tigerboy

If you like this song you should download Warren Zevon's original Werewolves of London instead nhSc8qVMjKM Kid Rock can just get a big dish of beef chow mein and just Lee Ho Fook's Off!!! uwIGZLjugKA tho All Summer Long re-enters the Billboard Country Chart at 58 with this track and already top twenty in the Euro Digital Song countdown - so maybe might become the next Nickelback... maybe this might be better.... http://blogs.wenatcheeworld.com/wp-content/uploads/2008/04/51l1p087fl_ss500_.jpg

If you like this song you should download Warren Zevon's original Werewolves of London instead nhSc8qVMjKM Kid Rock can just get a big dish of beef chow mein and just Lee Ho Fook's Off!!! uwIGZLjugKA tho All Summer Long is already top twenty in the Euro Digital Song countdown - so maybe might become the next Nickelback...

havent seen it - but seen it reviewed in things like DVD World etc and seen it in the racks but not at a low enough price that i would be intersted in getting it and tbh looks like the kind of thing that might make it onto film4 in a few weeks on the Saturday Night Shocks...however something that is showing on film4 - and i guess it will be on over the next few weeks again is Taxidermia - more bizarre and twisted piece of film-making than a full-on slasher/gorehound shocker - tho probs more disturbing ultimately like Gozu by Takashi Miike (tho his One Missed Call is currently on film4) http://image.guardian.co.uk/sys-images/Film/Pix/pictures/2007/05/09/taxidermia460.jpg http://lostincci.files.wordpress.com/2007/06/taxidermia4.jpg http://i99.photobucket.com/albums/l293/jotseknotser/Album2/Taxidermia.jpg http://www.cinemagyar.com/cinemagyar/wp-content/uploads/2008/02/taxidermia_zab_resize2.jpg

or £11.99 outside London... well i saw it was 241 day - which meant me dad could go for free - though it wasnt a good idea sitting next to me dad as he's a like a continuity obsessive and was like just picking at all the mistakes in the film he spotted - i thought it was alright tho i'm not familure with the other films or television shows that are in the franchize/not that intersted and the Crystal Skull looked like some cheapo plastic Aliens merch that might be flogged for £3.49 at 2.13am on bid.tv http://www.comicbookgirl.com/posts/alienjapandvd.jpg and tbh think i prefered National Treasure....(with Nic Cage ffs!!!) tho my 6 year old nephew saw it as well that day with us and he enjoyed it so much and ended up buying loads of Indiana Jones lego to play with!!! if its supposed to be in like a real time frame (with Jones ages in real time but 50 years ago) - and like how the old ones are suppose to be similar of the movies of that period and the new one more like the SF films of the late 50s - then i think there should be another Indiana Jones film in 4 years time - as then it will be like 1962 in Jones time and that mean you could do a Dr. No.... as you enter that period (& obv Olga Kurylenko would have been better than Cate Blanchett playing the Soviet agent Irina Spalko but i guess Blanchett had to do like an Allo Allo characture not to upset the Russians any further :lol: ).

Even with a cineworld card think I'm not gonna bother with this - read the review and it they were all a bit meh - with yeah the perf of Mark Wahlberg supposed to be so bad that the only way up from here might be as support act to NKOTB (tho I guess this would only happen in like a mad fantasy episode of Entourage :lol: :lol: ) obv gonna be as much as a waste of time as the lady in the water and i guess in that time i could listen to my Paste Magazine album sample #43 (featuring She & Him) or get round to watching Saw IV while me dad's out http://images.publicradio.org/content/2008/02/28/20080228_she__him_33.jpg

well i suppose ending up back in an R&B lite boyband from the beginning of boyband history is not that bad seeing that he could have ended up in the new M. Night Shyamalan film.... http://images.salon.com/ent/movies/review/2008/06/13/happening/story.jpg ...or perhaps maybe a VH1 reality TV show with Bobby Brown :lol:

yeah i finally got franks album the other week (in borders for £1) - gonna play it now!!!

