It was fun being guest music expert on Phoenix community radio 1480 KPHX about The Jersey Boys film focusing on the music history of Frankie Valli and The Four Seasons. I grew-up with family legends related to Frankie Valli and The Four Seasons.
“Breakthrough Entertainment” travels back in time to December 1963 in honor of the release of the new musical biopic “Jersey Boys” with actor Jason Kappus, who portrays Bob Gaudio in Las Vegas’s stage production of the show, and DJ Michael Swerdloff, AKA, DJ Mystical Michael, whose family members were friends with Frankie Valli and the Four Seasons. Other guests include “Ping Pong Summer” writer/director Michael Tully, “50 to 1” filmmakers Jim Wilson and Faith Conroy and Dean Martin tribute artist Drew Anthony while other films featured include “The Grand Seduction,” “The Fault in Our Stars” and “22 Jump Street.”
The most famous DJ ever, Casey Kasem, is about to finish this life. It is possible that today is his last day with us. For those who do not know who Casey Kasem is, I have included plenty of information and history below.
Before I get to his public history, I would like to speak briefly about my personal history with Casey Kasem. When I was a child growing up, there was nothing more fun than listening to Casey Chasm and the American top 40. There were two radio voices that I remember as a child, one of them being Casey Kasem and any other being Cousin Brucie. The former was national and the latter was local to the New Jersey and New York City area. I can remember many road trips down to the Jersey shore every summer listening to Casey Kasem as if he was part of our family. I have to admit, a significant part of my knowledge base of music history comes from listening to Casey Kasem. Along with his kind and gentle voice, him and his team took the time and effort to research and share with listeners about the songs and artists on the top of the charts each week. We did not have Internet then, so listening to good radio DJs and reading the liner notes on albums was our primary source of information about the music industry. Casey Kasem was a leader in bringing knowledge of the music industry directly to the American pop music audience.
Casey Kasem The Most Famous DJ EVER; Sadly in his Final Countdown
Here’s what Casey Kasem sounded like in healthier days back in the 1980’s
Casey Kasem The Most Famous DJ EVER
“Kemal Amin “Casey” Kasem (born April 27, 1932) is a retired Americanmusician, disc jockey, radio personality and actor, best known for being the host of the music radio programs American Top 40, American Top 20 and American Top 10 from 1970 until his retirement in 2009, and for providing the voice of Norville “Shaggy” Rogers in the Scooby-Doofranchise from 1969 to 1997, and again from 2002 until 2009.
Kasem, Don Bustany, Tom Rounds and Ron Jacobs founded the American Top 40 franchise in 1970, hosting it from 1970 to 1988 and from 1998 to 2004. Between January 1989 and early 1998, he was the host of Casey’s Top 40, Casey’s Hot 20, and Casey’s Countdown. Also beginning in 1998, Kasem hosted two adult contemporary spin-offs of American Top 40,American Top 20, and American Top 10. Kasem retired from AT20 and AT10 on July 4, 2009 and both shows ended on that day.
In addition to his radio shows, Kasem has provided the voice of many commercials; has done many voices for Sesame Street; provided the character voice of Peter Cottontail in the Rankin/Bass production of Here Comes Peter Cottontail; was the voice of NBC; helps out with the annual Jerry Lewis telethon; and provided the cartoon voices of Robin in Super Friends, Mark on Battle of the Planets, and a number of characters for the Transformers cartoon series of the 1980s. In 2008, he was the voice of Out of Sight Retro Night which aired on WGN America, but was replaced by rival Rick Dees. After 40 years, Kasem retired from his role of voicing Shaggy in 2009, although he did voice Shaggy’s father in the 2010 TV series, Scooby-Doo! Mystery Incorporated.” Wikipedia
As an adult I did not listen to Casey Kasem much. My music tastes changed as did the style of DJ on radio I appreciated. However, my respect and admiration for Casey Kasem never dissipated. Early in my career as a radio DJ, Casey Kasem was one of my role models. I am grateful for those rides to the Jersey shore listening to American top 40 with Casey Kasem.
DJ Mystical Michael – Rhode Island DJ and Boston DJ
Ask about my Rhode Island Wedding DJ and Rhode Island Party DJ Guarantee!
Iggy Azalea Tops Hot 100 With ‘Fancy,’ Matches Beatles’ Historic Mark by Gary Trust
“As the Australian rapper rises 2-1 with ‘Fancy’ and 3-2 as a guest on Ariana Grande‘s ‘Problem,’ Azalea joins the Beatles as the only artists to rank at Nos. 1 and 2 simultaneously with their first two Hot 100 hits
It’s a fab week for Iggy Azalea, who earns a chart honor not achieved since the Beatles swarmed the U.S. in early 1964. The Australian rapper crowns the Billboard Hot 100 with her debut hit “Fancy,” featuring Charli XCX (2-1). As Azalea also rises 3-2 as the featured artist on Ariana Grande’s “Problem,” Azalea joins the Beatles as the only acts to rank at Nos. 1 and 2 simultaneously with their first two Hot 100 hits.
Action abounds on this week’s Hot 100, including climbs into the top 10 for Nico & Vinz and Jason Derulo, while “Fancy” additionally takes over atop the Digital Songs chart, so let’s dive into our weekly look at the numbers behind the Hot 100’s top 10 and more.
Iggy Azalea, Charli XCX – Fancy (2014 Billboard Music Awards) Video
Iggy Azalea adds a chapter to the Hot 100’s record book by achieving a feat that the Beatles last earned on the Feb. 22, 1964, chart. That week, the Fab Four’s debut pop culture-changing smash “I Want to Hold Your Hand” held at No. 1 and “She Loves You” lifted 3-2. The songs had debuted the weeks of Jan. 18 and 25, 1964, respectively, and soared to the chart’s top two spots after the band made its landmark appearance on “The Ed Sullivan Show” on Feb. 9, 1964.
(Incredibly, “Hand” and “Loves” would hold the top two rungs for six weeks, with “Hand” on top for four frames before they swapped spots. On April 4, 1964, “Loves” fell 1-3 and “Hand,” 2-4, so, that week, the Beatles would have to settle for a consolation prize: the group locked up the April 4 list’s entire top five, the only time an act has monopolized the region in the Hot 100’s 55-year history.)
Flash-forward 50 years to March 22, 2014, when Iggy Azalea’s “Fancy” bowed at No. 88. On the May 17 tally, Iggy Azalea launched her second entry, as Grande’s “Problem” roared in at No. 3. (The same week, Iggy Azalea’s “Work” entered at No. 88; the cut climbs 77-63 this week.)
