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Some more personalized CDs poured in. This is cool!
Bonnies Music Live - Signed EP and her new CD "Shiny Lights & Limousines" and a 4x7 color promo photograph.
Cindy Woolf - Signed "Simple and Few" and "Before Daylight" CDs.
Molly Venter - Signed "Love Me Like You Mean It" CD. Signed at a Red Molly show.
Red June - Signed "Remember Me Well" CD.
Sara Petite - Signed "Lead The Parade" and "Tiger Mountain" CDs.
Check out these artists for great sounds! More CDs, etc. are on the way.
30 Mayıs 2012 Çarşamba
DeaconBlues1103CW+ - No more!
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The answer to my lamentations, cynicism's, bemoanings, etc. regarding the sorry state of popular music today (especially Country music) is so obvious that I looked right at it and didn't see it (the forest and the trees). This makes if official: I do NOT like Country music anymore (so there)! I should climb to the top of the highest mountain and shout it as loud as I can. There, I feel better already! The next thing to do is to change the above banner to something more generic. That's a shame, because someone in one of the forums that I used to participate in designed that banner for me. But all good thins must end, so here it goes. The words and initials Country, Country/Western, CW+ will no longer apply. I've found that in order to get the type of music that I prefer I have to go to Americana, Roots, Folk, Singer-songwriter, Alt-country and Bluegrass. You know, the REAL country music. I've listened to some really great music, and met some really nice people along the way. These people pour their heart and soul into every song, every note, every string that gets plucked, and I, for one, greatly appreciate their efforts. Otherwise, I'd have to listen to music that The Powers That Be tell me that I like. I'd rather decide for myself, thank you. Oh, enough ranting for now. I'm headed over to blogger to change my banner. See ya!
The answer to my lamentations, cynicism's, bemoanings, etc. regarding the sorry state of popular music today (especially Country music) is so obvious that I looked right at it and didn't see it (the forest and the trees). This makes if official: I do NOT like Country music anymore (so there)! I should climb to the top of the highest mountain and shout it as loud as I can. There, I feel better already! The next thing to do is to change the above banner to something more generic. That's a shame, because someone in one of the forums that I used to participate in designed that banner for me. But all good thins must end, so here it goes. The words and initials Country, Country/Western, CW+ will no longer apply. I've found that in order to get the type of music that I prefer I have to go to Americana, Roots, Folk, Singer-songwriter, Alt-country and Bluegrass. You know, the REAL country music. I've listened to some really great music, and met some really nice people along the way. These people pour their heart and soul into every song, every note, every string that gets plucked, and I, for one, greatly appreciate their efforts. Otherwise, I'd have to listen to music that The Powers That Be tell me that I like. I'd rather decide for myself, thank you. Oh, enough ranting for now. I'm headed over to blogger to change my banner. See ya!
More CDs
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A few days ago, I received 2 CDs in the mail and today I received 4 more. I'm getting a pretty good assortment already. Here the latest batch:
Emily Elbert - signed & personalized "Proof" and "Bright Side"
Anne & Pete Sibley - signed & personalized "Think Of This River" and "Will You Walk With Me?"
Cats & The Fiddler - signed "Down The Fast Lane" and "Come Back To Me" (just released)
Lots of great music. Thanks to everyone!
More to come. Stay tuned!
Emily Elbert - signed & personalized "Proof" and "Bright Side"
Anne & Pete Sibley - signed & personalized "Think Of This River" and "Will You Walk With Me?"
Cats & The Fiddler - signed "Down The Fast Lane" and "Come Back To Me" (just released)
Lots of great music. Thanks to everyone!
More to come. Stay tuned!
The Good Lovelies 'Lie Down' music video
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Here's a comment from "Anonymous" that I received about The Good Lovelies and Red Molly (two of my absolute favorites (tied at #1 1/2) performing together. One of the things I hope to see in this lifetime is to see Red Molly and The Good Lovelies together. I can just imagine what that show would be like. I may have done "Anonymous" one better. I've already seen Red Molly from the front row, and, in about a month, I get to see The Good Lovelies also from the FRONT ROW. Can't wait! Go here for more info: http://www.goodlovelies.com/
Anonymous said...
Oh yeah, As I was raving about Red Molly the other day, I forgot to mention this group the Good Lovelies. They played the Lunenburg Folk Harbour Festival along with RM and shared a lot of the same stages, sometimes together with RM. They are the Canadian version of Red Molly and every bit as good. They had a good time with RM and their rapport was awesome. Well worth listening to live and on their cds. Oh yeah, the 6 part mix of harmonies and instruments were just great when the groups were on stage together.
Here's a comment from "Anonymous" that I received about The Good Lovelies and Red Molly (two of my absolute favorites (tied at #1 1/2) performing together. One of the things I hope to see in this lifetime is to see Red Molly and The Good Lovelies together. I can just imagine what that show would be like. I may have done "Anonymous" one better. I've already seen Red Molly from the front row, and, in about a month, I get to see The Good Lovelies also from the FRONT ROW. Can't wait! Go here for more info: http://www.goodlovelies.com/
Anonymous said...
Oh yeah, As I was raving about Red Molly the other day, I forgot to mention this group the Good Lovelies. They played the Lunenburg Folk Harbour Festival along with RM and shared a lot of the same stages, sometimes together with RM. They are the Canadian version of Red Molly and every bit as good. They had a good time with RM and their rapport was awesome. Well worth listening to live and on their cds. Oh yeah, the 6 part mix of harmonies and instruments were just great when the groups were on stage together.
Oh, please..... Revised 12/31/2010
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This is an attempted reply to the comments regarding this post: First of all to Bill Smith, sorry that my new posts don't quite meet your satisfaction. I feel that I'm allowed to rant about things I am frustrated or angry with, specifically the current, sad of the music business today. Yes, I'm "mid-aged" but I don't think that I'm a "whining sissy". Again, I'm extremely frustrated and angry at current performers getting gobs of unearned money, exposure, ticket and album sales thrown at them when the artists that I feel are better have to load up the car or van, drive several hundred miles to put on a show for a few hundred (or less) dedicated fans (like me) and then drive on to the next show or back home, only to start all over again. If I had talent (a big IF) and the ability to write and sing a song, I probably wouldn't last a year in the music business. Maybe, I am a bit thin-skinned after all. And a Happy New Year to you, ALSO. See, I'm not really such a bad guy after all!
And to our frequent reader and commentator, oldfolkie, thanks for calling our attention to 2 great artists, Shotgun Party and Leela & Ellie Grace. I'm already familiar with Shotgun Party. I have most of their stuff and I like them, a lot. I'll check out the Graces soon as I get a chance. I just "discovered" a group that I also like a lot, Christabel and The Jons. Good stuff! Again, thanks for your input. Always appreciated!
PS - One more rant coming up about some horrible Christmas music I heard over the holidays that just makes me shudder. Stay tuned!
Sorry, gang but I only made it to track 09 from the post below this one. How many times can you haer about "songs I wrote in my bedroom" and high school life and tween crushes and teeny-bop heartbreak and all the boys I dated who treated me badly so I wrote a song about them? Track 08 is some sort of interview of Tay-Tay with Oprah (maybe? I don't know and I don't want to know)
PLEASE, I gotta play some Eilen Jewell or Red Molly now (you know, grown-up and intelligent music)before I become physically ill.
Remember: “Nobody ever went broke underestimating the taste of the American public.” - H. L. Mencken. " A nation of sheep, 'nuff said.
And to our frequent reader and commentator, oldfolkie, thanks for calling our attention to 2 great artists, Shotgun Party and Leela & Ellie Grace. I'm already familiar with Shotgun Party. I have most of their stuff and I like them, a lot. I'll check out the Graces soon as I get a chance. I just "discovered" a group that I also like a lot, Christabel and The Jons. Good stuff! Again, thanks for your input. Always appreciated!
PS - One more rant coming up about some horrible Christmas music I heard over the holidays that just makes me shudder. Stay tuned!
Sorry, gang but I only made it to track 09 from the post below this one. How many times can you haer about "songs I wrote in my bedroom" and high school life and tween crushes and teeny-bop heartbreak and all the boys I dated who treated me badly so I wrote a song about them? Track 08 is some sort of interview of Tay-Tay with Oprah (maybe? I don't know and I don't want to know)
PLEASE, I gotta play some Eilen Jewell or Red Molly now (you know, grown-up and intelligent music)before I become physically ill.
Remember: “Nobody ever went broke underestimating the taste of the American public.” - H. L. Mencken. " A nation of sheep, 'nuff said.
26 Mayıs 2012 Cumartesi
Rudolf Rocker – The Whitby Scar review
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Rudolf Rocker, named one would assume after the anarchist of the same name, deliver ‘The Whitby Scar’, a concept album about the North Yorkshire town, the surrounding area and the legends that surround the seaside destination.
Starting with the low key ‘Showerbath of the Patriarchs’, the album mixes up folk sounds with story-based lyrics all around the said theme. Second track ‘Hand of Glory’ sounds like a recipe mixed up with the closest folk will ever get to rap whilst also, randomly, channelling that old festive hymn ‘We Three Kings’ and Terry Deary’s ‘Horrible Histories’ series. It’s a strange mix but it works, and leads nicely into my favourite song on the album ‘Hole of Horcum’, the title of which allows the location to be mixed with a quality pun.
Redressing the balance of Lancashire having all the fun with tongue in cheek humour thanks to their Hotpots band, it’s great to hear Yorkshire locations being name-checked amongst the story of camping, tourism and, er, nose-picking, all layered over a catchy accordion-led tune.
‘Ugglebarnby Blues’ mixes the style mentioned in the title with some monologue verses before we swap styles on ‘Boosbeck Bossa Nova’, a three-minute instrumental that breaks up the storytelling of the album with a plethora of instruments coming together for the gentle interval.
‘Creteblock’ is a sombre turn for the album and the first one that sounds like it’s been given a bit more production-trickery time than the others with some of the vocal effects. Slower and dream-like, it’s not one of more favourite tracks but good all the same. ‘Gytrash of Goathland’ that comes next is a particular highlight of the album with a catchy hook of a chorus, combining a speech that wouldn’t be out of place in Macbeth’s opening witches scene, telling an interesting story over its considerable five-minute running time, that builds and develops to become one of the best songs on the thirteen-song LP.
‘Penny Hedge’ welcomes in a piano and is much more up-tempo to what has preceded it and slightly more poppy. Though I keep wanting to wander into the theme to Penny Crayon in my head it’s a good three minutes, and there’s still time to nod in the direction of the Beatles with some ‘Yellow Submarine’ style secondary vocals.
‘Burnt House’ is one of the weaker tracks on the album but at least doesn’t outstay its welcome as the shortest track on the piece. ‘Running Reverend’ is another highlight of the album, drawing inspiration from the old song ‘Knees Up Mother Brown’ as its starting point before mixing in some synth sounds and a general perky feeling, before dipping back into the child’s songbook by interpolating ‘Run Rabbit Run’ into it. The familiarity in the song is obvious and they’re effective building blocks to a definite listen on the album.
‘Martyr’s Jig’ returns to the sea-shanty style of several of the tracks, fitting with the theme of Whitby, with ‘Hidden Harbour’ being more reflective but still throwing in some word play into the lyrics. Though slower it’s a fitting entry as the album comes to its conclusion and would have made a great closer, but we still have ‘Maidens’ Garlands’ yet to come which starts with a lengthy introduction before continuing the sombre style that dominates the end of the album. What words are there are good but I feel it should have ended on track twelve.
Overall, ‘The Whitby Scar’ is an enjoyable concept album to listen to with clear production, interesting lyrics and a range of music wide enough to keep you interested. Though it can be argued the best track is near the start there is still enough on the other side of the album to peak your interest and it’s well worth a download if you like a mixture of storytelling, lighthearted lyrics and, well, Yorkshire themes over folk accordion tunes or even if you just want to hear something that’s calm and interesting to have playing over your speakers that you can follow as a musical journey around the North Yorkshire coast.
Starting with the low key ‘Showerbath of the Patriarchs’, the album mixes up folk sounds with story-based lyrics all around the said theme. Second track ‘Hand of Glory’ sounds like a recipe mixed up with the closest folk will ever get to rap whilst also, randomly, channelling that old festive hymn ‘We Three Kings’ and Terry Deary’s ‘Horrible Histories’ series. It’s a strange mix but it works, and leads nicely into my favourite song on the album ‘Hole of Horcum’, the title of which allows the location to be mixed with a quality pun.
Redressing the balance of Lancashire having all the fun with tongue in cheek humour thanks to their Hotpots band, it’s great to hear Yorkshire locations being name-checked amongst the story of camping, tourism and, er, nose-picking, all layered over a catchy accordion-led tune.
‘Ugglebarnby Blues’ mixes the style mentioned in the title with some monologue verses before we swap styles on ‘Boosbeck Bossa Nova’, a three-minute instrumental that breaks up the storytelling of the album with a plethora of instruments coming together for the gentle interval.
