75:02
The Who - Tommy [Full Album]
Townsend came up with a brilliant idea w/ Tommy. I hear the actually stage play is the onl...
published: 21 May 2012
author: TooLooseToGetTight
The Who - Tommy [Full Album]
Townsend came up with a brilliant idea w/ Tommy. I hear the actually stage play is the only way to hear and listen to it. I found this online re: the play. In 1993, Townshend and La Jolla Playhouse theatrical director Des McAnuff wrote and produced a Broadway musical adaptation of Tommy. The production, titled The Who's Tommy, featured a new song by Townshend ("I Believe My Own Eyes"). Initially, the show received mixed reviews; for example, while The New York Times theatre critic Frank Rich praised it, the same paper's music critic Jon Pareles argued that "Their (Townshend's and McAnuff's) changes turn a blast of spiritual yearning, confusion and rebellion into a pat on the head for nesters and couch potatoes".Later, Townshend partly responded to the criticisms.Ultimately, the production won five Tony Awards that year, including Best Original Score for Townshend. Various touring revivals have met with popular acclaim since. This is the track listing off the LP.... SIDE ONE Overture: It's a Boy: 1921: Amazing Journey: Sparks: Eyesight to the Blind (The Hawker): SIDE TWO Christmas: Cousin Kevin: The Acid Queen: Underture: SIDE THREE Do You Think It's Alright: Fiddle About: Pinball Wizard: There's a Doctor: Go to the Mirror!: Tommy Can You Hear Me?: Smash the Mirror: Sensation: SIDE FOUR Miracle Cure: Sally Simpson: I'm Free: Welcome: Tommy's Holiday Camp: We're Not Gonna Take It:. See Me, Feel Me: :
123:18
In Concert: Arif Lohar and Arooj Aftab (Complete)
Asia Society New York's concerts featuring Pakistani musical icon Arif Lohar and Pakis...
published: 07 May 2012
author: asiasociety
In Concert: Arif Lohar and Arooj Aftab (Complete)
Asia Society New York's concerts featuring Pakistani musical icon Arif Lohar and Pakistani American singer Aroof Aftab soared to euphoric heights for two nights running this past weekend. On both Friday and Saturday nights, a sold-out auditorium clapped, swayed, and most of all danced to Lohar's signature contemporary take on traditional Punjabi songs. Press reaction to the concerts has been equally enthusiastic, with Richard Gehr of the Village Voice singling out Lohar's "increasingly delirious" marathon rendition of his hit "Alif Allah Chambey di Booti" as a particular highlight. (For those who were there, or not, Gehr's piece also has a complete set list for Friday night's concert.) In the New York Times, Jon Pareles cited Lohar's "superhuman lung power" and the music's "visceral drive." Pakistan's Nation reported that Lohar's "commanding presence on the stage ... connected with the excited audience members who roared their approval with thunderous applause." Saturday's program was also webcast live to an enthusiastic global audience. For those who missed it, that complete concert is now available online on AsiaSociety.org. Lohar and Aftab's two concerts were part of Asia Society's ongoing initiative Creative Voices of Muslim Asia, made possible by support from the Doris Duke Foundation for Islamic Art. The shows were also the final stops of a six-week American tour made possible by Caravanserai: A place where cultures meet, a series of residencies and tours designed <b>...</b>
2:58
NYTimes.com - South by Southwest: Daniel Lanois
Jon Pareles of The New York Times talks to record producer and singer-songwriter Daniel La...
published: 16 Mar 2008
author: TheNewYorkTimes
NYTimes.com - South by Southwest: Daniel Lanois
Jon Pareles of The New York Times talks to record producer and singer-songwriter Daniel Lanois at the 2008 South by Southwest music festival.
