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![Edmund Pettus Bridge [How Long, Not Long]](http://img.youtube.com/vi/_2fsdEa1Dcg/2.jpg "Edmund Pettus Bridge [How Long, Not Long]")
16, 
06:33, 
2008-03-10 20:03:38 Description: Last year, Will King entered the studio with drummer/percussionist Aaron Comess [The Spin Doctors] to record Edmund Pettus Bridge [How Long, Not Long], a song derived from a recent Civil Rights quest (More) Last year, Will King entered the studio with drummer/percussionist Aaron Comess [The Spin Doctors] to record Edmund Pettus Bridge [How Long, Not Long], a song derived from a recent Civil Rights quest which he took through the Deep South.
The journey took him from Atlanta to Montgomery to Selma to Birmingham as well as interesting points in-between. The song, which tells the story of "Bloody Sunday" and the plight leading to the passage of Voting Rights Act of 1965, will be used as a fundraiser for the Rosa and Raymond Parks Institute for Self Development Pathways to Freedom program.
If you would like to donate funds to support recording & distribution costs of the forthcoming CD, please email: wbradking [at] hotmail.com
As you listen to the song, please read along with the lyrics. AFTER listening, we encourage you to research each individual mentioned in this song as they played a crucial role in the freedoms we enjoy to this day.
Edmund Pettus Bridge [How Long, Not Long]
Words and Music by Will King. All Rights Reserved.
Will King-guitars/vocals; Aaron Comess--drums/percussion
Recorded at 20/20 Music--engineer--Saul Zonana
Fifty-four miles and forty-two years from Montgomery
Edmund Pettus Bridge still stands
What happened on that Bloody Sunday
Makes me question just who I am
I don't give an Alabama Goddamn
Until you accept me for who I am
Thousands of marching feet
Governor Wallace tells his smiling men "Go hit Selma's streets"
Billy clubbing and tear gassing their honest dreams
Spider Martin's lens fills with triumph and defeat
I don't give an Alabama Goddamn
Until you accept me for who I am
John Lewis, Hosea Williams would not accept defeat
A second and third march would happen within weeks
Not before Amelia Boyton Robinson and others were beat
Bloody Sunday washed through all of America's streets
JoAnne Bland's sister cried red blood tears
Mr. James Reeb beat in front of the Silver Moon Café
Two days later he died
Jimmie Lee Jackson, Jimmie Lee Jackson, Jimmie Lee Jackson was shot dead
For protecting his Ma; for protecting his Grandpa
They did not die in vain
I don't give an Alabama Goddamn
Until you accept me for who I am
Ralph Abernathy, Rosa Parks, Johnnie Carr and Dr. King
Joined together with so many others in this dream
Educate, vote protect your civil rights
Peaceful protest is the only plight
They marched four days from Selma To Montgomery's Capitol Hill
Stars for Freedom played
The nation was listening
The world woke up
President Johnson readied his legislative pen
Then Dr. King he stood up
Yes, Dr. King he stood up
Dr. King said:
How long, not long
How long, not long
How long, not long
Until we're free
How long, not long
How long, not long
How long, not long
Until we're free
How long, not long
How long, not long
How long, not long
Until we're free
Fifty-four miles and forty-two years from Montgomery
Edmund Pettus Bridge still stands
visit www.willkingmusic.com/pathwaystofreedom (Less)
Channel: youtubeTags: Bridge Civil Edmund freedom John King Lewis Luther Martin Parks Pettus Rights Rosa Selma Spider Voting Will
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3, 02:36, 2008-12-19 21:58:05 Description: This is Avatar: Legends of Aang - The Burning Earth. This is the first time I have played the game so i suck, plus the PC was lagging badly and i only knew what the "B" button did.
These (More) This is Avatar: Legends of Aang - The Burning Earth. This is the first time I have played the game so i suck, plus the PC was lagging badly and i only knew what the "B" button did.
These achievements are very easy, i get four of five of them because you should have got the picture, they are all the same but different quantities. The first one is worth 150G! These people at Nickelodeon studeos tried very little with this game sorry to say. (Less)
Channel: youtubeTags: 360 Achievements Avatar comedy crap easy FC fifty gamerscore graphics guitar haha hero III like lol nickelodeon not or PAL porn sorry studios TBE THQ TLA xbox
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128, 02:30, 2008-04-17 15:09:52 Description: Tracey Ullman (born 30 December 1959) is a British-born, now U.S. citizen comedian, actress, singer, dancer, screenwriter, and author, who is most famous for being the host of her eponymous variety (More) Tracey Ullman (born 30 December 1959) is a British-born, now U.S. citizen comedian, actress, singer, dancer, screenwriter, and author, who is most famous for being the host of her eponymous variety television show. Her early appearances were on such British TV sketch comedy shows as A Kick Up the Eighties (with Rik Mayall) and Three of a Kind (with Lenny Henry and David Copperfield ). She also appeared as Candice Valentine in Girls On Top with Dawn French and Jennifer Saunders. She emigrated to the U.S. and ended up having her own network television series, The Tracey Ullman Show, from which The Simpsons was spun off in 1989. She later found even greater success producing programmes for HBO, including Tracey Takes On..., for which she has won numerous awards. She has also appeared in many feature films. Early life Tracey Ullman was born in Slough, Buckinghamshire (now Berkshire) to Antony Ullman, her Polish Roman Catholic father, and Dorin Ullman, her British mother, who was of Roma heritage. Antony had been a Polish soldier who was evacuated from Dunkirk in 1940. Ullman's father sold furniture, booked travel, and brokered marriages. He also translated amongst the Polish community in the UK. When Ullman was six years old, her father died of a heart attack. He was fifty years old. In an effort to cheer the family up, Tracey recounted putting on shows in her mother's bedroom, performing along side her older sister, Patty. That first show was entitled, The Patty Ullman Show. "I was a spin-off!" recalled Ullman. In her nightly performances Tracey was able to mimic anyone and everyone, including neighbors, family members, friends, even celebrities. Soon after, Ullman's mother remarried. At age 12, one of Tracey's headmasters took notice of the young star's future potential, and recommended her to the Italia Conti Academy stage school. Although the school gave Ullman her first taste of the stage, she does not look back at the period as being a joyous one. Ullman's biggest drawback was her dark features. During auditions, they would line the children up, and select them for roles. Young Ullman, ethnically, did not fit the criteria (the criteria being blonde-haired and blue-eyed). At age 16, Ullman began to find jobs as a dancer. One of her big breaks came when she landed a role in Gigi in Berlin[1]. Upon returning to England, she joined the "Second Generation" dance troop[2]. She also began to appear in variety shows. The exposure led to her being cast in numerous West End theatre musicals, including Grease, and The Rocky Horror Show[3]. During this time Ullman learned of a competition at London's Royal Court Theatre[4] for an improvised play about club acts. Deciding to enter, Ullman created the character Beverly, a born-again Christian chanteuse. Ullman proved to be a big hit and won the title of Best Newcomer Award[5]. At this point, the BBC became interested, and offered her her own show. [edit] Music career In 1983, Ullman succeeded as a singer on the legendary punk label Stiff Records[6], although her style was more comic romantic than punk[7]. She had six songs in the British Top 100 in less than two years, including her first hit "Breakaway" (famous for her performance with a hairbrush as a microphone); the international hit cover version of label-mate Kirsty MacColl's "They Don't Know," which went to #2 in the UK (#8, U.S. - MacColl also sang backing vocals on Ullman's version), and which became the theme song to most of Ullman's later television series; and the cover of Madness's "My Girl," which Ullman changed to "My Guy's Mad At Me." [8] (The "My Guy" video featured the British politician Neil Kinnock, at the time the Leader of the Opposition)[9].) Her songs were over-the-top evocations of 1960s and 1970s pop music with a 1980s edge, "somewhere between Minnie Mouse and The Supremes" as Britain's Melody Maker put it, or "retro before retro was cool", as a retrospective reviewer wrote in 2002. Her career received another boost when the video for "They Don't Know" featured a cameo from Paul McCartney[10]; at the time Ullman was filming a minor role in McCartney's film Give My Regards To Broad Street[11]. Her final hit was Sunglasses (1984) whose video featured Adrian Edmondson. During this time, she also appeared as a guest VJ on MTV in the United States[12]. In October 2006, Ullman recounted her music days in the BBC Four documentary series, If It Ain't Stiff.[13] [edit] Television career [edit] Early years Along with her stint in the music world, Ullman also moved into television. She began starring in sketch comedies for the BBC, A Kick Up the Eighties, and Three of a Kind (with Lenny Henry and David Copperfield). In 1985, she donned a blonde wig and took the role of a promiscuous gold digger named "Candice Valentine" on the ITV sitcom Girls On Top, but jumped ship after one season. At this point, US television beckoned, and television producer, legend, James L. Brooks, came calling. The two had discussed working together previously, but it wasn't until 1987 that the two formally got together and created The Tracey Ullman Show. Ullman played a variety of characters, completely disguised with the help of makeup, prosthetics, and even padding. The show was the first commercial hit for then unknown FOX channel. Ullman proved to be a triple threat - she could act, sing, and dance, as well as providing ethnic accents for some of her characters (Tracey is one of the few non-Australian actors that can deliver lines in a realistic Australian accent). Paula Abdul began her career with the series, serving as the show's choreographer. The then practically unknown Abdul even used her early music recordings for the series' strenuous dance numbers. The Tracey Ullman Show earned four Emmys and spawned The Simpsons, which was featured in very simple cartoon shorts (created by cartoonist Matt Groening at the behest of Ullman Show producer James L. Brooks). In 1992 Ullman filed a lawsuit against Twentieth Century Fox in Los Angeles Superior Court over profits from the later half hour incarnation of The Simpsons for $2.5 million of the estimated $50,000,000 USD in profits reaped from merchandising. Years after her show went off the air, she said jokingly in a late night television interview that she hoped to one day have a regular 2-minute spot on The Simpsons. Despite the lawsuit, Ullman would later (hypocritically) provide the voice of "Emily Winthrop", a British dog trainer on The Simpsons in Bart's Dog Gets an F. As Ullman had continued her professional relationship with former producer Brooks, only the studio and not Brooks was named in the suit. In fact, Brooks was allowed to videotape his testimony because in an only-in-Hollywood twist he was at that time directing Ullman in his later de-musicalized film I'll Do Anything. Ullman was unsuccessful and viewed by some as trying to greedily cash in on a project that she could not show in court that she had any hand in creating. However, supporters point out that she only sought a small portion of merchandising from the studio's slice that she felt her contract for the cancelled show entitled her to (a 12 page contract that was hastily signed only hours before filming on the first The Tracey Ullman Show was to commence). A settlement was reached where Ullman would receive a portion of the profits made from the show, although no amount was ever made public. [edit] HBO It wasn't until 1993 that Ullman dove back into television, but this time, cable television. Two specials were created allowing Ullman to bring life to a host of new characters. The first, Tracey Ullman: A Class Act, took a humorous jab at the British class system, and co-starred Monty Python alum Michael Palin.[14] For the second, Tracey Ullman Takes On New York, Ullman decided to take on a more American topic, New York City.