If the same cast don't return it might be a bit weird? I guess HSM3 is the graduation film..? It'll be similar to what they are doing with skins I suppose, with HSM4? :blink: I think they think the brand is bigger than the cast and so it doesnt matter who is in it - just so long that the franchize/format doesnt change to much and anyway I guess they've also got things like Camp Rock (with Demi Lovato/Jonases) to promote and turn into the next big HSM like franchize as well as doing films with the Jonas Bros - so if they do misfire with a HSM outting it wont matter ntoo much (tho obv they wont fail - they will multiply and the stars will branch out into other thing until there is no escaping it) http://upload.wikimedia.org/wikipedia/en/1/1c/Camp_Rock_DVD.JPG

They probably will but I was refering to like how Duffy has gained success right away with her first album being such a huge success, yet Goldfrapp I'm guessing had to work alot more for their success to come as they mentioned about the advert. Yeah Ms Duffy will probs be successful for a while until the next big contemporary style arives and all those post-winehouse types like her and Adele will be as welcome as much as a new Lisa Stansfield CD - tho Winehouse (if she doesnt completely self-destruct) will still have success and Mercy will be still played on smooth... Goldfrapp will continue on Mute doing what they do and even if they don't have another top ten will still have a loyal fanbase - will continue like Britpop Duffy but more successful http://images-eu.amazon.com/images/P/B000BOG1MG.02.LZZZZZZZ.jpg

think Attitude magazine had her as taking over from people like Fiona Apple and Sheryl Crow (tho most of the article was thinking about the type of music angry lesbians might play)

Did anyone her on the Culture Show - in the busking challenge - excellent!! good few minutes of TV - great guest!!! should be on TV more

Yeah Johnny Cash was good - tho my best of album of his would have to go in the 'albums that you've hid so they won't get mixed up with your dad's country & western collection but now have lost in your room' thread :lol:

Maybe she could work with Paul Buchanan, Beck, Greg Kurstin and David Arnold and like re-record the album Warner shelved by Shirley Manson :lol:

but i think all the critics rate that as her best dont they??? dont know her albums as i've only got the whole story and some of her stuff its just a load of near-prog worbling that im not into - tho things like Experiment IV, Running Up te Hill and Hounds Of Love are good (and think they are off Hounds Of Love) - didnt like that King of the Mountain at all - thought it was hideous the other day i was in the car being driven to the shops and on the radio they were playing the man with the child in his eyes - however this was after the religious slot and i was told the song is about having a w*** so if this is true i think a bit of a mistake by the bbc!!! :lol:

She is Number One in the Country charts with her album - so obv a better move than trying to do the more pop thing

same here and i actually own Dignity- Hilary Duff and Studio 1- All Saints!!! and normally like Jackson and Ellis Bextor

wouldnt say its an awful racket - however when it was on the hits got a record of McFly's from my Now collection and actually sad to say McFly was actually better!!!!

man yeah totally like right when you talk about VU, Pixies, The Doors and Joy Division (tho this last one might be slightly too synthpop to rawk out in some eyes :lol: :lol: ) but hey man this is like the Buzzjack best rock bands ever thread so i think Queen would have to be in there even if we don't care a lot for their stuff - yeah gotta have them in and probs they are right to be that high - suppose you gotta cover all bases esp since i guess there would be worse pomp-rockers out there in the an(n)als of history and esp since you've got classic rock types like Journey being #5 in America just from like wal-mart sales only and a hit album over here this week on a random Italian Melodic Rock label. guess you gotta cover all bases of rock... http://upload.wikimedia.org/wikipedia/en/b/b9/Journey_-_Revelation.jpg tho i guess if your gonna do a great cheesy pomp record you gotta do something like 8 minutes of Andrew Eldritch at his most Gothic OTT best (MCR good but dont come close) LPfce9FvjgA this GP makes me smile almost as much as Scatman John!!! - tho the Word think that the Sisters Of Mercy are one of those really naff acts like Level 42 that should be re-evalued now to they're actually not that bad :w00t:

More info from the site: Independents Day 08 is a worldwide event, taking place on the weekend of 4th July to raise money for the independent music community and their chosen charities. Starting in New Zealand and ending in the US, activities include the largest ever auction of independent music memorabilia (via eBay) and limited edition albums featuring the cream of independent talent from all over the globe, all supported by a comprehensive retail campaign and a series of one-off music shows and retrospectives across TV and radio. The History of Independent Music Independents Day by Ira Robbins Many of the world’s nations mark the day of their independence, a concept bound up with freedom and self-determination. For the United States, independence promised its citizens life, liberty and pursuit of happiness. Though it has rarely required war, diplomacy or intercession by the UN to achieve, independence in the music business offers the same benefits. For more than half a century, independent record labels have risen up, not in opposition to the dwindling population of global music companies but in crucial complement to them. Any genre of music you can name would be much poorer and less adventurous if not for the vision and courage of labels unafraid to back artists who want more than to ape last month’s hits. Elvis Presley didn’t make an appointment and wait in the reception area of RCA Records until someone there recognized what he had to offer, he marched into Memphis Recording Service, a storefront operation where Sun Records’ Sam Phillips heard something he could work with. The first label in America willing to take a chance on the Beatles – who were signed to a British powerhouse, EMI, but unknown in the States – was Vee-Jay, a family-owned label in Chicago, where another family business played home to Chuck Berry, Muddy Waters and Bo Diddley. Each of these artists – plus hundreds more, from James Brown to Nirvana, Run-D.M.C. to the Smiths, Alison Krauss and Arctic Monkeys — changed the sound of music, and none of them were first spotted by a major label. That’s a lot for the independent label world to be proud of. And why not? Other than the few that were set up as divisions of existing entertainment companies, most labels, including many of those now considered majors, started out small, as the bright idea of someone with ears, a few bucks to invest, maybe a record store for a base of operations, or maybe a car for distribution. Atlantic, Motown, Def Jam, Island, Rough Trade, Rhino, Elektra, Merge, Beggars Banquet, A&M, Mercury, Virgin – all of them were or are independent labels. It’s always been more about a concept than corporate structure, about the willingness to explore and innovate, to drive the culture forward and not just churn out mass entertainment in the wake of established taste. In the 21st century, as the means of distribution shifts, independent labels are increasingly the source of new artists. The album sales and download charts are packed with names first promoted by independent labels. Even established artists, from Radiohead and Nine Inch Nails to Garth Brooks, have found that major labels don’t serve their needs, and have gone the DIY route, which takes independence to the max. Ultimately, it doesn’t matter if a record company is big or little, old and established or young and unsteady: a board of directors, layers of management answering to an overseas CEO who in turn is beholden to stockholders is never going to have the ears of young people in direct contact with the music and artists, putting out records they love regardless of profit margins and quarterly sales projections. And independent labels have blazed the way not just in the sound of music, but in ways of partnering with bands and serving their fans. The result, happily, has been a steady flow of music delivered just the way the artists create it, free of homogenization and compromise. In the music world, everyone benefits from independence. Long may it wave. Ira Robbins, Founder - Trouser Press.com The Independent Music Scene by Martin Mills The concept of the major music label is a relatively recent one. Warners started off as three independent labels ( Warners itself, Atlantic and Elektra, each producing some truly great music in their own fields ), and back in the days when EMI signed The Beatles, they would have had no idea of whether they were signing to a major or an independent. Most of our global musical heritage started off on small labels - Elvis Presley, Chuck Berry, Aretha Franklin, The Doors, Love, Van Morrison, The Who, Marc Bolan, the list goes on and on. But then the majors were created through the economic forces of consolidation, and from 20 or so big companies of the early ’90s, which included such as Virgin and Motown, there are now just four ‘majors’. And whereas a few decades ago it really didn’t make much difference to the artists’ lives and careers whether they were Bob Dylan on Columbia, or Bob Marley on Island, it now makes a huge difference - and every new artist is aware of that difference. That is because the majors are corporations with shareholders, either the public or venture capitalists, and the delivery of financial results is their duty - better and better ones, ideally. The artists are the raw material of these results and, since a single breakthrough artist can make such a difference to these results, the scale of investment, and pressure for commercial success, are irresistible. On the other side, in the independent sector, smaller labels started and run by music fans, artistry, credibility and respect dominate, and whilst the commercial imperative can be there, it is not the be all and end all. Which is why many many artists, including those with ambitious aspirations, choose to go for what may ( or may not be ) a smaller deal in the independent sector, seeking the company of their peers, and a fertile and creative environment - and I do not need to spell out the sometimes very big names that have made that choice in recent years. And despite the economic and market pressures created by consolidation - which is why independents oppose it - even now most great new music originates in the independent sector, as shown by the genesis of new gold artists, and markers such as the Hmv critics’ poll of polls, and the Mercury Music Prize, where music from independents dominates. If you go into a great independent record store,a different music lives, breathes, flourishes, and is exposed to new fans, outside the mainstream initially, but ultimately who knows ? Vive la difference Martin Mills, Chairman of Beggars Group

