam/Rock Legends: New York Dolls

Too Much Too Soon - NY Dolls a Band Ahead of Their Times

It’s not a great exaggeration to say that punk rock as we know it today would not exist without fashion-focused glitter rockers New York Dolls. While not technically a punk band, they paved the way for groups like the Ramones and the Sex Pistols, helping create the audience for original rock music that led to the creation of CBGB and its infamous policy of originals-only. With a career that spanned only a few years, the influence of these young, flamboyant, but surprisingly heterosexual cross-dressers cannot be understated. The band’s success came almost as quickly as their downfall and tragedy, taking members from arenas to barns in Florida in a few short years. The junkie lifestyle for which some were poster boys was also what ultimately killed them, while others went on to work in libraries and, supposedly, drive taxis. With their first record of new material in 22 years landing this month, New York Dolls don’t have anything left to prove, and everything to gain.

1971
A band called Actress, which includes Arthur “Killer” Kane on bass, Billy Murcia on drums, and Ricky Rivets on guitar, recruits a young guitar player named Johnny Volume to round out their line-up. Rivets is soon replaced by the Egyptian-born Sylvain Sylvain, and the band rechristen themselves the Dolls. Volume adopts the last name Thunders, and the band opts to drop the “the” and add “New York” to their name. Recruiting vocalist David Johansen, the band rehearse for a single night at Rusty’s Beanies Bike Shop before performing their first show, a set comprised of R&B and soul covers, at the Endicott Hotel, a homeless shelter in New York City.

1972
In pre-CBGB New York, the band performs at the most unlikely venues, including the Mercer Arts Center, which features rock’n’roll bands on off nights. After playing a powerful set in one of the Center’s smallest rooms for a $3 cover, the band secures a weekly residency, performing every Tuesday in gradually larger rooms. In a city with little exciting, original rock music, New York Dolls become the band to see, mixing aggressive, tuneful music that combines the blues-influenced swagger of the Stones with a distinct attitude and aesthetic that pushes the gender barrier and equally excites and disgusts those who see them. Everyone from David Bowie to Andy Warhol come to see the band play, including Richard Hell and Tom Verlaine, who would later claim that seeing New York Dolls was the impetus for the formation of their own seminal art punk band, Television. The band’s continuing popularity leads to an offer to open for Rod Stewart and the Faces in London at Wembley Arena in front of 13,000 people, a significant jump from their previous high of 350. The band dive headfirst into the lifestyle they are now afforded, and with offers of record deals coming in from the labels of Mick Jagger and the Who, among others, it looks like their career is on an upward trajectory. While still in England, however, drummer Billy Murcia ingests a near-lethal amount of Quaaludes and alcohol, and when two groupies place his body in a cold bathtub and force coffee down his throat in an attempt to revive him, he chokes to death.

1973
For almost a month, the band struggle with the decision to continue as the Dolls without Murcia. Eventually, they decide to begin the auditioning process to find a new drummer; while Marc Bell, better known today as Marky Ramone, tries for the spot, Murcia’s stool is filled by Jerry Nolan, whose unique style cements the band’s original sound. Signing with Mercury Records, the band record their self-titled debut album in a week with producer Todd Rundgren. While New York Dolls peaks at #116 on the Billboard charts, it is critically praised for its brave new sound, though the femmed-up band shot that adorns the cover makes many uptight music consumers uncomfortable. The band travel back to England where they perform on BBC’s The Old Grey Whistle Test. Ripping through a set of originals, the band are as over-the-top as ever, which leads the show’s host, Whispering Bob Harris, to refer to them as “mock rock.” While Harris hates the band, a whole generation of UK teenagers latch on to the Dolls’ raw musical style and distinct fashion sense; some later credit the performance as the turning point in the English punk movement. (And five years later, Sid Vicious will mug Bob Harris in a London pub.) The band’s popularity as a live act begins to soar despite their flagging record sales, and a sold-out show at Paris’s Olympia Theatre leads to an intensely violent clash between police and some 4,000 fans who cannot get into the show; those who do, witness Thunders smashing his guitar over the head of a spitting audience member. A similar situation arises when the band play New York City’s Waldorf Astoria Hotel on Halloween and 6,000 fans arrive in full glam regalia. Only half get in, and the remainder trash the hotel’s lobby. The band themselves smash a plate glass window and hit the stage two hours late, prompting influential rock promoter Howard Stein to swear he’ll never book the band again. While continuing to tour, Thunders meets groupie Sable Starr, who is only 16 at the time. The two begin a tumultuous love affair, and when Starr runs away from home, a warrant is issued for her arrest at the behest of her anxious parents. Expecting trouble, Starr heads straight for New York City while the band head out for their next batch of shows. Cyrinda Foxe, future wife of Aerosmith’s Steven Tyler, is erroneously arrested while waiting for the band at the airport, and, while annoyed, is flattered to be mistaken for 16 years old. (She’s 21.) Groupie troubles continue when Kane has his thumb split open in his sleep by Connie, an infamous New York groupie. Unable to play, the band recruit Peter Jordan as a temporary replacement. Sylvain and Johansen meet and befriend Malcolm McLaren, who is in New York to promote his Let It Rock designs with Vivienne Westwood.

1974
The band’s hedonistic lifestyle evolves as their success grows. Nolan and Thunders get seriously into heroin, while Kane’s alcohol addiction continues to plague the Dolls’ live shows; frequently, he is so drunk that he is unable to speak, and his bass parts are played from offstage by Peter Jordan. The band continue to play an important part of New York’s burgeoning original rock scene, performing a legendary show in full drag at Club 82, the first time the band have wholly adopted the transgendered image they have played with over the years, although Thunders refuses to dress in full drag. Too Much Too Soon, a title that would prove prophetic in the coming years, is released to generally poor reviews and dismal sales. Many criticise the album’s more poppy feel, although songs like “Who Are The Mystery Girls” have continued to hold relevance and excitement as they age. Still, the album’s reception, even from fans of the band, is overwhelmingly negative, and in an attempt to revitalise their image, Sylvain and Johansen talk McLaren into returning to New York to manage the band. Excited by the opportunity, McLaren accepts, bringing with him a new image for the gutter-glam stars: red leather. Toying with communist imagery, McLaren and Westwood play on American paranoia and attempt to politicise the band by marketing them as Mao-loving rock ‘n rollers. The idea, unveiled during four poorly received shows in New York, is a miserable failure, completely distancing the band from mainstream musical culture and leading their hardcore fan base to question their motives for the change. McLaren’s ultimate legacy with the band, however, is in sending Kane to rehab and enrolling Thunders and Nolan in a methadone clinic; while he may not have saved the band, he is credited with saving the lives of its members.