[15] Both specials drew critical praise, and even awards. HBO became interested in doing a Tracey Takes On series, and Tracey and her husband, Allan McKeown, set up production in Los Angeles in 1995. Al Hirschfeld portrait of Tracey Ullman and Tracey Takes On... Tracey Takes On... premiered 24 January 1996, on HBO. Each episode would focus on a topic for Ullman to 'take on' and examine. The series would have two to three long sketches, and many small interview-styled bits, with her many characters commenting on that week's topic. Unlike the FOX show, Tracey Takes On... was shot on location, not filmed in front of a live audience. The added freedom, and no censorship, cable television provided, fared well with Ullman. Nothing was off limits, and a lesbian kiss with Tracey Ullman Show alum, Julie Kavner, kicked off the series' first episode.[16] Ullman played both men and women of many ethnicities during the series' run, including an Asian donut shop owner, a (male) cab driver from the Middle East, and an African-American airport security guard.[17] The series went on to win eight Emmys, numerous CableACE, and a host other media awards, and was critically acclaimed. In 1997, it won the Outstanding Variety, Music or Comedy Series Emmy Award for the episode Vegas.[18] In 1998, it was also published in book form by Ullman. The series was also awarded GLAAD awards for its portrayal of gay and lesbian characters. Tracey returned to HBO in the summer of 2005, with a special of her autobiographical one-woman stage show Tracey Ullman: Live and Exposed,[19] which garnered her another Emmy nomination.[20] On 26 December 2005, Tracey Takes On... The Complete First Season was released on DVD from HBO Home Video. The Complete Second Season of Tracey Takes On... was released 27 June 2006. Both sets contain commentary, extended footage, as well as the original HBO pilot. Showtime Ullman will make her return to television in 2008 in State of the Union for Showtime. Production is due to begin in the fall of 2007, with an order of at least five episodes. The series takes a satirical look at a day in the life of America. Ullman will create new characters as well as impersonate famous ones. The series will be shot in a cinematic fashion. Other notable work Ullman was the modern-day cartoon voice of Little Lulu[22]. She also had a recurring role as Ally McBeal's unconventional psychotherapist, a role which won her an American Comedy Award[23]. Ullman co-starred with Carol Burnett in the television adaptation of Once Upon a Mattress. Ullman played Princess Winnifred, a role originally made famous by Burnett on Broadway, who took on the role of the evil Queen.[24] On 5 December 2006, Tracey was inducted into the Museum of Television and Radio along with likes of Carol Burnett, Lesley Visser, Lesley Stahl, Jane Pauley, and Betty White, in the She Made It category.[25] To date Ullman has seven Emmy wins. In 2006, Ullman released a bestselling knitting book called Knit 2 Together [26], with friend Mel Clark.[ Movie career Along with her television work, Tracey has featured in many films throughout her career. After the cancellation of The Tracey Ullman Show in 1990, she made her starring debut along side Kevin Kline, River Phoenix and Joan Plowright in I Love You To Death. Ullman has also appeared in Robin Hood: Men in Tights, Nancy Savoca's Household Saints, Small Time Crooks, A Dirty Shame, and Tim Burton's Corpse Bride. She had a small role in Paul McCartney's film "Give My Regards to Broad Street" Ullman portrayed "Mother Nature" in the 2007 romantic-comedy film, I Could Never Be Your Woman, starring Michelle Pfeiffer. Ullman acted as creative consultant on the 2006 Dreamworks feature, Flushed Away. Tracey has signed on to voice along with such actors as Dustin Hoffman, Kevin Kline, William H. Macy, Stanley Tucci, Christopher Lloyd and Sigourney Weaver in the computer-animated The Tale of Despereaux.[29] Ullman also had a bit part as an interviewee from stock footage in the movie The Queen with Helen Mirren.[30] The footage was used without her permission. Personal life Ullman is married to producer Allan McKeown; they have two children, Mabel Ellen McKeown (b. April 1986) and John Albert Victor McKeown (b. August 1, 1991 in Santa Monica). Ullman announced in 2005 her intentions to become an American citizen; she became one in December 2006 [31]. In 2006, Ullman topped the list for the "Wealthiest British Comedians", with an estimated wealth of 75 million (Less)
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12, 03:37, 2008-04-17 15:10:08 Description: Rihanna (IPA pronunciation: [ɹiˈɑ.nɑ])[1] (born Robyn Rihanna Fenty on February 20, 1988) is a Barbadian singer,[2] currently living in San Diego, (More) Rihanna (IPA pronunciation: [ɹiˈɑ.nɑ])[1] (born Robyn Rihanna Fenty on February 20, 1988) is a Barbadian singer,[2] currently living in San Diego, California.----------------------------------Early life Rihanna was born in Saint Michael, Barbados as the oldest child to Ronald Fenty, her Barbadian father,[7] and Monica Fenty, her Guyanese mother.[8][9] She has two younger brothers named Rorrey and Rajad. Rihanna went to Charles F. Broome Memorial School, a primary school in Barbados, and then on to one of Barbados' Grammar (older secondary) schools, the Combermere School, where she formed a musical trio with two of her classmates. In 2004, she won the Miss Combermere Beauty Pageant and performed in the Colours of Combermere School Show, singing Mariah Carey's "Hero". At the age of 15, Rihanna received her big break when one of her friends introduced her to music producer Evan Rogers, who was vacationing in Barbados with his wife. Rogers, along with his partner, Carl Sturken, helped Rihanna record material in the U.S. which was sent to various recording companies. One copy of Rihanna's work was sent to Jay-Z, who eventually signed her to Def Jam Records. Rihanna cites Alicia Keys, Beyonc Knowles and her Caribbean background as major musical influences.[10] Rihanna also stated in an interview that her friend and former Island Def Jam record label artist Fefe Dobson was someone that she admired and looked up to, having a fellow artist writing, singing, and performing the music she truly loves-------------------------------------Music career Music of the Sun Main article: Music of the Sun Rihanna's debut album, Music of the Sun, was released 30 August, 2005 from which, further singles were released, the first being "Pon de Replay" which was released on October 11, 2005 and reached position #2 in both the U.S. Billboard Hot 100, the UK Singles Chart due to considerable airplay and gained several #1 positions in various niche charts [14] [15] The single itself was written by Carl Sturken and Evan Rogers alongside Rihanna herself and described by Rolling Stone magazine as a "poppy piece of dancehall reggae with slapping, syncopated beats recalling big-band jazz."[16] However, despite Pon de Replay's commercial chart success, the album itself was rated 2 out of 5 stars by Rolling Stone Magazine and described as lacking the replay value, ingenuity and rhythm of the single with "generic vocal hiccups and frills" of US R&B inflecting upon her "caribbean charm".[17] Since its release, the album reached the top 10 in both US and Canadian charts, gaining gold certification from the RIAA from selling 500,000 units and subsequent platinum certifications for selling 2 million units in various other countries. To further promote the album, Rihanna toured as an opening act for American pop singer Gwen Stefani. The second single, "If It's Lovin' That You Want", was considerably less successful than its predecessor, peaking at position #36 on the U.S Billboard Hot 100 and position #11 in the UK. A third single, "Let Me", was only released in Japan, where it was a big hit, reaching #8 on the charts. When asked about the nature of the album by AskMen Magazine about the album itself, Rihanna noted that it was released quickly after she was discovered in her home as a means of portraying her image as a girl from a small area who had moved to a large country in line with her debut, and that her second album was released somewhat shortly thereafter to illustrate that in her time in the country she had grown up quickly enough to release another album.-------------------------------------A Girl Like Me Main article: A Girl like Me In 2006, Rihanna participated in several endorsement deals, including for Nike and J.C. Penney. She released her second album, A Girl Like Me, in April 2006; less than eight months after the release of her first album. The album debuted at number five in the U.S. and number four in the UK. The lead single, "SOS", was used in her endorsement deal with Nike. The song became Rihanna's first number-one on the Billboard Hot 100 chart; it also debuted at number one on the Hot Digital Songs chart. "SOS" peaked at number one in Australia and number two in the UK. The second single, entitled "Unfaithful", was written by R&B singer Ne-Yo, and addresses the feelings of guilt that the protagonist of the song faces as she cheats on her boyfriend. The song became her third top ten hit in the U.S. and in the UK. The third single, "We Ride", wasn't as successful as her previous releases, failing to chart on the U.S. Billboard Hot 100, however, it became her fifth UK top 20 single, where it peaked at number 17 on that chart and peaked number one on the U.S. Hot Dance Club Play chart. Rihanna's fourth single from the album, "Break It Off" featuring Sean Paul, had already climbed to number 45 on the Billboard Hot 100 based solely on airplay. It was released as a digital download on February 19, 2007, which made the song jump from number fifty-two to number ten and then eventually peak at number nine. In total Rihanna has had 11 different number-ones on the Billboard charts and has had major success on the Hot Dance Club Play chart with four number-ones ("Pon De Replay", "SOS", "Unfaithful", and "We Ride"). When Rihanna received an endorsement deal from Clinique, she recorded a song written by Ne-Yo entitled "Just Be Happy" as part of the deal to promote their Happy fragrance. The song can be heard on her Myspace page. Rihanna also recently recorded a song called "Winning Women" with Pussycat Doll Nicole Scherzinger for P&Gs female deodorant Secret. Rihanna made her acting debut in a cameo role in Bring It On: All or Nothing, which was released on August 8, 2006; she also appeared on an episode of American soap opera All My Children and drama Las Vegas.-------------------------------------Good Girl Gone Bad Main article: Good Girl Gone Bad Rihanna went into the studio in early 2007 with Ne-Yo, Stargate, and Timbaland among others to record her third album, Good Girl Gone Bad. The album was released on June 5, 2007. It features Jay-Z and Ne-Yo as featured artists. The first single, "Umbrella", featuring Jay-Z, was released on March 29, 2007, reaching number one in various countries, including the U.S. "Umbrella" was the #1 single in the UK for 10 consecutive weeks. It was the longest running #1 single since "Wet Wet Wet's" single "Love Is All Around", back in 1994, and the longest running #1 by a female artist since Whitney Houston's "I Will Always Love You", which also topped the chart for 10 weeks in 1992. It was produced by Christopher "Tricky" Stewart and Terius "The-Dream" Nash. Then her second single, "Shut Up and Drive", was sent to radio stations on June 5, has so far peaked at #15 on the Billboard Hot 100. Her club airplay third single, "Don't Stop The Music" was premiered on BET's 106 & Park on July 20, 2007 and was only released in Canada. The song is also going to be released in the UK. The fourth single, "Hate That I Love You" featuring Ne-Yo, was released on August 21, and so far has peaked at #9 on the Billboard Hot 100, giving Rihanna her sixth top ten hit. Rihanna worked with Timbaland on three songs in the album. Justin Timberlake co-wrote and provides background vocals on "Rehab".[19] In interviews, many have questioned the meaning and reasoning of the album title. The album title reflects the difference between the old and new Rihanna. "Bad means cool, bad means funky, bad means having an attitude, bad means being edgy. This album is definitely a great representation of who I am now, and where I am in my career," she says. Seven weeks after the album was released, it had gone gold in the United States and Platinum on the United World Albums Chart. Starting September 12, 2007, Rihanna will tour Canada in support of the album with several shows then crossing off to UK, it is called the Good Girl Gone Bad Tour..-------------------------------------Accomplishments On July 7, 2007, Rihanna performed at the Japanese leg of Live Earth in Tokyo. Rihanna was named 2007 Venus Breeze 'Celebrity Legs of a Goddess' by Gillette and insured her legs for $1,000,000. Unfortunately, she injured her feet sometime after she insured her legs.[20] On September 1 issue of The Times of India newspaper, Rihanna was listed as one of the four richest teens in Hollywood.[21] On September 9, 2007, Rihanna won the Monster Single of the Year at the MTV Music Video Awards for "Umbrella". She also won the Video of the Year for "Umbrella". These two awards made her the big winner of the show alongside Justin Timberlake. She was ranked #9 on Maxim's Hot 100 list of 2007. (Less)