Iggy Azalea Work Video
Expanding beyond only artists’ first two Hot 100 hits placing up at Nos. 1 and 2 in the same week, Iggy Azalea is the 15th act to double up at those ranks with any two titles. Iggy Azalea’s the first since Pharrell Williams did so for five weeks last year as featured on Robin Thicke’s “Blurred Lines” (also featuring T.I.) and Daft Punk’s “Get Lucky.” She’s just the third woman to rank at Nos. 1 and 2 concurrently, following Mariah Carey (Sept. 10, 2005) and Ashanti (five weeks, 2002).
Iggy Azalea additionally becomes only the fourth solo female rapper ever to top the Hot 100. Lauryn Hill was the first, having taken her debut solo hit “Doo Wop (That Thing)” to No. 1 for two weeks in November 1998. (She had first made her mark with the Fugees.) In 2001, Lil’ Kim led for five weeks with Christina Aguilera, Mya and P!nk on “Lady Marmalade,” while Shawnna assisted Ludacris on “Stand Up,” which topped the Dec. 6, 2003, chart.
Notably, a pair of other prominent female rappers have yet to reach the Hot 100’s summit. Among her nine top 10s, Missy Elliott climbed to No. 2 twice: for 10 weeks in 2002 with “Work It” and for seven frames in 2005 as a guest on Ciara’s “1, 2 Step.” Nicki Minaj has also tallied nine top 10s, reaching No. 3 twice, both in 2011: as featured on Britney Spears’ “Till the World Ends” and with her own “Super Bass.” This week, Minaj debuts at No. 47 on the Hot 100 with her new single “Pills N Potions.”
(Honorable mention to Blondie, who, led by frontwoman Debbie Harry, is widely regarded as scoring the Hot 100’s first rap No. 1, “Rapture,” in 1981.)
Not to be lost in the celebration of Iggy Azalea’s new Hot 100 leader, Charli XCX likewise lands her first No. 1. In her sole prior visit, the U.K. pop singer/songwriter peaked at No. 7 a year ago this month as featured on Icona Pop’s “I Love It.”
Until this week, the last time that at least two solo women had teamed for a Hot 100 No. 1? Rihanna and Britney Spears sent “S&M” to the top of the April 30, 2011, chart. That title marked the first all-solo female No. 1 collab since “Lady Marmalade” nearly 10 years earlier. (The last pairing of only two solo women at the summit prior to “Fancy” and “S&M”? Brandy and Monica, who fought their way to No. 1 for 13 weeks in 1998 with “The Boy Is Mine.”)
(One other fun fact regarding the coronation of “Fancy”: the new Hot 100 is dated June 7, 2014. That makes for a perfect birthday present for the soon-to-be 24-year-old Azalea, who was born on June 7, 1990.)
How did “Fancy” fly to the Hot 100’s top spot? The song surges by sweeping the chart’s top Digital, Streaming and Airplay Gainer awards (for the second time in four weeks). It rises 2-1 on Digital Songs with a 44 percent gain to 336,000 downloads sold, according to Nielsen SoundScan. Aiding the song’s advance? Azalea and Charli XCX performed it on the Billboard Music Awards on May 18, the day before the latest sales tracking week began on May 19. “Fancy” spends a second week at No. 1 on Streaming Songs (14 million U.S. streams, up 66 percent, according to Nielsen BDS) and reaches the Radio Songs top five (7-5; 104 million, up 23 percent).
Ariana Grande, Iggy Azalea – Problem (Billboard Music Awards) Video
“Problem,” meanwhile, pushes 3-2 on the Hot 100, also with gains in each of the chart’s three metrics. It dips 1-2 on Digital Songs after spending its first three weeks at No. 1, but grows by 15 percent to 284,000. Grande likewise sang the song on the Billboard Music Awards (after Azalea performed “Fancy”; Azalea returned to the stage to join Grande for “Problem”). It slips 2-3 on Streaming Songs (10.4 million, up 39 percent) and bounds 16-10 on Radio Songs top 10 (73 million, up 30 percent), where it’s her first top 10 hit; her debut single, “The Way,” featuring Mac Miller, reached No. 12 on Radio Songs last year.
As she competes with herself (and Grande) at No. 2, Azalea handily lands the Hot 100’s top spot, as “Fancy” (up 46 percent) boasts 28 percent more overall chart points than “Problem” (up 25 percent).”
What a great accomplishment for the young artist Iggy Azalea. Regardless of what you think of her music, this is a unique experience and needs to be acknowledged.
DJ Mystical Michael Rhode Island DJ and Boston DJ
Ask about my Rhode Island Wedding DJ and Rhode Island Party DJ Guarantee!
20 hit songs meant for other singers is taken from an article in Billboard last year. It is interesting to look at some of the songs that pop stars chose to pass on that became hits for other artists.
Last week, Nicole Scherzinger revealed in an interview that she had the opportunity to record “We Found Love,” the Calvin Harris-produced dance smash that became the biggest hit of Rihanna’s thriving career, but let the chance slip through her fingers. “I passed on ‘We Found Love,'” Scherzinger admitted to Notion Magazine. “I’ve got the demo of that song and I was busy at the time.”
Surprisingly, this occurrence is not at all uncommon in the music world: the past half-century is littered with examples of iconic pop songs that were originally intended for someone else to perform. Imagine a world in which Britney Spears is singing “Umbrella,” Hillary Duff scored a monster hit with “Since U Been Gone” and Paris Hilton asked “Don’t Cha” instead of Scherzinger’s old group, the Pussycat Dolls. Strange to consider, isn’t it? But some of these missed opportunities were pretty close to becoming reality.
Check out these 20 instances of smash songs originally intended for other artists, and let us know which one is the most mind-blowing to consider in the comments section below.
“Telephone”
Turned Down By: Britney Spears
Recorded by: Lady Gaga
For those who love comparing Britney Spears and Lady Gaga, this one is a doozy: Gaga originally wrote “Telephone” to be included on Spears’ “Circus” album, but after the pop superstar rejected it, Gaga saved the track for later inclusion on her “Fame Monster” release. A demo of Spears singing the track supposedly leaked online in 2010, but we’re unlikely to ever hear Spears’ polished take on the song.
“Disturbia”
Turned Down By: Chris Brown
Recorded by: Rihanna
Months before the 2009 Grammy Awards, Chris Brown co-penned an electro-pop jam that was considered for the deluxe edition of his “Exclusive” album. Brown opted to record “Forever” instead, and gave “Disturbia” to his girlfriend Rihanna, who turned it into another No. 1 hit on the Hot 100. Brown could have easily turned Brian Kennedy’s propulsive beat into a radio hit of his own, but the track just sounds cleaner with Rihanna out in front.
