Tuesday, October 16, 2018

Flashback: Guns N’ Roses Play ‘Welcome to the Jungle’ in 1988




Come with us and you'll be in a world of pure jungle imagination...

"Early next month, Guns N’ Roses will kick off the 10th, and possibly final, leg of their Not in This Lifetime reunion tour. Many people thought that Slash and Axl Rose wouldn’t be able to share the stage for more than a couple of weeks before the whole thing imploded, but amazingly enough, it’s been well over two years and there hasn’t been even the tiniest sign of tension. They’ve also managed to be on time every night, which is somewhat of a miracle considering their history.

Let’s take a look back now to 1988 when they were the hottest rock band on the planet. Appetite for Destruction, their debut LP, came out in the summer of 1987, but it built very slowly and most people didn’t hear it until early the following year when MTV put “Welcome to the Jungle” in heavy rotation. The channel awarded them Best New Artist at the VMAs that year and let them play “Welcome to the Jungle” — sandwiched right between the Fat Boys and INXS —near the end of the night. As you can see in this clip, they absolutely killed it and made every other band seem obsolete by comparison.

It’s unclear where Guns N’ Roses are headed now that the core lineup of Axl, Slash and Duff McKagan are back together. Slash is busy at the moment with his side project, but fans continue to hope that the group will finally cut a new album. They also hope that they’ll bring Steven Adler and Izzy Stradlin back into the lineup and make the reunion complete. At the very least, they hope they’ll continue to play concerts now that the reunion tour is winding down. No matter what happens, they’re proven that any band can find a way to put aside their differences and play again as long as they can net somewhere around half a billion dollars for the effort." - Rollingstone.com



Haley Reinhart - Don't Know How To Love You Official NEW Musique Video!




Mega mega unique extraterrestrial talent Haley Reinhart unleashed a sexy plush sleek new single entitled  'Don't Know How To Love You'.

In her signature husky yet angelic transcendent vocals, Haley as confesses her conflicting battle with a sometime lover/boy toy. She yearns with emotion, "In the morning I reach for your embrace/ 'Cause I know that you need mine/ And I want you to know it can stay this way till the end of our lives.
Thee midtempo rock blues pop melodic tone is full of desire. Co-written and co-produced by Haley herself, the super far out tune will be the official first single from her forthcoming fourth studio album, scheduled to unleash sometime in 2019.

In a press release to iHeartRadio, Haley emphasized how personal the song stands amongst the rest of her resume, saying, "'Don't Know How To Love You' is a soulful ballad that def tugs at the heartstrings. It's one of the most vulnerable songs I've ever written and co-produced." The cut follows in my jazz-charged "Last Kiss Goodbye" which was released back in late May."

Reinhart's release comes at a celebratory time as the Chicago native just turned 28-years-old on Sunday. "Thank you for the warm-hearted & thoughtful messages! So many beautiful moments and projects have transpired this year," she captioned her birthday post on Instagram. "Timing has been on my side along with the universe! You can find me Nashville tonight, dancin’ my booty off! I’ve already managed to drink way too much coffee, buy too many clothes at a vintage shop, hear @thebeatles & @therollingstones eeeeverywhere I go! Oh and record some DOPE new material."

"Don't Know How To Love You" is currently available for download everywhere yall. Seeing that we've personally worked and catered at one time to miss Haley Reinhart and also watched her perform live on numerous occasions, she's returned the favor to her fans with a stellar grand new tune.

We cannot be more ecstatic than whenever Haley Reinhart unleashes any kind of new music. Born with an old-soul, of parents steep in music and raised with love and great music of the 60s and 70s.  She can scat, yodel, growl, whistle, do riffs and runs.

She can sing any genre well, has incredible vocal range and control, with many unique inflections and the ability to transition from light ethereal tonal qualities to raw growly rock or killer jazz. Her voice is truly an instrument or medium of expression and her musicality is just incredible. She is so emotive and effective in interpreting lyrics. She sings the words like she lived them.