1975
Back on the small club circuit, the band heads down to Florida to play a tour McLaren has booked. The band hates the venues, which are often filled with no more than 20 people, with Nolan and Thunders in particular blaming McLaren for the miserable reception. The two are also relying on a small group of young kids to travel to Miami every day to buy them heroin, but when one of them is arrested, beaten, and spends five days in jail, all the kids get scared and refuse to supply either with any more drugs. Fed up with the tour and needing to score, Nolan and Thunders announce that they are leaving the band and returning home to New York. While the reason for their departure is initially seen as the result of issues with McLaren’s management, it will later be revealed that they were mainly looking to try Chinese Rocks, a type of heroin making its way through New York’s Lower East Side and made famous by the Ramones song of the same name. Intent on completing the tour, Sylvain, Johansen, and Kane recruit Blackie Lawless, who would go on to perform in W.A.S.P., but Kane leaves soon after Connie arrives in Florida, fleeing to L.A. to get away from her. Sylvain and Johansen struggle to continue the band without Kane, Nolan, or Thunders, playing the occasional live show, but the band slowly dissolve over the next two years in tragically unspectacular fashion. Back in New York, Nolan and Thunders look to form a new group where Thunders can function as a front-man. Television bassist Richard Hell, himself looking to front a group, agrees to join two days after leaving Television. Adding Walter Lure on second guitar, the band dub themselves the Heartbreakers.

1976
Ego drives Hell from the Heartbreakers, as he and Thunders argue over who should be singing the majority of the songs. Billy Rath, a part-time gigolo, is tapped for bass duties. The band play around New York for a growing audience, and after reviewing one of their shows for New York Rocker magazine, Nancy Spungen begins to follow the band around, attaching herself to Nolan in particular. Around the end of the year, the band leave for a tour of England with one-way tickets and no work permits. Nearly denied entry upon their arrival, McLaren has to haggle with immigration employees to let the band into the country. The Heartbreakers bring two things to the UK with them: Nancy Spungen, and heroin; as part of the Sex Pistols’ Anarchy in the UK tour with the Clash and the Damned, the Heartbreakers are often blamed for introducing the drug to the English punk scene.

1977
New York Dolls officially break up, though by this point, no one is really paying attention. The Heartbreakers, riding waves of positive reviews and energetic audience reception, record their only studio record, L.A.M.F. (“Like A Motherfucker”). The record is released by Track Records, run by the managers of the Who, but its awful mix leads to terrible reviews and poor sales, nearly bankrupting the label and the band. Nolan quits over the mix issue, and is replaced for a brief period of time by Sex Pistols drummer Paul Cook. Nolan returns as a “hired musician,” claiming no membership to the band itself, but soon leaves again to be replaced by original Clash drummer Terry Chimes. The turmoil within the band, however, leads to the inevitable break-up by the end of the year, with Lure and Rath returning to New York while Thunders remains in London.

1978 to 1986
Thunders attempts to form a variety of bands, including Gang War with Wayne Kramer of the MC5. While the band never record a proper record, several live bootlegs exist. Thunders’ first solo outing features such notables as Chrissie Hynde, Glen Matlock, and Steve Jones, but none of Thunders’ solo material approaches the level of critical and commercial acclaim he had with the Dolls, or in the early days of the Heartbreakers. Thunders’ heroin addiction is crippling; he is declared “Burnt Out, Wasted, A Drugged Human Wreck” by British tabloids. Johansen also releases several solo records, often accompanied by Sylvain. Kane plays in a small number of unsuccessful bands, deeply troubled by his increasing reliance on alcohol, while Nolan occasionally fills in with Thunders at live gigs.

1987
The best-known Doll-related success occurs when Johansen releases a self-titled record under his new pseudonym, the cheesy lounge-lizard act Buster Poindexter. The album’s single, “Hot Hot Hot,” goes on to become one of those songs you are likely to hear at any mediocre bar, anywhere on the planet, at any given time, should you stay long enough. Johansen will go on to call the song, “The bane of my existence.” As Poindexter, Johansen hosts a variety of shows on VH1, and is a frequent musical guest on Saturday Night Live. Johansen’s continued success in the entertainment realm leads to roles in films such as Scrooged, where he plays the Ghost of Christmas Past. After seeing him on TV, Kane, who has appeared in several films himself as a non-speaking extra, drinks a quart of peppermint schnapps, beats his wife with cat furniture, and jumps out a third story window, shattering his kneecaps and elbow. It is years before he can walk properly again. Two years later, sober Kane finds God and converts to Mormonism. Kane refers to the message he received as being like, “An LSD trip from the Lord.”

1991 to 1992
On April 23, 1991, Johnny Thunders is found dead in his hotel room in New Orleans. While numerous conspiracy theories surround his death, it is generally accepted that the long-time drug abuser overdosed on heroin and methadone. Less than a year later, on January 14, 1992, Jerry Nolan dies while in a coma brought on by a stroke following a bout of bacterial meningitis.

2004
Morrisey, who was once the President of the New York Dolls Fanclub, asks the band to reunite for the Meltdown Festival, an annual event at London’s Royal Festival Hall, which is curated by a different UK pop star every year. The band’s surviving members decide to get back together, and play a single show on June 18. Despite the notable holes left by Nolan and Thunders, the band are tremendously well received. The show is particularly important for Kane, who has been working in a library for minimum wage for the last several years and whose troubled relationship with Johansen has continued to bother him since the band’s break-up. Twenty-two days after the show, Kane is diagnosed with leukaemia. He dies two hours later.