‘Creteblock’ is a sombre turn for the album and the first one that sounds like it’s been given a bit more production-trickery time than the others with some of the vocal effects. Slower and dream-like, it’s not one of more favourite tracks but good all the same. ‘Gytrash of Goathland’ that comes next is a particular highlight of the album with a catchy hook of a chorus, combining a speech that wouldn’t be out of place in Macbeth’s opening witches scene, telling an interesting story over its considerable five-minute running time, that builds and develops to become one of the best songs on the thirteen-song LP.
‘Penny Hedge’ welcomes in a piano and is much more up-tempo to what has preceded it and slightly more poppy. Though I keep wanting to wander into the theme to Penny Crayon in my head it’s a good three minutes, and there’s still time to nod in the direction of the Beatles with some ‘Yellow Submarine’ style secondary vocals.
‘Burnt House’ is one of the weaker tracks on the album but at least doesn’t outstay its welcome as the shortest track on the piece. ‘Running Reverend’ is another highlight of the album, drawing inspiration from the old song ‘Knees Up Mother Brown’ as its starting point before mixing in some synth sounds and a general perky feeling, before dipping back into the child’s songbook by interpolating ‘Run Rabbit Run’ into it. The familiarity in the song is obvious and they’re effective building blocks to a definite listen on the album.
‘Martyr’s Jig’ returns to the sea-shanty style of several of the tracks, fitting with the theme of Whitby, with ‘Hidden Harbour’ being more reflective but still throwing in some word play into the lyrics. Though slower it’s a fitting entry as the album comes to its conclusion and would have made a great closer, but we still have ‘Maidens’ Garlands’ yet to come which starts with a lengthy introduction before continuing the sombre style that dominates the end of the album. What words are there are good but I feel it should have ended on track twelve.
Overall, ‘The Whitby Scar’ is an enjoyable concept album to listen to with clear production, interesting lyrics and a range of music wide enough to keep you interested. Though it can be argued the best track is near the start there is still enough on the other side of the album to peak your interest and it’s well worth a download if you like a mixture of storytelling, lighthearted lyrics and, well, Yorkshire themes over folk accordion tunes or even if you just want to hear something that’s calm and interesting to have playing over your speakers that you can follow as a musical journey around the North Yorkshire coast.
Sound of 2012 Part 3 Plus My Favourite Five!
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My look at the final five of the ten of the biggest upcoming artists of 2012…
Jamie N Commons – The Preacher
With a thick, almost Johnny Cash-esque voice that defies his young age it’s a straight forward song that goes from a minimal, almost-acoustic tune, to a full aural assault ninety seconds in mixing in aspects of country and gospel into an intriguing mix before becoming relaxed once more.
A pleasant mix of genres that perhaps get a little over the top during the post-chorus guitar-based assault but, in the most part, it’s an enjoyable listen and picks up where Cash left off. [6/10]
Lianne La Havas ft. Willy Mason - No Room For Doubt
With Willy Mason joining London singer Lianne on this record, the odes bode well. It’s a sentimental ballad that balances their vocals perfectly. Set against nothing more than an acoustic guitar it’s not a particularly revolutionary track but it’s a gentle, calming four minutes that ticks all the easy listening boxes. It’s only fault is that it does slip into repetition and warbling vocals as it progresses but I’ll forgive it for that. [5/10]
Ren Harvieu - Through The Night
Very retro sounding song here from Ren that takes casual verses then kicks up the pace for the choruses which are powerful and ear-catching and when mixed with the string backing and her Dusty Springfield stylings makes a very appealing track.
Will definitely look forward to hearing more like this and the first of this selection of tracks I’d want to download. [7/10]
Spector - Grey Shirt & Tie
Hailing from London Spector seem to be a mix of Morrissey and the Kaiser Chiefs, combining the Smiths’ lead’s melancholy and the sound of Ricky Wilson, though without the catchy perkiness of the Leeds band.
Throwing in some simple synth and a catchy chorus this is very much enjoyable and, at times, quite grandiose, stealing some of the art stylings from the missing-in-absence Franz Ferdinand. The chorus sticks in your head so good omens there.
Could do well filling up the gap left by the Kaisers and Franz. [7/10]
Stooshe – Love Me
If you bred Nicki Minaj with an explosion in a sweet factory and create triplets you’d get Stooshe, or at least how they’d look. Sort of like the Spice Girls but with more attitude, stupid accents and daft wigs, I can certainly see this group being a 2012 novelty act. They do have the tune here to stand up to their heavily marketed image and have attracted Gym Class Heroes’ Travie onto the track so it’ll probably do quite well, adapted from an album track that replaces the word ‘love’ with something a little more explicit.
A catchy slice of feminine attitude that is slightly tarnished by the Cockney talking bits that bring back memories of Daphne and Celeste and the fact they are jumping on the Nicki Minaj / Lady GaGa bandwagon. [6/10]
My Top Five
So, having listened to all of the fifteen recommended artists, here is my BBC-contradicting top five:
Dot Rotten
Friends
Ren Harvieu
Spector
Michael Kiwanuka
So, completely different then.
Jamie N Commons – The Preacher
With a thick, almost Johnny Cash-esque voice that defies his young age it’s a straight forward song that goes from a minimal, almost-acoustic tune, to a full aural assault ninety seconds in mixing in aspects of country and gospel into an intriguing mix before becoming relaxed once more.
A pleasant mix of genres that perhaps get a little over the top during the post-chorus guitar-based assault but, in the most part, it’s an enjoyable listen and picks up where Cash left off. [6/10]
Lianne La Havas ft. Willy Mason - No Room For Doubt
With Willy Mason joining London singer Lianne on this record, the odes bode well. It’s a sentimental ballad that balances their vocals perfectly. Set against nothing more than an acoustic guitar it’s not a particularly revolutionary track but it’s a gentle, calming four minutes that ticks all the easy listening boxes. It’s only fault is that it does slip into repetition and warbling vocals as it progresses but I’ll forgive it for that. [5/10]
Ren Harvieu - Through The Night
Very retro sounding song here from Ren that takes casual verses then kicks up the pace for the choruses which are powerful and ear-catching and when mixed with the string backing and her Dusty Springfield stylings makes a very appealing track.
Will definitely look forward to hearing more like this and the first of this selection of tracks I’d want to download. [7/10]
Spector - Grey Shirt & Tie
Hailing from London Spector seem to be a mix of Morrissey and the Kaiser Chiefs, combining the Smiths’ lead’s melancholy and the sound of Ricky Wilson, though without the catchy perkiness of the Leeds band.
Throwing in some simple synth and a catchy chorus this is very much enjoyable and, at times, quite grandiose, stealing some of the art stylings from the missing-in-absence Franz Ferdinand. The chorus sticks in your head so good omens there.
Could do well filling up the gap left by the Kaisers and Franz. [7/10]
Stooshe – Love Me
If you bred Nicki Minaj with an explosion in a sweet factory and create triplets you’d get Stooshe, or at least how they’d look. Sort of like the Spice Girls but with more attitude, stupid accents and daft wigs, I can certainly see this group being a 2012 novelty act. They do have the tune here to stand up to their heavily marketed image and have attracted Gym Class Heroes’ Travie onto the track so it’ll probably do quite well, adapted from an album track that replaces the word ‘love’ with something a little more explicit.
A catchy slice of feminine attitude that is slightly tarnished by the Cockney talking bits that bring back memories of Daphne and Celeste and the fact they are jumping on the Nicki Minaj / Lady GaGa bandwagon. [6/10]
My Top Five
So, having listened to all of the fifteen recommended artists, here is my BBC-contradicting top five:
Dot Rotten
Friends
Ren Harvieu
Spector
Michael Kiwanuka
So, completely different then.
The Disappointment of the Bonus "Platinum" Track
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The platinum album is back with avengance, or as I like to call them the "cash-in tack-on track-on".
There's been loads recently. 'Moves Like Jagger' by Maroon 5; 'Anyway' from Cee-Lo Green; 'Love How It Hurts' by Scouting For Girls and now 'Domino' by Jessie J.
They are defined as follows:
A really fresh sounding track that does really well in the charts
A great song to listen to
Tacked onto the end of an album, possibly with another couple of tracks, and re-released as a platinum album.
I can understand why record labels do it. It gives people an incentive to buy the album or, indeed, re-buy the album and in this hard economic times for record labels it's an extra boost, but as someone who values the art of music it's annoying.
Or perhaps it's an easy way of getting a no. 1 single as fewer people will have the track from an album.
One hopes that artists put together their albums so it flows and this won't happen if a track is just shoved on at the end half-heartedly. Plus, like in the case of Jessie J, I thought it was refreshing that an artist can release a fourth or fifth single from an album and still sound fresh, but that feeling disappears when you find it's a new track and not something older and undiscovered.
The only artist I can give credit to for not doing this is Lady GaGa, who released her additional tracks to 'The Fame' as a separate EP release as well as a joint one, so not to stick two fingers up to those who had invested in her album earlier to support her. The same, unfortunately, couldn't be said for Take That who bolted their otherwise excellent 'Progressed' EP only onto a second disc with the original album.
It's almost getting to the point now where I don't want to buy albums and support the artists as they come out as I've been stung by Cee-Lo Green, Take That and Scouting For Girls who have subsequently brought out beefed up versions of their albums a few months after I bought the original.
What do you think?
There's been loads recently. 'Moves Like Jagger' by Maroon 5; 'Anyway' from Cee-Lo Green; 'Love How It Hurts' by Scouting For Girls and now 'Domino' by Jessie J.
They are defined as follows:
A really fresh sounding track that does really well in the charts
A great song to listen to
Tacked onto the end of an album, possibly with another couple of tracks, and re-released as a platinum album.
I can understand why record labels do it. It gives people an incentive to buy the album or, indeed, re-buy the album and in this hard economic times for record labels it's an extra boost, but as someone who values the art of music it's annoying.
Or perhaps it's an easy way of getting a no. 1 single as fewer people will have the track from an album.
One hopes that artists put together their albums so it flows and this won't happen if a track is just shoved on at the end half-heartedly. Plus, like in the case of Jessie J, I thought it was refreshing that an artist can release a fourth or fifth single from an album and still sound fresh, but that feeling disappears when you find it's a new track and not something older and undiscovered.
The only artist I can give credit to for not doing this is Lady GaGa, who released her additional tracks to 'The Fame' as a separate EP release as well as a joint one, so not to stick two fingers up to those who had invested in her album earlier to support her. The same, unfortunately, couldn't be said for Take That who bolted their otherwise excellent 'Progressed' EP only onto a second disc with the original album.
It's almost getting to the point now where I don't want to buy albums and support the artists as they come out as I've been stung by Cee-Lo Green, Take That and Scouting For Girls who have subsequently brought out beefed up versions of their albums a few months after I bought the original.
What do you think?
Lana Del Rey – Born To Die (Album Review)
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Lana Del Rey – Born To Die (Album Review)
I am pleased to say I began enjoying the music of Lana Del Rey before all the hype sprung up about her background, her funding and her lifestyle, thanks to BBC Radio 2 and their early playing of first single ‘Video Games’. So, it would be natural, that the first album of 2012 I’d buy would be Lana Del Rey’s ‘Born To Die’, a 12-track LP that, thankfully, does live up to the headlines and column inches posted about her.
Starting with the title track it reminds me firstly of Timbaland’s production from when he enjoyed his golden period and before he became his own cliché. Built around a simple but distinctive beat and strings, with some great use of backing shouts and exclamations, it’s a great template for the album. A slow song, but one whose lyrics are great to listen to thanks to their emotive story-telling and work so well with the music, very much a 2012 ‘All Good Things (Come To An End)’. The gradual progression into the chorus is something to behold and the overall emotion of the song easily hits you.
‘Off To The Races’ starts with a pseudo-live start and is a little bit off-putting, but soon develops into another great slice of pop, this time much faster than her previous singles. Throw in a fast, catchy chorus that follows a singable bridge and Del Rey’s vocal changes from deep, to higher, to squeaky voiced American darling and you have a potential single here.
‘Blue Jeans’ doesn’t have the most exciting verses ever but the chorus is up there with the previous tracks and though not one of my favourites on the album it’s still not a skipable track. ‘Video Games’ that follows, the single that launched her, is a slow ballad built around a great orchestral backing and Del Rey’s trademark deeper vocals, and though the chorus is pretty much just an extension of the verses it’s a track that builds throughout its five minutes with a slowly appearing military drum beat before tailing away, surely a metaphor for the relationship it talks about. Again, great storytelling, with a memorable chorus.