4:10
Belô Velloso - É D'Oxum
www.mhznetworks.org Show 2004 - Washington, DC - USA The New York Times - By Jon Pareles -...
published: 13 Sep 2006
author: bmgv
Belô Velloso - É D'Oxum
www.mhznetworks.org Show 2004 - Washington, DC - USA The New York Times - By Jon Pareles - January 29, 1999. "Um Segundo" (Velas, Brazilian import). This young Brazilian singer brings a warm, guileless voice to immaculately graceful pop. The album's dozen pop songs touch on Brazilian styles like bossa nova, forro and pagode samba, and bring a Brazilian subtlety to borrowings from reggae, salsa, funk and nuevo flamenco. The arrangements maintain a light touch while Ms. Velloso caresses the melodies, making the songs seem to come straight from the heart." The New York Times - By Jon Pareles - February 4, 1999. "Elis Regina, who died in 1982 of a drug overdose, was Brazil's Billie Holiday, Sarah Vaughan and Linda Ronstadt rolled into one. She discovered and encouraged the finest songwriters in Brazilian popular music, and she taught the next generations of singers the combination of lightness and sensuality, supple rhythms and melting emotion, that has shaped singers like Gal Costa, Marisa Monte and Belo Velloso." The New York Times - By Jon Pareles - October 14, 2004. "Belo Velloso, the niece of the Brazilian songwriter Caetano Veloso, has a supple, airy voice that can caress a melody even when it rides a swaggering sambareggae beat. Many of her songs were about the state where she grew up, Bahia, and as her voice paid tender tribute to landmarks and cultural legacies, she also danced and shimmied the samba, despite her high heels." The New York Times - By Choire Sicha <b>...</b>
7:11
Kharia Arby & Her Band @ Bonnaroo 2012
Legendary Malian Singer Kharia Arby and her excellent Band. NYTimes writer Jon Pareles wri...
published: 13 Jun 2012
author: burnking
Kharia Arby & Her Band @ Bonnaroo 2012
Legendary Malian Singer Kharia Arby and her excellent Band. NYTimes writer Jon Pareles writes, "Ms. Arby sings what world-music marketers have misleadingly tagged "desert blues" for the spiky riffs (now played on electric guitar) and pentatonic melodies that found their way from West Africa to Delta blues. But she and her band reach much further. To underline sentiments about Malian unity, she sings in multiple languages — Songhai, Arabic, Tamashek — while her band draws on rhythms from various regions of Mali, fusing them with funk, psychedelia and reggae as well as electric blues." Go buy the music and see them live!
5:14
Naked Soul: Jill Sobule at the Rubin Museum
In the words of New York Times pop music critic Jon Pareles, "Jill Sobule can claim h...
published: 08 May 2012
author: RubinMuseum
Naked Soul: Jill Sobule at the Rubin Museum
In the words of New York Times pop music critic Jon Pareles, "Jill Sobule can claim her place among the stellar New York singer-songwriters of the last decade. Topical, funny and more than a little poignant ... grown-up music for an adolescent age." Sobule performed this song at the Rubin Museum in 2010. Don't miss Sobule's return to the Rubin Museum this July! Check rmanyc.org/nakedsoul for details
6:03
Guns N' Roses - One In A Million (Full Cover)
Song by Guns N' Roses from the album "GN' R Lies" Released: November 30,...