2005 to 2006
The brilliant New York Doll, chronicalling Kane’s life up until the band’s reunion, debuts at Sundance. Despite the loss of three original members, Sylvain and Johansen decide to continue to tour under the New York Dolls name, promising a record of new material, which is released by Roadrunner Records on July 25, 2006. One Day It Will Please Us To Remember Even This is a shockingly great record; while easily dismissed as a cash-grab, the record is arguably better than Too Much Too Soon, with more of the biting attitude and grit that made New York Dolls so important at its time. Featuring appearances by Michael Stipe, Iggy Pop, and Against Me!’s Tom Gabel, the record appears to hold the promise of bringing the band some of the attention they earned 30 years ago and never properly received.


Essential New York Dolls

New York Dolls (Mercury, 1973)
The band’s defining moment, this record set the stage for what would come later in the decade. Without New York Dolls, there would be no Marquee Moon, no Never Mind The Bollocks, and no Ramones. With the opening chords of “Personality Crisis,” these five dolled-up glitter rockers pushed music in a direction it was waiting for but hadn’t been given the chance. While the record will never hold the cache of punk’s first wave of classics, it remains a great rock’n’roll record more than 20 years later, with songs like “Jet Boy” and “Frankenstein” still possessing the power they did the day they were written.

Johnny Thunders & the Heartbreakers L.A.M.F. (Track, 1977)
Currently available online through Jungle Records (www.jungle-records.demon.co.uk) with vastly improved mixes, this collection of Thunders-penned tunes demonstrates the appeal of the guitarist’s strung-out persona. Gritty as hell with a hearty dose of melody, songs like “Born to Lose” became anthems for the legions of hair-sprayed Thunders wannabes, and the record’s sound and aesthetic helped bring about the eventual rise of bands like the Hives and the Strokes. When Thunders wasn’t completely off his head, he wrote some incredible music, and listening to L.A.M.F. is, in many ways, a painful remainder of his tragic downfall.

New York Dolls One Day It Will Please Us To Remember Even This (Roadrunner, 2006)
A quick spin around the internet will turn up a fairly universal early reaction among critics: “Why doesn’t this record suck?” It doesn’t just not suck though. It fits perfectly into the canon of old Dolls material, as if nothing has changed in 20-plus years. Never mind that only two original members remain, and that most of the band’s early songs were co-written by Thunders. Maintaining the piss and vigour they had in their 20s, Sylvain and Johansen offer 14 tracks of raunchy, R&B-influenced rockers that, despite the obvious trepidation any listener brings to a record like this, is guaranteed to impress any fan of the band’s back catalogue.

Jacksoul, Jully Black, Melanie Durrant; Canadian R&B rising

Canada's Got Soul!

By Ryan B. Patrick, Exclaim.ca


Canada's Got Soul?
Why Our R&B Artists Get Left in the Cold

There was a recent flurry of media activity surrounding the release of Jamaica To Toronto, a compilation that exposes the �lost� history of R&B and soul music in Canada. The CD, released on American indie label Light in the Attic, collects recordings by Canadian-based R&B singers in the �60s and �70s. Toronto had experienced a wave of Caribbean and West Indian immigration that resulted in a highly charged music scene, and straight-up soul was the order of the day. Current press has marvelled at the fact that these soul artists even existed and how much they influenced the contemporary Canadian sound. The music was fresh and vibrant, but didn�t translate into sustainable success � Canadian soul detoured into a cultural cul-de-sac while Canadian rock became a well-paved road.

The struggles faced by a domestic R&B/soul scene remain an intricate mix of fear, prejudice and conservatism twinned with an inferiority complex when held up against American counterparts. R&B and soul artists in this country are afforded more limited opportunities � in terms of media exposure, touring opportunities, radio play and major label backing � when compared to Canadian rock. Despite a smattering of Canadian success stories both at home (Jacksoul, Ivana Santilli, Massari) and in the U.S. (Tamia, Deborah Cox, Glenn Lewis), the Canadian music industry still seems mystified what to do with them.

The number of active, successful Canadian soul artists can be counted on two hands with fingers to spare � but not for a lack of talent or ambition. Toronto-born vocalist Jully Black is a good example; she was a well-known commodity (at least to the industry) for more than a decade before she finally unveiled her debut album. The fact that it was released after she had a Top 40 radio hit (1998�s �Rally�n�), a Juno nomination and an American major label deal underlines the challenges she�s faced. After signing a deal with now-defunct affiliate MCA Records, which evolved into a joint deal with Universal Canada and U.S., her album was reworked, renamed and re-jigged before finally being released last summer.

Black remains upbeat about the situation, saying �I�m happy because I wasn�t really ready anyway. The people who run the industry only know what they know so you can�t really fault them for not being willing to take the chance.� What those industry-running people don�t know is what to do with an artist like Black � is she R&B, soul or pop? How will she be received in Medicine Hat?

Generally speaking, the industry hasn�t bothered to answer those questions, leaving it to the artists themselves to break ground and build a DIY touring circuit all their own. �I�m the person I am today because of the grind,� Black continues. �I got stronger and better at what I do. I sold 40,000 [records] and no one expected me to sell even five or ten [thousand].�

�There aren�t a lot of outlets out there,� says Haydain Neale, front-man for Jacksoul, arguably the most successful R&B/soul outfit in the country. He describes the band�s decade-long career as a �beautiful struggle� that, despite nationwide recognition, moderate record sales and inevitable Juno nominations, remains a challenge each time out. �There�s no circuit,� he continues. �You�ve got to create it yourself. It�s real easy to say that people don�t want to show us love, but you�ve got to demand that respect.�

Ivana Santilli is another Canadian success story; her early �90s rise came at a time when there was some buzz around soul, R&B and hip-hop hybrids. �There was a genuine excitement at the time. Live music on the road was still a doable concept � whereas now it really is about making your band smaller.� Downsizing your artistic ambitions to keep your overhead low is one solution, but it doesn�t solve the problem of having nowhere to play. �If you�re playing rock, you can play 30 dates across Canada within a two month span,� Santilli says. �As an R&B artist, you�d be done in two weeks.�

Vancouver-based soul artist GreenTARA agrees, �It�s about finding that pocket of people that relate to your music. You have to be able to shave down all your extras and just go.�

ooking again at Jamaica to Toronto, it�s acutely ironic and wholly Canadian that it took an American label to recognise and legitimise the music before Canada took notice. This, more so than any other musical genre, relates to the perception of R&B and soul in this country.

