Archive for May, 2009

Depeche Mode, Download Free Music Mp3 Depeche Mode, Review of Depeche Mode

May 1st, 2009

Perhaps the quintessential ’80s electropop band, Depeche Mode – the name was inspired by a French fashion magazine – parlayed a fascination with synthesizers into huge success on the British charts (where all its albums went Top 10) and eventually on the U.S. pop chart. Whereas a more traditional four-piece rock band might feature three members playing instruments and the fourth singing and perhaps playing guitar or bass, the lineup of this British group was thus described in a 1993 press release: “Dave (Gahan) is the singer, Martin (Gore) the songwriter, Alan (Wilder) the musician, and Andrew (Fletcher) the coordinator.” Though Depeche Mode’s stark, synthetic sound and often moody, provocative lyrics buck classic pop convention, the hooks that distinguish its most popular songs are among postmodern rock’s most ingratiating. For a time, the group did share an unfortunate trait with numerous conventional rock bands, however: a troubled, drug-addicted lead singer.

When the group’s original members united in 1980, in a working-class suburb of London called Basildon, they gravitated toward synthesizers and drum machines in part because they were easy to carry around and didn’t require amplifiers. In fact, they took the train to their early gigs in local pubs. The group’s recording career began auspiciously: 1981’s dance beat–ridden Speak and Spell (#10 U.K.) became one of the year’s best-selling albums in England. Shortly after its release, though, principal songwriter Vince Clarke left. He eventually formed the techno-driven bands Yazoo and, later, Erasure [see entry].

But Depeche Mode bounced right back with 1982’s A Broken Frame (#8 U.K.), on which Gore assumed chief songwriting duties; soon after, Alan Wilder, who had toured with the band earlier, joined as a full-time member. Two years later the band released the critically and commercially groundbreaking Some Great Reward (#5 U.K.), whose content ranged from the bitter and shocking “Blasphemous Rumours” to “People Are People,” a catchy plea for tolerance that went to #13 in the U.S., where Depeche Mode had previously been considered an obscure alternative act.

In spite of its success on the American tour circuit, where they were selling out arenas, Depeche Mode didn’t have another U.S. hit until “Personal Jesus” (#28, 1990), its first gold single. Violator(#7, 1990), the album that single introduced, yielded the group’s first Top 10 single, “Enjoy the Silence” (#8, 1990). Songs of Faith and Devotion (1993) was heralded by critics as a bold foray into warmer musical textures and more spiritual imagery. It also entered the American pop album chart at #1, boding well for Depeche Mode’s future on both sides of the Atlantic.

However, after another successful tour, that promising future was in doubt. Gore and Fletcher were physically exhausted from the band’s 18 months on the road, Wilder had become disenchanted and left the group (he later formed the largely instrumental project Recoil), and most disturbingly, Gahan slashed his wrists in a suicide attempt in August 1995. The now-trio had already begun to record its next album when Gahan took a near-lethal overdose of heroin and cocaine in May 1996; he actually flatlined for a few minutes. Soon after regaining consciousness, the singer was arrested for drug possession and sentenced to rehab. He emerged from the program clean and sober, and later spoke frankly in interviews about how he had believed he had to live the pain of Depeche Mode’s songs to perform them (although Gore wrote the lyrics).

The group released Ultra in 1997 and enjoyed a resurgence: The album went to #5 in the U.S, and the singles “Barrel of a Gun” and “It’s No Good” were popular Modern Rock tracks (#11 and #4, respectively, on that chart). The band declined to tour in consideration of Gahan’s still-new sobriety. They did return to the stage to support The Singles 86–98 (#38) the following year.