“Friends in Low Places”
Previously Recorded By: Mark Chesnutt
Made Famous By: Garth Brooks
While Brooks claimed in the liner notes of “The Hits” that “Friends in Low Places” was originally held for him, Mark Chesnutt, who enjoyed a run of success in the early 90s, also recorded the song. His version appears on his 1990 debut “Too Cold at Home” — released only a month after Brooks’ “No Fences” — and was the B-side to his 1991 single “Broken Promise Land.”
“Rock Your Body”
Turned Down By: Michael Jackson
Recorded By: Justin Timberlake
Imagine, if you will, that Michael Jackson’s final album was comprised of Neptunes-produced bangers like “Rock Your Body” instead of the uneven fare of 1999’s “Invincible.” And imagine that Justin Timberlake’s solo debut was not blessed with tracks like this ubiquitous dance-starter. MJ passed on “Rock Your Body,” and a number of other “Justified” songs, before the tracks went to JT, sending us into an alternate pop universe that still resonates today.
“Since U Been Gone”
Turned Down By: Pink, Hillary Duff
Recorded By: Kelly Clarkson
Dr. Luke and Max Martin originally teamed up to give P!nk another hit, and when she reportedly turned it down, they reached out to Hillary Duff. But the story goes that Clive Davis convinced the producers to give the song to Clarkson, who fashioned it into the centerpiece of her “Breakaway” and helped it sell 2.6 million downloads, according to Nielsen SoundScan.
“N—as in Paris”
Turned Down By: Pusha T
Recorded By: Jay-Z & Kanye West
Hit-Boy’s bonkers beat on the “Watch The Throne” hit could have been the property of the former Clipse member, but even he doesn’t know if it would have turned out as irresistible as Jay and Ye made it. “I tell people all the time that I don’t know if I would’ve attacked it that way,” he said in a 2011 interview, “which means the record might not have been as special once I got on it.”
“Gold Digger”
Turned Down By: Shawnna
Recorded By: Kanye West
“Gold Digger” became one of Yeezy’s biggest hits to date, but would the Jamie Foxx-assisted “Late Registration” jam topped the Hot 100 if it had been recorded by Chicago rapstress Shawnna? After she passed on the beat, West rewrote the hook to accommodate a male perspective, and struck, er, gold.
“S.O.S.”
Turned Down By: Christina Milian
Recorded By: Rihanna
In a hits-packed career, “S.O.S.” still stands out for Rihanna: the infectious dance track spent three weeks atop the Hot 100, notching the Barbadian star her first number one single. Christina Milian, who infamously passed up the chance to record the track, certainly could have used the smash single — her last mainstream hit was “Dip It Low” in 2004, and she hasn’t released an album since 2006, the same year that “S.O.S.” reigned on the radio.
“Umbrella”
Turned Down By: Britney Spears
Recorded By: Rihanna
Back in 2007, a full-fledged Britney Spears comeback was far from assured, after a series of personal meltdowns prevented the pop superstar from once again reaching greatness. Legend has it that “Umbrella” writer/co-producer The-Dream offered the song to Brit as a way to engineer a return to the throne, but that her management nixed the track, which eventually went to Rihanna and became a No. 1 record. It’s not hard to imagine Spears’ voice on the track, but it’s impossible to think how a lack of “Umbrella” would have changed Rihanna’s career.
“Nothin’ On You”
Turned Down By: Lupe Fiasco
Recorded By: B.o.B.
Before B.o.B and Bruno Mars linked up to perform the song that would serve as a breakout to both, “Nothin’ On You” was originally offered to another Atlantic hip-hop artist, Lupe Fiasco. Apparently the label rejected Fiasco’s version of the track, which made the rapper reach a breaking point. “It was less about the bruised ego but more the audacity of it. It was mentally destructive,” he said in an interview after the song’s release.
“…Baby One More Time”
Turned Down By: TLC
Recorded By: Britney Spears
This is one denial that seemed to work out for all parties involved: Max Martin’s pop track was originally offered to TLC for their “Fan Mail” album, but the R&B group rejected the song, which eventually served as Spears’ debut single. Without “…Baby One More Time,” Spears perhaps does not arrive in such a huge way; meanwhile, TLC packed “FanMail” with hits like “No Scrubs” and “Unpretty,” and the album was eventually nominated for album of the year at the Grammy Awards.
“How Will I Know”
Turned Down By: Janet Jackson
Recorded By: Whitney Houston
Whitney Houston’s No. 1 hit on the Hot 100 stands as one of the artist’s most iconic tracks — but it could have sounded a lot different with Janet Jackson at the helm. Songwriters George Merrill and Shannon Rubicam reportedly approached Janet’s management team with a demo, but a swift decline forced them to look elsewhere. Thanks in large part to Clive Davis, Houston was given the track and turned it into a behemoth.
“Whataya Want From Me”
Turned Down By: P!nk
Recorded By: Adam Lambert
Adam Lambert’s biggest hit to date could have ended up on “Funhouse” by P!nk, who co-wrote the track with Max Martin and Shellback before delivering it to the “American Idol” runner-up. P!nk eventually recorded her own version of “Whataya Want From Me,” complete with the exact same arrangement, and placed it on her “Greatest Hits… So Far!!!” compilation in 2010 — but Lambert’s rafter-reaching vocals still score the victory in a side-by-side comparison.
“Toxic”
Turned Down By: Kylie Minogue
Recorded By: Britney Spears
Britney’s 2004 smash won the pop star her first Grammy and has sold 1.9 million downloads since its release according to Nielsen SoundScan, but the seductive song could have been a logical sequel to Kylie Minogue’s “Can’t Get You Out of My Head.” “I listened to a snippet of it in the record company offices and decided against it,” Minogue said in a 2008 interview. “It’s like the fish that got away. You just have to accept it.”
“Holiday”
Turned Down By: Mary Wilson
Recorded By: Madonna
The unstoppable “Holiday” was passed around to Phyllis Hyman and then to Supremes founding member Mary Wilson before it came to Madonna, who guided the track to a No. 16 peak on the Hot 100 and gave the upstart singer her first taste of the chart. How would the song have sounded with an R&B backbone? The world will never know.