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18, 03:35, 2008-04-17 15:10:08 Description: Rihanna (IPA pronunciation: [ɹiˈɑ.nɑ])[1] (born Robyn Rihanna Fenty on February 20, 1988) is a Barbadian singer,[2] currently living in San Diego, (More) Rihanna (IPA pronunciation: [ɹiˈɑ.nɑ])[1] (born Robyn Rihanna Fenty on February 20, 1988) is a Barbadian singer,[2] currently living in San Diego, California.----------------------------------Early life Rihanna was born in Saint Michael, Barbados as the oldest child to Ronald Fenty, her Barbadian father,[7] and Monica Fenty, her Guyanese mother.[8][9] She has two younger brothers named Rorrey and Rajad. Rihanna went to Charles F. Broome Memorial School, a primary school in Barbados, and then on to one of Barbados' Grammar (older secondary) schools, the Combermere School, where she formed a musical trio with two of her classmates. In 2004, she won the Miss Combermere Beauty Pageant and performed in the Colours of Combermere School Show, singing Mariah Carey's "Hero". At the age of 15, Rihanna received her big break when one of her friends introduced her to music producer Evan Rogers, who was vacationing in Barbados with his wife. Rogers, along with his partner, Carl Sturken, helped Rihanna record material in the U.S. which was sent to various recording companies. One copy of Rihanna's work was sent to Jay-Z, who eventually signed her to Def Jam Records. Rihanna cites Alicia Keys, Beyonc Knowles and her Caribbean background as major musical influences.[10] Rihanna also stated in an interview that her friend and former Island Def Jam record label artist Fefe Dobson was someone that she admired and looked up to, having a fellow artist writing, singing, and performing the music she truly loves-------------------------------------Music career Music of the Sun Main article: Music of the Sun Rihanna's debut album, Music of the Sun, was released 30 August, 2005 from which, further singles were released, the first being "Pon de Replay" which was released on October 11, 2005 and reached position #2 in both the U.S. Billboard Hot 100, the UK Singles Chart due to considerable airplay and gained several #1 positions in various niche charts [14] [15] The single itself was written by Carl Sturken and Evan Rogers alongside Rihanna herself and described by Rolling Stone magazine as a "poppy piece of dancehall reggae with slapping, syncopated beats recalling big-band jazz."[16] However, despite Pon de Replay's commercial chart success, the album itself was rated 2 out of 5 stars by Rolling Stone Magazine and described as lacking the replay value, ingenuity and rhythm of the single with "generic vocal hiccups and frills" of US R&B inflecting upon her "caribbean charm".[17] Since its release, the album reached the top 10 in both US and Canadian charts, gaining gold certification from the RIAA from selling 500,000 units and subsequent platinum certifications for selling 2 million units in various other countries. To further promote the album, Rihanna toured as an opening act for American pop singer Gwen Stefani. The second single, "If It's Lovin' That You Want", was considerably less successful than its predecessor, peaking at position #36 on the U.S Billboard Hot 100 and position #11 in the UK. A third single, "Let Me", was only released in Japan, where it was a big hit, reaching #8 on the charts. When asked about the nature of the album by AskMen Magazine about the album itself, Rihanna noted that it was released quickly after she was discovered in her home as a means of portraying her image as a girl from a small area who had moved to a large country in line with her debut, and that her second album was released somewhat shortly thereafter to illustrate that in her time in the country she had grown up quickly enough to release another album.-------------------------------------A Girl Like Me Main article: A Girl like Me In 2006, Rihanna participated in several endorsement deals, including for Nike and J.C. Penney. She released her second album, A Girl Like Me, in April 2006; less than eight months after the release of her first album. The album debuted at number five in the U.S. and number four in the UK. The lead single, "SOS", was used in her endorsement deal with Nike. The song became Rihanna's first number-one on the Billboard Hot 100 chart; it also debuted at number one on the Hot Digital Songs chart. "SOS" peaked at number one in Australia and number two in the UK. The second single, entitled "Unfaithful", was written by R&B singer Ne-Yo, and addresses the feelings of guilt that the protagonist of the song faces as she cheats on her boyfriend. The song became her third top ten hit in the U.S. and in the UK. The third single, "We Ride", wasn't as successful as her previous releases, failing to chart on the U.S. Billboard Hot 100, however, it became her fifth UK top 20 single, where it peaked at number 17 on that chart and peaked number one on the U.S. Hot Dance Club Play chart. Rihanna's fourth single from the album, "Break It Off" featuring Sean Paul, had already climbed to number 45 on the Billboard Hot 100 based solely on airplay. It was released as a digital download on February 19, 2007, which made the song jump from number fifty-two to number ten and then eventually peak at number nine. In total Rihanna has had 11 different number-ones on the Billboard charts and has had major success on the Hot Dance Club Play chart with four number-ones ("Pon De Replay", "SOS", "Unfaithful", and "We Ride"). When Rihanna received an endorsement deal from Clinique, she recorded a song written by Ne-Yo entitled "Just Be Happy" as part of the deal to promote their Happy fragrance. The song can be heard on her Myspace page. Rihanna also recently recorded a song called "Winning Women" with Pussycat Doll Nicole Scherzinger for P&Gs female deodorant Secret. Rihanna made her acting debut in a cameo role in Bring It On: All or Nothing, which was released on August 8, 2006; she also appeared on an episode of American soap opera All My Children and drama Las Vegas.-------------------------------------Good Girl Gone Bad Main article: Good Girl Gone Bad Rihanna went into the studio in early 2007 with Ne-Yo, Stargate, and Timbaland among others to record her third album, Good Girl Gone Bad. The album was released on June 5, 2007. It features Jay-Z and Ne-Yo as featured artists. The first single, "Umbrella", featuring Jay-Z, was released on March 29, 2007, reaching number one in various countries, including the U.S. "Umbrella" was the #1 single in the UK for 10 consecutive weeks. It was the longest running #1 single since "Wet Wet Wet's" single "Love Is All Around", back in 1994, and the longest running #1 by a female artist since Whitney Houston's "I Will Always Love You", which also topped the chart for 10 weeks in 1992. It was produced by Christopher "Tricky" Stewart and Terius "The-Dream" Nash. Then her second single, "Shut Up and Drive", was sent to radio stations on June 5, has so far peaked at #15 on the Billboard Hot 100. Her club airplay third single, "Don't Stop The Music" was premiered on BET's 106 & Park on July 20, 2007 and was only released in Canada. The song is also going to be released in the UK. The fourth single, "Hate That I Love You" featuring Ne-Yo, was released on August 21, and so far has peaked at #9 on the Billboard Hot 100, giving Rihanna her sixth top ten hit. Rihanna worked with Timbaland on three songs in the album. Justin Timberlake co-wrote and provides background vocals on "Rehab".[19] In interviews, many have questioned the meaning and reasoning of the album title. The album title reflects the difference between the old and new Rihanna. "Bad means cool, bad means funky, bad means having an attitude, bad means being edgy. This album is definitely a great representation of who I am now, and where I am in my career," she says. Seven weeks after the album was released, it had gone gold in the United States and Platinum on the United World Albums Chart. Starting September 12, 2007, Rihanna will tour Canada in support of the album with several shows then crossing off to UK, it is called the Good Girl Gone Bad Tour..-------------------------------------Accomplishments On July 7, 2007, Rihanna performed at the Japanese leg of Live Earth in Tokyo. Rihanna was named 2007 Venus Breeze 'Celebrity Legs of a Goddess' by Gillette and insured her legs for $1,000,000. Unfortunately, she injured her feet sometime after she insured her legs.[20] On September 1 issue of The Times of India newspaper, Rihanna was listed as one of the four richest teens in Hollywood.[21] On September 9, 2007, Rihanna won the Monster Single of the Year at the MTV Music Video Awards for "Umbrella". She also won the Video of the Year for "Umbrella". These two awards made her the big winner of the show alongside Justin Timberlake. She was ranked #9 on Maxim's Hot 100 list of 2007. (Less)
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179, 02:43, 2008-04-17 15:10:59 Description: Ray Price Portrait of a Legend Stories About Ray The lights dim. The sixtyish-looking woman beside me, a complete stranger until fifteen minutes ago, clutches my arm in excitement. It's the (More) Ray Price Portrait of a Legend Stories About Ray The lights dim. The sixtyish-looking woman beside me, a complete stranger until fifteen minutes ago, clutches my arm in excitement. It's the first time she'll see Ray Price in person. This mature audience in Laughlin, Nevada, seems to appreciate the fact that the living legend on stage, now in his early seventies, is still youthfully handsome, his voice as powerful and melodious as ever. Near the end of the show, Ray introduces a song written, he tells us, by a "dear friend" who brought him as a young Texas kid to Nashville and got him on the Grand Ole Opry. "I lived with my friend for almost a year before he passed away." He pauses, his eyes seeming to wander back to that long-ago time. "So, if you-all don't mind, I'd like to sing you one of the late Hank Williams' songs." The crowd responds with a huge ovation as Ray begins Hank's "Mansion on the Hill." After the show I'm set to interview Ray Price. I want to learn more about that famed friendship. It's a dramatic story, I feel, one that will say much about how a true friend can ease your path, whether you're on the way up--or the way down. The year was 1951. Early autumn. There was a slight chill in the air outside on Nashville's streets. Inside Studio C at station WSM, the atmosphere was tense for the dark-haired young singer from Texas. He had just driven all the way to Nashville, probably breaking a few speed laws on the way. If there were stars in the newcomer's intense blue eyes, he had every reason to be thrilled and enormously impressed. Ray Price was about to meet Hank Williams, the reigning country music star of the day. Not only that, Ray was going to sing on his show. Ray had a few minor recordings and some local Texas performances behind him. Twenty-eight-year-old Hank Williams was already a national phenomenon. Songs he'd written were blasting from every radio and juke box across the country. But ole Hank didn't let that stand between them. Ray, recalling that first meeting, says. "It was one of those instant friendships. I liked him; he liked me. For some reason we hit it off right away." They went to Hank's home after the show and talked for hours about their hopes and dreams. Price, a 25-year-old former veterinary student, had a clear, vibrant voice that many felt might be wasted just talking to horses. He had recently signed with Columbia Records. "All you need," Hank told him, "is a hit record. And I'm going to write one for you." Quite an offer. At that time Hank's songs were being grabbed up by big-name pop singers like Tony Bennett, Jo Stafford and Rosemary Clooney. Tunes like "Cold, Cold Heart," and "I Can't Help It If I'm Still In Love With You" were hitting the tops of the charts in both country and pop markets. Hank followed up on his promise. The day after they met, he took Ray with him to a singing engagement in Evansville, Indiana. During the miles of rolling countryside between Nashville and Southern Indiana, creative ideas flew back and forth. Hank and Ray ended up writing "Weary Blues from Waiting" together. Said Ray, "We'd think up a line, each one of us, and then we'd do another. When we got there it was all written. I didn't put my name on it because I couldn't; I was with another company." Quite a team. Hank, who has been dubbed "The Hillbilly Shakespeare," could capture heartfelt emotion with ease in a few poetic word pictures. By the end of his brief life, he'd written 129 songs, many of them still favorites today. Ray, a fine songwriter too, had the more powerful impressive voice. But in mid-October 1951, it must have made sense for Ray to record "Weary Blues from Waiting" in Hank's highly popular plaintive style. Columbia released "Weary Blues" in November and gave it a big advertising/publicity splash because it was, after all, a Hank Williams song. But it didn't turn out to be the big hit hoped for, the hit that would have led to the Grand Ole Opry, the mecca of all country music performers. Hank didn't let that stop him. A few weeks later, he phoned Ray, who was performing back in Texas, and gave him the big news. If he could be in Nashville by the next day, he had a spot on the Grand Ole Opry. Another frantic trip. Ray burned rubber off four tires getting there. In January 1952, Ray moved to Nashville and soon became a regular on the Grand Ole Opry. A world of possibilities was opening up for him. But while Ray was moving upward in his climb to fame, Hank began to hurtle into free fall. He'd reached the pinnacle of his brief career, and his meteoric blaze in the sun would soon burn out. Separation that January from his wife, Audrey, started off the downhill plunge. Severe problems from a recent back operation added fuel to increase the periodic drinking that had long plagued him. Hank began to drink more and more to ease the the pain and heartache. His career suffered. Although he was still writing and selling songs, he began to miss perfomances or, worse yet, stagger on stage drunk. Ray was quick to defend Hank on that score. "He was not the type to go out in public drunk. When he drank, he drank a glassful at one time, and then another glassful, until he was totally wiped out. And he would stay in his room. The operators or the promoters would drag him out drunk." Ray was hired to accompany Hank on his singing engagements. "They used to send me along to sort of look out for him," Ray explained. "They knew Hank liked me, that he'd listen to me." But Hank's drinking put Ray in a tight spot more than a few times. In a scathing review, a newspaper reporter described one of these performances in Richmond, Virginia, on Jan. 29, 1952. It told how Ray Price had to come on stage and apologize for Hank, stall the crowd by singing Hank's songs, and then declare a half-hour intermission. When Hank finally appeared, he was so drunk that fans began to demand their money back. Ray tried to calm everyone down, calling out, "We all love you, Hank, don't we?" How did it feel filling in for Hank on these tours? Ray's response was fond and overly modest. "There was no way I could fill in for Hank; all I could do was kill time for him." With a reminiscent smile, he added, "He was the top dog." Ray was not about to let Hank down. After Hank and his wife separated and Hank needed a place to stay, Ray came to his rescue. The two moved into a two-story stone duplex in Nashville. Ray lived upstairs and Hank on the first floor. Ray did most of the housework and looked after Hank while he recuperated from the back operation he'd undergone a few weeks earlier. At that point, Hank was optimistic he could patch things up with Audrey and go back to his home and family. But taking care of Hank proved as much of a challenge as touring with him. His alcoholism had advanced to the point where he wouldn't eat while he was drinking. But if Ray could get him to start eating, he'd straighten out. If the food wouldn't stay down, however, he'd reach for the bottle right away and just sit in his room and keep on drinking. The last straw was when Hank lost hope that Audrey would reconcile with him. When she filed for divorce Hank was devastated. According to Ray, who accompanied Hank to the property settlement discussions, Hank was overly generous, giving Audrey much more than was required. He wanted to prove to her how much he still loved her. The divorce went through anyway and plunged Hank into further gloom. In the brief year Hank and Ray knew each other, there was not much time for light-hearted moments, for the hunting and fishing they might have shared in happier times. "We went and tried to fish, but..." Ray's voice trailed off, seemingly reluctant to explain just why the fishing trip never came off. He shifted the subject. "He liked to shoot a pistol. We'd go out on the target range." Hank continued to write songs for Ray. One of them was "I Can't Escape From You," which Ray duly recorded. But Hank also offered Ray some of his biggest hits, songs like "Jambalaya," and "Take These Chains From My Heart." Hank would bounce them off Ray and ask "What do you think of it? I wrote it for you." When Ray predicted they would be hits, Hank would often change his mind and take them back to record himself. Possibly Hank recognized Ray's ability to spot a hit, an ability proven later when Ray helped "launch" the songwriting careers of such "greats" as Willie Nelson, Roger Miller, Harlan Howard, Bill Anderson and Kris Kristofferson. During the early months of 1952, living in the same house with Hank as his alcoholism progressed must have been difficult. One evening, Hank is said to have double-dated with singer Faron Young, but Hank preferred Faron's girl to his own. By the end of the evening when Hank was loaded, he called Faron into a bedroom and pointed a gun at him. He wanted to switch girls; he claimed to have fallen for Faron's date. Faron, understandably, agreed. Whether that story is true or not, Hank did end up marrying the girl, Billie Jean, later that year. But Billie Jean couldn't stop Hank on his downhill plunge. Hank finally became so far gone in his alcoholism that Ray, along with Don Helms, a member of Hank's band, were afraid he'd drink himself to death. They arranged to have him sedated and committed to the Madison Sanitarium to undergo treatment. Hank Williams' biographers have written that Hank was so furious that he ordered Ray to move out of the house, then later apologized and begged him not to leave. Ray, who was already loading a truck, is said to have responded. "I've got to." Ray revealed to me that he moved out of the house at that time, but not out of Hank's life. He moved for personal reasons that had nothing to do with Hank. He continued to be very much involved with Hank's activities. In August, Hank's drinking problem became too much for the Grand Ole Opry, where he had been a top star. They fired him. After Audrey and the divorce, it was another devastating loss for Hank. He left town to go to work for the Louisiana Hayride in Shreveport. Ray remembers the day Hank left Nashville. As he was driving into town, he saw Hank in a service station, standing beside his Cadillac. Hank lifted his hand and motioned for Ray to stop. "Where are you going?" Hank asked as Ray pulled in. "Where are you going?" Ray wanted to know. "Back to Shreveport." He kind of laughed when he asked Ray, "You wanta come?" "I better not," Ray said. He would only see Hank alive one more time after that. Ray's career success continued to escalate in Nashville that fall as he became one of the the hottest entertainers in town. Hank had dreams of straightening out his life and returning to the Grand Ole Opry. It never happened. The final meeting of the two friends occurred at the Big D Jamboree in Dallas shortly before Christmas 1952. Hank caught sight of his friend and walked toward him smiling, singing a few lines from Ray's latest hit, "Don't Let the Stars Get in Your Eyes." They talked, and Hank suggested to Ray and his mother that he "might just come over and spend Christmas with you." They warmly invited him to do so, but Hank went back to his family in Alabama instead. Hank and Ray did make plans to get together in Ohio, however. They both had engagements in that state on New Year's Eve--Ray in Cleveland, Hank in Canton, fifty miles away. They arranged to meet in Canton on New Year's Day. By the end of 1952, the mid-section of the country was in the throes of a fierce winter storm. Hank, who had planned to fly to Canton, hired a chauffeur instead to drive him North in his powder blue Cadillac sedan. Ray was able to get the last flight out of Nashville. Hank couldn't sleep the night before that trip. He told his new wife, Billie Jean, that he saw "God comin' down the road." His health had been deteriorating. The trip was to prove his undoing. He died somewhere in West Virginia in the back seat of his Cadillac. The driver knew Hank had been drinking heavily and thought he had merely passed out. The death wasn't discovered until they pulled into the town of Oak Hill on New Year's day. Officially his demise was attributed to a heart attack. The meeting in Canton, Ohio, on New Year's Day between the two friends never took place. Instead, Ray was among a host of fellow performers bidding goodbye to the great Hank Williams at a massive funeral in Montgomery, Alabama, on January 4, 1953. All the stars of the Opry were there. The radio stations had been playing his music night and day. Fans wept. Hank was back in the fold again, a country music legend for all time. Hank Williams's career was brief, but unforgettable. In 1962, he one of the first performers to be inducted into the Country Music Hall of Fame. Ray Price is still a star, a living legend, who has helped revolutionize more than a few changes in country music. In 1956, Ray's unique recording of "Crazy Arms" was a top hit for forty-five weeks, knocking even Elvis off the charts. It clearly established Ray Price as a leading light in country music. But Ray, in 1967, went in a new direction and with his concert-calibre voice, backed by dozens of violins, soared into a beautiful, show-stopping rendition of the classic, "Danny Boy." Unperturbed by criticism that he had deserted country music, Ray went on to new cross-over heights with his early 1970's hits, "For the Good Times," and "I Won't Mention it Again." Erasing the boundaries between country and pop became a vital issue for Ray Price. He had long resented the fact that Hank's songs were eagerly gobbled up by the pop world, but the country singer himself found it more difficult to cross over at that time. Today, however, Hank Williams is a household word, and Ray, still touring throughout the country, pays tribute to his mentor at each concert. In 1996, Ray Price was inducted into the Country Music Association Hall of Fame. In 1999, he celebrates his fiftieth successful year in the music business. Hank would have been proud of his protege. If you have a story or anecdote about Ray Price that you think Ray's fans would enjoy, we invite you to submit it for possible publication on this site. We're looking for anecdotes that are amusing, cute, heartwarming, or illustrative of the qualities that have made Ray Price a legendary performer. Please email your entry to fan club president SANDRA ORWIG at rpfc40@aol.com. The Day Ray Price almost fell for me Every Sunday back in the 50's the Country Music stars came to the Lyric theater in Indianapolis IN, and I never missed a one. One Sunday when I was around sixteen or there abouts, I had went to see George Hamilton the 4th, and was sitting in the first row, when this good looking guy tried to go pass me for a seat (you know how those theater seats are *S*) and I stuck out my foot to trip him, he just about fell!! Then in a little bit, George said We have a special guest with us tonight and we'd like to get him up here to sing a song for you. Well this good-looking guy got up and went on stage, George said,we'd like for you to meet Mr. Ray Price! Boy was I embarrassed. So I'll never forget how Ray almost fell for me! *S* I have loved Ray ever since! Written by:Liz Puett Reprinted with permission from Dick Shuey's Country Music Stories His Usual Considerate Self It had been many years since I had seen Ray when he was at the Choctaw Festival in Tuskahoma, Ok, a few years ago. I was so excited at seeing him again, so I made a special shirt to wear. It was a red t'shirt and had the slogan, "I love Ray Price" printed in white. My greatest desire was to have my picture made with Ray. After the show he was signing autographs and I waited until he was almost through then asked him to sign my shirt. Then my son took our picture. My son then told me he thought the flash malfunctioned and he was not sure it would be a good picture. I said we would wait until he was finished and maybe try again. Before Ray had signed the last autograph someone was calling from the bus to hurry, they were running late and had to go. He said ok, but first he had one more picture. Then he walked over to me, smiling, and said, "Now, let's get a good picture." He had heard my son's comment and took time to redo the picture although he was running behind schedule. What a guy!!!. Oh, yes both pictures were good. At another concert some months later in Omaha, Texas, I had injured my leg and was on crutches or wheelchair. After the show the line was very, very long and I knew I could not stand that long. So I resorted to the wheelchair. As we approached the table we were talking with Cliff and I mentioned I wanted to take a picture with Ray. And I was wearing another special shirt that said 'I still love Ray Price' Ray heard us and