Rick Ross, Download Free Music Mp3 Rick Ross, Review of Rick Ross

May 1st, 2009

Tattooed with pictures of AK-47s, Miami’s six-foot, 300-pound rap figure known as Rick Ross embraced his city’s reputation for drug trafficking on his debut single, “Hustlin’,” in 2006. While Atlanta and Houston artists were establishing their cities as Southern strongholds, Ross aimed at putting Miami back in rap’s national spotlight. Ross, real name William Roberts, grew up in Carol City, FL, an impoverished northern suburb of Miami. Influenced by artists like Luther Campbell and the Notorious B.I.G., Roberts formed local rap group the Carol City Cartel and began rapping in the mid-’90s. (He took his rap name from Los Angeles drug kingpin “Freeway” Rick Ross, who ran one of the largest crack-cocaine distribution networks in the country during the ’80s and early ’90s.) Ross had a brief stint on Suave House Records, former label of Eightball & MJG, before he ended up on Miami-based Slip-N-Side Records, the label home of Trick Daddy and Trina. During the early to mid-2000s, he became popular and well known locally through touring with Trick Daddy and guest-appearing on a few Slip-N-Slide releases, but didn’t release any solo material until 2006. Once “Hustlin’” caught the ear of a few executives within the national industry, a bidding war ensued that included offers from Bad Boy CEO Sean “Diddy” Combs and The Inc. (formerly Murder Inc.) president Irv Gotti. Nonetheless, Def Jam president and veteran rapper Jay-Z signed Ross to a multi-million-dollar deal. The Miami anthem “Hustlin’” went on to receive gold status from RIAA in May 2006 and sold over a million ringtone units before the physical release of his debut album, Port of Miami. Released in August 2006, Ross’ debut was Slip-N-Side’s first project under the Def Jam partnership, and it went to number one on the Billboard album chart. His follow-up, Trilla, was released the following year, prefaced with the Cool & Dre-produced title track. Early 2009 saw the release of Deeper Than Rap, an album greeted with numerous positive reviews in the hip-hop press.

Rick Ross was born November of 1952 in Cleveland, Ohio. His family moved to Phoenix during 1956 and he grew up in Arizona.

Ross attended both elementary and high school in Arizona, except for a brief one-year stint at Camden Military Academy, a boarding school in South Carolina. He never attended college.

During his summers he often worked as a camp counselor and was an avid swimmer.

After graduating from Phoenix Union High School in 1971 Ross was first employed by a finance company and later a local bank. In 1975 he took a job with a cousin’s auto salvage business. He became a company vice president and worked in that area until 1982. During this time his other interests were largely good cigars, art, jazz and classic cars.

But in 1982 a controversial religious group infiltrated the staff of a Jewish nursing home where Ross’ grandmother was a resident. He brought this to the attention of the director and working with the organized Jewish community in Phoenix, ended the problem.

Ross’ effort at the nursing home soon led to further work with the Jewish Federation of Greater Phoenix and the publication of a ground breaking brochure, which carried the ecumenical endorsements of most of Arizona’s religious leaders. It was titled, What in God’s Name is Going on in Arizona?

The brochure achieved wide recognition and Ross was soon appointed to a national committee focused upon the cult phenomenon, by the Union of American Hebrew Congregations (UAHC). The UAHC, commonly called the “Reform Movement,” is one of the largest denominations of Judaism in the world today.

Ross was later appointed to the UAHC Interreligious Affairs committee. And during the 80s he lectured and contributed to educational materials for the denomination.

In the early 80s Ross also became aware of serious problems regarding proselytizing within the prisons and jails of Arizona. He again brought this to the attention of the organized Jewish community.

Hate groups, harassed, threatened and frequently targeted Jewish inmates. Jews in prison also lacked any meaningful advocacy or consistent programs.

Ross founded the Jewish Prisoner Program of Arizona, which was soon absorbed by Jewish Family & Children’s Service (JFCS) of Phoenix.

In 1983 Ross became a member of the JFCS professional staff. What was once volunteer work for the Jewish community, now became his full-time job.

Ross’ work on behalf of Jewish prisoners culminated in his election as chairman, of both the Religious Advisory Committee to the Arizona Department of Corrections and the International Coalition of Jewish Prisoner Programs sponsored by B’nai B’rith in Washington D.C.

During his time at JFCS Ross continued his cult-related work, studies and research.

He also became an instructor for the Phoenix Bureau of Jewish Education and designed a course curriculum about destructive cults.

In 1986 Ross left the staff of JFCS to become a full-time private consultant, lecturer and cult intervention specialist.

He then began working privately with the victims of destructive groups and/or leaders.

His professional help is typically requested by parents, but often is sought by spouses and at times by the adult children of cult members. He has done hundreds of interventions.

Ross once cooperated with parents in involuntary “deprogramming” cases.

Such involuntary interventions were initiated by families and involved the restraint of a loved one. In this type of intervention the cult member was not free to leave and instead restrained under the supervision of their family. This restraint guaranteed an opportunity and adequate time to address family concerns.

However Ross, like other professionals working in this area, abandoned involuntary casework some years ago. He now restricts his intervention work exclusively to voluntary efforts, unless working with a minor child under the direct supervision of a custodial parent.

In voluntary interventions adult cult members are free to go at any time.

Cult members willingly agree to participate in Ross’ current intervention work, despite the option to leave, usually because family members urge them to stay.

Ross states that amongst his current voluntary cases 75 percent not only decide to stay and discuss their family’s concerns, but ultimately leave the group, which has drawn concern.

