Wu-Tang Clan - Take It Back (Official Music Video)
http://new.music.yahoo.com/videos/–57323094
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WatchMojo NewsletterCheck out the all new video for Paula Abdul’s “Dance Like There’s No Tomorrow,” the first single off of American Idol judge Randy Jackson’s Music Club, Vol. 1 CD!! Below is the direct link to the video on Fox.com which includes an embed feature for your use. The CD is in stores March 11th and I have copies available for review, as well as audio streams of the first single “Dance Like There’s No Tomorrow” with Paula Abdul, and other assets (album art and press release) below. Let me know if you are interested in featuring Randy Jackson’s Music Club, Vol. 1 on Watch Mojo.
“Dance Like There’s No Tomorrow” Music Video:
http://www.fox.com/paula
Grammy-winning producer, virtuoso musician, hit songwriter, legendary A&R executive and, of course, lovable American Idol judge – Randy Jackson has called upon every aspect of his staggering career to produce Randy Jackson’s Music Club, Vol. 1, his first solo album, which is due March 11, 2008, on his new label, Dream Merchant 21, and released through the Concord Music Group.
The album includes a stellar ensemble of artists and features the return of fellow Idol judge Paula Abdul who’s track “Dance Like There’s No Tomorrow” is her first release of new music in over a decade. Other guests on the album include Idol standouts Katherine McPhee and Elliot Yamin, U.K. phenom Joss Stone, country trailblazer Travis Tritt, pop-rock hitmaker Jason Mraz, ace country songwriter-producer John Rich (of Big & Rich), R&B luminary Sam Moore and Bon Jovi guitarist-harmonizer Richie Sambora. Randy also works once more with the incredible Mariah Carey who guests on the gospel track “Understand” along with Bebe Winans and Hezekiah Walker, Kim Burrell & Rance Allen. The collection also features major up and coming talent such as the wonderful Barbie Esco on the track “My R&B” and Kelli Selah on “Who’s Gonna Love You Now” among many others.
His multifaceted personality extends from his nicknames to his musical influences. “I was always one of the only cats down here in the south, driving around listening to Beanie Sigel and Jay-Z,” he says with a laugh. “Some of the stuff I listened to down here didn’t have a lot of depth. And good music is good music—no matter where it comes from.”- 2 Pistols.
2 Pistols Featuring T-Pain and Tay Dizm | She Got It Audio
http://umrg.edgeboss.net/wmedia/umrg/898-2pistols/token/she_got_it/01_shet_got_it_ft._t-pain_and_tay_dizm_1000k.asx
http://umrg.edgeboss.net/real/umrg/898-2pistols/token/she_got_it/01_shet_got_it_ft._t-pain_and_tay_dizm_1000k.ram
Verve Recording artist Lizz Wright releases her new video for her single, “My Heart”, off of her new album, “The Orchard”, which will be in stores on Tuesday, February 26th. See Streams Below:
Lizz Wright - My Heart (Video)
http://verve.edgeboss.net/qtime/verve/lizzwright/orchard/video/lizz.wright_my.heart_hinted.mov
Lizz Wright - My Heart (Audio)
Windows Media:
http://verve.edgeboss.net/wmedia/verve/lizzwright/orchard/audio/my_heart.wax
Quicktime:
http://verve.edgeboss.net/qtime/verve/lizzwright/orchard/audio/qt/02_my_heart.mov
Lizz Wright
Verve Records
‘The Orchard’ In-Stores February 26th
http://www.myspace.com/lizzwright
http://lizzwright.com
Lizz Wright Bio
Lizz Wright’s first two Verve releases, Salt and Dreaming Wide Awake, established her as one of the jazz world’s most celebrated rising stars, both an accomplished songwriter and a versatile, deeply expressive singer. On her third album The Orchard, the Georgia-bred, New York-based artist takes a substantial leap forward, transcending genre distinctions to deliver a vibrant, intensely creative milestone.
The largely self-penned The Orchard finds Wright mining her own experience to create an unmistakably personal musical statement. The warmth and resonance of Wright’s gospel-trained contralto is matched by the intimacy and authority of such original compositions as “Coming Home,” “My Heart,” “Another Angel” and “When I Fall.” Wright’s interpretive skills are equally impressive on revelatory readings of the Ike and Tina Turner classic “I Idolize You,” Sweet Honey in the Rock’s “Hey Mann,” the Led Zeppelin ballad “Thank You” and Patsy Cline’s haunting “Strange.”