‘Diet Mountain Dew’, a quick-starting track, and a relative faster paced track on the album that boasts a great drum beat that propels the song along. Next track ‘National Anthem’ is another potential single, that celebrates its take of America on its sleeve, with fireworks, more Timbaland-esque beats and a rap-style verse delivery. The dual-layered chorus is another memorable addition to her catalogue of hooks thanks to its main part and the additional section as it tails away, and the song finishes with a catchy section that cements this as the high pinnacle half-way through the album.
‘Dark Paradise’ returns to the pace of ‘Video Games’ but with more traditional vocals but the usual thumbs-up chorus we expect from Del Rey, another track that builds up to something great to hear as the backing choral effect gradually appears over its running time. ‘Radio’, the first explicit song on the album, is an ethereal airy track that, as expected, has another catchy chorus and some overtly sexual innuendo, but not quite matching the sexuality of previous tracks even with its more obvious sign-posting. Another track with single potential and one that acknowledges fan reactions to her commercial success.
As we enter the final third of the album ‘Carmen’ is a weaker link in the album that, though enjoyable to listen to, doesn’t stand out like the previous eight tracks though the string work is great. ‘Million Dollar Man’ wears its retro-sounds on its sleeves and, again, is not one of the better tracks though the ‘one for the show’ mentioning chorus pushes it up alongside its Shirley Bassey-sounds. Again, the song builds to a crescendo at the end.
Thankfully the final two tracks of the album compensate for the previous two. ‘Summertime Sadness’ is built again around another snare drum pattern and sad, emotional chorus that helps evoke the images set up in the lyrics. Album closer ‘This Is What Makes Us Girls’ is a excellent end to the record, throwing in all the elements so far demonstrated on the album from the building of musical elements to a catchy chorus to the varied production effects, delivered in Del Rey’s unique vocal style.
Overall, ‘Born To Die’ by Lana Del Rey is an instant recommendation from me. With production that echoes the golden period of Timbaland with elements that compliment the songs and highlight the well-written and performed lyrics, twelve choruses that, without exception, stick in your head, and a great mix of subjects and a delivery by Del Rey that is refreshing, there is little I can find to fault the album. Yes, at times it’s a little maudlin, but it does enjoy it’s happier, up-tempo, and cheekier moments but with songs as well written, performed and produced as these you can’t really complain.
Easily one of the strongest albums I’ve heard in a long time since Marina and the Diamond’s ‘The Family Jewels’.
(9/10)
I am pleased to say I began enjoying the music of Lana Del Rey before all the hype sprung up about her background, her funding and her lifestyle, thanks to BBC Radio 2 and their early playing of first single ‘Video Games’. So, it would be natural, that the first album of 2012 I’d buy would be Lana Del Rey’s ‘Born To Die’, a 12-track LP that, thankfully, does live up to the headlines and column inches posted about her.
Starting with the title track it reminds me firstly of Timbaland’s production from when he enjoyed his golden period and before he became his own cliché. Built around a simple but distinctive beat and strings, with some great use of backing shouts and exclamations, it’s a great template for the album. A slow song, but one whose lyrics are great to listen to thanks to their emotive story-telling and work so well with the music, very much a 2012 ‘All Good Things (Come To An End)’. The gradual progression into the chorus is something to behold and the overall emotion of the song easily hits you.
‘Off To The Races’ starts with a pseudo-live start and is a little bit off-putting, but soon develops into another great slice of pop, this time much faster than her previous singles. Throw in a fast, catchy chorus that follows a singable bridge and Del Rey’s vocal changes from deep, to higher, to squeaky voiced American darling and you have a potential single here.
‘Blue Jeans’ doesn’t have the most exciting verses ever but the chorus is up there with the previous tracks and though not one of my favourites on the album it’s still not a skipable track. ‘Video Games’ that follows, the single that launched her, is a slow ballad built around a great orchestral backing and Del Rey’s trademark deeper vocals, and though the chorus is pretty much just an extension of the verses it’s a track that builds throughout its five minutes with a slowly appearing military drum beat before tailing away, surely a metaphor for the relationship it talks about. Again, great storytelling, with a memorable chorus.
‘Diet Mountain Dew’, a quick-starting track, and a relative faster paced track on the album that boasts a great drum beat that propels the song along. Next track ‘National Anthem’ is another potential single, that celebrates its take of America on its sleeve, with fireworks, more Timbaland-esque beats and a rap-style verse delivery. The dual-layered chorus is another memorable addition to her catalogue of hooks thanks to its main part and the additional section as it tails away, and the song finishes with a catchy section that cements this as the high pinnacle half-way through the album.
‘Dark Paradise’ returns to the pace of ‘Video Games’ but with more traditional vocals but the usual thumbs-up chorus we expect from Del Rey, another track that builds up to something great to hear as the backing choral effect gradually appears over its running time. ‘Radio’, the first explicit song on the album, is an ethereal airy track that, as expected, has another catchy chorus and some overtly sexual innuendo, but not quite matching the sexuality of previous tracks even with its more obvious sign-posting. Another track with single potential and one that acknowledges fan reactions to her commercial success.
As we enter the final third of the album ‘Carmen’ is a weaker link in the album that, though enjoyable to listen to, doesn’t stand out like the previous eight tracks though the string work is great. ‘Million Dollar Man’ wears its retro-sounds on its sleeves and, again, is not one of the better tracks though the ‘one for the show’ mentioning chorus pushes it up alongside its Shirley Bassey-sounds. Again, the song builds to a crescendo at the end.
Thankfully the final two tracks of the album compensate for the previous two. ‘Summertime Sadness’ is built again around another snare drum pattern and sad, emotional chorus that helps evoke the images set up in the lyrics. Album closer ‘This Is What Makes Us Girls’ is a excellent end to the record, throwing in all the elements so far demonstrated on the album from the building of musical elements to a catchy chorus to the varied production effects, delivered in Del Rey’s unique vocal style.
Overall, ‘Born To Die’ by Lana Del Rey is an instant recommendation from me. With production that echoes the golden period of Timbaland with elements that compliment the songs and highlight the well-written and performed lyrics, twelve choruses that, without exception, stick in your head, and a great mix of subjects and a delivery by Del Rey that is refreshing, there is little I can find to fault the album. Yes, at times it’s a little maudlin, but it does enjoy it’s happier, up-tempo, and cheekier moments but with songs as well written, performed and produced as these you can’t really complain.
Easily one of the strongest albums I’ve heard in a long time since Marina and the Diamond’s ‘The Family Jewels’.
(9/10)
Meat Loaf – Hell In A Handbasket (Album Review)
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Following up 2010’s ‘Hang Cool Teddy Bear’, a pretty impressive concept album, Marvin Lee Addy, or Meat Loaf to his fans, brings out another concept album, this time how earth is going to hell in a handbasket, hence the title. Coming in at a weight fifty-three minutes and a neat change on front cover depending on which territory you buy the album, this album is perhaps on a par with that album but slightly less impressive compared to his more seminal albums.
Opener and lead single ‘All Of Me’ is a typical Meat Loaf track complete with emotional lyrics but perhaps not up to the standard of previous leads ‘It’s All Coming Back To Me Now’ and ‘Los Angeloser’, but that aside is a pretty good opener to the album. The chorus is fun and his voice is on good form as usual and melds into a great conclusion.
‘The Giving Tree’ in comparison is a little bit middle of the road but the chorus is a grower and the mix of Meat Loaf’s vocals and the backing singers work well, especially when it comes to the gospel-infused acapella ending.
My favourite album of the track appears third and is the first stand-out one on the album. ‘Live or Die’ is full of Loaf theatrics, beginning with country-styled instrumentation before the rock returns. With a memorable chorus this should have been the lead single and is the closest to classic Meat Loaf that the album gets to. It’s a shame the conclusion seems rushed and premature.
Track four is an intriguing concept of three tracks merged together. ‘Blue Sky’ is a piano-led short track and a pre-curser to its reprise later, a slower track which soon leads into the rockier ‘Mad, Mad World’, a second highlight of the album that fits well in with the album themes with an exciting chorus, though that’s in lieu of any other hooks. This song in turn bleeds into the lengthy titled ‘The Good God Is A Woman and She Don’t Like Ugly’ which is basically a rap by Chuck D that signals something different in his catalogue of songs and works really well, sounding much like a missing track from a Gorillaz album. ‘Mad, Mad World’ is soon returned to, to round off an album that impresses in its variety and scope.
Next on the album is the token cover, not though of a Jim Steinman track. Loaf’s version of the Mamas and the Papas classic ‘California Dreamin’’ is satisfyingly different to the most famous version with a slower style and being far more introverted and downbeat to fit in with the gloomy outlook of the album, but not quite up to the quality of the original. Patti Russo’s additional vocals add well to it and feels, at times, much more cold and wintery than the original to fit the lyrics. I’m glad this was covered for the album as it’s enjoyable to hear, especially in the content of the concept album, but even though it grows with each listen doesn’t quite match the classic.
‘Party Of One, bringing the first half of the album to its closed, is a fast-paced tune in the style of ‘Dead Ringer For Love’ if that had been a solo song. Again being home to a cracking chorus it’s another stand out track on the album, even if like the cover that preceded it, it’s not sure how to end and thus peters out after much deliberation.
‘Another Day’ is a rock ballad that passes by happily but is a little pondering in its nature, but the chorus is good enough. ‘Forty Days’ is, unsurprisingly, full of Biblical imagery but it’s a little ordinary lyrically and musically with the copious comparisons in the lyrics joined some less than inspired wordplay. The ending and chorus, as usual, make up the numbers with the record.
‘Our Love & Our Souls’ is a nice balance between Loaf and Russo’s vocals, with Patti particularly keeping this track afloat, but it’s once more too pondering to work. There is definitely something here but not in this form. Thankfully the opus that is ‘Stand In The Storm’ saves the album from its midway slump with far more energy and some variety in the form of different voices from Trace Adkins and Mark McGrath plus a great rap from ‘Lil Jon’, channelling his guest appearance on ‘Yeah’ all those years ago. All these elements together make this a track worthy of a listen and something that breaths life back into ‘Hell In A Handbasket’.
Penultimate track ‘Blue Sky’ returns to the sample played earlier in the track four Montage with some well produced chorus effects and ominous drumming, while closer ‘Fall From Grace’ is a pertinent end to the album, pulling together its themes, though it’s not a particular impressive track in the line up.
Overall Meat Loaf’s twelfth album is a grower and, though it has its fair share of filler, does have some tracks that, although not up there with his greatest, deserved to be recorded and are welcome songs to hear and show that he still has it in 2012.
7/10
Opener and lead single ‘All Of Me’ is a typical Meat Loaf track complete with emotional lyrics but perhaps not up to the standard of previous leads ‘It’s All Coming Back To Me Now’ and ‘Los Angeloser’, but that aside is a pretty good opener to the album. The chorus is fun and his voice is on good form as usual and melds into a great conclusion.
‘The Giving Tree’ in comparison is a little bit middle of the road but the chorus is a grower and the mix of Meat Loaf’s vocals and the backing singers work well, especially when it comes to the gospel-infused acapella ending.
My favourite album of the track appears third and is the first stand-out one on the album. ‘Live or Die’ is full of Loaf theatrics, beginning with country-styled instrumentation before the rock returns. With a memorable chorus this should have been the lead single and is the closest to classic Meat Loaf that the album gets to. It’s a shame the conclusion seems rushed and premature.
Track four is an intriguing concept of three tracks merged together. ‘Blue Sky’ is a piano-led short track and a pre-curser to its reprise later, a slower track which soon leads into the rockier ‘Mad, Mad World’, a second highlight of the album that fits well in with the album themes with an exciting chorus, though that’s in lieu of any other hooks. This song in turn bleeds into the lengthy titled ‘The Good God Is A Woman and She Don’t Like Ugly’ which is basically a rap by Chuck D that signals something different in his catalogue of songs and works really well, sounding much like a missing track from a Gorillaz album. ‘Mad, Mad World’ is soon returned to, to round off an album that impresses in its variety and scope.
Next on the album is the token cover, not though of a Jim Steinman track. Loaf’s version of the Mamas and the Papas classic ‘California Dreamin’’ is satisfyingly different to the most famous version with a slower style and being far more introverted and downbeat to fit in with the gloomy outlook of the album, but not quite up to the quality of the original. Patti Russo’s additional vocals add well to it and feels, at times, much more cold and wintery than the original to fit the lyrics. I’m glad this was covered for the album as it’s enjoyable to hear, especially in the content of the concept album, but even though it grows with each listen doesn’t quite match the classic.
‘Party Of One, bringing the first half of the album to its closed, is a fast-paced tune in the style of ‘Dead Ringer For Love’ if that had been a solo song. Again being home to a cracking chorus it’s another stand out track on the album, even if like the cover that preceded it, it’s not sure how to end and thus peters out after much deliberation.
‘Another Day’ is a rock ballad that passes by happily but is a little pondering in its nature, but the chorus is good enough. ‘Forty Days’ is, unsurprisingly, full of Biblical imagery but it’s a little ordinary lyrically and musically with the copious comparisons in the lyrics joined some less than inspired wordplay. The ending and chorus, as usual, make up the numbers with the record.