He has maintained this success rate consistently for some years. This is important, in a field where such definitive results are most often the bottom line.

Ross has worked throughout the United States and internationally.

He also continues to lecture and has been asked to speak at many universities and colleges. This has included such prestigious institutions as the University of Chicago, Dickinson College, Carnegie Mellon, Baylor, The University of Pennsylvania in Philadelphia, Duquesne, Knox College, Rutgers and the McCallie School.

Ross has been qualified, accepted and testified as an expert witness regarding destructive cults and controversial groups in nine states, typically concerning child custody and personal injury cases.

His work with law-enforcement has included consultation with local police departments across the United States, the Federal Bureau of Alcohol Tobacco and Firearms (BATF) and the FBI.

Families once retained Ross to do two interventions with Davidians and both ended successfully. His study of the once little known group led by David Koresh, began in 1988 as a direct result of repeated complaints.

Ross’ work has been cited and/or his comments quoted in newspapers across the United States including the New York Times, Chicago Tribune, Washington Post, USA Today, Dallas Daily News, Boston Herald, LA Times, Village Voice, Seattle Times, Phoenix Republic, Anchorage Daily News, Tampa Tribune, The Las Vegas Sun, Austin American Statesman, Richmond Times Dispatch and the Oregonian.

Ross has likewise been quoted within national magazines such as Newsweek, GQ, Details, Forbes, Cosmopolitan, Glamour, American Lawyer and Slate.

Wire services such as Associated Press and Reuters have also carried his comments.

Time Magazine cited Ross as “a veteran cult watcher.”

He has also been quoted within international publications including The London Times, The South China Post, Davar of Israel, Processo of Mexico, The Toronto Sun, Johannesburg Sunday Times and The Australian Courier.

Ross has appeared on more than 100 radio shows across the U.S. including National Public Radio, CBS and Pacifica and internationally on the BBC, RAI in Rome, CKO National Network of Canada and the Australian Broadcast Corporation.

He has appeared on American national network television on programs such as Nightline, Dateline, The Today Show, Good Morning America, Primetime, NBC Evening News, CNN, MSNBC, Oprah, 48 Hours and MTV News. Ross has appeared internationally on such television networks as NHK, Asahi and Nippon in Japan, CBC of Canada and TV 2 National News of Denmark.

He has also participated in documentaries for Post Newsweek, NHK and Court TV.

Ross has been retained as a paid professional consultant by CBS, CBC and Nippon television networks.

He also worked for Miramax/Disney as a technical advisor to the actor Harvey Keitel regarding his role in the Jane Campion film Holy Smoke.

Launched in 1995, his website, RickRoss.com, is now one of the largest and most comprehensive sites about controversial groups and leaders on the Internet. It contains thousands of articles and documents archived through hundreds of individual group and subject web pages.

Noted cult researchers and authors Flo Conway and Jim Siegelman call RickRoss.com, “The Mt. Everest of mind control Internet Resources.”

Thousands of individuals visit this website every day.

Rick Ross personally handles hundreds of complaints and inquiries each month. This work has often led to breaking stories both about “cult” abuses and celebrity, political and business involvement with groups often called “cults.”

After 2000 Ross launched two more related websites. CultEducation.com, which features educational materials about cults and CultNews.com for breaking stories.

In 2001 Ross moved from Arizona to New Jersey. He now lives in downtown Jersey City on the Hudson River, opposite Manhattan.

At the beginning of 2003 Ross launched the Rick A. Ross Institute Inc. (RI). RI is a New Jersey nonprofit corporation recognized as a tax-exempt educational charity by the US Internal Revenue Service. The mission of RI is the study of destructive cults, controversial groups and movements. RI maintains public archives made available through the Internet and is an institutional member of the New Jersey Library Association.

In January 2009 Rick Ross was an official guest of the Chinese government invited to attend an International Forum on Cultic Studies sponsored by the the Centre for the Study of Destructive Cults in China. Ross presented a paper, which was published by the Chinese Academy of Social Sciences.

Other than his work, which requires frequent travel, Ross is a life-long art collector and still enjoys a good cigar while listening to some quiet jazz.

Ross is pictured on this page in front of an oil painting by noted artist Steven Yazzie titled, No Spring Chicken.

Britain’s FHM Magazine named Rick Ross “America’s number one cult buster.”

Miley Cyrus Hannah Montana, Download Free Music Mp3 Miley Cyrus Hannah Montana, Review of Miley Cyrus Hannah Montana

May 1st, 2009

Destiny Hope Cyrus, best known as Miley Cyrus, is an American actress, singer and songwriter, born in November 23, 1992, in Nashville, Tennessee. She stars as Miley Stewart/Hannah Montana in Disney series, Hannah Montana.