The Orchard reflects Wright’s lifelong musical journey. The artist was born in the small rural town of Hahira, Georgia, one of three children of a minister father and a mother who sang gospel at church services. In her childhood, she began playing piano and singing in church with her two siblings. In high school, she broadened her musical horizons by studying choral singing, performing with groups of various sizes and winning several regional and national awards.
Wright subsequently studied voice at Georgia State University in Atlanta, and continued her musical education at New York’s New School and in Vancouver. Returning to Atlanta, she won considerable regional acclaim after joining the jazz group In the Spirit. In 2002, Wright gained high-profile acclaim for her performances as part of a touring Billie Holiday tribute, for which she was singled out as a future star by several prominent critics.
Her 2003 debut Salt introduced Wright as both an accomplished songwriter and an effortlessly magnetic performer, delivering subtly persuasive vocal performances in understated jazz/R&B settings. Salt won international acclaim, earning Wright comparisons with such formidable figures as Nina Simone and Abbey Lincoln. It also struck a chord with the public, reaching the Number Two slot on Billboard’s Contemporary Jazz chart.
The New York Times’ Stephen Holden praised Wright’s “astonishing maturity and poise” and wrote that she “stirs jazz, gospel and rhythm and blues into a reflective, flowing style that elongates songs into prayerful meditations that never wander into vagueness,” and described her singing as “pitch-perfect, with a smoky, full-bodied texture… impressive in its steadiness, control and rhythmic subtlety.”
Dreaming Wide Awake followed in 2005, expanding Wright’s interpretive range on a broad array of material ranging from Fats Waller to Neil Young. The sophomore effort reached the top position on the Billboard Contemporary Jazz chart, and marked the start of Wright’s productive association with producer Craig Street, whose resume includes work with such notable female auteurs as Cassandra Wilson, k.d. lang and Me’Shell NdegéOcello.
Wright’s collaboration with Street continues on The Orchard. While her prior releases boasted contributions from some of the jazz world’s most respected jazz players, The Orchard features an eclectic cast that includes noted singer/songwriter Toshi Reagon, who co-wrote several songs with Wright; Calexico members Joey Burns and John Convertino; avant-guitar hero Oren Bloedow; longtime Bob Dylan sideman Larry Campbell; Ollabelle member Glenn Patscha; and guest vocalists Catherine Russell and Marc Anthony Thompson (aka Chocolate Genius).
The Orchard’s fluid, intimate performances reflect the unpretentious spirit in which the music was created. The project actually began with a set of photographs taken by Wright in her rural hometown, focusing on the orchard of the title, a setting that she’s known since childhood.
“The Orchard started with a trip that I took home to see my grandparents, and watching how they interacted with their neighbors and friends,” Wright recalls. “It got me thinking about where I was born and grew up, and that really inspired me a lot. I took some pictures of that area, and I made a little slide show and set it to the Tom Waits song “I Hope That I Don’t Fall In Love With You” and I took that to Verve and said ‘This is what I want to do.’ We went back to do another photo shoot, before we’d even recorded any music. And when I sat down with Craig and the writers and musicians, I showed them the pictures and played them the Tom Waits song. Everyone responded to them in their own way, and everyone brought their own insight and sensibilities to this concept that I showed them, and that helped to take the record to a different place.
“I liked the idea of this record having a soul that was centered around the orchard,” she explains. “But I didn’t feel compelled to stay married to the concept. I Initially wanted this record to be very much about home, about Hahira, and I took a lot of signals from there, but it ended up becoming something else. I wanted to name it The Orchard because that’s where it started.”
Before they began recording, Wright and Reagon debuted The Orchard’s songs with a series of low-key live sets at the small East Village club Banjo Jim’s. “We played through everything to figure out how we wanted to approach the songs. We tried out a lot of arranging ideas and different approaches, and the arrangements changed every night. That was a great process, and it was a challenge to me to make something real out of these songs that I didn’t really know yet. It’s the first time I’ve done that, working through songs live before making a record and learning just how far I could push myself.”
That organic approach was maintained throughout the recording process, which took place at studios in upstate New York’s Catskill mountains, in Tucson, Arizona and Brooklyn. The sessions emphasized spontaneity and chemistry. “We exchanged different sounds and different textures, and worked out the arrangement right then and there,’” Wright notes. “We didn’t decide before going into the studio what the songs would sound like; we just had an idea or a feeling, and sometimes Craig would suggest something or someone would play something and we’d follow the vibe. All of the musicians who were involved in this record had something to do with the way we ended up playing the songs, and I think that gave the project breadth and depth.”