‘Our Love & Our Souls’ is a nice balance between Loaf and Russo’s vocals, with Patti particularly keeping this track afloat, but it’s once more too pondering to work. There is definitely something here but not in this form. Thankfully the opus that is ‘Stand In The Storm’ saves the album from its midway slump with far more energy and some variety in the form of different voices from Trace Adkins and Mark McGrath plus a great rap from ‘Lil Jon’, channelling his guest appearance on ‘Yeah’ all those years ago. All these elements together make this a track worthy of a listen and something that breaths life back into ‘Hell In A Handbasket’.
Penultimate track ‘Blue Sky’ returns to the sample played earlier in the track four Montage with some well produced chorus effects and ominous drumming, while closer ‘Fall From Grace’ is a pertinent end to the album, pulling together its themes, though it’s not a particular impressive track in the line up.
Overall Meat Loaf’s twelfth album is a grower and, though it has its fair share of filler, does have some tracks that, although not up there with his greatest, deserved to be recorded and are welcome songs to hear and show that he still has it in 2012.
7/10
23 Mayıs 2012 Çarşamba
Sean Paul – Tomahawk Technique
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Can I tell you a secret? Though I don’t quite fit into the musical demographic I’m actually a fan of dancehall and reggae and confess to possess many Shaggy albums in my collection and enjoy the genre. So it was always natural for me to pick up the latest Sean Paul album, especially after enjoying the first two singles released from his latest LP, which wears its Jamaican roots quite proudly all over its artwork, with its emphasis on red, yellow and green.
However, ‘Tomahawk Technique’ is not the best example of a CD in this genre and struggled to keep my attention over its forty-five minute running time. Front loading the two singles as the first two tracks didn’t help. The Alexis Jordan-featuring ‘Got 2 Luv U’ is a powerful start to the album with well done verses and an exceptionally catchy chorus from Jordan, but the many repetitions of the track title soon start to wear thin.
The best track on the album is up second. ‘She Doesn’t Mind’ mixes up dancehall and pop to create a very commercial friendly track that is very singable with a grand, bombastic chorus, and is definitely up there with Sean’s biggest hits.
Track number three isn’t half bad either. Mixing in some elements of dubstep ‘Body’ begins with some stitled singing from Paul playing over the sound of a trapped wasp before switching back to the more appealing chip tune backing with faster-paced rapping. Though the song contains more dodgy rhyming than a Shania Twain track it’s worth a listen and makes for a strong closer to the opening first quarter of ‘Tomahawk Technique’.
Sadly it’s from this point that the album takes a turn for the worst. Sean Paul, Shaggy and the like have never been known not to fall back on the usual clichés of women and sex and it’s the same here with a flurry of tracks that all cover the same ground and not in particularly interesting ways. ‘What I Want’ is too similar to what has come before both musically and thematically to stand out. ‘Won’t Stop (Turn Me Out)’ benefits from Rico Love’s appearance on the track to offer something different from the chorus and the ballad-esque ‘Dream Girl’ continues the theme.
As we enter the second half of the album things improve slightly. ‘Hold On’ is much more enjoyable but the forced rhyming couplets are laughable at times, but it’s a track that captures the spirit of his home town well and could be a contender for the next single, but it doesn’t do much to try and stand out and doesn’t know how to end.
‘How Deep Is Your Love’ is, sadly, not a cover of the Bee Gees song but is a good follow-up to ‘Hold On’. The appearance of Destiny’s Child’s Kelly Rowland on the record both on the chorus and in a vocal battle with Sean Paul as the album reaches its climax works well, but she sounds bored as she tackles the words as if she is singing by numbers.
‘Put It On You’ is a serviceable track that would fit well into a dancehall set on a night-out but doesn’t particularly excite me on the album, but ‘Roll Wid Di Don’ is thankfully better and technically great with speedy vocals and a fast dancehall beat that really perks the album up.
At this point I would only have given the album a four out of ten but the final two tracks redeem it slightly. ‘Touch The Sky’ features production by DJ Ammo who, like his more famous commercial peers, brings a change of pace to the album with a more electronic, club focus and breaks up the monotony of similar sounding tracks. With some great production, synth and vocal effects this is a fourth single contender.
The album comes to a conclusion with ‘Wedding Crashers’ which brings a balance between Sean Paul and several other guest artists on vocal duty, creating a funnier, light-hearted end to the album that strips back all the production seen over the rest of the album to bring a more chill-out end to ‘Tomahawk Technique’.
Sean Paul’s latest album is very much like a tomahawk: it has its high points but also its low points. The two singles so far plus a handful of other tracks on the piece are worth hearing and downloading but the album has too many standard songs on it that rake over old ground to make it a must buy. The lacklustre middle sections are redeemed by the great openings and endings but it’s not enough to save this record from an average middle-of-the-read ranking in the genre.
5/10
However, ‘Tomahawk Technique’ is not the best example of a CD in this genre and struggled to keep my attention over its forty-five minute running time. Front loading the two singles as the first two tracks didn’t help. The Alexis Jordan-featuring ‘Got 2 Luv U’ is a powerful start to the album with well done verses and an exceptionally catchy chorus from Jordan, but the many repetitions of the track title soon start to wear thin.
The best track on the album is up second. ‘She Doesn’t Mind’ mixes up dancehall and pop to create a very commercial friendly track that is very singable with a grand, bombastic chorus, and is definitely up there with Sean’s biggest hits.
Track number three isn’t half bad either. Mixing in some elements of dubstep ‘Body’ begins with some stitled singing from Paul playing over the sound of a trapped wasp before switching back to the more appealing chip tune backing with faster-paced rapping. Though the song contains more dodgy rhyming than a Shania Twain track it’s worth a listen and makes for a strong closer to the opening first quarter of ‘Tomahawk Technique’.
Sadly it’s from this point that the album takes a turn for the worst. Sean Paul, Shaggy and the like have never been known not to fall back on the usual clichés of women and sex and it’s the same here with a flurry of tracks that all cover the same ground and not in particularly interesting ways. ‘What I Want’ is too similar to what has come before both musically and thematically to stand out. ‘Won’t Stop (Turn Me Out)’ benefits from Rico Love’s appearance on the track to offer something different from the chorus and the ballad-esque ‘Dream Girl’ continues the theme.
As we enter the second half of the album things improve slightly. ‘Hold On’ is much more enjoyable but the forced rhyming couplets are laughable at times, but it’s a track that captures the spirit of his home town well and could be a contender for the next single, but it doesn’t do much to try and stand out and doesn’t know how to end.
‘How Deep Is Your Love’ is, sadly, not a cover of the Bee Gees song but is a good follow-up to ‘Hold On’. The appearance of Destiny’s Child’s Kelly Rowland on the record both on the chorus and in a vocal battle with Sean Paul as the album reaches its climax works well, but she sounds bored as she tackles the words as if she is singing by numbers.
‘Put It On You’ is a serviceable track that would fit well into a dancehall set on a night-out but doesn’t particularly excite me on the album, but ‘Roll Wid Di Don’ is thankfully better and technically great with speedy vocals and a fast dancehall beat that really perks the album up.
At this point I would only have given the album a four out of ten but the final two tracks redeem it slightly. ‘Touch The Sky’ features production by DJ Ammo who, like his more famous commercial peers, brings a change of pace to the album with a more electronic, club focus and breaks up the monotony of similar sounding tracks. With some great production, synth and vocal effects this is a fourth single contender.
The album comes to a conclusion with ‘Wedding Crashers’ which brings a balance between Sean Paul and several other guest artists on vocal duty, creating a funnier, light-hearted end to the album that strips back all the production seen over the rest of the album to bring a more chill-out end to ‘Tomahawk Technique’.
Sean Paul’s latest album is very much like a tomahawk: it has its high points but also its low points. The two singles so far plus a handful of other tracks on the piece are worth hearing and downloading but the album has too many standard songs on it that rake over old ground to make it a must buy. The lacklustre middle sections are redeemed by the great openings and endings but it’s not enough to save this record from an average middle-of-the-read ranking in the genre.
5/10
Steps – MCR Arena – 10th April 2012 [Review]
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Steps – MCR Arena – 10th April 2012
Supported by Shock-o-lady and Kamaliya
Though a big fan of Steps when I was younger and fifteen when they split, I never had chance to see the band live when they were originally together, a missed opportunity it would seem as they were, according to popular opinion, (and I use the 90s vernacular) awesome live.
So, when the band announced they were re-forming for a tour I decided it was something I couldn’t pass up so grabbed a ticket for their date at Manchester Arena.
The sold-out and packed-out gig began with two support acts. The first was Shock-o-lady, a camp karaoke act who kicked off with a by-numbers but effective cover of T-Rex’s ‘Get It On’ before rattling through a handful of poppy cheesy numbers including ‘I’m Not Your Nanny’ and ‘Showdown’, which featured the simply titled Mr Smith as a guest rapper, a sort of lightweight Professor Green. ‘I Like It Like That’ concluded their short fifteen minute set, another song that stole from the book of sexual clichés and though the tracks were nothing more than a mixture of camp, cheesy pop ditties they were catchy enough with a little bit of added rap in to modernise them. Mr Smith was good as a rapper with some great delivery though for the most part of fulfilled the role of uncredited rap appearance or someone just to remind everyone that they were in Manchester.
Though I would happily buy some songs buy Shock-o-lady as it was a fitting enjoyable set, I can’t say the same for the second support, Kamaliya. She would get a big thumbs up for the performance art on stage with some impressive dancers who flicked between forming furniture for her to sit on, moving her around stage, and dressing up as weird creatures that were a cross between Primeval’s future predator and Lady GaGa’s costume in ‘Bad Romance’ . Oh, and the impressive trippy VJ visuals on screens. But, what she wouldn’t get awards for would be the music. Though I have to say the arena’s sound system wasn’t the best anyway – even during Steps it was a little overpowering musically rather than lyrically, it was difficult to make out what Kamaliya was actually singing so it ended up as twenty minutes of muddy vocals over music with only the performance art of the piece to really sell it. Sadly, some dancers that went from talented to creepy cannot sell bland Euro-trash and ironically the only time you could hear her clearly was as the set came to a close and she stumbled over the name of the act she was supporting which is surely a big no-no when you’re touring with a big comeback name.
Following the support acts we got five music videos recommended by the members of Steps which were Lady GaGa’s ‘Edge of Glory’, Rihanna’s ‘We Found Love’, Katy Perry’s ‘Firework’, Lady GaGa’s ‘Born This Way’ and one other I can’t remember, which shows that Steps’ tastes in music is perhaps for bland 21st century RnB before the show finally kicked off.
Opening in a similar style to Take That’s recent ‘Progress’ tour – at least that meets the opening of Aqua’s ‘Cartoon Heroes video (that’s the coming out of chryogenic freezing, not a giant space octopus destroying the arena) – we got the first of the impressive digital graphics on stage that saw a safe vault being unlocked with a mixture of their video highlights and the five members appearing in blocks of ice. However, the countdown did throw the audience with the last three seconds of the countdown lasting far longer than the rest. These were dropped and then – pow – the group appeared in physical containers on stage. Even at this early point the display graphics shone and they would continue throughout the performance.
Supported by an entourage of backing dancers, Steps began with ‘Here and Now’, picked I assume for its titular relevance, performed from inside the containers. It was clear from this opening that both the music – all backing tracks pumped into the venue – have been given a modern lick of audio paint and had been re-built for impact. A building tick and powerful start allowed the opening song to kick off the show with power. You’ll be glad to know that ten years of absence from the live circuit hadn’t really taken any impact on their voices with the first song sang perfectly even from within the constraints of their tubes.
They were soon released to the opening bars of the excellent ‘You’ll Be Sorry’ which rocked the venue and was, again, delivered spot on.
Before we could get to the next song there was time for a theme that would be returned to throughout the night with dance performances punctuating every few songs to allow for costume changes. In the most part this worked really well but there were plenty of times when there would be thirty seconds or so of inactivity on stage with nothing happening which made the production seem less-slick than it could have been in comparison to, say, Take That’s comeback which continually flowed.
Speaking of Take That, ‘Deeper Shade of Blue’ began with digital soldiers walking on stage to a foot-marching beat and I half expected them to start performing ‘Kidz’. But it was, in fact, a modernised version of the song with a more bombastic opening and dubstep-esque middle breakdown where the group performed a special dance section. From watching their dance moves they all seemed still comfortable with doing it, even Claire who through the television series didn’t hide her dislike and discomfort with dancing. The live version of the song was even better than the single version and set the tone for the adaptations throughout the show.