immediately got up and came around the table. He helped me out of the chair, signed my shirt and my son took our picture. On that particular night Ray was fighting a severe cold and was very sick, but that did not keep him from being his usual wonderful, considerate self. I could go on and on and on about Ray. He sure made a hit with my son who grew up on Ray Price music. I even told Ray my son, also named Clifton, could say Ray Price almost as soon as he could say Mommy. Thanks for all you do to promote 'our guy'. Florine It Wasn't Just A Cock-and-Bull Story The first time I met Ray Price was at the Travis County Live Stock Show & Rodeo. My husband and I had only been married a couple of years and I told him I would love to go and see Ray Price. He told me sure we could go and that he had known Ray for many, many years and that he used to handle game roosters for Ray when Ray would fight them in Oklahoma and Louisiana. At this point I was glad to get to go but had major doubts about how well he knew Ray. We bought 4 front and center tickets and waited for what seemed like forever. The night finally come. We got all made up in our best rodeo clothes to go and see the great Ray Price. I didn't watch much of the rodeo for looking to see if Ray was at the autograph table and waiting to hear him sing. The whole way to the rodeo ( an hour drive one way) my husband kept saying him and Ray this, him and Ray did that. Me and the boys were really getting tired of hearing this and thinking that he was full of BS. Before Ray sang they announced he would sign autographs after the show. I set through the show in pure heaven. Ray's voice melting every bone. Right before he finished the last song I told my husband we had to hurry to the autograph place. We went and were first in line. In a few minutes a long, long line had formed. Earlier in the night I had bought a double album to get Ray to sign. My husband said don't buy it I'll get Ray to give you one. Again sure you will. I bought it anyway. We waited for what seemed like hours. The whole time my husband telling us more cute stories. Finally the lady behind us said sure you know him and laughed. That was what we had thought. About that time Ray came out stopped,looked at my husband and said 'Damn, boy, I haven't seen you for years.' They hugged and started talking as if they had just seen each other the day before. After we picked up our jaws, even the lady behind us, Ray chewed my husband out for buying the album and signed it for me. He told my husband that Duke and some of the other old group were up in the Ball Room. He told someone there with him to take us up to the Ball Room which was a black tie or suit and tie place. We were in jeans, western shirts, and boots. The materdee at the door told us you can't come in here you're not properly dressed an your not the type of people that come here. About that time the guy from Ray's band caught up with us and told him that they are guests of Mr. Price. You should have seen that guy jump threw the hoop. It was great. From then on we were believers. Every time we go and see Ray I ask for him to sing my favorite song For the Good Times and we stand in front of the band and it seems as if he is singing for just us. We had plans to go and see him again in Llano but he was sick. There would have been a second favorite to ask for this time Soft Rain. One day we will catch up with him and get it done. Friends and fans, The Skinners A Fan Club President Has Some Stories Too These reminiscences of fan club president Sandra Orwig are reprinted from her most recent newsleter. Ray was playing one of the largest Pennsylvania fairs with three other well-known country artists. Before the show began the head of the fair committee came to the bus and told Ray that if he did not want to autograph after the show he did not have to do so as the others were not going to do so. Ray's reply made me so proud. He said, "I don't care who autographs, I am." He was the top billed star and the only one that cared enough about his fans to stay out in the cold and sign every autograph. It was a very cold September night and Ray closed the show so it was very dark on the race track when he autographed. When he finished, Blondie said to him, "Let's go," and he said, "No, I have to go talk to Sandra's Dad." As most of you know, my father is handicapped and does not get to go see Ray often, but Ray made sure we were escorted to park by the bus and then, regardless of the cold, late hour and long trip ahead of him back to Texas, he took the time to talk with my Dad. Only one reason why he has "Touched My Heart." Sandra Orwig (from her newsletter #55) "His timeless music, incredible voice, and innovative genius have yet to be equalled by any other singer in today's country-music world." Ray Price is one of American music's truly great stars. He was inducted into Nashville's Country Music Hall of Fame in 1996, but has long shown his genius in other genres as well. After more than a half-century in the business, Ray can still belt out a song with the best of them, whether it's honky-tonk, country, pop, blues, jazz, or anything in between. With his May 2000 Buddha Records release--"Prisoner of Love"--Ray has delightfully proven this once again with a big-band-backed medley in many moods and styles. Audiences full of cheering fans still flock to his concerts whenever he's in town, and that's fairly often, for this vigorous Texan maintains a hefty tour schedule. On Inauguration Eve 2001, Ray was proud to be on stage in Washington, D.C., as one of the Texas performers who entertained enormous crowds at the Texas Black Tie and Boots Ball. This dynamic artist can be proud also of his role in the history of country music. In fact, he has helped to write that history as well as live it. He was born Noble Ray Price on January 12, 1926, near Perryville, Texas, and his musical talents became evident at an early age. While in college, Ray became a regular on KRLD radio's "Big D Jamboree" show in Dallas. On March 15, 1951, Ray signed with prestigious Columbia Records, and in 1952, moved to Nashville where his great friend and supporter was the legendary Hank Williams. Hank got Ray on the Grand Ole Opry and the two shared bachelor quarters during the last year of Hank's brief but memorable life. Ray's band was initially formed from the remnants of Hank Williams' band, the Drifting Cowboys. The band would later become the Cherokee Cowboys, and Ray himself would become known as the Cherokee Cowboy. Ray has always had an uncanny talent for recognizing quality in both music and musicians. The careers of many country music superstars, such as Willie Nelson, Roger Miller, Johnny Paycheck, Darrell McCall, Buddy Emmons, and Johnny Bush, began with Ray Price and the Cherokee Cowboys. Ray Price became noted for his magnificent show-stopping voice and honky-tonk hits throughout the 1950's. On the way to the top, he also helped revolutionize more than a few changes in country music. In 1956, when rock and roll was threatening to drown out the sounds of traditional country music, it took Ray's rendition of "Crazy Arms" to knock Elvis off the charts. That recording's 45 weeks at the top of the charts got people listening to country music again and clearly established Ray Price as a leader in the field. But Ray has never been so traditional that he didn't innovate. During the "Crazy Arms" recording session, he added drums and a 4-4 bass and shuffle rhythm that redefined the way country music was played for years to come. Then, just when everyone else in country was turning to that sound, Ray, in 1967, went in a new direction and added a large string section and with his concert-calibre voice soared into a beautiful, show-stopping rendition of the classic, "Danny Boy." Audiences were stunned by its beauty. His "Danny Boy" album made him new fans in sections of the country far beyond the Mason- Dixon line. But some in Nashville and the South thought he had deserted country music and didn't take it well. Unperturbed, Ray went on to new heights with his early 1970's hits, "For the Good Times," and "I Won't Mention it Again." He refused to accept boundaries between country and pop. Music was music. A lot of Ray's strong feeling about artificial boundaries in music goes back to his close association with his mentor and close friend, Hank Williams. Ray resented the fact that Hank's songs were eagerly accepted by the pop world but the country singer himself was not. At least in that day and age. A few year later he would have been, according to Ray. But not then. Erasing the lines between country and pop became a vital issue for Ray Price. With his own brand of individualism, he continues to cross musical boundaries and create songs and sounds for everyone. His latest album, "Prisoner of Love," was recorded with a 50-piece orchestra. It combines old country standards with beautiful ballads from all eras, and includes a few new songs never before recorded. This Country Music Hall of Fame legend is the soul of country music. He continues to be creative and expand conventional boundaries with his music, while never forgetting his roots. His timeless music and incredible commitment to performing has made him a bridge between the early days of country to today's contemporary country music. The Los Angeles Times has declared Ray Price to be 'a national treasure.' Another newspaper has compared him to Frank Sinatra. Ask any Ray Price fan, however, if that's true. Most of them will tell you that Ray Price has no equal anywhere when it comes to delivering a song and pleasing an audience. Born: January, 12, 1926 Years Active: 50's 60's 70's 80's 90's 2000's Related Artists: Kitty Wells, Harlan Howard, Carl Butler, Allan Sisters, Ferlin Husky sponsored content by biggerboat Released: 10/30/2007 1 disc / 21 Tracks Label: Warner Bros. Compare Prices Click for Additional Details Larry the Cable Guy Christmastime in Lar... 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Larry the Cable Guy Christmastime in Larryland Upcoming Concerts 12/01/07 Stafford Centre for the Performing Arts - Amphitheater Stafford TX view all tour information Ray Price has covered -- and kicked up -- as much musical turf as any country singer of the postwar era. He's been lionized as the man who saved hard country when Nashville went pop, and vilified as the man who went pop when hard country was starting to call its own name with pride. Actually, he was -- and still is -- no more than a musically ambitious singer, always looking for the next challenge for a voice that could bring down roadhouse walls. Circa 1949, Price cut his first record for Bullet in Dallas. In 1951, he was picked up by Columbia, the label for which he would record for more than 20 years. After knocking around in Lefty Frizzell's camp for six months or so (his first Columbia single was a Frizzell composition) Price befriended Hank Williams. The connection brought him to the Opry and profoundly affected his singing style. After Hank died, Price starting stretching out more as a singer and arranger. His experimentation culminated in the 4/4 bass-driven "Crazy Arms," the country song of the year for 1956. The intensely rhythmic sound he discovered with "Crazy Arms" would dominate his -- and much of country in general's -- music for the next six years. To this day, people in Nashville refer to a 4/4 country shuffle as the "Ray Price beat." Heavy on fiddle, steel, and high tenor harmony, his country work from the late '50s is as lively as the rock & roll of the same era. Price tired of that sound, however, and started messing around with strings. His lush 1967 version of "Danny Boy" and his 1970 take on Kris Kristofferson's "For the Good Times" were, in their crossover way, landmark records. But few of his old fans appreciated the fact. In the three decades following "For the Good Times," Price's career was often an awkward balancing act in which twin Texas fiddles are weighed against orchestras. Born in tiny Perryville, TX, Price spent most of his youth in Dallas. It was there where he learned how to play guitar and sing. Following his high school graduation, he studied veterinary medicine at North Texas Agricultural College in Abilene before he left school to join the Marines in 1942. Price stayed in the service throughout World War II, returning to Texas in 1946. After leaving the Marines, he initially returned to college, yet he began to perform at local clubs and honky tonks, as well as on the local radio station KRBC, where he was dubbed the Cherokee Cowboy. Three years later, he was invited to join the Dallas-based The Big D Jamboree, which convinced him to make music his full-time career. Shortly after joining The Big D Jamboree, the show began to be televised by CBS, which helped him release a single, "Your Wedding Corsage"/"Jealous Lies," on the independent Dallas label Bullet. Price moved to Nashville to pursue a major-label