“I’m A Slave 4 U”
Turned Down By: Janet Jackson
Recorded By: Britney Spears
The Neptunes’ slinky pop track was almost given a completely different context: instead of becoming the sexually charged lead single of her more adult “Britney” album, “I’m A Slave 4 U” almost ended up as a game-changing single for Janet Jackson, who passed on the opportunity to record the song. That’s right: if Janet opted to take on “Slave,” maybe Britney NEVER dances with a python on the VMAs stage!
“Thinkin Bout You”
First Recorded By: Frank Ocean
Famously Recorded By: Bridget Kelly
Ocean’s record of the year Grammy nominee was originally written for Roc Nation artist Bridget Kelly, but in 2011, Ocean leaked his own demo of the track on his Tumblr page. Fast-forward one year, and the vulnerable slow jam is featured on both Kelly’s “Every Girl” EP (under the title “Thinking About Forever”) and Ocean’s best-selling “Channel Orange” LP. Both versions are worth hearing, but Ocean’s personal cut still lingers with fans, years after that Tumblr post.
“Call Me”
Turned Down By: Stevie Nicks
Recorded By: Blondie
Disco producer Giorgio Moroder originally asked Fleetwood Mac’s lead songstress to help compose lyrics and deliver vocals for his latest dance confection, but when contractual issues prevented the collaboration from happening, Moroder turned to Debbie Harry, who co-wrote “Call Me.” Nicks scored a huge hit two years later with “Edge of Seventeen,” but could she have guided “Call Me” to its No. 1 spot on the Hot 100, as Blondie did?
“Don’t Cha”
Turned Down By: Paris Hilton
Recorded By: The Pussycat Dolls
The salacious single was originally offered to both the Sugababes and Paris Hilton before ending up with the Pussycat Dolls, who used the track as the lead single from their 2005 debut album “PCD.” Hilton’s 2006 debut LP “Paris” never scored a hit on the level of “Don’t Cha,” and could have used the track as an introduction to her short-lived sonic style.
“Let’s Get Loud”
Turned Down By: Gloria Estefan
Recorded By: Jennifer Lopez
“Let’s Get Loud” was originally written by Estefan and Kike Santander for the Latin-pop superstar to use for herself, but the song was eventually passed to Lopez, who turned it into one of the biggest hits from his 1999 debut “On the 6.” The song, which has sold 413,000 downloads according to Nielsen SoundScan, surely could have worked for Estefan as well, but helped catapult Lopez to a new level of fame.
The song I am the most curious about is Michael Jackson performing “Rock Your Body”, could have been interesting. Is there a song in particular of the 20 Hit Songs Meant For Other Singers that you would have liked to hear?
Rhode Island DJ and Boston DJ
Ask about my Rhode Island Wedding DJ and Rhode Island Party DJ Guarantee!
As a Rhode Island DJ with a diverse, Multicultural DJ Music library, I get asked often to play “World Music”. Of course, I know what the person requesting World Music wants to hear most of the time but the name World Music may not be applicable or respectful anymore. Let’s take a look at the roots of the genre World Music and if it is something that needs to change in a multicultural world like we haver today; Uganda, Mumbai, Turkey and Tibet do not feel like foreign, “exotic” nations as they did before the internet and You Tube took hold of the world do they?
Samite - Mountains Of The Moon
What Is World Music?
I wish I had a dollar for every time I am asked “What is World Music?”. It is probably my most frequently asked question.
To a lot of people I know, the term “World Music” conjures up images of men in loincloths, banging on clay gourds in Africa. Or something like that. A style of music that is particular to a specific, usually non-Western culture.
Buddha Bar, World Music and Global Lounge Mix
Buddha Bar & Global Lounge Mix - DJ Mystical Michael
And to an extent, they are right. World Music is, to over-simplify, music from around the world. Sounds that reflect a particular culture through the use of geographically-specific musical structure, instruments, and in some cases, lyrics that also reflect a cultural or social reality.
In some cases, World Music an be as simple as pop music with lyrics in a language other than English. What does the linguistic approach Francis Cabrel takes — his pronunciation, his turns of phrases — say about the French language? What does his style reflect about the development of the French chanson since the early part of this century?
Or, most commonly assumed, World Music can be a musical style completely rooted in a culture apart from our own respective ones. To me, someone who has grown up in white, middle class Canada, Native American music opens the doors to a rich social and musical history — even though many of the performers, like Buffy Sainte-Marie and Robbie Robertson, are from the same country as I. And when the music is performed by an artist completely outside the Western realm, someone like Youssou N’Dour, it is practically impossible to separate the perfomer from the culture he or she comes from.
Sometimes musical styles and cultures start to mix. This is when things get interesting. In general, music utilizing a wide range of cultural instruments and styles is called World Fusion or World Beat. Peter Gabriel made World Beat a household term when he founded Real World Records, a label that supports and distributes the work of many World artists. It really doesn’t matter where an artist is from or what his or her background is — if a performer uses different ethnic influences that are obvious in the sound of the finished work, that’s World Music. Inside World Music
Zeb - Sufism
World Music Dictionary Definition
world music
n.
Music from cultures other than those of Western Europe and English-speaking North America, especially popular music from Latin America, Africa, and Asia.
ABSTRACT: World Music is the currently popular alternative for terms such as primitive, non-Western, ethnic and folk music. It has come to the forefront by its use in commercial and academic circles. With the growth of worldwide systems of communication and commerce, music librarians will feel increasing demands for materials characterized as world music.
World music means different things to different people, making it difficult to define. One thing is certain–we see more of it coming into our music libraries every day and “we know it when we hear it!”
World music might best be described by what it is not. It is not Western art music, neither is it mainstream Western folk or popular music. World music canbe traditional (folk), popular or even art music, but it must have ethnic or foreign elements. It is simply not our music, it is their music, music which belongs to someone else.
A review of the literature shows that “world music” is a relatively recent term, and one appearing in ever wider contexts. Only since 1989 has the Music Index given a cross reference for the term, one which directs us to see “ethnic music,” “folk music”, and “popular music–styles”. This seems to imply that world music is a large category, which encompasses ethnic music, folk music, and certain popular styles with non-Western elements. The fact that the term only gets a cross-reference suggests that Music Index has not yet fully accepted it as a subject. The Library of Congress Subject Headings do not use the term at all. What, then, is world music? By Carl Rahkonen What Is World Music
Sukhwinder Singh and Sapna Awasthi - Chaiyya Chaiyaa - Dil Se
The term ‘world music’ is outdated and offensive
Its original intention was to help promote non-western musicians. But now it is just putting them in a ghetto• Ian Birrell will be taking part in a Guardian Open Weekend session on Sunday 25 March, discussing music’s global revolutions with Fatoumata Diawara, Ian Anderson, Johan Hugo and DJ Abrantee.