Miley Cyrus attended Heritage Middle School but she currently has a private tutor. She is the daughter of country singer Billy Ray Cyrus and Leticia Cyrus. Miley has an older half-sister, named Brandi, two older half-brothers, Trace and Christopher Cody, a younger brother, Braison, and a younger sister, Noah Lindsey Cyrus, who is also an actress.

Destiny Hope kept all the day smiling when she was younger, that is the reason for her nickname “Miley”, which comes from “Smiley”. She has many pets, like dogs, cats, chickens and horses.

Miley had her first TV appearance when she was 9, playing a guest role, in her father’s TV series “Doc”. Then, in 2003, she worked in Tim Burton’s Big Fish. She also appeared in the music video for “If Heartaches Have Wings”. At the age of 12, Miley was chosen for Hannah Montana due to her energetic and lively performance. She was seen as a person who loves every minute of life, with the everyday relatability of Hilary Duff and the stage presence of Shania Twain. Moreover, Miley had a cameo in High School Musical 2, where she danced next to the pool.

On October 24, 2006, Walt Disney Records released the Hannah Montana Sountrack, which includes eight songs she performed as Hannah Montana. In June 26, 2007, Miley released a double album called “Hannah Montana 2: Meet Miley Cyrus”. The first disc was the second Hannah Montana soundtrack, while the other one was her debut album. It contains ten songs, from which Miley co-wrote eight.

Miley is good friends with Mitchell Musso, Emily Osment, Vanessa Hudgens and Ashley Tisdale.

Flo Rida, Download Free Music Mp3 Flo Rida, Review of Flo Rida

May 1st, 2009

Discovering new talent is often a daunting task; however, when the
formula is complete, all parts, synergetic, the sky is the limit. With
a noted machine behind him, coupled with his distinct originality, Flo
Rida has captured the attention of many while simultaneously making
significant impact early in the game. This reserved persona is a
refreshing addition to the Poe Boy Entertainment family. Explosive on
his tracks and indomitably riding his flow, FloRida is entrenched in
the “Movement,” which, yet again, dons Miami as a hub for endless
talent; FloRida is primed to burst on to the scene with his versatile
lyricism in tow.

FloRida’s exceptional creativity-a fresh and energetic flow, escorted
by a melodic delivery- ensures there is never a dull moment. With a
tone analogous to that of Nelly and on par with the vivacity of
Outkast , FloRida’s uniqueness will undoubtedly set him apart,
defying any standard expectations. Whether singing his hooks or
writing his own lyrics, this multi-talented artist embraces tenacity
like no other.

Recently returning from a three-year stint in Los Angeles, California,
the 24-year old Carol City, Florida native and former basketball
player is on a mission. He has always had a penchant for writing and
vibing to beats and being inspired by his family’s musical influence.
As a 15-year old he began working with his brother-in law who, at the
time was involved with Miami’s pioneer of bass music, Luke Skywalker-
founder of 2 Live Crew.

His focus and persistence are the direct result of realizing his
passion and a discernible revelation,
“When my sister passed away, I woke up and realized what I had to. As
the only boy of seven other siblings [sisters] and growing up without
my father, I realized that I needed to make the most of my time here
on earth. I want to utilize of all of my God-given talents and give
back in a way that others can benefit. My mother is so strong and I
admire her for her strength and showing me that by sacrifice and being
level-headed anything is possible.”

In 2001, he hit the road, performing at shows with Fresh Kid Ice of 2
Live Crew. While amassing significant exposure nationwide, he garnered
the attention of DeVante Swing formerly of famed R&B group “Jodeci” as
well as “The Blind Boys of Alabama.” As a result of this budding
relationship, FloRida departed to Los Angeles, California to work on
his music with them also along side the now reality TV star and Public
Enemy member, Flavor Flav and producer Rich Harrison.

“I had to leave school [UNLV and then Barry University] my music took
precedence, I had to do it full time if it was going to pop off. I
took a trip to LA to promote myself. I was literally on the streets–
at times, promoting myself by myself— I always had the drive to push
own music… People tend you help you more when they see that you
promote yourself, they know your serious then.”

FloRida captivates his audience with tales from the hood some of
which he has seen and experienced. His experiences are channeled
through a medium, which everyone from all backgrounds can relate to.

Additionally, FloRida has been a member of a home-grown group, “The
Groundhogs” since the 9th grade. FloRida, one of the group’s four
members, is intent upon paving the way and opening doors for his
comrades. The name The Groundhogs FloRida says is significant because
“without being grounded, you have nothing to stand on and nothing
lasts long if you don’t start from the ground up.”