�The Americans are laughing at us because Canada doesn�t have a system,� says Toronto�s Melanie Durrant. The R&B vocalist knows all about the U.S. system. Once signed to the legendary Motown label, Durrant suffered countless delays to her American debut project and was ultimately dropped. She came back and her reworked album was released by Koch Canada. Still, Durrant says the experience was valuable, if only to highlight the differences between the American and Canadian approaches to the music. The American approach is soup-to-nuts � producers, studios, writing staff and labels work in conjunction. �It�s a whole package, Durrant says. �Here someone will play a beat for you and demand five grand. There are only scraps to win.�

David Cox, an Artists & Repertoire (A&R) rep for the Universal Music Group, knows there�s a market for soul music in Canada, but the industry hasn�t evolved with the scene. �Maybe the industry of yesteryear didn�t know what to do with a Jully Black,� Cox says. �This attitude has changed a lot, particularly with the relative success of R&B and urban acts.� Beyond the few Canadian R&B/soul success stories there are teems of artists who toil in obscurity. Even the successes are relative; most were forced to breakthrough Stateside before getting any love north of the border. Paradoxically, it had to be done before people could see it could work.

�Who wants to put their balls on the table?� Cox asks. �The Canadian market is so Americanised and it�s hard to compete with because it�s got to be something that sticks out enough, but not to the point where it doesn�t compete.�

One big reason why soul music doesn�t get any love is due to cultural points of reference. The industry has always been white � there�s no other way to describe its infrastructure. The mistake historically made by labels was the belief that the music�s appeal is limited only to the African-Canadian community. Canadian labels, who often operate as franchises of their American counterparts, look to the U.S. market as a model in most of their operations, but the Canadian market doesn�t share the same monolithic cultural experiences � in black or white communities or music markets � as the U.S. Targeting an African-Canadian market for soul music doesn�t work the same way because the socio-cultural experiences of black Canadians aren�t always shared with African-Americans.

What�s interesting is that soul and R&B, as popular music, have Canadian roots far deeper than rock and pop. Larry LeBlanc, Billboard magazine�s Canadian bureau chief, agrees. �Toronto was a strong R&B town in the �50s, �60s and early �70s � this was not a rock town until the late �60s.� Yet that scene remained separate from the Canadian recording industry, which never quite figured out what to do with it. While the industry isn�t overtly racist, there exists a cultural disconnect, a �prejudice by exclusion� that hampers the success of domestic R&B and soul. �I can remember being at a Juno Awards dinner ten years ago. There was one visible minority in the room,� LeBlanc says. �Some of the labels have tried to tap into the market, but they saw limited rewards.� So the cultural thing is part of it. The industry was a composed of a generation that was raised on rock and simply couldn�t relate to the music, LeBlanc argues. The situation parallels the meagre gains the hip-hop community has had in terms of forging a place for the music.

According to music journalist Nick Jennings, the position of R&B and soul as an also-ran to Canadian rock is ironic, considering that soul music provided a key component in informing the quintessential Canadian sound. Jennings, the author of Before the Gold Rush: Flashbacks to the Dawn of the Canadian Sound, notes that Toronto in particular was a bastion for blues and R&B. The key player in the early �60s was Arkansas-born Toronto resident Ronnie Hawkins, who drew heavily from black American music in forging his popular rock sound. A lot of blue-eyed soul groups that were attempting a rhythm and blues sound looked to Hawkins, according to Jennings, including Little Caesar and the Consuls, and Jon and Lee and the Checkmates.

Black artists from the Caribbean or the U.S. found hospitable communities not just in Toronto but also Vancouver and Montreal; artists like Eddie Spencer, Johnnie Osbourne and Willie McGhie and the Sounds of Joy � all featured on the Jamaica to Toronto compilation � made an impact on the Canadian scene. But these artists, Jennings notes, soon became frustrated by a lack of opportunities to record � part of a larger prejudice against the worth of Canadian music in general. �There certainly wasn�t a shortage of talent,� Jennings says. �It wasn�t black or white � it was a national prejudice. Literally, at radio stations across Canada there was an assumption that if it was Canadian then it couldn�t be good.�

The Canadian music scene in general didn�t undergo the radical transformation required to build a domestic music scene until the early �70s, when Canadian Content rules (which dictate that radio stations must play a certain percentage of Canadian music) came into effect. That legislation gave Canadian music a leg-up, and an infrastructure � made up of producers, managers, engineers, writers, investors and label executives � began to grow. It�s a process that the R&B and soul scene is now in the middle of, according to Billboard�s LeBlanc. �What we fail to recognise in signing an R&B act now is that they are going through the same problem that the rock community experienced 20 years ago,� he says. Canadian rock grew by networking and a Byzantine system of joint venture deals between Canadian majors and their American counterparts, he adds � and most of the time, it was the Canadian labels that shouldered most of the risks.

For his part, Calgary-based soul singer Jeff Hendrick believes the industry doesn�t give Canadians enough credit. �Living out west, I think there�s still that notion it�s only happening in Toronto,� he says. More frustrating is a lack of promotional opportunities and diversity on the airwaves. �Obviously, radio is not looking to break new artists,� he says. �Let�s say there are five signed Canadian acts � those are the ones you�re going to hear.� He points to the fact that, outside of Toronto-based urban radio station FLOW 93.5, many other recently licensed urban radio outlets across the country didn�t last. �It�s strange that there were all these radio licenses that were able to apply under the guise of �urban� and were all gone within a minute.� (Most switched to a Top 40 format.) �The wrong people are making the wrong decisions, there�s no other way to put it,� he continues. �There are still some dinosaurs in the music biz. They�re making decisions and they don�t listen to the music. That�s problematic, especially since there doesn�t seem to be great interest in trying to grow different genres.�

A rock music-based infrastructure is the only one available, according to Hendrick. �As a soul artist, you�re usually [booked into] rock rooms, sometimes you�re opening for artists that may not really complement you, or vice versa. I know the crowd is there, but when it comes to the booking side, there�s hesitancy.�

Nova Scotia-based singer Jamie Sparks takes a zen approach to the situation. �Being on the east coast, sometimes you feel like there are things going on in the rest of Canada that we may not be connected to,� he says. �But there�s a strong community here, which is a plus. You can exhaust the market pretty quickly but there are spots that are really supportive if you have your stuff together.�

