I was at a party two years back, and for some reason, someone started talking about Andrea Bocelli. After a few minutes, one of the partygoers, apparently jealous and suspicous of the singer, shouted out: “That fucker can see!” I’ve been unable to keep a straight face while looking at Bocelli since.
So thanks a lot, iTunes Music Store; now I can’t visit until you rotate off that ad.
And I totally agree with JW from Pop Cesspool: Easy E’s swearing is sublime.
Eazy E probably used the word “dick” better than anyone else before him or since. It came out of his mouth like a crossbow bolt.
And the track in question: “Parental Discretion Iz Advised”, is now my ringtone! We’ll see how long that lasts.
When I’m not stealing music off of the Internet, I’m buying it from Perfect Beat online!
Perfect Beat has always offered generous samples from their well-selected items. Now they’ve gone one step further and created a Perfect Beat Top 20 Countdown!
Soon this radio show will be a podcast; right now they offer a direct link to their first countdown.
Unfortunately, this countdown is just like TRL, where you don’t hear nearly enough of each song. Luckily the Perfect Beat crew has also contributed some facts about these dance artists that I didn’t know!
Check out these Perfect Beat Fun Facts!
- That awesome Candi Staton “You Got The Love” song was originally from 1986; I had thought the 1991 remix was the original. (And I love the 2006 Shapeshifters Main Mix.)
- Joey Negro‘s real name is Dave Lee! And his song “Make A Move On Me 2006” features URGH favorite vocalist Taka Boom!
- Um, Perfect Beat also offers a helpful comparison of a Kelly Clarkson single and its remix.
- That Scape featuring D’Empress song “Be My Friend” I went crazy for was written by Ultra Naté! That officially elevates Ultra from diva to goddess!
- I’ve been pronouncing Seamus Haji correctly! Thank goodness!
- Perfect Beat also features an IIO single, but does not say the band’s name (I made a joke about its pronunciation a few weeks ago) Anyway, isn’t IIO now defunct? Nadia Ali has gone solo!
- Cevin Fisher (pronounced Kevin) has a 2006 release of “Love U Some More”? That sounds exactly the same as the version from 2000? Whatever works!
- In other Y2K news, Kim English is still around! Circuit music is still around! I’m gonna party like it’s Thunderpuss 2000!
Thank you Perfect Beat for making me more smartish!
Like all right-thinking Americans, I hate the fucking Eagles, man!
And if you think Henley’s full lyrics are tough to take, and if you can barely stomach the site owner’s sunny reflections on his work (“You can feel that deserted, winter beach hauntedness throughout the song.”), just wait until you get to the comments!
The story-teller returns to the US after the war, only to discover that racism is just as evident in the US. He laments, “I’m driving by your house though I know you’re not home” – the house is the Whitehouse and the story-teller refers to the emptiness or lack of spirit in the Whitehouse – it’s a place that tolerates or fosters racism, too. A black man is also seen down the barrel of a gun as the gunman says to himself, “I can see you, your brown skin shining in the sun”.
Evidence that Henley and Bruce Hornsby teamed up to have Tupac killed! He knew too much!
Here at URGH!, we’ve discovered a serious case of:
HOT SAMPLE ABUSE!
The perp? One Christina Milian with her single “Say I”.
The two remixes of the song are the “Hani Say I Extended Mix” and the “Maurice Say Mo Remix.” Both use the same filtered sample from Jackie Moore’s “Sweet Charlie Babe” (and I wouldn’t have know that without Monsters and Critics.) And that sample can do no harm.
I knew Milian was Disney, but I could have sworn that she was listenable in the past. Isn’t she twentysomething now? So why does she still sound like Hanson? Christina’s not just screeching on “Say I,” she’s making Fergie look mature.
Oh, PS: this song is “featuring Young Jeezy.” Whoever this ridiculously-named rapper is must be surprised to find himself excised from both remixes.
Meanwhile pop music blog Oxygen Chunks has the video, which I should have known is more straight up R&B, though it still uses the Jackie Moore sample.
Jackie, sweet Jackie! The moral of this story: if you have a hot sample, you have to respect it. Even professional dance-meisters like Hani can’t save you if you’re going to “SAY AIAIAIAI!” all over it.