record contract in 1951. After auditioning and failing several times, Ray finally signed to Columbia Records, after A&R representative Troy Martin convinced the label's chief executive, Don Law, that Decca was prepared to give the singer a contract. Previously, Law was uninterested in Price -- he turned him down 20 times and threatened Martin never to mention his name again -- but he was unprepared to give a rival company a chance at the vocalist. Just before "Talk to Your Heart" became a number three hit for Price in the spring of 1952, Ray met his idol, Hank Williams, who immediately became a close friend. Over the next year, Hank performed a number of favors for Price, including giving him "Weary Blues" to record and helping him join the Grand Ole Opry. Ray also became the permanent substitute for Hank whenever he was missing or too drunk to perform. Following Williams' death in 1953, Price inherited the Drifting Cowboys. Following the success of "Don't Let the Stars Get in Your Eyes" in the fall of 1952, Price was quiet for much of 1953. It wasn't until 1954 that he returned to the charts with "I'll Be There (If You Ever Want Me)," a number two hit that kicked off a successful year for Price that also included the Top Ten singles "Release Me" and "If You Don't, Somebody Else Will." Instead of capitalizing on that success, he disappeared from the charts during 1955, as he spent the year forming the Cherokee Cowboys. Over the course of the past two years, he had realized that performing with the Drifting Cowboys had made him sound too similar to Hank Williams, so he decided to form his own group. Originally, most of the members were lifted from Lefty Frizzell's Western Cherokees, but over the years a number of gifted musicians began their careers in this band, including Roger Miller, Johnny Paycheck, Buddy Emmons, Johnny Bush, and Willie Nelson. Ray returned to the charts in 1956, first with "Run Boy" and then with "Crazy Arms," a driving honky tonk number that immediately became a country classic. The song was one of the first country records to be recorded with a drum kit, which gave it a relentless, pulsating rhythm. Until Price, most country artists were reluctant to use drums and the instrument was even banned from the stage of the Grand Ole Opry. The blockbuster status of the single helped change that situation. Spending an astonishing 20 weeks at the top of the country charts, "Crazy Arms" not only crossed over into the lower reaches of the pop charts, but it also established Price as a star. After the success of the single, he remained at or near the top of the charts for the next ten years, racking up 23 Top Ten singles between the 1956 and 1966. During this time, he recorded a remarkable number of country classics, including "I've Got a New Heartache" (number two, 1956), "My Shoes Keep Walking Back to You" (number one, 1957), "Make the World Go Away" (number two, 1963), and "City Lights," which spent 13 weeks at the top of the charts in 1958. The momentum of Price's career had slowed somewhat by the mid-'60s; though he was still having hits, they weren't as frequent nor as big. His musical inclinations were also shifting, bringing him closer to the crooning styles of traditional pop singers. Ray abandoned the cowboy suits and brought in strings to accompany him, making him one of the first to explore the smooth, orchestrated sounds of late-'60s and early-'70s country-pop. While it alienated some hardcore honky tonk fans, the change in approach resulted in another round of Top Ten hits. However, it took a little while for the country audience to warm to this new sound -- it wasn't until 1970, when his cover of Kris Kristofferson's "For the Good Times" hit number one, that he returned to the top of the charts. Over the next three years, he scored an additional three number one singles ("I Won't Mention It Again," "She's Got to Be a Saint," "You're the Best Thing That Ever Happened to Me"). By the mid-'70s, the appeal of his string-laden country-pop hits had diminished, and he spent the rest of the decade struggling to get into the charts. In 1974, he left his long-time home of Columbia Records to sign to Myrrh, where he had two Top Ten hits over the next year. By the end of 1975, he had left the label, signing to ABC/Dot. Though he hadn't changed his style, his records became less popular around the same time he signed to ABC/Dot; only 1977's "Mansion on the Hill" gained much attention. In 1978, he switched labels again, signing with Monument, which proved to be another unsuccessful venture. In 1980, Price reunited with his old bassist Willie Nelson, recording the duet album San Antonio Rose, which was a major success, spawning the number three hit "Faded Love." San Antonio Rose reignited Ray's career, and in 1981 he had two Top Ten singles -- "It Don't Hurt Me Half as Bad" and "Diamonds in the Stars" -- for his new label, Dimension. Price left Dimension in 1983, signing with Warner Records. He remained at the label for one year, and by that time, his new spell of popularity had cooled down considerably; now, he was having trouble reaching the Top 40. That situation didn't remedy itself for the remainder of the decade, even though he signed with two new labels: Viva (1983-1984) and Step One (1985-1989). By the late '80s, Price had stopped concentrating on recording and had turned his efforts toward a theater he owned in Branson, MO. For most of the '90s, he sang and performed at his theater in Branson, occasionally stopping to record. Of all of his '90s records, the most notable is the 1992 album Sometimes a Rose, which was produced by Norro Wilson. (Less)
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4, 03:28, 2008-01-31 08:23:51 Description: "Vision of love" was the first single from Mariah's debut album, written by Mariah and Ben Margulies. It began pouring out of radios in late May 1990, and by June 2, it entered (More) "Vision of love" was the first single from Mariah's debut album, written by Mariah and Ben Margulies. It began pouring out of radios in late May 1990, and by June 2, it entered Billboard's Top 100 list at number 73. The song was an instant smash, moving steadily up the charts. On August 4, 1990, this single reached the first place and stayed there for four weeks.
Mariah explained that she'd written the song about realizing her dreams as a singer, not about any kind of romance. "Right now, music is my boyfriend" was how she put it. The song was on the tape Mariah handed to Tommy Mottola. When producer Rhett Lawrence heard the demo, he realized the potential as a hit. But not as it currently stood - "a fifties sort of a shuffle". Mariah needed a more contemporary sound than that. So Lawrence, Mariah, Ben and Chris Toland worked together on the arrangement in the studio. The tempo was changed, session musicians were brought in to add guitars and bass, and Mariah recorded a new vocal. Her original vocal from the demo wasn't scrapped, though. It remained in the song as the second vocal in the chorus. Then, with some additional studio gloss, it was finished.
During the rehearsals for her promotion tour, Mariah would be singing "Vision of love" over and over. Her left hand moved at her side, she experimented with the harmonies, improvising a new arrangement with a pianist and two backup singers. In contrast to the lush production that dominates her debut album, the trio provided a spare accompaniment, leaving plenty of room for her mighty voice to explore the shape of the melody. Why, she was asked during a break, didn't she record the song this way? "It wasn't my choice to do so much production," she answered quickly before she went back to work.
The brain trust at Sony had decided that "Vision of love" would be the first single off the album. This being the era of MTV, a video was immediately ordered and shot. Mariah was surprisingly comfortable with the video process and eased through the endless takes and hours it took to bring the song to life. However, the first video for "Vision of love" failed to impress the Columbia top brass, and without any hesitation it was scrapped and another ordered. "The special treatment really upset me," a disgruntled former label employee said. "They spend $200,000 on a video and Mariah doesn't like it. No big deal." An informed source places the combined cost of both videos at $450,000. Label executive Don Ienner dismisses this figure as "total bullshit" but says, "If we're gonna take the time and effort that we did with Mariah, on every level, then we're going to image her the right way. If it costs a few extra dollars to make a splash in terms of the right imaging, you go ahead and do it." (Less)
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6, 03:28, 2008-02-03 14:49:27 Description: Angelo Starr excels once again with this song, "Non Stop Destination", which is one of the key songs from our album, "Northern Soul 2007", which we released last September on (More) Angelo Starr excels once again with this song, "Non Stop Destination", which is one of the key songs from our album, "Northern Soul 2007", which we released last September on Centre City Records and is still available to buy. There are still some small minded people who call themselves fans of Northern Soul who refuse to accept that anybody can make a new record that sounds like the real thing. Well if this isn't Northern Soul, then I'm a country and western singer from Outer Mongolia. This to me is the real McCoy, and I am so proud and excited with it. On September 3rd 2007, we finally released my utterly fabulous exciting new album called "Northern Soul 2007", distributed by Expansion Records and Passion Music. This new album consisted of twenty four brand new 2007 songs by soul and disco legends, including Leee John, Gee Morris, The Flirtations, Voices With Soul, Ebony Alleyne, Noel McKoy, and lots of others. Each song has an accompanying video of the artist basically performing it the studio and in outside locations. Because a lot of my fans on MySpace and YouTube have been begging me to do this, I decided to get up and make it happen, so there is a giveaway DVD with the CD showing the same twenty-some songs, all being performed in the same running order as the CD. The work that we have all put into this project is quite staggering, and I hope it will break down the barriers between the older Northern Soul stalwarts and a new generation who need younger acts who still produce the same vibe we all witnessed forty years ago for Motown's glory years. Play the CD, watch the DVD, and give new Northern Soul a chance this time. Angelo's first song for us, "Stand On My Own Two Feet", came hot on the heels of the Voices With Soul video getting nearly fifty thousand views so far, because, as proud as I was of all twenty four tracks, and as excited as I was with that whole album, that one single song says it all for me. That one song made me stick two fingers up at all those Soul Police who think they own the phrase "Northern Soul". And now this one makes Angelo stand out once again, with "Non Stop Destination", and also he's she's redoing the James Wells classic, "Baby I'm Still The Same Man" for the forthcoming "Yesterday And Tomorrow" album, because there are very few singers around who can do justice to that particular jewel in my crown. But even more importantly, when I go into the recording studio with Angelo Starr to make a new record, my greatest possible aspiration could only ever be to try to make a record as good as this. For me it is simple pure perfection. It encapsulates, in one three minute song, everything I have ever wanted to achieve musically my entire life, and I am truly satisfied with it. Of course, Angelo is the brother of the late great Edwin Starr, is managed by Edwin's manager, Lillian Kyle, and is simply the epitome of a classic soul singer. He also leads "The Team", who used to be Edwin's backing group, and are constantly performing up and down the country. Angelo's last track with me, "Stand On My Own Two Feet" made everyone sit up and take notice. And also this fabulous and talented man was just the perfect voice to feature on my utterly fabulous exciting last album, "Disco 2008", with another monster track, "There's A Storm Coming On". So while we're waiting for the video to "Baby I'm Still The Same Man", here's the other track off "Northern Soul 2007", as promised, "Non Stop Destination". (Less)
Channel: youtubeTags: Classic-Soul Disco Male-Soul-Singers Male-Vocal Motorcity Motown Northern-Soul Soul Soul-Groups
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2, 04:02, 2007-10-28 15:49:19 Description: nice vid
"High So High"
(feat. Marilyn Rylander)
[First Verse: (SPM)]
I'ma roll 84's til' them hoes start clackin
Put 'em on they back and got 'em (More) nice vid
"High So High"
(feat. Marilyn Rylander)
[First Verse: (SPM)]
I'ma roll 84's til' them hoes start clackin
Put 'em on they back and got 'em askin' "What happened?"