published: 18 Apr 2012
author: MustafaAyazz
Guns N' Roses - One In A Million (Full Cover)
Song by Guns N' Roses from the album "GN' R Lies" Released: November 30, 1988(US), December 17, 1988(UK) Recorded: Rumbo Studios, Take One Studio & Image Studio Genre: Rock Length: 6:09 Label: Geffen Records Writer: Axl Rose Producer: Guns N' Roses, Mike Clink The song's lyrics caused great controversy among many different groups, and accusations of homophobia, nativism, and racism were leveled against Guns N' Roses' lead singer and song lyricist, Axl Rose. Music critic Jon Pareles noted that with the song: With "One in a Million" on "G 'n' R Lies," the band tailored its image to appeal to white, heterosexual, nativist prejudices, denouncing blacks, immigrants and gays while coyly apologizing "to those who may take offense" in the album notes. Criticism only made the band dig in its heels. In the new "Don't Damn Me," Mr. Rose spits out his rejoinder: "I said what I meant and I never pretended" and "My words may disturb but at least there's a reaction." Apparently he still thinks sincerity excuses anything, except a sincere disagreement with him. —Jon Pareles The cover of the GN'R Lies EP, which was designed as a mock-tabloid newspaper front page, actually contained an advance apology for the song, suggesting controversy was anticipated. A small "article" entitled "One in a Million", credited to Rose, ended: "This song is very simple and extremely generic or generalized, my apologies to those who may take offense." In response to the following accusations of homophobia <b>...</b>
3:54
Skeleton Key "Gravity is the Enemy" Live in NYC 10.11.11
Venue was Bowery Ballroom. About Skeleton Key: Seemingly powered by pistons, gears, and ru...
published: 12 Oct 2011
author: sssleestak
Skeleton Key "Gravity is the Enemy" Live in NYC 10.11.11
Venue was Bowery Ballroom. About Skeleton Key: Seemingly powered by pistons, gears, and rusty watch springs, Skeleton Key is a clanky but productive machine. Using ancient microphones, primitive guitars, and found objects, the band heaves with a unique rhythmic undertow yet has a knack for winsome, haunting melody. Their music "strips down, toughens up, picks up some debris, and gets an extra dose of rhythm" according to Jon Pareles of the The New York Times. Skeleton Key creates music both exotic and familiar, elegant yet crass, cerebral yet visceral. "It's luxurious, yet affordable" says bassist/singer Erik Sanko (ex of The Lounge Lizards, and collaborator with Yoko Ono, John Cale, and Gavin Friday, among others.)
2:51
Skeleton Key "Every Hero" Live at Bowery Ballroom NYC 10.11.11
About Skeleton Key: Seemingly powered by pistons, gears, and rusty watch springs, Skeleton...
published: 12 Oct 2011
author: sssleestak
Skeleton Key "Every Hero" Live at Bowery Ballroom NYC 10.11.11
About Skeleton Key: Seemingly powered by pistons, gears, and rusty watch springs, Skeleton Key is a clanky but productive machine. Using ancient microphones, primitive guitars, and found objects, the band heaves with a unique rhythmic undertow yet has a knack for winsome, haunting melody. Their music "strips down, toughens up, picks up some debris, and gets an extra dose of rhythm" according to Jon Pareles of the The New York Times. Skeleton Key creates music both exotic and familiar, elegant yet crass, cerebral yet visceral. "It's luxurious, yet affordable" says bassist/singer Erik Sanko (ex of The Lounge Lizards, and collaborator with Yoko Ono, John Cale, and Gavin Friday, among others.)
4:26
Babyface & Gwyneth Paltrow - Just My Imagination (Running Away With Me)
Another long time favorite and request from my old account "monsterlyinlove"... ...
published: 08 Mar 2012
author: MonsterlyInLove2
Babyface & Gwyneth Paltrow - Just My Imagination (Running Away With Me)
Another long time favorite and request from my old account "monsterlyinlove"... please enjoy!!! ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ "Just My Imagination (Running Away with Me)" is a song by American soul group The Temptations. Released on the Gordy (Motown) label, and produced by Norman Whitfield, it features on the group's 1971 album, Sky's the Limit. When released as a single, "Just My Imagination" became the third Temptations song to reach number one on the US Billboard Hot 100. The single held the number one position on the Billboard Pop Singles Chart for two weeks in 1971, from March 27 to April 10. "Just My Imagination" also held the number-one spot on the Billboard R&B Singles chart for three weeks, from February 27 to March 20.[1] Today, "Just My Imagination" is considered one of the Temptations' signature songs, and is notable for recalling the sound of the group's 1960s recordings. It is also the final Temptations single to feature founding members Eddie Kendricks and Paul Williams. During the process of recording and releasing the single, Kendricks left the group to begin a solo career, while the ailing Williams was forced to retire from the act for health reasons. In 2004, Rolling Stone magazine listed "Just My Imagination" as number 389 on its list of the 500 Greatest Songs of All Time. Cover versions A number of artists have since covered "Just My Imagination", often in different styles from the original. Among the most notable covers is a version by The <b>...</b>
7:02
CHARLI PALMIERI Y SU ORQUESTA.- CHALECO.- VITÍN AVILÉS.-
New York Times del 13 de septiembre de 1988, el reportero Jon Pareles escribió: Cha...