Sparks runs an independent label and understands the money needed to successfully promote an artist. �Marketing and promotion is a big part and the majors may not want to put money into a format they�re not comfortable with. But it�s all about [getting] good music out there and getting good feedback.�

It�s a huge country with a small, spread out and diverse population. But when it comes to work in the music industry, sometimes the opportunities just aren�t there. �There is a level of frustration,� says Ivana Santilli, �but the moment that I stopped blaming things around me and started doing something about it, I became more productive and re-inspired.� She adds that, regardless of genre, Canadian musicians need to think beyond their local communities. �If you�re any good, consider Canada a building ground. It�s not about being bitter. If you�re any good, you should be able to play on a world stage. You have to see it as your responsibility to either improve the situation or find a solution for your specific situation.�

Those seeking a model example of success for an R&B artist in this country need look no further than Ottawa-based Massari. His debut album, released on the independent Capital Prophet Records, has sold more than 75,000 copies (and counting) � that makes him bigger, sales wise, than artists who have been around longer, like Divine Brown, Jully Black, Shawn Desman and Keisha Chante.

�The formula is simple,� Massari says. �You�ve got to work ten times harder than the average artist. The overwhelming presence of the States means that we�ve got to work harder to get noticed. People have been waiting for something different, and I�m here to provide that. It�s not about the money but about longevity.�

�He�s got a structure around him,� says LeBlanc of Massari�s career trajectory. �Five years ago, a major wouldn�t know what to do with an act like Massari � I don�t think they�d be willing to put in the time and development.�

The template for success as a Canadian R&B/soul artist probably lies somewhere in the gulf between Massari and Jully Black. Black has been savvy about branding herself, working as a TV host and crafting a media persona that has raised her profile, which should help her upcoming sophomore album. �Since when has any successful person been one-dimensional?� she asks rhetorically. �An R&B artist in Canada has to build a brand and broaden your fan base.�

�Right now I�d say Jully�s career is at a crossroads. But I think it�s to her credit that she�s kept herself alive,� LeBlanc says. �The days of the million dollar record deal are over. You have to create an indie presence and most don�t have the money, infrastructure or business savvy. The majors are signing less.�

Sometimes, the best way you can represent Canada is by leaving,� Santilli says. �We don�t need to remind ourselves that there�s talent here. We know that. What we need to do is inform other people elsewhere that there�s talent here in that way it can be widespread.�

Calgary's Jeff Hendrick has thought about moving out of Canada but decided against it. �At the end of the day it�s still a very rock-oriented country. I don�t think it�s inherently our music. But we do have people that love it and we�re producing some music of our own. I think that we�re doing ourselves a disservice if the answer is always �Let�s move away.� There�s more to Canada than Nickelback.�

Building a sustainable music community in Canada remains a challenge. The measure of success might well be if artists can avoid ending up on a Jamaica To Toronto type of lost recordings'compilation 20 years from now.

Check Rabbitohs radio for emerging Canadian and Australian music stars

Rabbitohs Radio is Rockin the Round World in 2006!

Rabbitohs Radio is entering it's second year so tune in now to Rabbitohs Radio for the brand new station content.

We have competitions and prizes for you and all the latest on the happenings at the Club and all the news on your team.

We have got some great new shows this year including the popular live home game calls from Telstra Stadium.

Thanks again for all the support and we look forward to your feedback on the new station.

If you would like to request a song, send an email to requests@souths.com.au.

Hear great new tracks from Erik Simins, Imogen, Yuya, Ann Morita, Burning The Day, Katie Michaelson, Trevor Jones, Tommee, Trace Element and 2Face.

Rabbitohs Radio is proudly brought to you by Blue Pie Productions. Check out Blue Pie at www.bluepie.com.au.

Israel, Lebanon and Syria are setting for new Yuya book and film, Ari and Salome

Update from Yuya on life and new book/film Ari and Salome Celebrate the Coin:

Current Hostilities in mideast overlay set of Ari and Salome movie

What’s up all you music fans in Canada, Australia and everywhere!!! OK, I’ve been MIA … been gone but not unproductive, as have written over 80 pages for Ari and Salome Celebrate The Coin, my new book/film that celebrates this first century couple. Ari is Aristobulus, the Herodian Jewish King that much of Jesus' life is based on, while Salome is the very same person whom both Salome and M Magdelene of the NT are derived from.

A couple of weeks back I blew the engine on my vehicle, so have been walking and busing a lot these past days. I tell myself I need the exercise and I do. I tell myself it was my own fault that the motor blew and in many ways it was, for I often drive too emotionally, and too aggressively. Work has been really difficult, and I haven’t been playing much music as have been grinding on my book and script, Ari and Salome Celebrate the Coin:


Ari and Salome Celebrate the Coin


Sometimes I feel as if I am in a time warp, as the current hostilities in southern Lebanon and northern Israel are occurring on the very same geography that my book takes place. I am in a position where time is of the essence and so have to define my priorities and stick with them. If I were able get a literary agent or a book publisher or a film investor on board, I feel that would give the Ari and Salome project some traction, so if you know anybody, holla at yer boy!!!

Erik Simins, Yuya, Trevor Jones, Michael St. Clair

Canadaian singer Erik Simins is now available globally via his new distribution deal with Blue Pie. Erik’s music is an honest portrayal of the love and pain he’s experienced throughout his young life, reflecting collective influences of almost every musical genre.

Canadians, find Erik Simins songs, from Please Do Not Disturb cd, at Yahoo Music Canada





Buy Erik Simins songs, from cd Please Do Not Disturb, at Yahoo Music




Find Yuya songs for sale by download, at Yahoo Canada and at Music.Yahoo.com:


Download songs, from Yuya cd, Give U Everuthing, at Yahoo Music


Canadians, download Yuya tunes from Give U Everything Yahoo Music Canada




Also now on Blue Pie is St. Kitts’ pride and Toronto’s own rockin' reggae artist Trevor Jones:



Trevor Jones !!!

Download songs from Trevor Jones cd, Electric Minstrel, at emusic.com


Buy new music from Trevor Jones, second cd, Things To Keep, Choses A Garder, at emusic.com



Canadian producer / songwriter / guitarist Michael St. Clair has released his first solo album, Blues Beach World. Amazing smooth jazz / world music tracks available from Yahoo and other leading online music retailers.