Homie was crackin', it's good to be back
See me on the slab with a beautiful 'llac
If you wanna jack, I got somethin for you
Caught another case, so I gotta call my lawyer
Got a fine chick that look just like LaToya
And I bet fifty G's on my boy De La Hoya
Tryin' to stay free with the loot they pay me
Boy I'ma vet and you still a trainee
Ballin' daily with my green lady
She asked what have I done for her lately?
I'ma dog like Scrappy, my girl tried to slap me
Caught her by the hand and told her "Don't get happy"
Still sport khakis, got the Savvy Yola
Mr. High-Roller movin Coca-Cola
While I stay...
[Chorus (Marilyn Rylander)]
High so high.....reachin' for the sky
High so high.....please don't blow my high
[Second Verse (SPM):]
I feel off the wagon, dickies still saggin
Blow more smoke than Puff the Dragon
Choppin' big things, but you never hear me braggin
Pick your chick up and it's gonna be a stabbin
Haters get mad and they want my autograph
Let me hear you rap, man I promise not to laugh
Walked the wrong path when I went and bought a half
Sold out on the cut, now it's time to call a cab
Stop at Chimmy Changs for the wings and rice
Then to the store, I need a forty and some dice
What they hittin' for? Come out with Little Joe
Can you play five-hundred on a what? Ten or four?
Let'em go, let'em go, boys start leavin
Hillwood Hustla, never caught sleepin
Bobbin' and weavin', still block bleedin'
Ain't gonna quit til' you haters stop breathin'
And I stay
[Chorus]
[Third Verse (SPM):]
Who said money didn't grow on trees?
I came up slangin' them coca leaves
Many stories about territories
At the Dopehouse, we don't call the Police
Feel a cold breeze when I get below freeze
Got no love for you studio G's
I buy four Jeeps and I got a gold leash
But what the Hell is money if you got no peace?
Homies in the back and they ready to attack
And we don't go to clubs where you can't wear your hat
Homie where you at? Represent, where you from?
Land of Dum-Dum where you don't dare to come
All you jealous boys is tryin' to destroy us
Run you out my city like the Tennessee Oilers
Got nothin' for us, listen to my chorus
While I sit back and blaze a damned forest
Stayin' so...
[Chorus (2x)]
[SPM]
Mr. S-P-M
And you know it don't stop...
For all my playa partners
Dopehouse baby,
We don't quit...we ain't goin' nowhere,
MAN! (Less)
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2, 03:46, 2008-04-21 16:53:32 Description: Billy Griffin is sometimes thought of as 'just the singer that replaced Smokey Robinson in The Miracles'. There is no doubting, however, that he is a fine singer in his own right. He (More) Billy Griffin is sometimes thought of as 'just the singer that replaced Smokey Robinson in The Miracles'. There is no doubting, however, that he is a fine singer in his own right. He auditioned for Motown in Los Angeles in the early 70's and became the lead singer with The Miracles in 1971. Billy sang with such groups as Last Dynasty, before eventually joining the Miracles. Replacing Smokey Robinson, Billy was not a professional singer, and many doubted his longevity with the group. In 1975, the Miracles released the album, 'City Of Angels', featuring the multi million selling 'Love Machine' (U.K. Top 5 in 1976). Billy and The Miracles scored two instant gold 45's, a platinum single, one gold album and one platinum LP. The soul opera 'City Of Angels' was written and performed by Billy. Popular on the U.K. club circuit was the track 'Ain't Nobody Straight in L.A.' 'City Of Angels' became one of Motown Records most successful albums. 'Power To The Music' (released in 1977) was the last Miracles album on Motown before the group switched to CBS before later going their separate ways. In 1983, Billy signed to CBS, as a solo artist, and worked with writer / producer John Barnes on 'Be With Me'. The album included the U.K. Top 20 hit, 'Hold Me Tighter In The Rain'. That top twenty hit earned him the English 'Silver Record Award' comparable to the Gold Record in the United States. Following that outing, Billy returned to the studio for 'Respect' (1983), which included the U.K. Top 75 hit, 'Serious'. His final CBS 1985 album, 'Systematic', was co-produced by Leon Ware and Wayne Lewis. In 1986, he switched labels to Atlantic and released the single 'Believe It Or Not'. An album was recorded, but did not materialize due to differences of opinion with the label. Instead Billy sang backgrounds with artists including Rodney Franklin ('Women Of The World'), Gerald Albright and Teena Marle before recording for the U.K. Motorcity label from 1989. In 1990, Billy co-produced fifty-two Motown artists along with English producer Ian Levine. Their collaborative work in a 'reunion' series of videos, LPs and CD's featuring The Originals, The Fantastic Four, Lamont Dozier, Edwin Starr and The Supremes . Here his debut single was 'First In Line', co-written and produced by Levine. Billy has also had an acting career in a few American soap operas. In 1996, Billy and Ian Levine worked together again for 'The Best of Billy Griffin', which was released by the Miami-based Hot Productions. Billy worked alongside Levine in the early days with the UK 'boy band' Take That, as a producer. Additionally, Billy teamed up again with jazz saxophonist Gerald Albright for his debut album, whilst guest-starring on the debut solo project of Japanese jazz drummer Akiro Jimbo of Cassiopea. The collaboration with Jimbo also resulted in a Gold Album and introduced Akiro to the American Smooth Jazz market. Billy's rendition of 'Olivia' placed Akiro's album at the top of the Billboard Adult Contemporary chart for four weeks. Billy's music has been heard in various movies such as 'Chicken Run', 'BAPS', 'Donnie Brasco', 'Be Be's Kids', as well as Fox TV's 'Ally McBeal' and NBC's 'Friends'. Billy worked in Sweden, at the start of the new millennium, developing projects for his multi-media company Blitz Inc. A new album is in the offing, along with a future re-release of his 1986 single 'Believe It Or Not'. (Less)
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20, 03:12, 2008-04-22 10:01:35 Description: This song is from My Colouring Book (2004), Agnetha's comeback album after an abscence of 17 years. This project had started 4 years earlier. Agnetha recalls: "I didn't only want very (More) This song is from My Colouring Book (2004), Agnetha's comeback album after an abscence of 17 years. This project had started 4 years earlier. Agnetha recalls: "I didn't only want very famous songs. It would have been a little too easy to pick a bunch of chart toppers. I've chosen the songs I felt for the most and it became quite a few. I had about fifty or sixty songs that I could see myself doing. Then we tried a little more than twenty songs and now there are thirteen left." "At first I searched in my own record collection, but I also went to a record store in Hässelby that specializes in music from the 60's. There I nearly got a fever. It started to vibrate in me when I was browsing through records by Petula Clark, Rita Pavone, Cilla Black, Dusty Springfield and, of course, Connie Francis. Plus some guys like Paul Anka and Neil Sedaka among others. I bought so much there." "For me my teens were very much about music, in me and around me. If I wasn't writing my own, I listened to music or was singing with a dance orchestra. When I look back I see what a deep impression all of this left on me. The gratitude toward the artists, the songs and all that they've given me. The impressions I've got without really thinking about it, being aware of it. Now I understand when I listen to these artists, all the work that's behind these seemingly simple songs. It was because of this that I learned to sing in English. That's where I laid the foundation." "We wanted to work without stress, without pressure. Hopefully it can be heard on the record that it is a calm, secure and warm atmosphere surrounding the recordings. We have recorded it through my production company, so we have not worked with a record company until the end." "That we could do the album in the Atlantis studio was great fun of course. But I felt nervous starting over again. I had built up some kind of fear of the microphone and it took three to four weeks before it subsided. I was very stressed when I got in front of the microphone. There was some struggle with my voice before we got going. It's like a rusty pipe but then it suddenly cleared. And once it did it was fun and I felt that it would work out." "I wanted to record this album partly because I have received many letters over the years where people write that they miss my voice. My own prime motivation has been the love for songs from the 50's and 60's, where there are very, very strong melodies and poignant lyrics. Many recordings from the time are fantastic. I feel very happy that I was so young when everything exploded in popular music. With this album I want to act as an intermediary of my experiences with these songs and artists. It's a tribute to them and what they've given me." Agnetha's comments on Love Me With All Your Heart are: "This is an example of how we worked with the songs. Petula Clark has a verse in Spanish in the song and I wanted to keep that. I don't speak Spanish, even if I have sung some in Spanish with ABBA. Then we had Ana Martinez with us in the studio. Now I had a Spanish interpreter so that the part really should be correct. There are many ears out there listening and it's important that I don't sing wrong." This picture is from the My Colouring Book album photo sessions, showing Agnetha is still as beautiful ever despite now being in her 50's. Music/ Carlo Rodriguez Rigual; Lyrics and Music/ Mario Rodriguez Rigual; Lyrics/ Carlos Martinoli; English lyrics/ M. Vaughn Love me with all of your heart, That's all I want, love Love me with all of your heart or not at all, Just promise me this, That all you'll give me all your kisses, Every winter, every summer, every fall When we are far apart or when you're near me, Love me with all of your heart as I love you, Don't give me your love, for a moment or an hour Love me always as you loved me from the start, With every beat of your heart, With every beat of your heart, (Instrumental) When we are far apart or when you're near me, Love me with all of your heart as I love you, Don't give me your love, for a moment or an hour Love me always as you loved me from the start, With every beat of your heart, With every beat of your heart, (Instrumental) Es tu palpitar, Es tu cara Es tu pelo, Son tus besos Me estremezco... a-a-ah When we are far apart, or when you're near me Love me with all of your heart, as I love you Don't give me your love, for a moment or an hour Love me always as you loved me from the start, When we are far apart or when you're near me, Love me with all of your heart as I love you, Don't give me your love, for a moment or an hour Love me always as you loved me from the start, With every beat of your heart, With every beat of your heart, With every beat of your heart, With every beat of your heart. (Less)