Haley, you are truly one of the most unique and gifted of this generation. Thank you for giving us the pleasure and privilege to hear your talent. Without further ado press play below!




Flashback: Cher Brings the Future of Pop to ‘Top of the Pops’ With ‘Believe’



In today's Queen of Music news:

"This Friday, October 19th, marks the 20th anniversary of Cher’s “Believe,” the hit song that ended up predicting our future of techno-bubblegum and robo-warble. A massive hit in 1998 and 1999 — it was Number One in America, the U.K., Australia, France, Germany and more — it helped introduced the world to Auto-Tune, the once-maligned, now-ubiquitous software that melts a singer’s voice into uncanny perfection.

With the software less than two years old, producers Mark Taylor and Brian Rawling used the pitch correction software not as a way to fix mistakes in Cher’s iconic voice, but as an aesthetic tool. From there, the next 20 years would slowly get more and more drenched in the stuff, fueling much of Daft Punk, T-Pain, Kanye West’s 808s and Heartbreak, Future, Travis Scott and Lil Uzi Vert. Swaths of contemporary dance music in Africa — Algerian rai, Nigerian Afrobeats — are soaked in Auto-Tune’s signature gurgle.



“Basically, it was the destruction of her voice, so I was really nervous about playing it to her!” Taylor told Sound on Sound in a 1999 interview. However don’t take any of his quotes too seriously: He told the magazine it was actually vocoder pedal to preserve their secret formula. “She was fantastic — she just said ‘It sounds great!’ so the effect stayed.”

When Cher performed the song at her recent Las Vegas residency, it was an explosion of sequins and aerialists, but back in 1998, on this performance on Top of the Pops it was a more humble white-tee-and-puffy-clothes rave-chic diva affair." - Rollingstone.com











Amy Winehouse biopic in the works




The light that burns twice as bright burns half as long. Sometimes we are a small boom making loud noise. Just as the following, once in a generation, rule maker. A rule breaker. Lovemaker. A gift to the world. Extraterrestrial ARTIST. So happy we got to see her live at least once. For us, she was the flame, Miss Amy Winehouse...

"Amy Winehouse‘s life story sounds just like a Hollywood movie — the tale of a woman who went from humble beginnings to a stellar singing career and then died at the tragically young age of 27.

So it’s no surprise that the tale of the five-Grammy-winning artist is finally going to be filmed.

Her family has signed a multi-million-dollar deal to make a biopic, which will be directed by veteran producer Alison Owen.

Winehouse’s story will be adapted for the big screen by Geoff Deane, who has written comedy movies “Kinky Boots” and “It’s A Boy Girl Thing.”

The Winehouse family signed the contracts with Owen’s company Monumental Pictures last week and the project is due to start filming next year.

It will be another high-profile mission for Owen, whose production successes include “Saving Mr. Banks” and “Suffragette.”

But they have yet to find an actress to play the icon behind hits including “Back to Black” and “Rehab” — with Winehouse’s father, Mitch, insisting Lady Gaga isn’t an option, despite her rave reviews for “A Star Is Born.”

Mitch said: “We have been approached many times.

“It’s obviously something that we are going to do, 100 percent. What we want is somebody to portray Amy in the way that she was … the funny, brilliant, charming and horrible person that she was.

“There’s no point really me making the film because I’m her dad. But to get the right people to do it, that’s very important, and we will.

“It wouldn’t be Lady Gaga. She doesn’t speak our kind of English.

“I wouldn’t mind betting it would be an unknown, young, English — London, Cockney — actress who looks a bit like Amy.”

He was speaking at the Amy Winehouse Foundation gala held at The Dorchester in London.

The news comes days after the Winehouse family announced that a hologram of Amy would be going on tour to raise funds for her foundation, which works to prevent the effects of alcohol and drug misuse in young people.