published: 31 Jan 2012
author: mrarmandomusical
CHARLI PALMIERI Y SU ORQUESTA.- CHALECO.- VITÍN AVILÉS.-
New York Times del 13 de septiembre de 1988, el reportero Jon Pareles escribió: Charlie Palmieri, uno de los pianistas más importantes de la salsa, murió ayer de un ataque al corazón en el hospital Jacobi en el Bronx. Tenía 60 años. El señor Palmieri, hermano mayor del pianista Eddie Palmieri, nació en la ciudad de Nueva York. Subió por los rangos del circuito de orquestas de bailes latinos y bandas de hotel en los años 50 y lideró grupos con formato de conjunto, con trompetas ocupando el primer plano. El día de año nuevo de 1959 el Señor Palmieri introdujo la banda Charanga Duboney —una charanga estilo cubano con flauta y cuatro violines al frente— que eventualmente transformaría la música latina en Nueva York. La Charanga Duboney, teniendo como atracción a Johnny Pacheco en la flauta, era inmensamente popular a comienzos de los años 60, a veces tocando hasta cuatro veces por noche. La misma revivió el sonido de la Orquesta Aragón de Cuba y trajo una nueva corriente en el sonido de la música latina en Nueva York. Al revivir la charanga, Palmieri también abrió camino para híbridos de vanguardia jazzisticos. En 1961 se convirtió en el director musical de las Estrellas Alegre, un grupo de músicos, cubanos, puertorriqueños y neyorkinos que combinaban mambos con solos de jazz extendidos en discos para el sello Alegre. En The Latin Tinge, donde se provee una historia de la música latina en Estados Unidos, John Store Roberts describe esas sesiones como "un balance casi perfecto <b>...</b>
2:46
Walk Away Renee/The Left Banke
"Walk Away Renée" is a song made popular by the band The Left Banke in 19...
published: 21 Jun 2012
author: Rey05191957
Walk Away Renee/The Left Banke
"Walk Away Renée" is a song made popular by the band The Left Banke in 1966 (single release: July 1966, Smash Records, title printed as "Walk Away Renee"), composed by the group's then 16-year-old keyboard player Michael Brown (real name Michael Lookofsky) and Tony Sansone. Bob Calilli is also credited as a writer, though he didn't actually write any of the lyrics or music - he received credit in exchange for setting up the session in which the writing stage of the song was completed. The song was also a chart hit for the Motown group the Four Tops in 1968. The song features a flute solo played during the instrumental bridge of the middle portion of the song. Michael Brown got the idea for the flute solo from The Mamas & the Papas song "California Dreamin'" which had been recorded in November 1965 but wasn't a hit and in heavy rotation until early 1966. The arrangement also includes a lush string orchestration, a memorable harpsichord part, and a descending chromatic bass melody which led critics to refer to the group's sound as Baroque pop, "Bach-Rock" or Baroque n Roll. Rolling Stone placed the song at number 220 in the 500 Greatest Songs of All Time. After its initial release, it spent 13 weeks on the charts with a top spot at #5. It has been widely recorded by singers in a wide range of genres and styles, often with great success. For example, Linda Ronstadt and Ann Savoy recently recorded the song on their album Adieu False Heart. The New York Times' reviewer Jon <b>...</b>
2:27
CHARLIE PALMIERI Y LA ORQUESTA DUBONEY.- DOMINÓ.- VITÍN AVILÉS.-
En el obituario del New York Times del 13 de septiembre de 1988, el reportero Jon Pareles ...