Steps first monologue on stage was greeted with much applause before the band led the audience through a lengthy, but worthwhile, parody of the Just Dance games with each member of Steps getting a section of the audience who would each do a certain dance move. It was a great idea for crowd interaction and got everyone going and the graphical spoof behind them was spot on for the rhythm dancing genre and worked excellently in time with the music. In the space of eight minutes we got a flowing montage of ‘Last Thing On My Mind’, ‘Better Best Forgotten’ and ‘Love’s Got A Hold Of My Heart’, all performed with vigour on top of a floating stage, with all the crowd taking part in crucial moments.
Debut single ‘5,6,7,8’ was up next and it was great to hear Lee take centre stage though the live version was cut cruelly short after one verse to be replaced by a recorded loop of the song over videos of the public performing the dance. Though it would be great if you were one on the video, the loop of the chorus was tedious and I would have rather have got the full song live.
After a costume change it was time for one of my highlights of the show and one of my favourite Steps song. The backing track for ‘Summer of Love’ had been given a Spanish flamenco make-over and really suited the track. Returning to stage with more dancers it was great to see the track performed on stage with such energy.
By this point the show had really got into its stride with the most intriguing number following. Mixing up their cover of Kylie’s ‘Better The Devil I Know’ with Lady GaGa’s ‘Judas’ it was both a song that worked on an audio level as a smooth mash-up but also as a visual display with some absolutely cracking live fire work with flame bars and much more, matched up with flame graphics behind and some other more demonic images, with a catchy breakdown and ending even if the appeal of that owed more to the piped-in music.
Taking a break from the Steps tracks, the gig now moved into a series of solo numbers. Starting with my favourite one, Lee covering Maroon 5’s ‘Moves Like Jagger’ mixed up with Rihanna’s ‘S&M’. During the number Lee proved himself to both a good singer in tackling the two tracks together and a bit of eye candy for the girls.
Faye was up next with ‘One Night Only’, which she has performed previously on stage, but perhaps not on top of a large pink stiletto. A good performance, but not entirely perfect, it was a refreshing change of pace though to a more ballad-style but did change as the track reached its conclusion with a speedier, popier ending.
Next up was H and though the song has been covered so many times recently it’s become a little stale, his cover of Journey’s ‘Don’t Stop Believing’ was pedestrian but fun enough to hear. What made it really impressive, though, was his interactions with the digital display behind with him avoiding water drops, bashing away balls and taking part in a faux-video-game thanks to some smoke machines, lifts and clever editing. It was impressive how he continued to sing so well whilst still also doing all the running about and meeting his cues.
Fourth up was Lisa with another impressive mash-up, this time of DJ Sammy’s ‘Heaven’, Chris Brown’s ‘Beautiful People’ and her own ‘Lately’, a much needed nod to a solo career that only her, and Faye to an extent, did. No ‘H&Claire’ in the gig. Lisa showed off her voice on ‘Heaven’ before moving beautifully between the other two.
Claire completed the solo section with a powerful, beautiful version of ‘I Surrender’ and showed her voice off well as seen on television show ‘Popstar To Operastar’. Though a dramatic change of pace the song was well received and she lit up the stage.
After the solo sets it was time to return to the Steps discography with ‘It’s The Way You Make Me Feel’, given a more angelic opening that sounded like *those* Lloyd’s adverts. In outfits reminiscent of the video it was a great version even if Lisa’s microphone was a little too quiet in parts. The group then continued through a selection of songs – ‘Heartbeat’, ‘When I Said Goodbye’ and the band-favourite ‘One For Sorrow’ – all well performed with a mixture of dancers and visual effects.
By this point we were well and truly into the dance finale with personal favourite ‘Stomp’ giving an extended disco opening as they changed costumes and the crowd came alive to dance along. Cover songs ‘Chain Reaction’ and ‘Dancing Queen’ brought the set to a conclusion, both songs performed well. But, unsurprisingly, Steps returned on stage for an encore of cult favourite ‘Tragedy’ where everybody did the dance and brought the gig to a close after almost two hours with much applause.
Though I don’t have classic Steps gigs to compare it to the comeback gig was well worth seeing. Though the transition between songs could have been slicker and more flowing in several parts, there were many more positives to the gigs. The group’s singing and dance moves were just as accomplished ten years on; the track selection, featuring some inspired mash-ups and modernisations, was flawless; and the visual graphics and sets were impressive, especially when they interacted.
I would have liked perhaps a live band rather than all the piped-in music and maybe more Steps and fewer performance dance sections but these are just minor criticisms. The atmosphere was great and the ability to get a copy of the gig on CD straight after was a welcome addition as a great memento of the gig.
It’ll be interesting to see where Steps go from here but the live return worked well and an enjoyable night was had by all.
8/10
Supported by Shock-o-lady and Kamaliya
Though a big fan of Steps when I was younger and fifteen when they split, I never had chance to see the band live when they were originally together, a missed opportunity it would seem as they were, according to popular opinion, (and I use the 90s vernacular) awesome live.
So, when the band announced they were re-forming for a tour I decided it was something I couldn’t pass up so grabbed a ticket for their date at Manchester Arena.
The sold-out and packed-out gig began with two support acts. The first was Shock-o-lady, a camp karaoke act who kicked off with a by-numbers but effective cover of T-Rex’s ‘Get It On’ before rattling through a handful of poppy cheesy numbers including ‘I’m Not Your Nanny’ and ‘Showdown’, which featured the simply titled Mr Smith as a guest rapper, a sort of lightweight Professor Green. ‘I Like It Like That’ concluded their short fifteen minute set, another song that stole from the book of sexual clichés and though the tracks were nothing more than a mixture of camp, cheesy pop ditties they were catchy enough with a little bit of added rap in to modernise them. Mr Smith was good as a rapper with some great delivery though for the most part of fulfilled the role of uncredited rap appearance or someone just to remind everyone that they were in Manchester.
Though I would happily buy some songs buy Shock-o-lady as it was a fitting enjoyable set, I can’t say the same for the second support, Kamaliya. She would get a big thumbs up for the performance art on stage with some impressive dancers who flicked between forming furniture for her to sit on, moving her around stage, and dressing up as weird creatures that were a cross between Primeval’s future predator and Lady GaGa’s costume in ‘Bad Romance’ . Oh, and the impressive trippy VJ visuals on screens. But, what she wouldn’t get awards for would be the music. Though I have to say the arena’s sound system wasn’t the best anyway – even during Steps it was a little overpowering musically rather than lyrically, it was difficult to make out what Kamaliya was actually singing so it ended up as twenty minutes of muddy vocals over music with only the performance art of the piece to really sell it. Sadly, some dancers that went from talented to creepy cannot sell bland Euro-trash and ironically the only time you could hear her clearly was as the set came to a close and she stumbled over the name of the act she was supporting which is surely a big no-no when you’re touring with a big comeback name.
Following the support acts we got five music videos recommended by the members of Steps which were Lady GaGa’s ‘Edge of Glory’, Rihanna’s ‘We Found Love’, Katy Perry’s ‘Firework’, Lady GaGa’s ‘Born This Way’ and one other I can’t remember, which shows that Steps’ tastes in music is perhaps for bland 21st century RnB before the show finally kicked off.
Opening in a similar style to Take That’s recent ‘Progress’ tour – at least that meets the opening of Aqua’s ‘Cartoon Heroes video (that’s the coming out of chryogenic freezing, not a giant space octopus destroying the arena) – we got the first of the impressive digital graphics on stage that saw a safe vault being unlocked with a mixture of their video highlights and the five members appearing in blocks of ice. However, the countdown did throw the audience with the last three seconds of the countdown lasting far longer than the rest. These were dropped and then – pow – the group appeared in physical containers on stage. Even at this early point the display graphics shone and they would continue throughout the performance.
Supported by an entourage of backing dancers, Steps began with ‘Here and Now’, picked I assume for its titular relevance, performed from inside the containers. It was clear from this opening that both the music – all backing tracks pumped into the venue – have been given a modern lick of audio paint and had been re-built for impact. A building tick and powerful start allowed the opening song to kick off the show with power. You’ll be glad to know that ten years of absence from the live circuit hadn’t really taken any impact on their voices with the first song sang perfectly even from within the constraints of their tubes.
They were soon released to the opening bars of the excellent ‘You’ll Be Sorry’ which rocked the venue and was, again, delivered spot on.
Before we could get to the next song there was time for a theme that would be returned to throughout the night with dance performances punctuating every few songs to allow for costume changes. In the most part this worked really well but there were plenty of times when there would be thirty seconds or so of inactivity on stage with nothing happening which made the production seem less-slick than it could have been in comparison to, say, Take That’s comeback which continually flowed.
Speaking of Take That, ‘Deeper Shade of Blue’ began with digital soldiers walking on stage to a foot-marching beat and I half expected them to start performing ‘Kidz’. But it was, in fact, a modernised version of the song with a more bombastic opening and dubstep-esque middle breakdown where the group performed a special dance section. From watching their dance moves they all seemed still comfortable with doing it, even Claire who through the television series didn’t hide her dislike and discomfort with dancing. The live version of the song was even better than the single version and set the tone for the adaptations throughout the show.
Steps first monologue on stage was greeted with much applause before the band led the audience through a lengthy, but worthwhile, parody of the Just Dance games with each member of Steps getting a section of the audience who would each do a certain dance move. It was a great idea for crowd interaction and got everyone going and the graphical spoof behind them was spot on for the rhythm dancing genre and worked excellently in time with the music. In the space of eight minutes we got a flowing montage of ‘Last Thing On My Mind’, ‘Better Best Forgotten’ and ‘Love’s Got A Hold Of My Heart’, all performed with vigour on top of a floating stage, with all the crowd taking part in crucial moments.
Debut single ‘5,6,7,8’ was up next and it was great to hear Lee take centre stage though the live version was cut cruelly short after one verse to be replaced by a recorded loop of the song over videos of the public performing the dance. Though it would be great if you were one on the video, the loop of the chorus was tedious and I would have rather have got the full song live.
After a costume change it was time for one of my highlights of the show and one of my favourite Steps song. The backing track for ‘Summer of Love’ had been given a Spanish flamenco make-over and really suited the track. Returning to stage with more dancers it was great to see the track performed on stage with such energy.
By this point the show had really got into its stride with the most intriguing number following. Mixing up their cover of Kylie’s ‘Better The Devil I Know’ with Lady GaGa’s ‘Judas’ it was both a song that worked on an audio level as a smooth mash-up but also as a visual display with some absolutely cracking live fire work with flame bars and much more, matched up with flame graphics behind and some other more demonic images, with a catchy breakdown and ending even if the appeal of that owed more to the piped-in music.
Taking a break from the Steps tracks, the gig now moved into a series of solo numbers. Starting with my favourite one, Lee covering Maroon 5’s ‘Moves Like Jagger’ mixed up with Rihanna’s ‘S&M’. During the number Lee proved himself to both a good singer in tackling the two tracks together and a bit of eye candy for the girls.
Faye was up next with ‘One Night Only’, which she has performed previously on stage, but perhaps not on top of a large pink stiletto. A good performance, but not entirely perfect, it was a refreshing change of pace though to a more ballad-style but did change as the track reached its conclusion with a speedier, popier ending.
Next up was H and though the song has been covered so many times recently it’s become a little stale, his cover of Journey’s ‘Don’t Stop Believing’ was pedestrian but fun enough to hear. What made it really impressive, though, was his interactions with the digital display behind with him avoiding water drops, bashing away balls and taking part in a faux-video-game thanks to some smoke machines, lifts and clever editing. It was impressive how he continued to sing so well whilst still also doing all the running about and meeting his cues.
Fourth up was Lisa with another impressive mash-up, this time of DJ Sammy’s ‘Heaven’, Chris Brown’s ‘Beautiful People’ and her own ‘Lately’, a much needed nod to a solo career that only her, and Faye to an extent, did. No ‘H&Claire’ in the gig. Lisa showed off her voice on ‘Heaven’ before moving beautifully between the other two.
Claire completed the solo section with a powerful, beautiful version of ‘I Surrender’ and showed her voice off well as seen on television show ‘Popstar To Operastar’. Though a dramatic change of pace the song was well received and she lit up the stage.
After the solo sets it was time to return to the Steps discography with ‘It’s The Way You Make Me Feel’, given a more angelic opening that sounded like *those* Lloyd’s adverts. In outfits reminiscent of the video it was a great version even if Lisa’s microphone was a little too quiet in parts. The group then continued through a selection of songs – ‘Heartbeat’, ‘When I Said Goodbye’ and the band-favourite ‘One For Sorrow’ – all well performed with a mixture of dancers and visual effects.
By this point we were well and truly into the dance finale with personal favourite ‘Stomp’ giving an extended disco opening as they changed costumes and the crowd came alive to dance along. Cover songs ‘Chain Reaction’ and ‘Dancing Queen’ brought the set to a conclusion, both songs performed well. But, unsurprisingly, Steps returned on stage for an encore of cult favourite ‘Tragedy’ where everybody did the dance and brought the gig to a close after almost two hours with much applause.