It is 25 years since the concept of world music was created by enthusiasts in a north London pub. Perhaps it made sense then, as a marketing device to promote the sounds of the world that were lost in record shops and on the radio. But not now. Not in this mixed-up, messy and shrunken world. It feels like an outdated and increasingly offensive term.
For a start, it implies cultural superiority. Artists from America and Europe tend not to get stuck in the world section, just those that don’t speak English or come from “exotic” parts of the world. They can be consigned safely to the world music ghetto, ignored by the mainstream and drooled over by those who approach music as an offshoot of anthropology.
Of course, even Fela Kuti made music that owed as much to America as to his native Nigeria. But how does this label make any sense now, when you have western bands such as Tuneyards relying on African grooves while artists such as D’Banj and Buraka Som Sistema destroy the concept with each track they release? Or when you hear samples from all over the world in clubs?
Or indeed, when a very British singer and a bassist from one of America’s biggest rock bands join forces with Fela’s drummer and singers from Mali and Ghana, as on Damon Albarn‘s latest project Rocketjuice and the Moon? This band emerged from Africa Express, an organisation I helped to found seven years ago to break down the ghetto walls. Among those joining Albarn, Flea and Tony Allen on the album is M.anifest, a Ghanaian rapper who lives in Minnesota and often performs with M3nsa, a fellow countryman who lives in north London, with a British teacher as their DJ.
Should this be filed under world music? The Guardian
Musa Dieng Kala - Mawahibou
World Music, The Genre Dear America, you are doing it wrong!
US music industry is the most matured industry as I understand, but juvenile when it comes to classifying music. The American nomenclature of musical genre is what I have been constantly struggling to grasp. Basically, the system address all aspects, Explores the music and their roots, period, flavor etc, in every possible direction. But whenever I encounter a situation where I need a chose a genre for my music, it is not an easy job, if not impossible.Earlier, I started to select World as my genre for Indian flavor music. And.. yeah! its International at times. But I am yet to understand the difference between a World Beat and Fusion. I wanted to make it asInstrumental for convenience. But that doesn’t seem to work.A common man from East is unlikely to understand ‘Classical’ as ‘Western Classical’, ‘Fusion’ as ‘Jazz Fusion’, for examples. Because, every country, especially countries like India, has great heritage of music and ‘Classical Music’ would always mean something to them.
When I read a page from All Music saying ‘Blues is about traditional and personal expression’, I wondered myself. “Oh! Blues is about personal expression too, like Rock”. I know this is funny. And so the definition too. And, I never find it reasonable when I read something like ‘… generally a three chord progression…’
Every country has Classical, Easy Listening, Children, Holiday, Folk and Film Score. For me, the most obscure genre is Bollywood and I never understood it technically.
The genre ‘Ethnic Jazz’ is an American perception of an exotic style.It has doesn’t give a clue about to a non American.The entire system sees music as American and World. The problem is, music doesn’t fit in such clear-cut suites. Its a fun that my recent release is named under different genres on different portals. At least, an artist from West should be able to say what he or she produces. They may abhor saying “I make world music”. Gokul Salvadi
Fun-Da-Mental - Ja Sha Taan (Transglobal Underground Karachi Deathcult Mix)
How to define the broad genre of world music
By Alex Case-Cohen
The month of October brought a cultural twist to Ambient Transience. I dedicated three shows to various factions of “world” music. To me, the term is vague and somewhat offensive; in general, it signifies musical themes from non-western cultures, eliciting sounds distinct from what we would typically hear in the West. World music is infinitely broad; its strange to me that Chinese folk music can be considered in the same genre as African Mbira music, but so is the Western process of definition and categorization. Granted, each show possessed only a small taste of each culturally distinct genre, and it was necessary for me to lump together regions and ethnicities that are completely opposite to each other. I chose an Asian theme for my first show in October; the majority of the music came from Japan with such influential ambient artists as Tetsu Inoue with Ambient Otaku, and Yukari fresh. Some Chinese choices included Monolake, Liu Fang; Chinese ambient draws on traditional Folk music while incorporating contemporary trends in electronic sounds. The following show brought songs from Africa. Again, my two-hour time slot did not allow for an extreme clarification of the various genres existing in the diverse continent. From northern Africa came distinct Islamic influences, for the region is dominated by the religion; Orchestre Du Jardin Du Guinee and Ali Farka Toure exhibit stylistic tendencies out of MENA (Middle East and North Africa). Mbira, out of Nigeria and Kenya, utilizes the finger piano to create distinctive rhythm in the music. Thomas Mapfumo and Toto Bona Lakua are among the many that represent this musical variety. The following week brought music from my favorite region: Latin America. Both Central and South America incorporate a vast array of people, cultures, languages, and musical types. I used indigenous folk songs from Atahualpa Yupanqui with incredible wind instruments, and looked at the Brazilian band Os Mutantes which greatly influenced the American Progressive Rock movement. Another theme I touched on was Nueva Cancion where various musicians produced songs of peaceful protest against the tyrannical regimes of the 1960s and 1970s. Although I’ve never set foot in Asia, Africa or South America, researching the musical genres from these regions has greatly intrigued me. One day, I hope to explore such diverse and interesting regions in order to create my own definition of “World” music. Ambient Transience airs every Thursday from 12-2 a.m. University of Kansas Radio
Keola Beamer - Ku'u Lei Awapuhi
Does Hawaiian Music qualify as World Music?
World Music Party Mix by DJ Mystical Michael
World Music Party Mix - DJ Mystical Michael
What are your favorite artists fro around the globe? Do you fid the term World Music offensive?
DJ Mystical Michael Rhode Island DJ & Boston DJ Ask about my Rhode Island Wedding DJ & Rhode Island Party DJ Guarantee!
I came across this important project earlier today and wanted to share it with you in hopes of gaining some support and momentum for the producers. I think Girls Gone Vinyl is something we have needed for a while and hope they can get their message out there to inspire young women to DJ and acknowledge those that have been female DJs for years unnoticed. And I love the name; Girls Gone Vinyl!
Girls Gone Vinyl: The Untold Story of Female DJs
ABOUT THIS PROJECT
A film about the true story of female DJs from around the world in a male dominated industry. No one would think that the electronic music industry is in conflict, but the truth is that DJs are more segregated that politicians or business executives.
Girls Gone Vinyl is the world’s first documentary about female DJs, their struggles and successes, what inspires them and what drives them in spite of overwhelming odds. Watch these women converge on Detroit for the largest electronic music festival in North America and hear their stories firsthand.