Download Michael St. Clair tracks from Blues Beach World at Music.Yahoo.com



Blue Pie Productions of Sydney, Australia is a global leader in digital music distribution and is now the label for Canadian singer Yuya Joseph; if you like rock (and reggae!) music, check Yuya’s tunes now:


Download Yuya songs at the UK music site StayAround.com

Yuya songs for sale via download at Music.MSN.com


Find Yuya tunes for sale from cd Give U Everything, at music.yahoo.com

Canadians, download Yuya tunes from Give U Everything Yahoo Music Canada

Canadians, find Erik Simins songs, from Please Do Not Disturb cd, at Yahoo Music Canada




and search for Yuya on iTunes!

4 passionate lovers, conscious music fans, digital song downloaders

Alt-rock/Reggae singer Yuya links list, sample tracks, get free songs, buy rock and reggae songs via downloads now:


Yuya on MySpace

Yuya songs at Music.Yahoo.com

Yuya's Give U Everything cd on Music.MSN.com

Yuya featured on UK music website StayAround.com





Bring Yuya music in your AudioLunchbox!

Yuya tracks at AOL's music site Rhapsody.com

Emusic.com Yuya cd Give U Everything

Find Yuya on Germany's top music site, MusicLoad.de

Pics and Songs of Yuya at the Blue Pie Artists Blog

If you create, join Yuya's network at ArtistNow.com/yuyajo

Buy music, help with Katrina relief efforts at HurricaneHealing.us

See photos and hear Yuya songs at the Ultimate Band List, UBL.com


Music-related links:










Download Free Songs Now! Get your own MP3's, movies & more. Unlimited music downloads, only $1 a month. More info - Click Here!

Californication Part 2; Dani California peppers the music charts with sensual allusions

Courtesy MetroLyrics.com


Dani California - Red Hot Chili Peppers

Gettin' born in the state of Mississippi
Papa was a copper and her mama was a hippie
In Alabama she would swing a hammer
Price you gotta pay when you break the panorama
She never knew that there was anything more than poor
What in the world does your company take me for?

Black bandana, sweet Louisiana
Robbin all the banks in the state of Indiana
She's a runner, rebel and a stunner
Hunt em everywhere sayin baby whatcha gonna
Lookin' down the barrel of a hot metal 45
Just another way to survive

California rest in peace
Simultaneous release
California show your teeth
She's my priestess, I'm your priest, yeah, yeah

She's a lover baby and a fighter
Shoulda seen her coming when it got a little brighter
With a name like Dani California
Day was gonna come when I knew I was gonna mourn ya
A little lotus, she was stealin' another breath
I love my baby to death

[Chorus]

Who knew the hardest side of you?
Who knew what others tried to prove?
Too true to say good bye to you
Too true too sad sad sad...

Twist of fate a, gifted animator
One for the now and eleven for the later
Never made it up to Minnesota
North Dakota man was a gunnin' for the quota

Down in the badlands she was savin' the best for last
It only hurts when I laugh
Gone too fast..


Online music downloads:


Musicians Friend: Buy DJ Gear/ find Stage Lighting on sale

Like Lenny Kravitz or Death Cab For Cutie? Listen to Yuya, he has released his new album Give U Everything to music fans globally, check out this new Canadian rock reggae recording artist:


Download Yuya songs from StayAround.com


Find Yuya CD Give U Everything at Music.MSN.com



Buy Yuya songs from Music.Yahoo.com


Buy songs from the Yuya CD, Give U Everything, at Rhapsody.com



ErikSimins.com




Erik Simins, writer / performer of Parent's House and The Way I See It, Click Here for songs and photos of Canada's Erik Simins



Buy Yuya songs at Emusic.com Yuya page





Shop Musicians Friend, the World’s Largest Music Gear Company

White Boy Makes Good; Dino Jag Plays That Funky Music 2005

story from www.Buzzle.com


Blue Pie artist Dino Jag rockin the iTunes Dance/Electronica charts

Dino Jag Is Fun, Funky, Energetic And Entertaining There is a fire burning down under and his name is Dino Jag. He is one of those artists that has an internal switch that is set to ‘ON’ at all times. His exuberant energy comes pouring through his music, and never is it more apparent than on Play That Funky Music 2005. The track is currently #8 on the iTunes Dance/Electronic charts and within weeks of its release several months ago, hit #34 in Denmark & # 27 in Australia on the "Top 100" Dance/Electronic charts. He is no stranger to taking a classic song and making it into a dance floor rave up. He first made an impression in this territory with his reworking of Stevie Wonder’s "Superstition."

Now another classic is ready for spinning. Wild Cherry had the big hit "Play That Funky Music" in 1976 and now it has transformed into Play That Funky Music 2005. Dino Jag crosses the threshold of genres and offers two versions of the classic pop tune, the "Original Mix" and "Electrodelic Mix." Each one has its own characteristics that will appeal to a large cross section of listeners. While relying on the original rhythm and lyrics, the "Original Mix" serves as a more of traditional electronica meltdown while the "Electrodelic Mix" sounds more futuristic with vocal treatments and rapid-fire rhythms and beats.





While performing with funk/rock band Stolen Waters (1995-1998), Dino was nominated "Best Male Vocalist" for three consecutive years at the South Australian Music Industry Award’s (SAMIA). Prior to that, many would have heard Dino's voice featured on many local, national, radio, and TV campaigns. His vocal powers received attention early on in his career, and with good reason. Dino’s writing and remixing styles have afforded him the opportunity to work on projects with some of the world’s greatest musicians and recording artists such as Ray Columbus, Sir Paul McCartney, Rusty Anderson, and most recently, with Australian icon Barry Crocker.



Play That Funky Music 2005 shows Dino Jag as an artist shining in his element in the vocal, remixing, and production areas with equal skill. His contagious energy is all about the music he creates and it serves as a tribute to his charisma and magical touch in the studio.

Like Dino says "Its fun, funky, energetic, and entertaining!"