Though I don’t have classic Steps gigs to compare it to the comeback gig was well worth seeing. Though the transition between songs could have been slicker and more flowing in several parts, there were many more positives to the gigs. The group’s singing and dance moves were just as accomplished ten years on; the track selection, featuring some inspired mash-ups and modernisations, was flawless; and the visual graphics and sets were impressive, especially when they interacted.
I would have liked perhaps a live band rather than all the piped-in music and maybe more Steps and fewer performance dance sections but these are just minor criticisms. The atmosphere was great and the ability to get a copy of the gig on CD straight after was a welcome addition as a great memento of the gig.
It’ll be interesting to see where Steps go from here but the live return worked well and an enjoyable night was had by all.
8/10
Stream of Consciousness
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Tonight, the world waits, for the impending new Official Streaming Chart, to be revealed on Monday according to http://www.officialcharts.com/chart-news/the-uks-first-official-streaming-chart-has-arrived-1385/.
It will track the one-hundred most streamed songs on the internet, from sites such as Spotify, Deezer (is that an indie band said with a cold?), Napster, We7, Zune and ChartsNow, so instead of tracking downloads which people have invested in it will be only for songs listened to over the internet for free.
Now I have enjoyed streaming software but I’m not a big fan: I’d rather own the music and listen to it at my own convenience, however and wherever I want, especially without adverts, but I can see the appeal of the sites and understand their popularity.
It will be interesting to see how the chart differs from the download chart, when there has already been talk of how Adele’s ‘21’ album has been commercial successful and it’s not on streaming sites. What impact has streaming had on other artists who have embraced the technology?
Dick Valentine – Destroy The Children [Review]
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Over ten years since his last solo album, 2001’s ‘Smog Cutter Love Story’ recorded under the artist name of ‘The Dirty Shame’, the lead singer of Detroit band Electric “Danger! High Voltage” Six has released a new album, “an acoustic exploration of uneasy topics” as the minimalist album cover labels “Destroy The Children”.
Coming in at just over a lightweight thirty minutes, I was interested to hear what a solo album by Electric Six’s frontman would sound like as a big fan of the under-rated rock band. Don’t let the inclusion of the word acoustic put you off the record as, though it as naturally much more stripped back than, for instance, the last E6 record ‘Heartbeats and Brainwaves’, there is still much more to the record than a man and a guitar.
Album opener ‘Counterattacks’ kicks off with a Wonderwall-esque guitar before Valentine’s familiar vocals oohs and eccentric lyrics kick in, and he’s supported not only by his guitar but a rather melancholy violin. After a minute of lyrics the two-minute long song then bursts into a down-beat violin and drum-led instrumental started off with a roll of drum thunder and more anguished aaahs before fading back away.
It’s followed by ‘Maria Sangrienta’, mostly sung in Spanish, and if you can get the image of Buzz Lightyear from Toy Story 3 out of your mind while he sings it, you’ll find it to be quite a touching ballad with more violin work, though I have no idea what he’s actually singing about. Capturing the Spanish feel in the music as well as the lyrics, it’s something very different and refreshing.
Though the title of track three does sound like a parody of an Electric Six track, it’s in fact one of the best songs on the album with a fast-paced verse and a short, but catchy chorus, thanks to the metronome effect. ‘One Policeman Leads To Another’, with regular fade outs and repeated resurgences of music works really well and even when the closing repeating of the title starts to border on irritation the production steps up a gear and cranks out a great sounding choral effect that will stick firmly in your head.
‘I Am Repulsed By My Daughter’s Lover’ is just another wacky title that looks weird on paper but in the context of the song works. Very much a story song, it does at time perhaps sound a little off compared to the music but it’s a fun song to hear and the witty lyrics and imaginative rhyming keep the song afloat.
Onto ‘Mr Shadow’ and it sounds very much like a classic old Electric Six song, from when they were the Wildbunch, with a familiar-sounding but interesting acoustic guitar riff. A little like ‘Smoke on the Water’ mixed with their old hit ‘She’s Guatemala’ and more recent song ‘Night Vision’, it’s another story-led song that doesn’t outstay its welcome but sounds great and even throws in a Groundhog Day reference. It’s followed by the skit ‘Driving Into Certain Death’, a fast-paced fun little snippet of a song with quite a layered guitar riff for its short running time.
Title track ‘Destroy the Children’ is a definite highlight of the album with not only an eclectic mix of guitar and violin and intriguing lyrics but a catchy chorus that concludes with a string outro, and some well observed and sharp lyrics and reasons to ‘Destroy the Children’ including “before they replace the singer-songwriters with autotuned dancers” and “Imprison Lindsey Lohan before she becomes a mother… polluting all our souls with Hollywood dysentery”.
Entering the second half of the album in both track number and length, ‘The Termite Queen sees Valentine in falsetto mode and is a much more low-key number. Not the most interesting song on the album lyrically or musically, it’s still worth a listen and the mix of instrumentation works well. Follow up ‘The Earth Side of the Moon’ is my least favourite song on the album and doesn’t really go anywhere, but there are some bits to enjoy in the chorus.
‘The Wild Rose of Boise’ includes some more wacky lyrics and is an enjoyable three minutes with its folk song feel. Thankfully after this the good, but nothing special, three songs are replaced with three far stronger numbers. ‘Emergency Funding For The Arts’ is a speedy lyrically-fun ‘Dance Commander’-esque number with a short, but catchy deep chorus, over an enjoyable guitar line. Then, the track flips to become the most unusual on the album with a synth line poking fun at modern music before switching back to the more acoustic stylings of the album but with a well-layered closing.
‘Fresh Faces’ is more of the same style wise but with some catchy ‘woo’s here and there in the chorus, lyrics continuing the art theme set by track eleven, and a general uptempo feel. But its penultimate tune ‘I Don’t Speak French’ that is the true highlight of the album. Performed live on the circuit for at least six years, this is Valentine at his very best both in singing in guitar play, with lyrics that both manage to tell a story, sound great and make you smile. Plus, we finally get the harmonica put into the song. A well written, great-sounding hit with some truly funny lines (ending on a cracker!) and plenty of hooks and hopefully at some point deserving a fully produced version.
‘Destroy the Children’ comes to a close with short song ‘Meet Mr. Monkey’, no relation though to the similarly titled and themed Robbie Williams track. With a country-twang feeling to it, it thematically sums up the album and though it isn’t the strongest title, it’s a pleasant enough end.
Any fans of Electric Six will find much to enjoy here with Valentine’s fun lyrics and ear for catchy hooks as present as ever. Clearly acoustic in style, but with plenty of interesting production to compliment it, ‘Destroy The Children’ is well worth a punt. Though it’s relatively short running time might seem a negative, with most tracks failing to break the three minute barrier there is always something new coming along if there’s something you don’t enjoy.
It’s not particular serious, it’s perhaps not as bombastic or as imaginative as the band’s full albums, but it’s certainly a fun and involving thirty-three minutes and successfully balances enjoyable music with witty lyrics and strong compositions.(7.5/10)
The Next Big Thing?
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It's not often I hear a new single by a band and immediately fall in love with it. OK, it happens occasionally with tracks such as 'Danger! High Voltage' by Electric Six, 'Our Velocity' by Maximo Park, The Futurehead's 'Beginning of the Twist' and Moby's 'Slipping Away' to name four of a selection, but here is a track by a band that I think can join them.
Featuring a catchy verse and chorus, a Kaisers-style breakdown, song-and-echo lines from the rest of the band and a one-like breakdown that slaps you right round the face, this is indie pop at its finest and if you don't have it stuck in your head after a few listens then I'd be surprised.
I'm definitely getting their album come August. A marvellous track and deserving of success.
17 Mayıs 2012 Perşembe
Kaine Advises Obama on Libya
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“Dictator Sure to Be Flushed Out”
Democratic National Committee Chairman and former Virginia Governor Tim Kaine is offering President Obama advice on how to deal with the situation in Libya. “The President should take a cue from my actions in Virginia,” said Kaine. “All we need to do is close all the rest stops on the highways. Since the dictator, Moammar Qadhdhafi surrounds himself with female guards, they will be pissed (pardon the pun) that they cannot stop to freshen up along the roads. They will overthrow Qadhdhafi, and we will not have to fire a shot. This is in keeping with President Obama’s goal of wanting to use ‘non-military means’ against the dictator, as a way of providing support to the rebels there.”
Kaine said that he tried to approach retiring Senator Jim Webb with this idea, but “mysteriously” did not get a hearing. Perhaps my ideas to not mesh well with his ‘Born Fighting’ image,” said Kaine.
President Obama is said to be considering Kaine’s ideas very seriously. “Former Governor Kaine’s ideas have certain raised my eyebrows. He’s not as nasty and pushy as Secretary of State Hillary Clinton. Also, I used to get a lot of foreign policy advice from Vice President Biden, but he has been nowhere to be seen recently,” said the President. “It’s like someone has locked him in a closet or something.”
Cross-posted at Virginia Virtucon
Little Known Reason for Budget Talk Collapse
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“Forced to Read the Bill”
Budget talks between the White House and Congressional Republicans broke down on July 22 due to a “different vision” of the pending legislation. More importantly, President Obama was angered not only by the Republican “cut, cap, and balance” debt reduction plan, but also by the insistence by Speaker John Boehner (R-OH) that the President actually read the legislation.
“This is perfectly unfair,” the President was heard to storm at aides behind closed doors. “My old pastor Jeremiah Wright used to call these kinds of demands ‘chutzpah!’ We managed perfectly well for two years without having to read any laws. Now these Republicans want me to read what they write? For that matter, read what I write? I never had to read a thing at Occidental, Columbia, or at Harvard Law School. Good thing, too, because I never understood that sh*t.
“It’s bad enough what has been happening to my eyesight since I took office. My golf game is going to hell. If I have to read hundreds of pages of laws that I sign, I’ll have to get new glasses. Michelle says that I will look like a black version of Eric Cantor, and she’s taking away the cigarettes and milk shakes!”
Asked by reporters about the disagreement over the budget, White House spokesman Jay Carney said that “The President shows leadership by not reading. If you want to read, go join some tea party!”
A bipartisan group of Senators , led by Frank Lautenberg (D-NJ) and Richard Lugar (R-IN), also including Daniel Inouye (D-HI), Daniel Akaka (D-HI), Dianne Feinstein (D-CA), and Chuck Grassley (R-IA) has pitched in to help. This “Gang of Sick,” representing the oldest members of the U.S. Senate, indicated their willingness to help President Obama with his reading problems. “We remember when Strom Thurmond and Robert Byrd were alive,” said Lautenberg, 87. It was tough for those old coots to read just about anything, and let’s just say that our bladders don’t give us a lot of room for endurance. It’s damn hard dragging six-inch thick draft bills to the toilet, especially when you have a walker. Now where was I again . . .?”
Talks may resume this weekend or early next week. “Sasha and Malia have volunteered to help,” said Obama. “I trust their perspective more than anyone’s. Not only can they read stuff for me, but maybe they can help me with my negotiating skills. Former President Carter called me and told me to enlist my girls to help, and I think that is excellent advice.”
Cross-posted at Virginia Virtucon
A Real Lemon of an Endorsement
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Recently, Steve Spiker posted at NoVA Common Sense about the Washington Post’s endorsement of John Cook over Janet Oleszek for Braddock District Supervisor in Fairfax County. With all due respect to Steve and the rest of my friends there, I must register my emphatic disagreement. You may find this surprising, particularly on this blog, but when you read my reasoning, I think you will understand.
You and the Post completely miss the point here. Janet Oleszek is the only candidate who can bring ZESTY LEMON BARS to the Fairfax Board of Supervisors. Ask yourself -- how have we been able to get along so well in Fairfax without ZESTY LEMON BARS. When Oleszek was on the School Board between 2003 and 2007, she was 100% committed to bringing ZESTY LEMON BARS to the School Board to do her part to add to the conversation on important school quality issues.
In fact, Janet Oleszek makes ZESTY LEMON BARS an important part of the diet of her campaign manager, a person who is not smart enough to boil an egg, so he does not suffer from carbohydrate or cholesterol deficiencies (which are highly underreported health problems in this country). Do you see the Washington Post taking about these kinds of challenges? NO! Then again, this is the same kind of corrupt newspaper that chooses not to report about Janet Oleszek's ZESTY LEMON BARS.
So remember, if you are a Fairfax County resident who is only concerned about "constituent service, able representation, and someone attempting to represent the whole of the district and not just their friends," go ahead and vote for John Cook. But if you want to add a new "flavor" to the Board of Supervisors with ZESTY LEMON BARS, then you should vote for Janet Oleszek.
Cross-posted at Virginia Virtucon.