For a wildly inaccurate second opinion, here’s requestlyrics.com user “most_WantEd”:
Re: Christina Millian’s new song
Posted by: most_WantED (IP Logged)
Date: March 20, 2006 09:23PM
im not sure but if i could guess id say it samples that gloria estefan song turn the beat around i think thats what its called i dont know my mom like her lol
Kill this child.
Oh, you know I love Barbara Tucker!
Ms. Tucker has house hooks and she knows how to use them! Most recently she’s teamed up with Blaze for the song “Most Precious Love”
The video is computer animated, so of course the first thing I thought of was “Money for Nothing”. But I really should have a different 80s video in mind. Check this out: towards the end of the video Kevin Blaze throws a set of keys to a nerd in the audience.
The keys are to the stylish pink Blaze limo, finally allowing this twerp to score!
That’s in the proud tradition of ZZ Top!
I encourage all rock stars to donate their awesome rides to the sexually less fortunate. For just five minutes a day in the back of the Eliminator, you too can provide some action to nerds across the world.
Please, think of the nerds.
D started raving to me the other week about the band Rinôçérôse, praising both of their latest albums even though they skipped genres from electronic jazz to hard rock.
Or vice versa; I wasn’t paying attention and told him I’ve never heard of this band. D then explained that the Rinôçérôse song Cubicle was being used in the latest iPod ad.
I had already seen that ad, but with the sound off. I was afraid to turn the sound on, because from the setting I was sure the ad’s soundtrack would be “We Built This City” by Starship…
Oh, hell yes!
Last year you heard me go nuts for the song “Bliss” by Alan Braxe & Fred Falke & Savage. It’s hard-rockin’, hand-clappin’ instrumental trance!
And now I’m jonesing for Fred Falke and Savage and their vinyl single “Omega Man”/“Wait For Love”. A distributor calls it “Uplifting synth driven funky bassline French house heaven!” Sounds right to me.
I don’t even know where I find this stuff; but I’ll take as much of it as you guys want to throw at me.
Man, I’ve been trying to write something about Above & Beyond‘s new album Tri-State for like a month now!
It’s the first full-length I’ve heard from them. And it’s decent. But here’s where I get bitchy.
What I love about Above & Beyond remixes are the crazy, over the top trance cliches! They’re so good at them! But no bathos-ridden, fake-string-section powerhouses are in effect on this album. It’s trance that lives up to the genre’s name.
Tri-State sets a mood, and there’s nothing wrong with that. I absolutely love Schiller‘s Tag und Nacht, and that’s pretty much an album long riff on the same chord progressions as Phil Collins‘s “In The Air Tonight”.
But Tri-State is hanging by a thinner thread. You can only get so sedate before you make Everything But The Girl sound like James Brown.
And I totally didn’t expect things to be this way! The Above & Beyond remixes of songs like Perpetuous Dreamer‘s “The Sound of Goodbye” and Ayumi Hamasaki‘s “M” are crazy good! And just plain crazy! They crash full speed into every trance cliche and keep going! They slice and stutter Ayu’s vocals into nonsense, making it unrecognizable even to native Japanese speakers. But it’s all done in the service of total trance bombast!
But there’s nothing bombastic about Tri-State. The closest things get are are on the album track for “Alone Tonight”, in which an unmistakably Above & Beyond synth riff breaks out just before vocalist Richard Bedford lets out a wail! But it sounds halfhearted; his pipes just aren’t Loleatta Holloway’s.
That’s what gave me my initial reviewer’s block. But then I came across the single edit for “Alone Tonight”—this track is a completely different animal! Remember that synth riff? The A&B boys keep it in, but hammer it into the single over and over again! The lackluster wailing no longer matters if it’s being washed out by powerhouse synthesizers! There’s almost no lead-in for the single, either; Bedford gets down to business right away, and he and the team are in and out in three and a half minutes. Nice work!
I feel better: Above & Beyond can still rock a single. I wish they would have let loose on Tri-State, but they provide over an hour of solid trance. I love it, but I’m also eagerly awaiting the next single….