THE PLAN
Preproduction will begin immediately. Shooting will commence promptly at the start of the Movement Electronic Music Festival in Detroit which takes place May 28 to 30, 2011. To learn more about the festival please visit their site http://www.movement.us/
Out of 107 acts at the festival there are 6 female DJs preforming. We will be interviewing and filming their performances at the festival itself and numerous afterparties taking place during the weekend.
We will also be hosting our own all female DJ line up event during the festival on Sunday May 29th.
WHERE DOES YOUR MONEY GO?We’re producing, directing, shooting, and editing the film. By day, Jenny Lafemme is a video and film producer for Parliament Studios, who will handle film production and post-production. Funding for this project goes toward flight costs for DJs to interview, travel for shooting, camera equipment needed to produce beautiful footage, and marketing and PR costs. The movie will be shot digitally to reduce cost and speed up production. All people working on the film will be donating their time and talent to bring this story to life.
Please share and pass on the news of the Girls Gone Vinyl: The Untold Story of Female DJs project. I have always hired and promoted female DJs for my business as a Rhode Island DJ but know that I am in the minority. I have trained several women to become female DJs and find they are often better students and more serious about their work then young men who seem more interested in image ands sex than substance and skills.
Girls Gone Vinyl: The Untold Story of Female DJs Trailer
For the record, it was really hard to find images of female DJs that are not selling sex versus talent, very disturbing, but not surprising!
DJ Mystical Michael Rhode Island DJ & Boston DJ
Ask about my Rhode Island Wedding DJ & Rhode Island Party DJ Guarantee!
My entire life has been one amazing Paul McCartney song after another. It started obviously, with The Beatles, followed by Wings and his solo career. Paul McCartney is a living legend in the music industry and continues to be so.
Paul McCartney & The Beatles First Visit to The USA
Guinness World Records described McCartney as the “most successful composer and recording artist of all time”, with 60 gold discs and sales of over 100 million albums and 100 million singles, and as the “most successful songwriter” in United Kingdom chart history. More than 2,200 artists have covered his Beatles song “Yesterday“, more than any other song in history. Wings’ 1977 release “Mull of Kintyre” is one of the all-time best-selling singles in the UK. Inducted into the Rock and Roll Hall of Fame as a solo artist in March 1999, McCartney has written, or co-written 32 songs that have reached number one on the Billboard Hot 100, and as of 2013 he has sold over 15.5 million RIAA-certified units in the United States.
Paul McCartney & Wings Jet Live
McCartney has released an extensive catalogue of songs as a solo artist and has composed classical and electronic music. He has taken part in projects to promote international charities related to such subjects as animal rights, seal hunting, landmines, vegetarianism, poverty, and music education. McCartney has married three times and is the father of five children.
Paul McCartney: Hurricane Sandy Relief Concert Nineteen Hundred Eighty-Five
Paul McCartney Dominates Bonnaroo
For anyone born in the last quarter century who wondered whether Paul McCartney’s allotted two-and-a-half-hour set would be “too much” for the 70-year-old Beatle was justly put to shame Friday night when Macca delivered a truly legendary, 24-song set that, by the way, lasted almost three hours.
Every year, Bonnaroo’s Friday-night, headlining artist is the impetus for many to splurge on the festival ticket. McCartney’s main-stage act was no exception, considering its cross-generational, grin-inducing appeal to, well, everyone. Not one to settle for the expected, McCartney played more than his back-catalogue staples (which, for the record, would have been completely acceptable). Among the lovingly off-kilter setlist selections were “Your Mother Should Know,” “All Together Now” and “Ob-La-Di Ob-La-Da,” all of which were met with equal affinity as the “Let it Be’s” and the “Hey Jude’s” of the night.
It was the greatest, most sincere sing-along that has ever been conceived. To witness McCartney perform “Something” on ukulele in tribute to George Harrison, moments before a cannon-blazing rendition of “Live and Let Die” and a suitably zealous “Helter Skelter,” was as fantastical as it was fierce. It was the perfect environment for Bonnaroo’s Dropping Point — the point at which Bonnaroo gently lifts you and then not-so-gently drops you into the festival, typically spearheaded by the Friday night, headlining act. Arcade Fire and Radiohead occupied the spot in 2011 and 2012, respectively, and McCartney passed the torch as if “Love Me Do” were released yesterday. It will be arduous to top someone whose song book is so collectively enamored, but if there is a festival in which we can instill faith, it’s Bonnaroo (they brought us a Beatle).
Paul McCartney in Brooklyn
Happy Birthday Paul McCartney!
McCartney said he had the idea of “Let It Be” after he had a dream about his mother during the tense period surrounding the sessions for The Beatles (the “White Album”). McCartney explained that his mother—who died of cancer when McCartney was fourteen—was the inspiration for the “Mother Mary” lyric. He later said, “It was great to visit with her again. I felt very blessed to have that dream. So that got me writing ‘Let It Be’.” He also said in a later interview about the dream that his mother had told him “It will be all right, just let it be.”
Paul McCartney & The Beatles Let It Be Live in Studio
What is your favorite Paul McCartney Song or memory?
Julian Lennon Someday is now released globally! Julian Lennon Someday features Steven Tyler on backing vocals. It is a beautiful song with an equally moving music video.
Julian Lennon Someday Music Video
John Charles Julian Lennon (born 8 April 1963) is a British musician. He is the only child of John Lennon and Cynthia Powell (Lennon’s first wife). Beatles manager Brian Epstein was his godfather. He has a younger half-brother, Sean Lennon. Lennon was named after his paternal grandmother, Julia. He remains close friends with his father’s former bandmate Paul McCartney (although there was a public falling out in 2011, when Julian publicly complained about being snubbed for McCartney’s wedding and reception, although many of his friends and acquaintances were asked to attend).
Julian directly inspired three Beatles songs: “Lucy in the Sky with Diamonds“, “Hey Jude“, and “Good Night“. He is also devoted to philanthropic endeavors, most notably his own White Feather Foundation and the Whaledreamers Organization, both of which promote the co-existence of all species and the health and well-being of the Earth.
His sixth studio album Everything Changes was released on 3 October 2011.
Julian Lennon Valotte Music Video
“Valotte” is a song by British singer Julian Lennon, the title track and second single (first single in the US) from his debut album Valotte. It was a top-ten hit single in January 1985 on the US Billboard Hot 100 singles chart in the US, peaking at number nine.