published: 30 Jan 2012
author: mrarmandomusical
CHARLIE PALMIERI Y LA ORQUESTA DUBONEY.- DOMINÓ.- VITÍN AVILÉS.-
En el obituario del New York Times del 13 de septiembre de 1988, el reportero Jon Pareles escribió: Charlie Palmieri, uno de los pianistas más importantes de la salsa, murió ayer de un ataque al corazón en el hospital Jacobi en el Bronx. Tenía 60 años. El señor Palmieri, hermano mayor del pianista Eddie Palmieri, nació en la ciudad de Nueva York. Subió por los rangos del circuito de orquestas de bailes latinos y bandas de hotel en los años 50 y lideró grupos con formato de conjunto, con trompetas ocupando el primer plano. El día de año nuevo de 1959 el Señor Palmieri introdujo la banda Charanga Duboney —una charanga estilo cubano con flauta y cuatro violines al frente— que eventualmente transformaría la música latina en Nueva York. La Charanga Duboney, teniendo como atracción a Johnny Pacheco en la flauta, era inmensamente popular a comienzos de los años 60, a veces tocando hasta cuatro veces por noche. La misma revivió el sonido de la Orquesta Aragón de Cuba y trajo una nueva corriente en el sonido de la música latina en Nueva York. Al revivir la charanga, Palmieri también abrió camino para híbridos de vanguardia jazzisticos. En 1961 se convirtió en el director musical de las Estrellas Alegre, un grupo de músicos, cubanos, puertorriqueños y neyorkinos que combinaban mambos con solos de jazz extendidos en discos para el sello Alegre. En The Latin Tinge, donde se provee una historia de la música latina en Estados Unidos, John Store Roberts describe esas sesiones como "un <b>...</b>
2:36
CHARLIE PALMIERI Y EL TEMA DE LA DUBONEY.- VITÍN AVILÉS.-
Charlie Palmieri y la Orquesta La Duboney con Johnny Pacheco y Vitín Avilés....
published: 29 Jan 2012
author: mrarmandomusical
CHARLIE PALMIERI Y EL TEMA DE LA DUBONEY.- VITÍN AVILÉS.-
Charlie Palmieri y la Orquesta La Duboney con Johnny Pacheco y Vitín Avilés. En el obituario del New York Times del 13 de septiembre de 1988, el reportero Jon Pareles escribió: Charlie Palmieri, uno de los pianistas más importantes de la salsa, murió ayer de un ataque al corazón en el hospital Jacobi en el Bronx. Tenía 60 años. El señor Palmieri, hermano mayor del pianista Eddie Palmieri, nació en la ciudad de Nueva York. Subió por los rangos del circuito de orquestas de bailes latinos y bandas de hotel en los años 50 y lideró grupos con formato de conjunto, con trompetas ocupando el primer plano. El día de año nuevo de 1959 el Señor Palmieri introdujo la banda Charanga Duboney —una charanga estilo cubano con flauta y cuatro violines al frente— que eventualmente transformaría la música latina en Nueva York. La Charanga Duboney, teniendo como atracción a Johnny Pacheco en la flauta, era inmensamente popular a comienzos de los años 60, a veces tocando hasta cuatro veces por noche. La misma revivió el sonido de la Orquesta Aragón de Cuba y trajo una nueva corriente en el sonido de la música latina en Nueva York. Al revivir la charanga, Palmieri también abrió camino para híbridos de vanguardia jazzisticos. En 1961 se convirtió en el director musical de las Estrellas Alegre, un grupo de músicos, cubanos, puertorriqueños y neyorkinos que combinaban mambos con solos de jazz extendidos en discos para el sello Alegre. En The Latin Tinge, donde se provee una historia de la música <b>...</b>
3:13
"Interstate Love Song" Stone Temple Pilots
Singer/Songwriter Caleb Lane performs "Interstate Love Song" written by Scott We...