Music and entertainment links:

Get any Game FREE with GamePass

Musician’s Friend: DJ Gear/ Lighting equipment for sale online


Download rock’n’reggae music in the style of The Clash, Elvis Costello!!! Are you a fan of Lenny Kravitz or Deathcab for Cutie or Canadian rock band Sloan? Check out Yuya:


Yuya songs for sale via download at Music.MSN.com


Find Yuya tunes for sale from cd Give U Everything, at music.yahoo.com

Scratch & Dent Specials at Musician's Friend


Listen to Yuya and all your fave singers for free for two weeks, just Click Here for a 14-day FREE trial of Rhapsody!!!

Lyrics to Yuya Joseph cd Give U Everything

All the King’s Horses

Lyrics and Music by Tony ‘Wild T’ Springer

Standin’ on a corner, watching our world spinnin’ round
Everybody saying Hey Joe, what’s going down?
They say we can’t breathe the water
Can’t even drink in the air
This whole world’s busy fighting
Fighting 4 the Lion’s share

All the King’s Horses
And all the Kings’ Men
Have got me living like
A puppet on a string

The angel or the devil
Beneath each disguise
The preacher and the thief
Each made 2 believe in lies
It’s raining and I sit outside
Yet nobody cares …
East is mystifying
West is busy fighting
Fighting 4 the Lion’s share

All the King’s Horses
And all the Kings’ Men
Have got me living like
A puppet on a string




What Went Wrong, What Went Right

Lyrics by Yuya Joseph, Music by Michael St. Clair


Pontificating on the fate of man-kind
It’s useless unless we learn from one another
Setting the stage 4 the new world man
Complexities of nature in a new promised land
Time 2 fix up what went wrong, build up what went right!

What went wrong, What went right
Searchin’ 4 a signpost some sorta light in the night
2 love faith and charity, freedom truth and rights
What went wrong, What went right

Looking back now on the 20th Century
From Hitler and Stalin, 2 Marley and Sellassie I
From evil and error, 2 Unity and Goodness
I vote 4 music and dance, togetherness and harmony
Time 2 fix up what went wrong, and build 4 2morrow!


What went wrong, What went right
Searchin’ 4 a signpost some sorta light in the night
2 love, faith and charity, freedom, truth and rights
Baby, tell me what went wrong, and what went right

I thought I knew U
I think I remember
U believed in peaceful things
Harmony and nature, goodwill and hope
Now I see you’re choosing enemies
Glorifying violence, obscuring Light

What went wrong, What went went right
Blazing our trails all thru the night
2 love, faith and charity, freedom, truth and rights
Baby, tell me what went wrong, and what went right

There once was a day we dreamed of one people
Not religion or armies just faith in humankind
I’d take U there now but you’re not one 4 leavin’
So stay awhile with me …
I just wanna hear U breathing!

What went wrong, What went right
Blazing our trails all thru the night



Nyabinghi

Lyrics by Yuya Joseph and Trevor Jones, Music by Yuya Joseph, Trevor Jones, Michael St. Clair

Yuya Elijah calling Ethiopia
India, Canada, Jamaica, America
One people plant be rockin’ tonight
Celebrating love humanity and Light

Nyabinghi
Nyabinghi Nyabinghi
Nyabinghi Nyabinghi Nyabinghi Nyabinghi
Rasta no go away Rasta hangin’ in steady
Nyabinghi Nyabinghi Nyabinghi Nyabinghi
Rasta never go away Rasta hangin’ in steady

Steady now, steady now

Time will bring many changes
Some will be right some will be wrong
Time will change many faces
Show I the weak show I the wrong

Are U ready?
Are U ready are U ready?
Are U ready are U ready are U ready are U ready
Natty no go away Natty hangin’ in steady
Are U ready are U ready are U ready are U ready
Natty never go away Natty hangin’ in steady


Steady now, steady now …

Man ask I, man ask I
Walkin up the street said a man ask I
Who is the heaviest man in this town?
I say everybody heavy, some a dem steady
If U want 2 go 2 Zion
U better be ready now!

Ready now, ready now …


Feel Jah Irie vibration
Sounds I love fe hear
Music of many nation
Love afar and near

Are U ready?
Are U ready are U ready?
Are U ready are U ready are U ready are U ready
Natty no go away Natty hangin’ in steady
Are U ready are U ready are U ready are U ready
Natty never go away Natty hangin’ in steady

Nyabinghi Nyabinghi Nyabinghi Nyabinghi
Rasta no go away Rasta hangin’ in steady
Nyabinghi Nyabinghi Nyabinghi Nyabinghi
Rasta never go away Rasta hangin’ in steady





The Sun Will Rise Again

Adapted from Lyrics and Music by Greg Todd

Johnny’s come lately he’s lost the fight
The cycle of life takes another bite
Of the pie in the sky

The sun goes down by the new night 2 spawn
Our Love will rise again
The Sun will shine again

There’s a new star in heaven
Screamin’ up on the left side of me
I can see

The sun goes down and the new night is born
Our Love will shine again
The Sun will rise again

We can stave off elimination
Survival is a way of life 2 me
Challenge me and my imagination
Get to the station!

The puck will drop your luck will talk
We’ll get a goal and
A piece of that pie in the sky

The sun goes down by the new night 2 spawn
Our Love will rise again
The Sun will shine again

We’ll fight til the end
The scent of the Cup
I will tend 2 the plan

The sun goes down and a new night is born
Our Love will shine again
The Sun will rise again

We can stave off elimination
Survival is a way of life 2 we
Challenge us and our imagination
Get 2 that station!

Johnny’s come lately he’s lost the fight
The cycle of life takes another bite
Of the pie in the sky

The sun goes down and a new night is born
Our Love will rise again
The Sun will shine again
The puck will drop again
The Sun will rise again



Give U Everything

Lyrics by Yuya Joseph and Music by Michael St. Clair

Back in the summer of twenty-o-five
We were fighting in the streets just 2 stay alive
U never knew what was coming next
Warfare and terror eatin’ brightest and best
People turning 2 religion 2 hide
From one another and all the reasons 2 cry
Nobody told me ‘bout the sun and the shade roles
I wanted your heart mind body and soul

I only wanted Everything
We were young and relentless
Our passions burned hot
I’m gonna give U everything
My story life world visions
Everything I’ve got!
I’m gonna give U everything
I’m gonna give U everything
I’m gonna give U everything
Gonna give U give U give U give U
Give U everything


‘Twas in the autumn of twenty-o-eight
Things were really looking up, Irie, jus feelin’ great
Two very long days since the birth of Iyasus
Cusp of a New Day, a Spirit a Muse
I couldn’t believe my good fortune 2 meet U
See your smiling face, hold your hands, and greet U
In Beijing and Addis and at home in Canada
We’re rockin the world from Athens 2 Asia!