It was co-written by Lennon, Justin Clayton and Carlton Morales and recorded at Muscle Shoals Sound Studios in Muscle Shoals, Alabama. The first line of the chorus, “Sitting on a pebble by the river playing guitar”, was written by Lennon, inspired by theTennessee River in Muscle Shoals.
The music video for the song was directed by Sam Peckinpah.
Julian Lennon Too Late For Goodbyes Music Video
“Too Late for Goodbyes” is the first single (second in the US) from Julian Lennon‘s 1984 album Valotte. It featured the harmonica of Jean “Toots” Thielemans, and it was a top-ten hit in the UK and the US, reaching number six in the UK Singles Chart in November 1984, and number five on the Billboard Hot 100 singles chart in late March 1985.
“Too Late for Goodbyes” peaked at number one on the US Adult Contemporary chart in 1985, spending two weeks at the top of this chart. The music video for the song was directed by Sam Peckinpah.
Julian Lennon has had an inconsistent career as a musical artist. He enjoyed immediate success with his debut 1984 album Valotte. The album was produced by Phil Ramone. The album was nominated for a Grammy Award for Best New Artist in 1985, and produced two top ten hits, the title track “Valotte“, and “Too Late for Goodbyes“. Lennon promoted the album with music videos for the two hits made by movie director Sam Peckinpah and producer Martin Lewis. The song “Valotte” has remained a staple on adult contemporary radio stations since its release. After the release, Paul McCartney sent him a telegram wishing him good luck. Later that year, the two met up backstage at the New York studios of the TV show Friday Night Videos. His second album, 1986’s The Secret Value of Daydreaming, was panned by critics, but reached number 32 on the Billboard magazine‘s album chart, and produced the single “Stick Around”, which was his first #1 single on the U.S. Album Rock Tracks chart.
Julian Lennon at the unveiling of the John Lennon Peace Monument
It is very inspiring to me to hear Julian Lennon attempt to follow in his father, John Lennon’s, footsteps with Julian Lennon Someday and its message of world peace, love and community.
Rihanna Stay is a song by Barbadian recording artist Rihanna from her seventh studio album Unapologetic (2012). Featuring guest vocals by Mikky Ekko, the song was released as the second single from the album on January 7, 2013. Rihanna Stay was co-written by Mikky Ekko and Justin Parker. It is a pop ballad, featuring piano and guitar chords. The lyrical content regards the temptation and failure of resisting a true love. The song garnered a mostly positive response from music critics. They were divided in their opinion regarding the balladry, with most describing it as a standout track on the album, while a few labeled it as boring. However, critics were unified in their opinion of praising the vocal performance and emotion.
Upon the release of Unapologetic, “Stay” charted on multiple charts worldwide. Following its release as a single, it has reached number one in Bulgaria, Canada, the Czech Republic, Denmark and Israel and the top five in twenty-four countries worldwide including Australia, France, Germany, New Zealand, Norway, Switzerland and the United Kingdom. It has also charted at number three on the US Billboard Hot 100, becoming Rihanna’s twenty-fourth top ten on the chart, thus surpassing Whitney Houston‘s tally. Furthermore, it has charted at number one on the US Pop Songs chart and 19 on the Hot Dance Club Songs chart.
The song’s music video, directed by Sophie Muller, depicts Rihanna naked in a bathtub filled with cloudy water, while Mikky Ekko performs in a separate bathroom. Critics likened the vulnerability and raw emotion in the video to the song itself. Rihanna premiered “Stay” on Saturday Night Live in the United States, while she performed the song in the United Kingdom on the ninth series of The X Factor. Rihanna and Ekko also performed “Stay” at the 2013 Grammy Awards. The track was included on the set list of the majority of her 777 Tour promotional tour dates, in support of the album, while it is included on Rihanna’s fifth headlining tour, the “Diamonds World Tour“.
Rihanna Stay Music Video
Rihanna Stay Music Video Story
Background
The music video for Rihanna Stay was directed by Sophie Muller. On February 10, 2013, whilst walking the red carpet of the 55th Grammy Awards, Rihanna held an interview with Ryan Seacrest who officially revealed that the music video would premiere on E! News the following day. Rihanna described the production saying, “The video was really, really simple. I pretty much stayed put in a bathtub, and we shot it really tight, really close. There’s Mikky Ekko in the video as well. This is the first time I’ve ever collaborated with him, so I’m excited about that because he’s actually the one who wrote the song and I kinda just fell in love with it so much and in love with the tone of his voice and we wanna keep him a part of it, so you’ll see him in the video.” The singer added, “It’s a very emotional song and it’s personal, so you just think about, it’s almost like telling a story, and when you tell a story, even to yourself — if you’re saying it out loud and expressing how you feel — it needs to be powerful because it needs to be authentic.” On February 11, Rihanna leaked an “uncut” version of the video on Twitter prior to the official premiere, featuring the singer performing to the track in one singular take, without Mikky Ekko. The official version premiered on E! News later that day. It was then uploaded to Rihanna’s official VEVO account at 8AM ET the following day.
The video opens with a shot of running water. Rihanna is then presented undressing and climbing into a bathtub. Throughout the rest of the video, the singer is presented nude in the tub full of cloudy green water; subtle camera angles protect her modesty. Rihanna is shown wearing little make-up and with long hair tangled and wet over one side of her face. The singer seems morose and sad as she occasionally flickers her eyes to the ceiling and puts her head in her hands, showing off long manicured nails and a diamond stud earring. The low-key video also features Mikky Ekko, who performs his parts of the song separately including scenes of him perched on the edge of a different bathtub, gazing into a mirror, in front of an unlit fireplace, and sitting on a grand chair. The video switches between the pair throughout the course of the video until it concludes with a single tear falling from Rihanna’s eye as she sinks lower into the bathtub.
What The Critics Say About Rihanna Stay
Rihanna Stay received mostly positive reviews from music critics. Jon Dolan for Rolling Stone was complimentary of Rihanna’s execution of the song, writing that she performs it “within an inch of its life” and “pleads at the piano.” Dolan continued to state that it is “stark” and “shadowy” which is “confrontationally honest.” Dan Martin for NME described “Stay” as Unapologetic‘s highlight, writing that it is a “gorgeous piano ballad.” Martin continued to write that the song “puts a vulnerable spin on the Brown situation, repeating another theme of the album”, a reference to her relationship with Chris Brown. Smokey Fontaine for the Huffington Post also praised “Stay”, placing emphasis on Rihanna’s vocal performance. He wrote that “Three years ago, no one would have paid attention to a beautiful piano-ballad like ‘Stay.’ Not because of the events we all witnessed, but because of how honest and emotionally-connected her vocals are.”