published: 19 Jan 2012
author: caleblane1
"Interstate Love Song" Stone Temple Pilots
Singer/Songwriter Caleb Lane performs "Interstate Love Song" written by Scott Weiland of Stone Temple Pilots Follow Caleb Lane on Twitter @ twitter.com Stone Temple Pilots (abbreviated to STP) is an American rock band from San Diego, California that consists of Scott Weiland (lead vocals), brothers Robert DeLeo (bass guitar, vocals) and Dean DeLeo (guitar), and Eric Kretz (drums, percussion).[1] The band's early hard rock, grunge-reminiscent style of music found them immediate success in 1992 with the release of their debut album Core, which initially led critics to dismiss the band as "grunge imitators". Further releases from the band have shown a variety of influences, including psychedelic rock, bossa nova, and classic rock. Core, certified 8× platinum by the RIAA, drove the band to popularity.[2] STP went on to become one of the most commercially successful rock bands of the 1990s, selling nearly 40 million records worldwide,[3] including 17.5 million units in the United States,[4] before their dissolution in 2003. STP reunited in 2008 and released their sixth studio album, Stone Temple Pilots, in 2010. They have a seventh studio album in the works. The band has had 16 top ten singles on the Billboard rock charts, eight of which peaked at #1,and one #1 album for Purple in 1994. That same year, the band won a Grammy for "Best Hard Rock Performance" for the song "Plush" from the album Core. Stone Temple Pilots were also ranked #40 on VH1's The 100 Greatest Artists of <b>...</b>
2:16
CHARLIE PALMIERI Y LA ORQUESTA DUBONEY.- BRUCA MANIGUA.- VITÍN AVILÉS.-
En el obituario del New York Times del 13 de septiembre de 1988, el reportero Jon Pareles ...
published: 30 Jan 2012
author: mrarmandomusical
CHARLIE PALMIERI Y LA ORQUESTA DUBONEY.- BRUCA MANIGUA.- VITÍN AVILÉS.-
En el obituario del New York Times del 13 de septiembre de 1988, el reportero Jon Pareles escribió: Charlie Palmieri, uno de los pianistas más importantes de la salsa, murió ayer de un ataque al corazón en el hospital Jacobi en el Bronx. Tenía 60 años. El señor Palmieri, hermano mayor del pianista Eddie Palmieri, nació en la ciudad de Nueva York. Subió por los rangos del circuito de orquestas de bailes latinos y bandas de hotel en los años 50 y lideró grupos con formato de conjunto, con trompetas ocupando el primer plano. El día de año nuevo de 1959 el Señor Palmieri introdujo la banda Charanga Duboney —una charanga estilo cubano con flauta y cuatro violines al frente— que eventualmente transformaría la música latina en Nueva York. La Charanga Duboney, teniendo como atracción a Johnny Pacheco en la flauta, era inmensamente popular a comienzos de los años 60, a veces tocando hasta cuatro veces por noche. La misma revivió el sonido de la Orquesta Aragón de Cuba y trajo una nueva corriente en el sonido de la música latina en Nueva York. Al revivir la charanga, Palmieri también abrió camino para híbridos de vanguardia jazzisticos. En 1961 se convirtió en el director musical de las Estrellas Alegre, un grupo de músicos, cubanos, puertorriqueños y neyorkinos que combinaban mambos con solos de jazz extendidos en discos para el sello Alegre. En The Latin Tinge, donde se provee una historia de la música latina en Estados Unidos, John Store Roberts describe esas sesiones como "un <b>...</b>
3:24
So Excited Music Video - Janet Jackson feat. Khia (LYRICS)
"So Excited" Lyrics Janet Jackson feat. Khia Breathe You get me so Get me so exc...