looked a few weeks ago for the freebie but no luck - a lot of these free downloads offers are a waste of time (hello U-Music from Universal we mean you!!!) as its just a way of clogging up ya mailbox with beging mails and you just end up going round and round their system tyingh your name in and continuing to the next screen etc... probs wont hear the song till the top 40 show on monday (if it charts) - probs will buy the single anyway - quite like the cover and got their last album

yeah its abit like the comment on teletxt last night - that made me smirk "Oh dear, John Lydon has a go at "posh b*****ds" at Isle Of Wight Festival. Not only is this unfair to those who manage and market his band, it's also hurtful to the majority of people who make up their fanbase." Geoff Cutshaw as for coldplay - dont mind there songs but tbh they are just a lentil flavored U2 most times and i suppose U2 embody the word 'rock' slightly more Hard to say as there was only one true Sex Pistols albums - but i guess PiL were prob undervalued in the continuing obsession for the sex pistols - guess maybe PiL should be seen as being more important than just doing the standard updated rock'n'roll of punk and being a more multi-hyphenate act genre wise (seeing that people such as Jah Wobble, Ryuichi Sakamoto and Bill Laswell were involved along the way) - think PiL probs would turn out to be more intersting band once you had assessed everything they did (and they did some great pop as well!!!) iHKn_gk8WV8 jPj-8_wOZcA 9BGi8u8BtaA GKIqW3cikgU Think EMI need to bring out a best of John Lydon 2CD+DVD for Xmas (ie re-issue with bonus disc) - could do with getting something like that

watching GA on 5 - will watch it next week - didnt think much of the last ep with all the flashbacks in 8 - but i guess you had to know everything what happened rather than just guess some of it for yourself...

But its rated R in America rather than NC-17 - and i think i read that was because of the 'sexual nature' (not an out and out porno obv) rather than ultra-violent..think its one to make you think

dont know if its really gonna be v bizarre, nasty horror thing or rather something thats gonna be endlessly debated in gender and sexulaity classes till like forever

Interview from Teletext: Sara Bareilles' look of love By John Earls - "I was so panicky about being on a major record company. Then I thought 'Well, you've signed now, you'd better take the consequences.'" Sara Bareilles' Top 10 hit Love Song is a dig at her record label's demands for syrupy ballads from a singer more at home with Death Cab and Ben Folds. "I've been known to cry and scream at meetings with Sony," says Sara. "I'll go crazy if my music isn't right." It's ironic Love Song is Sara's first hit, as it was a dig at Sony. "I gave them some album demos and their attitude was 'Where's the singles?'," says Sara, 28. "I couldn't believe how non-committal they were to music I'd spent so long sweating over. I wrote Love Song on the spot and was 'Well, try THIS!' thinking they'd go mad. When they went 'THAT'S a single', it was me who got mad!" Sara signed her deal in 2005, but it's only next week that her album Little Voice is coming out in the UK. "I thought my album would be out at most a year after I signed," she sighs. "It was a year before I got in the studio - just paperwork stuff. Then, my producer Eric Fosse and I spent so long getting the record together. I obsessed over every tiny detail. I've learned to let things go a little easier since." Formerly university friends in Los Angeles with Maroon 5, Sara says her passion for her music is because of her determination to express herself. "I'm just so much braver in music than I am in everyday life," she chuckles. "I say all the pent-up s*** I don't dream of saying to peoples' faces, so if anyone tries to interfere with my songs, I become possessed. Writing has been my escape since I was a teenager." Typical of Sara's musical honesty is the raunchy Come Round Soon. "That's about a guy I had a crush on in college and, no, it wasn't one of Maroon 5," she says. "He became the focus of my songwriting energies, it's fair to say! I don't think he knows I've written songs about him. But, you know, if you come into the orbit of a songwriter, you're bound to get a song about you one day." As a sideline to her lyrics, Sara sometimes writes poetry. "Bad poetry," she emphasies. "A lot of singers think that, because we can write lyrics, we're poets too. "But it's a completely different sphere - I know my poems aren't so hot. I do it to unwind, occasionally get a song idea. Really, they aren't so great. If a publisher offered to put a collection out, I'd have the sense to say no!" actually its funny Ben Folds names comes up in this interview as everytime Love Song comes on and my cd player is plugged in - i rush to get my copy of The Unauthorized Biography of Reinhold Messner to play this excellent track... EjMOD8sjeXA