Lewis Corner for Digital Spy awarded “Stay” four out of five stars, commenting that Rihanna “doesn’t need all the controversial romp to top the charts.” Corner also compared “Stay” to the work of “some of 2012’s most successful female balladeers” Emeli Sandé and Lana Del Rey and concluded by stating that Rihanna “never [follows] the pack” but “[airs] her seemingly complex emotions through music’s current trend.” The song garnered a mixed review from Genevieve Koski for The A.V. Club, writing that the album is “heavy on the sort of milquetoast ballads that have never been Rihanna’s specialty” with regard to “Stay” and “What Now”. However, Jon Caramanica for The New York Timesnegatively critiqued the song, writing that it is “dull piano driven song.” The reason he gave for it being “dull” was that he felt “Stay”, along with “Get It Over With” and “Lost in Paradise”, were the “least texturally confrontational” and therefore “by far the least successful.”
Rihanna Stay moves me. I have been a fan of Rihanna for many years and find her music still exceeding the standard in the industry for Pop Music and R&B artists. She has never had to do what was “hot” or trendy. She finds a way to have songs written for her that meet her strengths and passion succinctly, while still consistently hitting the top of the charts. Of all her reecent music, I feel the most connection and energy from Rihanna Stay. The textured, simple piano and guitar match her emotional and personal honesty step-for-step.
I was recently working on a project related to Live Aid, and was reminded of the powerful performance of U2 Bad at Wembley Stadium, London on July 13th, 1985. After further research, I was surprised to find out the content of U2 Bad.
The U2 Bad Story
“Bad” began with an improvised guitar riff during a jam session at Slane Castle where U2 were recording The Unforgettable Fire.The basic track was completed in three takes. Of its immediate and live nature, U2 guitarist The Edge said “There’s one moment where Larry puts down brushes and takes up the sticks and it creates this pause which has an incredibly dramatic effect.” Producer Brian Eno added the sequencer arpeggios that accompany the song.
The early 1980s recession had led to high number of heroin addicts in inner city Dublin. In concert, lead vocalist Bono frequently introduced the song as a song about Dublin.[4]The Edge and the album’s producers, Brian Eno and Daniel Lanois, were focused on the music and less interested in the lyrics. Bono left the song unfinished.
During a July 26, 2011 concert in Pittsburgh, Bono explained before a performance of “Bad” that the song was written for “very special man, who is here in your city, who grew up on Cedarwood Road. We wrote this song about him and we play it for him tonight.” He was referring to Andy Rowen, whom the song was originally written about in 1984 and who was present at the show. Rowen is brother of Bono’s Lypton Village friend Guggi and Peter Rowen, who is featured on the sleeve artwork for the band’s albums Boy and War.
There are other versions of the story from Bono himself. His account from a 1987 concert in Chicago indicate “Bad” is about a friend of his who died of a heroin overdose and also about the conditions that make such events likely repeat themselves. Bono once commented in another concert (in the UK) about people lying in gutters with “needles hangin’ outta their fuckin’ arms while the rich live indifferently to the suffering of the less fortunate.” At Eriksberg, Gothenburg in Sweden 1987, he said: “I wrote the words about a friend of mine, his name was Gareth Spaulding. And on his 21st birthday he and his friends decided to give themselves a present of enough heroin into his veins to kill him. This song is called ‘Bad’.
U2 Bad at Live Aid
U2 participated in the Live Aid concert at Wembley Stadium for Ethiopian famine relief on 13 July 1985. They played a 12-minute version of U2 Bad, which was extended by snippets of Lou Reed‘s “Satellite of Love” and “Walk on the Wild Side“, and The Rolling Stones‘ “Ruby Tuesday” and “Sympathy for the Devil“. Bono leaped down off the stage to embrace and dance with a fan, which was captured on the TV broadcast sent around the world. The performance was so long that the band was only able to play two of the three songs in their set, leaving out “Pride (In the Name of Love)“, which was supposed to end the band’s performance. The concert turned out to be a breakthrough moment for the band, showing a television audience of millions the personal connection that Bono could make with audiences. Only a week later he realized that the dance with the fan became a key image of Live Aid. All of U2’s albums re-entered the charts in the UK after their performance. In 1985, Rolling Stone called U2 the “Band of the 80’s,” saying that “for a growing number of rock-and-roll fans, U2 have become the band that matters most, maybe even the only band that matters.”
U2 Bad Original Studio Version
It almost comical to think at that point they felt like they had to introduce themselves, based on the amount of global success U2 has enjoyed since then.
U2 have released 12 studio albums and are among the all-time best-selling music artists, having sold more than 150 million records worldwide. They have won 22 Grammy Awards, more than any other band, and in 2005, they were inducted into the Rock and Roll Hall of Fame in their first year of eligibility. Rolling Stone ranked U2 at number 22 in its list of the “100 Greatest Artists of All Time”. Throughout their career, as a band and as individuals, they have campaigned for human rights and philanthropic causes, including Amnesty International, the ONE/DATA campaigns, Product Red, and The Edge’s Music Rising.
U2 Bad Lyrics
If you twist and turn away
If you tear yourself in two again
If I could, yes I would
If I could, I would
Let it go
Surrender
Dislocate
If I could throw this
Lifeless lifeline to the wind
Leave this heart of clay
See you walk, walk away
Into the night
And through the rain
Into the half-light
And through the flame
If I could through myself
Set your spirit free
I’d lead your heart away
See you break, break away
Into the light
And to the day
To let it go
And so to fade away
To let it go
And so fade away
I’m wide awake
I’m wide awake
Wide awake
I’m not sleeping
Oh, no, no, no
If you should ask then maybe they’d
Tell you what I would say
True colors fly in blue and black
Bruised silken sky and burning flag
Colors crash, collide in blood shot eyes
If I could, you know I would
If I could, I would
Let it go…
This desparation
Dislocation
Separation
Condemnation
Revelation
In temptation
Isolation
Desolation
Let it go
And so fade away
To let it go
And so fade away
To let it go
And so to fade away
I’m wide awake
I’m wide awake
Wide awake
I’m not sleeping
Oh, no, no, no
U2 Bad is a great song that is part of U2’s live performances worldwide and very popular among their fans. What about U2 Bad is most intriguing and powerful for you?
%20(480x320).jpg?resize=480%2C320 "Girls Gone Vinyl: The Untold Story of Female DJs - Rhode Island Wedding DJ")