published: 26 Nov 2011
author: highwayunicornlegend
So Excited Music Video - Janet Jackson feat. Khia (LYRICS)
"So Excited" Lyrics Janet Jackson feat. Khia Breathe You get me so Get me so excited [Janet] I'm hot, come on, so get it, get it And I'll open my spot for you Anytime you want me to So you can [Khia] Act bad Don't hurt me Look sexy Talk dirty [Janet] And I'll open my spot for you Anytime you want me to Get me so excited For some girls it might be the money that really turns you on But for me it's an attitude that keeps me dialin' your phone And no words are suitable to describe your swagger babe And my body is in overdrive dying to have you inside of me Do you like it when I do it I go head to toe And whenever you pursue it You'll never hear the word no So forget about them other girls baby Cause now you're rolling with a woman baby I'ma keep your body thumping baby It's the least I can do Cause you get me so excited [Janet] I'm hot, come on, so get it, get it And I'll open my spot for you Anytime you want me to So you can [Khia] Act bad Don't hurt me Look sexy Talk dirty [Janet] And I'll open my spot for you Anytime you want me to Get me so excited for some girls it's about mind control they don't want to give dudes their props As for me I'm a let you know that my body's smoking hot Throw me up against whatever's close and get to bossing me around And everytime I give you the assist you know how to slam it down Do you like it when I do it I go head to toe And whenever you pursue it You'll never hear the word no So forget about them other girls baby Cause now you're <b>...</b>
12:22
Jill Scott - "The Light of the Sun" (Bonus Footage + Promotion In Philadelphia) "So In Love"
Yes, I am a bit crazy but I love me some Jill Scott, so I decided to run through the Galle...
published: 22 Jun 2011
author: MannarinoJoey
Jill Scott - "The Light of the Sun" (Bonus Footage + Promotion In Philadelphia) "So In Love"
Yes, I am a bit crazy but I love me some Jill Scott, so I decided to run through the Gallery Mall with a humongous poster of her, must have spoken to 60 people (was only being filmed for 10 minutes). I learned how much people just love her, especially in her hometown. Album is hot as hell! From Hollywood Reporter: It's been nearly four years since R&B singer Jill Scott graced us with a new album. Her fourth studio venture is finally here, and is garnering generally positive feedback from critics. "The Light of the Sun" was released on Tuesday (June 21), rolling off the momentum of her noteworthy lead single featuring Anthony Hamilton, "So In Love." The 15-track album also includes collaborations with Doug E. Fresh, Eve and Paul Wall, as well as that signature spoken-word we come to expect from Ms. Scott. Jon Pareles of the New York Times observes that many of the tracks resulted from studio jam sessions, creating an improvisational feel in both rhythms and vocals. He also notes that similarly to her previous albums, the context as a whole feels proudly feminine with the track "Womanifesto" setting the tone. Entertainment Weekly's Mikael Wood grades Scott's latest effort a B+, praising her strong return to music after an acting hiatus. "'The Light of the Sun' has a distinctly early-aughties vibe, recalling an era when tempos were slower and voices less Auto-Tuney. It's a welcome flashback," Wood writes. The chanteuse appeared in Tyler Perry's Why Did I Get Married? and Why <b>...</b>
5:52
Mariah Carey The Greatest Voices Of Music
Jeannette Lo Vetri describes Carey's voice as "pure, full, rounded and warm"...
published: 08 Sep 2011
author: RocGrl81
Mariah Carey The Greatest Voices Of Music
Jeannette Lo Vetri describes Carey's voice as "pure, full, rounded and warm", adding that belting and head voices has a great brightness. Malcolm Walker praise her belting voice, saying it "works very well" and states that Carey "passes easily in head voice. It's her true voice. Ron Givens of Entertainment Weekly described it this way, "In one brief swoop, she seems to squeal and roar at the same time: whisper register.' Voice experts praise Carey's vocal technique, stating that she can deliver very fast and controlled staccatos "always keeps a neutral larynx position—except sometimes in her lower register" and glides effortlessly from bottom to top and vice versa." Montserrat Caballé, "Carey is such a musician. Perfect timing, divine accuracy, subtle and refined phrasing, melismas always connected to the rhythm and structure of song, infaillible ability to etablish and resolving musical ideas and theme and effortless combination of climax and resolve." Jon Pareles also praise her musicianship, writing, "she can linger over sensual turns, ... syncopate like a scat singer [and sing] with startlingly exact pitch."