Too True

Lyrics and Music by Yuya Joseph

Dylan, Lennon and Marley
Rockin’ up Canyon Street
City on fire, driftin’ higher
Nobody getting any sleep
Like Sunshine spreading on the ‘Net
Something sweet was in the air
Cyberspace? In its own place!
A rule of law, just and fair

It’s Too True
2 be anything but good
It’s too true
2 be anything but good
It’s Too True
Living with U gets better, and better yet
Too True

Rising up 2 a new day
Greet a family smile
Makes one wanna stay there
Linger 4 awhile
Yet the microphone is humming
Wants me there by nine
It’s just a part of living
This thing called company time

It’s Too True
2 be anything but good
It’s too true
2 be anything but good
It’s Too True
Living with U gets better, and better yet
Too True




Ganjah Wise

Lyrics by Yuya Joseph / P. Arthurs, Music by Yuya Joseph / Michael St. Clair

Solarization of the means of production
Equals the detoxification and
Biospheric regeneration of the global economy
Brought 2 the table by none other than she
Yea, that is the root that she bear
That is the fruit that she bear

She gone Ganjah Wise, Ganjah Wise
Gone Ganjah Wise, Ganjah Wise

Let’s bring an end 2 the global destruction
Let’s call a halt 2 the deforestation
Time 2 start up a new Rastaration
Time 2 live 2gether in One Nation
When we gone Ganjah Wise, Ganjah Wise
Gone Ganjah Wise, Ganjah Wise

Ganjah gonna win thru thick and thin
GanJah gonna win ain’t never been a sin
Gone Ganjah Wise, Ganjah alive Yeah
Gone Ganjah Wise, Ganjah survive yeah!


Some call I Yuya Joseph, Jah Lifeguard, Rasta Joe
Used to be Joe College if you really must know
Jah Love mek I smile, Jah Herb mek I grow
Listen to Jah Music, I and I do know

Solarization of the means of production …




Burning Man

Lyrics and Music by Yuya Joseph


Digerati gather in the night
Lather rather escaping city fright
Tribal peacefare rules the day
Wet young eyes, dreaming you may


Burning Man, looks like she and he
Burning Man, Brilliant effigy
Burning Man, A thunderous creation
Burning Man, Wondrous new net nation
New net nation!

Brown eyes, she’s gazing skyward
Reflecting all light and I-Word
Radiating strength, inner solidity
Searchin’ skies for any sign of He

Burning Man, just like you and me
Burning Man, Sacred effigy
Burning Man, A thousand special stages
Burning Man, Symbol for the ages
For the ages!

Kickin’ out the jams in the desert sands
Blastin’ our music, certain blessed bands
Tribal peacefare rules the day
Wet young eyes, dreaming you may

Burning Man, looks like she and he
Burning Man, Brilliant effigy
Burning Man, A thunderous creation
Burning Man, Wondrous new net nation
New net nation!

New net nation, new net nation
New net nation, new net nation …




Out In The Moonlight

Lyrics and Music by Joe Keithley

Out in the moonlight, i go a-walkin'
Out in the moonlight, i go a-walkin'
Out in the moonlight, i was tired of talkin'
Some clear still light, out in the night, oh yeah
A still cool night 2 clear my mind, oh yeah

I was down, by the riverside
I was down, by the riverside
I was down, down by the riverside
The water rushes by, no matter what we try, oh yeah
The water rushes by and it leaves no lie, oh yeah

Out in the moonlight, by the riverside
Out in the moonlight, by the riverside …



How Shall We Thank Thee

Lyrics by Yuya Joseph, Music by Yuya Joseph and Michael St. Clair

Better get a walkin when you’re knockin out your talk ya know cuz
Rockin’ without talking is like knocking out a crock
Jah rules all em Jah mek all em
Jah make em sing a rock I know cuz
Singin’ without rockin’ is like talking without thought, but

Jah, sets us free
Jah, moves us 2 higher ground
Jah, You’ve set us free
Jah, how shall we thank thee?

Go out in the evening hear the reggae up a block
Feet‘ll start walkin’ ‘cause Jah Music cannot stop
Body start a swayin’ 2 the local reggae chop
That sweet ole I I music gonna mek I wanna shout, that

Jah, sets us free
Jah, moves us 2 higher ground
Jah, You’ve set us free
Jah, how shall we thank thee?

Oh Jah, You set us free
Jah, You moved us to higher ground
Jah, You’ve set us free
Jah, how shall we thank thee?





Music links and more:

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Listen and watch the musicians and bands from the HurricaneHealing.us music for charity cd describe why they participate in this noble effort, at the hot video site YouTube.com


Sample and download songs from the Yuya CD, Give U Everything, at Rhapsody.com


Additional Blue Pie singers and bands with songs available for download:

Canadian producer / songwriter / guitarist Michael St. Clair has released his first solo album, Blues Beach World. Amazing smooth jazz / world music tracks available from Yahoo and other leading online music retailers.




Download Michael St. Clair tracks from Blues Beach World at Music.Yahoo.com


Jazz reggae singer Bob E. Ruglass is now distributed globally by Blue Pie Productions of Sydney, Australia, and his CDs are available by download via Yahoo, emusic, msn and all top online music stores.





Buy songs from Clear The Tracks by Bob E. Ruglass, register at Music.Yahoo.com



Scoldees.com


MarcoEsu.com


SouthpawMuzik.com


TommeeMusic.com


Also coming soon to Blue Pie is St. Kitts’ pride and Toronto’s own rockin' reggae artist Trevor Jones:



Trevor Jones !!!



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If you love alternative rock music songs available for download, check Yuya’s tunes sometime:


Download Yuya songs at the UK music site StayAround.com


Buy Yuya CD Give U Everything, download songs at German website Musicload.de


Music for charity benefit CD the victims of the Katrina hurricane damage affecting Louisiana, Mississippi, Alabama and region. One half of all proceeds goes to the Salvation Army efforts in New Orleans and Caribbean / Central American region:

HurricaneHealing.us




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