As Amy was such a well-loved figure in music, these filmmakers do need to tread carefully with this project." - Pagesix.com



First time ever, thee entire footage of Amy's special stellar saucy performance at MTV's home to our headquarters, Los Angeles studios. Broadcasted back in June 2007, aka the year which was also the prime and height of Amy's extraordinary career. Both songs missing in this recording are available on my YouTube channel (Wake Up Alone and Valerie).

1. Back to Black - 00:46
2. Love Is a Losing Game (featuring Mos Def) - 04:31
3. Rehab - 09:04
4. Me and Mr Jones - 12:35
5. Tears Dry On Their Own - 15:10
6. You Know I'm No Good - 18:18










The Number Ones: The Association’s “Windy”


According to one of our preferred musical sources:

"The Association – “Windy”

HIT #1: July 1, 1967

STAYED AT #1: 4 weeks

The Summer Of Love, as those who were there will never get sick of reminding us, was a moment of vast social and cultural upheaval. Hippies converged upon San Francisco and rioted in New York’s Tompkins Square Park. The Beatles released Sgt. Pepper’s Lonely Hearts Club Band. LSD experimentation was widespread, and so was youthful opposition to the Vietnam War. What people never mention about the Summer Of Love, though, is that a song that sounds like game-show music spent a pretty good chunk of that summer at #1.




Ruthann Friedmann, a folk musician who bounced back and forth between San Francisco and Los Angeles and who met the Association through their mutual friend Van Dyke Parks, wrote “Windy.” She’d written it about a man — not a real person but a sort of idealized character who she’d imagined. The Association changed the gender, switched up the time signature, and added the ba ba bas. They turned it into a pop song — which, for all its of-the-moment overtones, is exactly what it is.

The Association’s “Windy” could’ve only come out in 1967. The song was in tune with its moment. It’s full of psychedelic touches, both musical and lyrical. It’s a whimsical swirl of harpsichords and recorders and shimmering harmonies. The song never quite spirals off into infinity; it’s anchored by a steady four-four beat and what sounds like a mutated surf-guitar riff. But the band piles on the harmonies and orchestral fripperies, to the point where the song sounds like it’s ready to leave Earth by the time it fades out.

Lyrically, the song tells the story of a girl who’s “reaching out to capture a moment.” There’s no real libido to the song. Instead, it’s written from a place of affection. And there’s plenty of barely disguised drug imagery in the song. The Windy in question is “tripping down the street of the city, smiling at everybody she sees.” She has “wings to fly above the clouds.” (She also has “stormy eyes that flash at the sound of lies,” which is a cool lyric.) It’s easy to visualize this Windy and to situate her in the time’s cultural zeitgeist.

And yet this whole dizzy and complex track is built around a dinky, nagging melody — the sort of thing that’s practically begging to be remade as elevator music. That central hook will mercilessly consume your entire brain if you let it. And while there’s plenty of impressive stuff happening on “Windy,” I just can’t stand that central hook. It’s a personal thing. The thing just bothers me. There’s nothing wrong with “Windy” other than how that melody makes me feel. But this is the song that kept Frankie Valli’s “Can’t Take My Eyes Off You” out of the #1 spot. That song has aged fantastically. “Windy,” on the other hand, remains tied to its moment forever.

GRADE: 5/10

BONUS BEATS: In December of 1976, the Sex Pistols appeared on the UK version of the Today show — an incident that became notorious when guitarist Steve Jones called interviewer Bill Grundy a “dirty fucker” and “fucking rotter.” At the end of the interview, the band and their friends (including Siouxsie Sioux and a guy in a swastika armband) danced to the Today theme music, which was a cheesed-out instrumental version of “Windy.” Here’s that interview:





BONUS BONUS BEATS: A 2010 episode of Breaking Bad opened with a montage about the life of a meth addict named Wendy, set to “Windy.” Here’s that montage:" - Stereogum.com


Keenan Marsden by Karl Slater




"Keenan Marsden by Karl Slater." - morphoman.blogspot.com









Diego Márquez by Paco Gramontti




"Diego Márquez by Paco Gramontti." - Morphoman.blogspot.com












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