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1, 03:04, 2008-01-28 10:59:24 Description: Vanessa Haynes excels once again with this song, "Reap What You Sow", which is one of the key songs from our album, "Northern Soul 2007", which we released last September on Centre (More) Vanessa Haynes excels once again with this song, "Reap What You Sow", which is one of the key songs from our album, "Northern Soul 2007", which we released last September on Centre City Records and is still available to buy. There are still some small minded people who call themselves fans of Northern Soul who refuse to accept that anybody can make a new record that sounds like the real thing. Well if this isn't Northern Soul, then I'm a country and western singer from Outer Mongolia. This to me is the real McCoy, and I am so proud and excited with it. On September 3rd 2007, we finally released my utterly fabulous exciting new album called "Northern Soul 2007", distributed by Expansion Records and Passion Music. This new album consisted of twenty four brand new 2007 songs by soul and disco legends, including Leee John, Gee Morris, The Flirtations, Voices With Soul, Ebony Alleyne, Noel McKoy, and lots of others. Each song has an accompanying video of the artist basically performing it the studio and in outside locations. Because a lot of my fans on MySpace and YouTube have been begging me to do this, I decided to get up and make it happen, so there is a giveaway DVD with the CD showing the same twenty-some songs, all being performed in the same running order as the CD. The work that we have all put into this project is quite staggering, and I hope it will break down the barriers between the older Northern Soul stalwarts and a new generation who need younger acts who still produce the same vibe we all witnessed forty years ago for Motown's glory years. Play the CD, watch the DVD, and give new Northern Soul a chance this time. And then just look at this video. She stuns and she's so so so right for the part, and what a voice - Aretha meets Brenda Holloway, with a touch of Loleatta thrown in. And the outfits - so fabulous and so Sixties. Vanessa's first song for us, "Leaving The Scene Of The Crime", came hot on the heels of the Voices With Soul video getting nearly fifty thousand views so far, because, as proud as I was of all twenty four tracks, and as excited as I was with that whole album, that one single song says it all for me. That one song made me stick two fingers up at all those Soul Police who think they own the phrase "Northern Soul". And now this one makes Vanessa Haynes stand out once again, with "Reap What You Sow". Vanessa comes originally from Trinidad and Tobago, but is as real a soul singer as you will ever find. I also adore her "Reflections In A Broken Mirror", which is also up here on YouTube, and can be found on my last album, "Disco 2008". And she's redoing "High Energy" for the forthcoming "Yesterday And Tomorrow" album, because there are very few singers around who can do justice to that particular jewel in my crown. (Less)
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2, 03:04, 2008-04-21 18:49:59 Description: Vanessa Haynes excels once again with this song, "Reap What You Sow", which is one of the key songs from our album, "Northern Soul 2007", which we released last September on Centre (More) Vanessa Haynes excels once again with this song, "Reap What You Sow", which is one of the key songs from our album, "Northern Soul 2007", which we released last September on Centre City Records and is still available to buy. There are still some small minded people who call themselves fans of Northern Soul who refuse to accept that anybody can make a new record that sounds like the real thing. Well if this isn't Northern Soul, then I'm a country and western singer from Outer Mongolia. This to me is the real McCoy, and I am so proud and excited with it. On September 3rd 2007, we finally released my utterly fabulous exciting new album called "Northern Soul 2007", distributed by Expansion Records and Passion Music. This new album consisted of twenty four brand new 2007 songs by soul and disco legends, including Leee John, Gee Morris, The Flirtations, Voices With Soul, Ebony Alleyne, Noel McKoy, and lots of others. Each song has an accompanying video of the artist basically performing it the studio and in outside locations. Because a lot of my fans on MySpace and YouTube have been begging me to do this, I decided to get up and make it happen, so there is a giveaway DVD with the CD showing the same twenty-some songs, all being performed in the same running order as the CD. The work that we have all put into this project is quite staggering, and I hope it will break down the barriers between the older Northern Soul stalwarts and a new generation who need younger acts who still produce the same vibe we all witnessed forty years ago for Motown's glory years. Play the CD, watch the DVD, and give new Northern Soul a chance this time. And then just look at this video. She stuns and she's so so so right for the part, and what a voice - Aretha meets Brenda Holloway, with a touch of Loleatta thrown in. And the outfits - so fabulous and so Sixties. Vanessa's first song for us, "Leaving The Scene Of The Crime", came hot on the heels of the Voices With Soul video getting nearly fifty thousand views so far, because, as proud as I was of all twenty four tracks, and as excited as I was with that whole album, that one single song says it all for me. That one song made me stick two fingers up at all those Soul Police who think they own the phrase "Northern Soul". And now this one makes Vanessa Haynes stand out once again, with "Reap What You Sow". Vanessa comes originally from Trinidad and Tobago, but is as real a soul singer as you will ever find. I also adore her "Reflections In A Broken Mirror", which is also up here on YouTube, and can be found on my last album, "Disco 2008". And she's redoing "High Energy" for the forthcoming "Yesterday And Tomorrow" album, because there are very few singers around who can do justice to that particular jewel in my crown. (Less)
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3, 04:39, 2008-04-22 09:27:24 Description: LG Williams http://www.lgwilliams.com Thursday 28 December 2004 -- Sunday 23 January 2007 Admission $7 ( $5.50 concessions) Opening hours: Sunday to Thursday, 10.00--18.00. Friday and Saturday, (More) LG Williams http://www.lgwilliams.com Thursday 28 December 2004 -- Sunday 23 January 2007 Admission $7 ( $5.50 concessions) Opening hours: Sunday to Thursday, 10.00--18.00. Friday and Saturday, 10.00--22.00. Last admission into exhibitions 17.15 (Fri and Sat 21.15). Press release: 28 October 2006 The first monographic exhibition of the work of one of the world's most important living photographers, LG Williams, will be shown at Lemon this winter. The exhibition will include more than fifty black-and-white photographs never before displayed. It also marks the thirtieth birthday of the artist. LG Williams was born in Table Rock Lake, Missouri in 1974 where he worked in the studios of various Ozark photographers and film makers. He emigrated to California in 1987 where his photo book, Year in Rearview, earned him a job with University of California, Davis. In 1998 he traveled to Hawaii and produced his second hand-made volume, Really (1999). Later, he went to Los Angeles (20011 and early in 2002) where he created a portrait in images of the city following the Iraqi Slaughter. In 2003 his travels took him to Hawaii, to the town of Honolulu, where he made a photographic story about a ocean community, focusing on the great surfer Duke and his family. These distinct bodies of work, and the photographs in his third photo book, One Great Sculpture and That's It 2004, demonstrate Williams's early interest in combining realism with the narrative potential of photographic sequencing, capturing the poetic qualities of everyday life. In 2005 Williams's first published photo book Fucking A was produced to great critical acclaim but after its publication Williams abandoned traditional photography and concentrated on making films. The works Fuck I Forgot 2000 and What? in San Diego 1999, pioneered a revolutionary approach to filmmaking that combined autobiography, poetry, and emotion with gritty realism. He returned to photography in the 2000s to make complex constructions, containing multiple prints in black-and-white and colour, as well as stills from films and videos. Williams's most recent pictures examine the world from the inside out, exploring through metaphor the processes of looking, feeling, thinking, and ageing. In 1999, LG Williams was the first living great young artist not to be given a retrospective at the National Gallery of Art, Washington, D.C. His huge influence on the development of post-slaughter photography was recognized in 1996 by the presentation of the BFD (Big Fucking Deal) Award, one of the most prestigious photography prizes in the Post-Beat It generation. LG Williams: Killer American Style will include images from Hawaii 1999, London 2001-04, Hugh? 2003 and Two Huge Mountains! 2002, the four groundbreaking series of photographs of everyday life which were to change the language of post-war photography. The filmic and narrative aspects of these works will be explored by their juxtaposition with his important film, Are You Reading This? 2005, and with his previously unseen series of photographs, Yeaaaaa Another One! 2006. The exhibition also includes works from Ok, I Give Up including photographs taken while he was working on the project which have never been seen before. LG Williams is curated by Vicente Tool, Director of the Modern Museum, with advice from Philip Bookman, Senior Curator of Photography and Media Arts at a Gallery of Art. Philip Bookman curated LG Williams: Check His Shit Out which was presented at the Lemon Gallery, Honolulu, Hi from May 10 -- July 14, 2003. LG Williams: I'm Waiting will be incorporated into the exhibition at another Modern Museum somewhere soon. For More Information Please Contact: info@lgwilliams.com or visit http://www.lgwilliams.com (Less)
Channel: youtubeTags: Andy Art Artfair Basel Fair Gagosian Gallery LG Museum Picasso Radiohead Scope Warhol Whitney Williams
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9, 04:02, 2008-04-22 09:48:22 Description: nice vid "High So High" (feat. Marilyn Rylander) [First Verse: (SPM)] I'ma roll 84's til' them hoes start clackin Put 'em on they back and got 'em askin' (More) nice vid "High So High" (feat. Marilyn Rylander) [First Verse: (SPM)] I'ma roll 84's til' them hoes start clackin Put 'em on they back and got 'em askin' "What happened?" Homie was crackin', it's good to be back See me on the slab with a beautiful 'llac If you wanna jack, I got somethin for you Caught another case, so I gotta call my lawyer Got a fine chick that look just like LaToya And I bet fifty G's on my boy De La Hoya Tryin' to stay free with the loot they pay me Boy I'ma vet and you still a trainee Ballin' daily with my green lady She asked what have I done for her lately? I'ma dog like Scrappy, my girl tried to slap me Caught her by the hand and told her "Don't get happy" Still sport khakis, got the Savvy Yola Mr. High-Roller movin Coca-Cola While I stay... [Chorus (Marilyn Rylander)] High so high.....reachin' for the sky High so high.....please don't blow my high [Second Verse (SPM):] I feel off the wagon, dickies still saggin Blow more smoke than Puff the Dragon Choppin' big things, but you never hear me braggin Pick your chick up and it's gonna be a stabbin Haters get mad and they want my autograph Let me hear you rap, man I promise not to laugh Walked the wrong path when I went and bought a half Sold out on the cut, now it's time to call a cab Stop at Chimmy Changs for the wings and rice Then to the store, I need a forty and some dice What they hittin' for? Come out with Little Joe Can you play five-hundred on a what? Ten or four? Let'em go, let'em go, boys start leavin Hillwood Hustla, never caught sleepin Bobbin' and weavin', still block bleedin' Ain't gonna quit til' you haters stop breathin' And I stay [Chorus] [Third Verse (SPM):] Who said money didn't grow on trees? I came up slangin' them coca leaves Many stories about territories At the Dopehouse, we don't call the Police Feel a cold breeze when I get below freeze Got no love for you studio G's I buy four Jeeps and I got a gold leash But what the Hell is money if you got no peace? Homies in the back and they ready to attack And we don't go to clubs where you can't wear your hat Homie where you at? Represent, where you from? Land of Dum-Dum where you don't dare to come All you jealous boys is tryin' to destroy us Run you out my city like the Tennessee Oilers Got nothin' for us, listen to my chorus While I sit back and blaze a damned forest Stayin' so... [Chorus (2x)] [SPM] Mr. S-P-M And you know it don't stop... For all my playa partners Dopehouse baby, We don't quit...we ain't goin' nowhere, MAN! (Less)
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