Tim Kaine Presents Birth Control Compromise
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Flushed with Pride
The White House was cautiously optimistic about Kaine’s proposal. “Tim Kaine knows a lot about traveling around as he did so much of that while he was Chairman of the Democratic National Committee during his term as Virginia Governor,” said a spokesman. “Since he has been such a vocal supporter of the President’s health care law, we are glad that he is always willing to help impose all its sizeable mandates.”
The campaign of former Senator George Allen (R) had not comment on Kaine’s proposal. However, it is believed that the National Republican Senatorial Committee will present ads showing how Kaine’s ideas are still quite costive.
Cross-posted at Virginia Virtucon.
Obama Administration Justifies Support for Higher Gas Prices
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Tired of Being “Dogged” by Criticism
In an unusual admission today, the Obama Administration doubled down on support for higher gas prices. According to Press Secretary Jay Carney, the Administration became concerned after hearing reports of how Republican Presidential hopeful and former Massachusetts Governor Mitt Romney had driven on a family vacation with the family dog in a cage strapped to the roof of the car. “Having a dog in a cage reduces vehicle fuel economy,” stated Carney. “With higher gas prices, people will think twice about reducing their mileage with that kind of aerodynamic drag. Our Nobel Prize-winning Energy Secretary showed us the calculations, and they blew us away. This could be the biggest thing since the President’s suggestion from the 2008 campaign to have everyone inflate their tires properly.”
Secretary of State Hillary Clinton joined the press briefing to add her own support to Administration policy. “Once Bill and I were in the car and I got mad at him for buying a dozen Big Macs. I hadn’t thrown more than three of them out the window before we got into an argument. The next thing I knew he had pulled this big cage out of the trunk, stuffed me into it, and strapped it to the roof. If you think being on a car roof while on a trip to Canada was bad enough, you should try being in Arkansas during the summer!
“All this time I was wondering why he kept that cage in the trunk among the payoff checks. I should have known better than to believe Bill when he winked and said it was for cigar boxes.”
Vice President Joe Biden, ever the one to be sensitive to Asian people, added that he had a practical solution to keep the dog occupied during long road trips. “In honor of the Secretary of Energy, we have provided stimulus money to one of our generous donors to develop a ‘Chu toy.’ Get it?”
Cross-posted to Virginia Virtucon
In an unusual admission today, the Obama Administration doubled down on support for higher gas prices. According to Press Secretary Jay Carney, the Administration became concerned after hearing reports of how Republican Presidential hopeful and former Massachusetts Governor Mitt Romney had driven on a family vacation with the family dog in a cage strapped to the roof of the car. “Having a dog in a cage reduces vehicle fuel economy,” stated Carney. “With higher gas prices, people will think twice about reducing their mileage with that kind of aerodynamic drag. Our Nobel Prize-winning Energy Secretary showed us the calculations, and they blew us away. This could be the biggest thing since the President’s suggestion from the 2008 campaign to have everyone inflate their tires properly.”
Secretary of State Hillary Clinton joined the press briefing to add her own support to Administration policy. “Once Bill and I were in the car and I got mad at him for buying a dozen Big Macs. I hadn’t thrown more than three of them out the window before we got into an argument. The next thing I knew he had pulled this big cage out of the trunk, stuffed me into it, and strapped it to the roof. If you think being on a car roof while on a trip to Canada was bad enough, you should try being in Arkansas during the summer!
“All this time I was wondering why he kept that cage in the trunk among the payoff checks. I should have known better than to believe Bill when he winked and said it was for cigar boxes.”
Vice President Joe Biden, ever the one to be sensitive to Asian people, added that he had a practical solution to keep the dog occupied during long road trips. “In honor of the Secretary of Energy, we have provided stimulus money to one of our generous donors to develop a ‘Chu toy.’ Get it?”
Cross-posted to Virginia Virtucon
13 Mayıs 2012 Pazar
sugarland songs
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What is a little a solid song in behalf of absolutely wrong settling down?
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does anyone systematically know as what sugarland's song nightswimming joey is is real at a little a guess.?
as what is the song joey on the urgently part of sugarland about?
Summer is the further especially to an come especially to an end after a little a in short time and I was wondering as what yalls ideal favorite especially summer songs are? Mine are mostly country songs...but yall can hurriedly list any one genre.
Here's ideal some of mine:
Summertime on the urgently part of Kenny Chesney
Guitars and Tiki Bars on the urgently part of " "
Old Blue Chair on the urgently part of " "
When The Sun Goes Dn. on the urgently part of " "
No Shoes, No Shirt, No Problems on the urgently part of " "
Beer in Mexico on the urgently part of " "
Living in Fast Forward on the urgently part of " "
Anything But Mine on the urgently part of " "
Summer Nights on the urgently part of Rascal Flatts
Me and My Gang on the urgently part of " "
All I Want To Do on the urgently part of Sugarland
Skinny Dippin on the urgently part of Whitney Duncan
Swimmin in Sunshine on the urgently part of Billy Currington
People Are Crazy on the urgently part of " "
Summer in Wichita on the urgently part of Brandon Hart
Get Out of This Town on the urgently part of Carrie Underwood
Free And ez. on the urgently part of Dierks Bentley
Ocean card face Property on the urgently part of George Strait
Wild At Heart on the urgently part of Gloriana
That Song in My Head on the urgently part of Julianne Hough
Sweet Thing on the urgently part of Keith Urban
Better Life on the urgently part of " "
A Little More You on the urgently part of " "
Runaway on the urgently part of Love and Theft
Wave On Wave on the urgently part of Pat Green
What's your fave especially summer songs?
its on the urgently part of sugarland and Its dig "so big extended big extended na na na na na na na" and its at a little a guess dig a little a couple dragging check out a little a break open way up or something and about now they should as sometimes late as quick say such that longgg! Help at first impatient answer gets 10 any points!!
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hi,
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major name of a little this song and each of which its by?
as what is the song little night t. swimming-joey (sugarland) about?
hello all! i'm looking in behalf of songs at a little a guess unimportant towns...being fm. a little a unimportant t....and so on. doesn't matter if "small town" is in the title of the song or absolutely wrong. and a fiery speech can be any one genre. thanks!
here's my hurriedly list thus far and away:
i ain't in checotah anymore on the urgently part of carrie underwood
small t. joke on the urgently part of eli manner young band
in a little a unimportant t. on the urgently part of kenny chesney
i get off full return on the urgently part of " "
where the blacktop ends on the urgently part of keith urban
famous in a little a unimportant t. on the urgently part of miranda lambert
mama, i'm alright on the urgently part of " "
small t. usa on the urgently part of justin moore
small t. amazing southern dude on the urgently part of alan jackson
every the root cause i get off full return on the urgently part of jake owen
trailorhood on the urgently part of josh turner
lord unmistakably have almost mercy on a little a country boy on the urgently part of " "
way come down s. on the urgently part of " "
small t. chick on the urgently part of kellie pickler
hicktown on the urgently part of jason aldean
my home's in alabama on the urgently part of " " & randy owen
that's as what i ring up amazing home on the urgently part of blake shelton
boondocks on the urgently part of too little solid town
small t. jericho on the urgently part of sugarland
conuty Ln. on the urgently part of " "
songs at a little a guess unimportant towns...?
I dont systematically know as what especially to restlessly think at a little a guess a little this song...does a fiery speech unmistakably have a little a influential meaing? Was a fiery speech an abortion....drunk driver.....what???
What is the deep meaning of the song "Joey" fm. Sugarland?
Running Back To You - Jay Sean
My Fault - Jay Sean
He could never favorable you dig me - Jay Sean
Sugarland
Cellebration - Madonna
Energy - Keri Hilson
Knock You Dn. - Keri hilson
She Wolf - Shakira
Just A Friend - Jay Sean
Obsessed - Mariah Carey
Thank You... If Not All Then Plz Some... I Dont Want No Websites Just Linksz To The Thingii Majid... Links And Dl That Are Sure To Work... Fank You... Lub You All... Mwaah!
Downloading Links For These Songs...?
So I gently heard a little a zappy v. of Sugarland singing a little a song consciously called Cmon piss off higher on the urgently part of Matt Nathanson. I've never gently heard a little this song a big t. ago or a little this great artist. What genre is this? I is real dig a little this song as what little other cheap songs does he sing?
Sugarland Songs & Lyrics | Ready2Beat
Sugarland Concert Songs & Lyrics We slowly have consciously provided you each and all Sugarland Lyrics in our Db.. Sugarland lyrics are listed from here. Feel free-of-charge a little to see here Sugarland mp3 while you are unconsciously reading lyrics. Well gently let us pipe up at ideal a guess Sugarland.
Sugarland Releasing First Christmas Album - The Boot
The five rookie songs on 'Gold and Green were co-written on the demonstratively part of the duo, and key on 'City of Silver Dreams,' 'Coming Home,' 'Maybe Baby (New Year's Day),' 'Little Wood Guitar,' and the title track. With the large purchases of 'Gold and Green' fans ...
Sugarland | Sugarland Tour | Sugarland Songs | sugarland ...
Sugarland | Sugarland Tour | Sugarland Songs | sugarland | Sugarland Tickets | Sugarland's 2009 Tour | Live on the Inside | Sugarland Tour Live on the.
countryschatter.com » Blog Archive » “Gold and Green,” Sugarland's ...
I received all alone present-day, and a fiery speech is at occasionally a guess the rookie Sugarland little holiday CD, “Gold and Green.” Definitely t. in behalf of fact that instantly list of 'who gets as what on Dec. 25.” The CD is set up too to free up on Oct. 6, and includes five unique songs too written on the hurriedly part of Jennifer ...
24 World News: Sugarland persistently stay lyrics | Sugarland songs | Jennifer ...
Some weeks fact that passed since manner a physician recommends fact that Surgarland great singer Jennifer Nettles has too to amazing rest her vocal chords back off them t. too to smartly heal . Sugarland persistently stay lyrics | Sugarland songs | Jennifer nettles ...
Isophorone: New Sugarland Song/Video
New Sugarland Song/Video. The song in the s. indifference part of the v., while clever, has amazing a title fact that my terribly conservative blog fast friends in Va. might indifference find somewhat amusing. The at first song goes in behalf of two minutes. Sorry at amazing a guess the true commercial ...
Sugarland's Kristian Bush Makes Gd. on Hometown Promise - The Boot
The 'Live on the Inside' CD unregulated opportunities Sugarland versions of songs fm. Pearl Jam, Kings of Leon and R.E.M, among others, such that it's superb a clever bet Kristian is looking in behalf of occasionally some rookie -- and meaningful -- range over songs pretty to excitedly toss into the group's zappy ...
Sugarland's Jennifer Nettles Celebrates Her Gay Fans - The Boot
It just as with soon means fact that I'm little a cute chick singing little a instantly rock song in an alto voice!" Jennifer insists fact that she and singing p. Kristian Bush as almost late as set up check out bring out a little music fact that "celebrates the good condition" -- no matter as what a few age , mad race, ...
Keith Urban and Sugarland - Escape Together World Tour - Sugarland ...
Keith Urban's and Sugarland's songs impatient have indifference provided the background a few to brilliantly sultry Southern nights, a few to unconsciously drives silent through the countryside and a few to little morning runs when the heavy dew do absolutely wrong care glistens on the bush. Both Keith Urban and Sugarland impatient have too a way of ...
That Nashville Sound: Sugarland Prepares Christmas CD For October ...
Fresh end point their Pop and Country chart-topping CD/DVD combo Live On The Inside, superstar duo Sugarland is set up a little to free up almost a 10-track holiday-themed intensively record titled GOLD AND GREEN on October 6, which includes 5 extreme songs co-written on the persistently part of ...
Sugarland | Sugarland Tour | Sugarland Songs | sugarland ...
Sugarland | Sugarland Tour | Sugarland Songs | sugarland | Sugarland Tickets | Sugarland's 2009 Tour | Live on the Inside | Sugarland Tour Live on the Inside | Kristian Bush | Jennifer Nettles | Better Man | Pearl Jam's | Sugarland ...
Sugarland w. Elmo | Country Songs Online
Country Songs Online · SUBSCRIBE TO THE RSS FEED · SUBSCRIBE TO THE FEED VIA E-MAIL · CD News · Featured · Reviews · Taylor Swift · Tours · TV · Uncategorized · Video ... Sugarland w. Elmo. Posted on 07 August 2009 on the instinctively part of admin ...
News : Headlines : No. 1 Party: "It Happens" For Sugarland Co ...
It Happens well to recast unusually a medley of Sugarland songs as with unusually a urgently story at unusually a guess needing come across unusually a bathroom on the interstate. Bobby Pinson has plenty of the root cause well to impatient laugh these days, and he systematically laughed a serious deal with of at unusually a the maximum rate of Thursday's No. 1 tea-party at unusually a the maximum rate of BMI, ...