That rare ability to exist within the musical moment is one of the qualities that make Lizz Wright a special artist and The Orchard a career milestone. “This record was a huge learning experience, in every way, and I think it showed me a lot about myself,” she states. “I never would have imagined that I would have written some of the things I wrote on this record, or told some of these stories. But I felt really free and I really let myself go, and I surprised myself.”
Check out the KYLIE interview on THE HOUR from last night
http://www.cbc.ca/thehour/video.php?id=1073
Also - don’t forget to watch KYLIE perform and award PAUL McCARTNEY with his Outstanding Contribution Award on the…2008 BRIT AWARDS airing on CBC TELEVISION TOMORROW <THURSDAY, FEBRUARY 21>@8:00 p.m. (ET)
From onstage last night (Feb 19), amid the pandemonium in front of 14,000 screaming fans at a packed Los Angeles Forum, Iron Maiden announced the first leg of their eagerly anticipated North American summer tour. For this special moment, they were joined on stage by their mascot Eddie resplendent in Lakers colours in honor of the halcyon days the team played at the Fabulous Forum. At 14 ft tall, Eddie could be the tallest player ever to wear Laker’s colors!
With tickets for Iron Maiden’s current “SOMEWHERE BACK IN TIME – WORLD TOUR 08″ dates at the Los Angeles Forum and New Jersey’s Izod Centre sold out months in advance, the band are delighted to announce they are coming back for more major USA concerts this summer which will take them to a number of cities they have not played in many years along with a return to the Los Angeles area with 2 nights at the 16,000 capacity Verizon Amphitheatre on Friday May 30 and Saturday May 31. Tickets for the majority of these shows will go on sale to the public on Saturday, March 1st. A special pre-sale will be made available exclusively to members of the Iron Maiden fan club, who will also be eligible to enter to be ‘First to the stage barrier’. Full details can be found on www.ironmaiden.com.
Good news for music lovers of all types 
http://news.bbc.co.uk/2/hi/health/7250594.stm
Music ‘can aid stroke recovery’
Listening to music in the early stages after a stroke can improve a patient’s recovery, research suggests.
The researchers compared patients who listened to music for a couple of hours a day, with those who listened only to audio books, or nothing at all.
The music group showed better recovery of memory and attention skills, and a more positive general frame of mind.
Writing in journal Brain, the Finnish team who studied 60 patients said music could be a useful addition to therapy.
Lead researcher Teppo Sarkamo, from the University of Helsinki, said music could be particularly valuable for patients not yet ready for other forms of rehabilitation.
It also had the advantage of being cheap and easy-to-conduct.
Quick action
The study focused on 60 stroke patients who took part in the research as soon as possible after they had been admitted to hospital.
The aim was to offer music therapy before the changes in the brain that can take place in the aftermath of a stroke had a chance to kick in.
Most of the patients had problems with movement and with cognitive processes, such as attention and memory.
Patients in the music group were able to choose the type of music they listened to. All patients received standard stroke rehabilitation.
After three months, verbal memory improved by 60% in the music group, compared with18% in the audio book group, and 29% in the non-listeners.
Focused attention - the ability to control and perform mental operations and resolve conflicts - improved by 17% in the music group, but not at all in the other two groups.
In addition, patients in the music group were less likely to be depressed, or confused.
Mr Sarkamo said: “Other research has shown that during the first weeks and months after stroke, the patients typically spend about three-quarters of their time each day in non-therapeutic activities, mostly in their rooms, inactive and without interaction, even although this time-window is ideal for rehabilitative training from the point of view of brain plasticity.
“Our research shows for the first time that listening to music during this crucial period can enhance cognitive recovery and prevent negative mood, and it has the advantage that it is cheap and easy to organise.”
However, he admitted that further work was needed to confirm the study, and that it should not be assumed that music therapy would work all patients.
He said: “Rather than an alternative, music listening should be considered as an addition to other active forms of therapy, such as speech therapy or neuropsychological rehabilitation.”
Possible theories
The researchers said it was possible that music directly stimulated recovery in the damaged areas of the brain.
Alternatively, it might stimulate more general mechanisms related to the ability of the brain to repair and renew its neural networks after damage.
Or it might specifically act on the part of the nervous system that is implicated in feelings of pleasure, reward and memory.
Dr Isabel Lee, of The Stroke Association, welcomed the research.
However, she said: “Further research into the effect of music on stroke patients needs to be undertaken before any widespread use, as presently the mechanisms of any effect remain unclear.”
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