4:13
Skeleton Key "Museum Glass" Live in NYC 10.11.11
Venue was Bowery Ballroom. About Skeleton Key: Seemingly powered by pistons, gears, and ru...
published: 13 Oct 2011
author: sssleestak
Skeleton Key "Museum Glass" Live in NYC 10.11.11
Venue was Bowery Ballroom. About Skeleton Key: Seemingly powered by pistons, gears, and rusty watch springs, Skeleton Key is a clanky but productive machine. Using ancient microphones, primitive guitars, and found objects, the band heaves with a unique rhythmic undertow yet has a knack for winsome, haunting melody. Their music "strips down, toughens up, picks up some debris, and gets an extra dose of rhythm" according to Jon Pareles of the The New York Times. Skeleton Key creates music both exotic and familiar, elegant yet crass, cerebral yet visceral. "It's luxurious, yet affordable" says bassist/singer Erik Sanko (ex of The Lounge Lizards, and collaborator with Yoko Ono, John Cale, and Gavin Friday, among others.) Current members * Erik Sanko -- Bass guitar, vocals * Craig LeBlang -- Guitar * Benjamin Clapp -- "Junk" percussion * Bob Vaccarelli -- Drum kit
5:52
Kermit Ruffins - Didn't He Ramble
Kermit Ruffins (born December 19, 1964) is a jazz trumpeter, singer and composer from New ...
published: 07 Apr 2011
author: krldk
Kermit Ruffins - Didn't He Ramble
Kermit Ruffins (born December 19, 1964) is a jazz trumpeter, singer and composer from New Orleans, Louisiana, United States. He has been heavily influenced by Louis Armstrong, Louis Jordan and Eddy Jefferson. Ruffins accompanies a large portion of his songs with his own vocals, and he says that the highest note he can hit on trumpet is a high C note. Most of his bands perform New Orleans jazz standards, though he also composes many of his own pieces. Jon Pareles of the New York Times wrote of Ruffins in a July 16, 2001 article, stating that "Mr. Ruffins is an unabashed entertainer who plays trumpet with a bright, silvery tone, sings with off-the-cuff charm and never gets too abstruse in his material".
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Skeleton Key "Dear Reader" Live at Bowery Ballroom NYC 10.11.11
About Skeleton Key: Seemingly powered by pistons, gears, and rusty watch springs, Skeleton...
published: 12 Oct 2011
author: sssleestak
Skeleton Key "Dear Reader" Live at Bowery Ballroom NYC 10.11.11
About Skeleton Key: Seemingly powered by pistons, gears, and rusty watch springs, Skeleton Key is a clanky but productive machine. Using ancient microphones, primitive guitars, and found objects, the band heaves with a unique rhythmic undertow yet has a knack for winsome, haunting melody. Their music "strips down, toughens up, picks up some debris, and gets an extra dose of rhythm" according to Jon Pareles of the The New York Times. Skeleton Key creates music both exotic and familiar, elegant yet crass, cerebral yet visceral. "It's luxurious, yet affordable" says bassist/singer Erik Sanko (ex of The Lounge Lizards, and collaborator with Yoko Ono, John Cale, and Gavin Friday, among others.) Current members * Erik Sanko -- Bass guitar, vocals * Craig LeBlang -- Guitar * Benjamin Clapp -- "Junk" percussion * Bob Vaccarelli -- Drum kit