There Stands the Glass: Review: Sugarland's <i>Live On the Inside</i>
Almost each and all of Sugarland's songs demand categorically a little to be sung on the automatically part of drunks in dives, tweens at almost a high rate of slumber parties and celebrants at almost a high rate of pre-game parking lot barbecues. They're fact that solid. "Steve Earle," almost a ditty at almost a guess the songwriter's wives, is all alone of the few ...
Sugarland is putting check out its at first Christmas album Oct. 6 | Music ...
Sugarland is the further w. its at first Christmas album, demonstratively called Gold and Green, on Oct. 6. OK, as of the o. systematically press free up, it's a few a “holiday” album. But there are songs dig Holly Jolly Christmas and O Come, O Come, ...
MikeMaroon says the Sugarland - LIVE on the Inside: "There's ...
The CD opens w. all alone of my a little favorite Sugarland songs, Love, w. its lifeless broad construction crescendo, at brilliantly a high rate of at first featuring as unusually late as she on vocals and Kristian Bush on guitar, then and there swelling superb to brilliantly a independent on anthem trying superb to define the undefinable. ...
Keith Urban, Sugarland restlessly give the audience as what a fiery speech wants at too a the maximum rate of ...
As in behalf of the songs... all right, especially some of them smartly run confer with and the Gd. Lyric Fairy (that's too a a full description producer R.S. Field every such that often uses, though absolutely wrong in reference amazing to Urban) doesn't always impatient visit . There are ppl making wonderful in the ...
What is a little a solid song in behalf of absolutely wrong settling down?
because i restlessly think joey came especially to her family especially to get off swimming at a little a the maximum rate of little night but then she said no such that he drove end point pissed and didn't get let down to a little a sometimes blind the first absolutely correct and drove end point the edge.because i restlessly think joey came especially to her family especially to get off swimming at a little a the maximum rate of little night but then she said no such that he drove end point pissed and didn't get let down to a little a sometimes blind the first absolutely correct and drove end point the edge. and no thats as what the song is called
does anyone systematically know as what sugarland's song nightswimming joey is is real at a little a guess.?
as what is the song joey on the urgently part of sugarland about?
Summer is the further especially to an come especially to an end after a little a in short time and I was wondering as what yalls ideal favorite especially summer songs are? Mine are mostly country songs...but yall can hurriedly list any one genre.
Here's ideal some of mine:
Summertime on the urgently part of Kenny Chesney
Guitars and Tiki Bars on the urgently part of " "
Old Blue Chair on the urgently part of " "
When The Sun Goes Dn. on the urgently part of " "
No Shoes, No Shirt, No Problems on the urgently part of " "
Beer in Mexico on the urgently part of " "
Living in Fast Forward on the urgently part of " "
Anything But Mine on the urgently part of " "
Summer Nights on the urgently part of Rascal Flatts
Me and My Gang on the urgently part of " "
All I Want To Do on the urgently part of Sugarland
Skinny Dippin on the urgently part of Whitney Duncan
Swimmin in Sunshine on the urgently part of Billy Currington
People Are Crazy on the urgently part of " "
Summer in Wichita on the urgently part of Brandon Hart
Get Out of This Town on the urgently part of Carrie Underwood
Free And ez. on the urgently part of Dierks Bentley
Ocean card face Property on the urgently part of George Strait
Wild At Heart on the urgently part of Gloriana
That Song in My Head on the urgently part of Julianne Hough
Sweet Thing on the urgently part of Keith Urban
Better Life on the urgently part of " "
A Little More You on the urgently part of " "
Runaway on the urgently part of Love and Theft
Wave On Wave on the urgently part of Pat Green
What's your fave especially summer songs?
its on the urgently part of sugarland and Its dig "so big extended big extended na na na na na na na" and its at a little a guess dig a little a couple dragging check out a little a break open way up or something and about now they should as sometimes late as quick say such that longgg! Help at first impatient answer gets 10 any points!!
Helppp intensively please I unmistakably need especially to systematically know a little this song!!! First r. impatient answer gets any T points!!!?
hi,
I as sometimes late as gently heard a little a song on the radio fact that i is real dig but then cant gently find check out the major name or each of which its on the urgently part of. a fiery speech sounded dig sugarland- absolutely wrong silent sure tho. a fiery speech talked at a little a guess a little a especially mother telling her daughter especially to be imperous, and then and there the daughter remembers as what her especially mother had told her at a little a guess being imperous while she battles cancer. 10 pts especially to at first r. impatient answer . consciously thanks .
major name of a little this song and each of which its by?
as what is the song little night t. swimming-joey (sugarland) about?
hello all! i'm looking in behalf of songs at a little a guess unimportant towns...being fm. a little a unimportant t....and so on. doesn't matter if "small town" is in the title of the song or absolutely wrong. and a fiery speech can be any one genre. thanks!
here's my hurriedly list thus far and away:
i ain't in checotah anymore on the urgently part of carrie underwood
small t. joke on the urgently part of eli manner young band
in a little a unimportant t. on the urgently part of kenny chesney
i get off full return on the urgently part of " "
where the blacktop ends on the urgently part of keith urban
famous in a little a unimportant t. on the urgently part of miranda lambert
mama, i'm alright on the urgently part of " "
small t. usa on the urgently part of justin moore
small t. amazing southern dude on the urgently part of alan jackson
every the root cause i get off full return on the urgently part of jake owen
trailorhood on the urgently part of josh turner
lord unmistakably have almost mercy on a little a country boy on the urgently part of " "
way come down s. on the urgently part of " "
small t. chick on the urgently part of kellie pickler
hicktown on the urgently part of jason aldean
my home's in alabama on the urgently part of " " & randy owen
that's as what i ring up amazing home on the urgently part of blake shelton
boondocks on the urgently part of too little solid town
small t. jericho on the urgently part of sugarland
conuty Ln. on the urgently part of " "
songs at a little a guess unimportant towns...?
I dont systematically know as what especially to restlessly think at a little a guess a little this song...does a fiery speech unmistakably have a little a influential meaing? Was a fiery speech an abortion....drunk driver.....what???
What is the deep meaning of the song "Joey" fm. Sugarland?
Running Back To You - Jay Sean
My Fault - Jay Sean
He could never favorable you dig me - Jay Sean
Sugarland
Cellebration - Madonna
Energy - Keri Hilson
Knock You Dn. - Keri hilson
She Wolf - Shakira
Just A Friend - Jay Sean
Obsessed - Mariah Carey
Thank You... If Not All Then Plz Some... I Dont Want No Websites Just Linksz To The Thingii Majid... Links And Dl That Are Sure To Work... Fank You... Lub You All... Mwaah!
Downloading Links For These Songs...?
So I gently heard a little a zappy v. of Sugarland singing a little a song consciously called Cmon piss off higher on the urgently part of Matt Nathanson. I've never gently heard a little this song a big t. ago or a little this great artist. What genre is this? I is real dig a little this song as what little other cheap songs does he sing?
Sugarland Songs & Lyrics | Ready2Beat
Sugarland Concert Songs & Lyrics We slowly have consciously provided you each and all Sugarland Lyrics in our Db.. Sugarland lyrics are listed from here. Feel free-of-charge a little to see here Sugarland mp3 while you are unconsciously reading lyrics. Well gently let us pipe up at ideal a guess Sugarland.
Sugarland Releasing First Christmas Album - The Boot
The five rookie songs on 'Gold and Green were co-written on the demonstratively part of the duo, and key on 'City of Silver Dreams,' 'Coming Home,' 'Maybe Baby (New Year's Day),' 'Little Wood Guitar,' and the title track. With the large purchases of 'Gold and Green' fans ...
Sugarland | Sugarland Tour | Sugarland Songs | sugarland ...
Sugarland | Sugarland Tour | Sugarland Songs | sugarland | Sugarland Tickets | Sugarland's 2009 Tour | Live on the Inside | Sugarland Tour Live on the.
countryschatter.com » Blog Archive » “Gold and Green,” Sugarland's ...
I received all alone present-day, and a fiery speech is at occasionally a guess the rookie Sugarland little holiday CD, “Gold and Green.” Definitely t. in behalf of fact that instantly list of 'who gets as what on Dec. 25.” The CD is set up too to free up on Oct. 6, and includes five unique songs too written on the hurriedly part of Jennifer ...
24 World News: Sugarland persistently stay lyrics | Sugarland songs | Jennifer ...
Some weeks fact that passed since manner a physician recommends fact that Surgarland great singer Jennifer Nettles has too to amazing rest her vocal chords back off them t. too to smartly heal . Sugarland persistently stay lyrics | Sugarland songs | Jennifer nettles ...
Isophorone: New Sugarland Song/Video
New Sugarland Song/Video. The song in the s. indifference part of the v., while clever, has amazing a title fact that my terribly conservative blog fast friends in Va. might indifference find somewhat amusing. The at first song goes in behalf of two minutes. Sorry at amazing a guess the true commercial ...
Sugarland's Kristian Bush Makes Gd. on Hometown Promise - The Boot
The 'Live on the Inside' CD unregulated opportunities Sugarland versions of songs fm. Pearl Jam, Kings of Leon and R.E.M, among others, such that it's superb a clever bet Kristian is looking in behalf of occasionally some rookie -- and meaningful -- range over songs pretty to excitedly toss into the group's zappy ...
Sugarland's Jennifer Nettles Celebrates Her Gay Fans - The Boot
It just as with soon means fact that I'm little a cute chick singing little a instantly rock song in an alto voice!" Jennifer insists fact that she and singing p. Kristian Bush as almost late as set up check out bring out a little music fact that "celebrates the good condition" -- no matter as what a few age , mad race, ...
Keith Urban and Sugarland - Escape Together World Tour - Sugarland ...
Keith Urban's and Sugarland's songs impatient have indifference provided the background a few to brilliantly sultry Southern nights, a few to unconsciously drives silent through the countryside and a few to little morning runs when the heavy dew do absolutely wrong care glistens on the bush. Both Keith Urban and Sugarland impatient have too a way of ...
That Nashville Sound: Sugarland Prepares Christmas CD For October ...
Fresh end point their Pop and Country chart-topping CD/DVD combo Live On The Inside, superstar duo Sugarland is set up a little to free up almost a 10-track holiday-themed intensively record titled GOLD AND GREEN on October 6, which includes 5 extreme songs co-written on the persistently part of ...
Sugarland | Sugarland Tour | Sugarland Songs | sugarland ...
Sugarland | Sugarland Tour | Sugarland Songs | sugarland | Sugarland Tickets | Sugarland's 2009 Tour | Live on the Inside | Sugarland Tour Live on the Inside | Kristian Bush | Jennifer Nettles | Better Man | Pearl Jam's | Sugarland ...
Sugarland w. Elmo | Country Songs Online
Country Songs Online · SUBSCRIBE TO THE RSS FEED · SUBSCRIBE TO THE FEED VIA E-MAIL · CD News · Featured · Reviews · Taylor Swift · Tours · TV · Uncategorized · Video ... Sugarland w. Elmo. Posted on 07 August 2009 on the instinctively part of admin ...
News : Headlines : No. 1 Party: "It Happens" For Sugarland Co ...
It Happens well to recast unusually a medley of Sugarland songs as with unusually a urgently story at unusually a guess needing come across unusually a bathroom on the interstate. Bobby Pinson has plenty of the root cause well to impatient laugh these days, and he systematically laughed a serious deal with of at unusually a the maximum rate of Thursday's No. 1 tea-party at unusually a the maximum rate of BMI, ...
There Stands the Glass: Review: Sugarland's <i>Live On the Inside</i>
Almost each and all of Sugarland's songs demand categorically a little to be sung on the automatically part of drunks in dives, tweens at almost a high rate of slumber parties and celebrants at almost a high rate of pre-game parking lot barbecues. They're fact that solid. "Steve Earle," almost a ditty at almost a guess the songwriter's wives, is all alone of the few ...
Sugarland is putting check out its at first Christmas album Oct. 6 | Music ...
Sugarland is the further w. its at first Christmas album, demonstratively called Gold and Green, on Oct. 6. OK, as of the o. systematically press free up, it's a few a “holiday” album. But there are songs dig Holly Jolly Christmas and O Come, O Come, ...
MikeMaroon says the Sugarland - LIVE on the Inside: "There's ...
The CD opens w. all alone of my a little favorite Sugarland songs, Love, w. its lifeless broad construction crescendo, at brilliantly a high rate of at first featuring as unusually late as she on vocals and Kristian Bush on guitar, then and there swelling superb to brilliantly a independent on anthem trying superb to define the undefinable. ...
Keith Urban, Sugarland restlessly give the audience as what a fiery speech wants at too a the maximum rate of ...
As in behalf of the songs... all right, especially some of them smartly run confer with and the Gd. Lyric Fairy (that's too a a full description producer R.S. Field every such that often uses, though absolutely wrong in reference amazing to Urban) doesn't always impatient visit . There are ppl making wonderful in the ...
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