His versatility overflows into all aspects of his life. As a former
basketball player and all around athlete, who has dabbled in a bit of
acting, he is intentional in his quest to emerge as leader and an
inspiration to those from his neighborhood or those who might benefit
and learn from his example. He has taken heed of what could happen by
circumstance and in this case he is taking advantage of what destiny
already intends.

Signing to Miami’s hottest record label, Poe Boy Entertainment in
early 2006, was a no brainer for FloRida. The independent record
label has demonstrated its ability to make things happen in and out of
the studio. (P.O.D, Cognito, Brisco, Jacki-O, Rick Ross, Carol City
Cartel and many more) Being supported by the marketing and managing
genius of Poe Boy Entertainment owner, E-Class and his team, presents
generous opportunity. He is suited up, ready to work and going for the
ride.

Kid Cudi, Download Free Music Mp3 Kid Cudi, Review of Kid Cudi

May 1st, 2009

Kid Cudi is a Brooklyn-based rapper from Cleveland whose debut single, “Day ‘n’ Nite,” became an online favorite in 2008. Born Scott Ramon Seguro Mescudi in suburban Cleveland, his career took off after he moved to Brooklyn and became affiliated with Fool’s Gold, the label of DJs A-Trak and Nick Catchdubs. The label released the Day ‘n’ Nite EP in February 2008 and circulated a Crookers remix around the blogosphere, drumming up a good deal of buzz in the process. It didn’t hurt that Kid Cudi began to receive increasing press attention, including a nod from Rolling Stone (which touted him among the magazine’s Top Five best indie hip-hop artists of 2008). Not long after the release of “Day ‘n’ Nite,” Kid Cudi began touring with the Fool’s Gold collective, which performed at a South by Southwest showcase and subsequently joined forces with Steve Aoki and his Dim Mak collective for a North American tour. As the remixed version of “Day ‘n’ Nite” climbed the U.K. singles charts, Kid Cudi readied the release of his full-length album debut for summer 2009.

Lady GaGa, Download Free Music Mp3 Lady GaGa, Review of Lady GaGa

May 1st, 2009

When Lady GaGa was a little girl, she would sing along on her mini plastic tape recorder to Michael Jackson and Cyndi Lauper hits and get twirled in the air in daddy’s arms to the sounds of the Rolling Stones and the Beatles. The precocious child would dance around the table at fancy Upper West Side restaurants using the breadsticks as a baton. And, she would innocently greet a new babysitter in nothing but her birthday suit.

It’s no wonder that little girl from a good Italian New York family, turned into the exhibitionist, multi-talented singer-songwriter with a flair for theatrics that she is today: Lady GaGa.

“I was always an entertainer. I was a ham as a little girl and I’m a ham today,” says Lady GaGa, 22, who made a name for herself on the Lower East Side club scene with the infectious dance-pop party song “Beautiful Dirty Rich,” and wild, theatrical, and often tongue-in-cheek “shock art” performances where GaGa – who designs and makes many of her stage outfits — would strip down to her hand-crafted hot pants and bikini top, light cans of hairspray on fire, and strike a pose as a disco ball lowered from the ceiling to the orchestral sounds of A Clockwork Orange.

“I always loved rock and pop and theater. When I discovered Queen and David Bowie is when it really came together for me and I realized I could do all three,” says GaGa, who nicked her name from Queen’s song “Radio Gaga” and who cites rock star girlfriends, Peggy Bundy, and Donatella Versace as her fashion icons. “I look at those artists as icons in art. It’s not just about the music. It’s about the performance, the attitude, the look; it’s everything. And, that is where I live as an artist and that is what I want to accomplish.”

That goal might seem lofty, but consider the artist: GaGa is the girl who at age 4 learned piano by ear. By age 13, she had written her first piano ballad. At 14, she played open mike nights at clubs such as New York’s the Bitter End by night and was teased for her quirky, eccentric style by her Convent of the Sacred Heart School (the Manhattan private school Nicky and Paris Hilton attended) classmates by day. At age 17, she became was one of 20 kids in the world to get early admission to Tisch School of the Arts at NYU. Signed by her 20th birthday and writing songs for other artists (such as the Pussycat Dolls, and has been asked to write for a series of Interscope artists) before her debut album was even released, Lady GaGa has earned the right to reach for the sky.

“My goal as an artist is to funnel a pop record to a world in a very interesting way,” says GaGa, who wrote all of her lyrics, all of her melodies, and played most of the synth work on her album, The Fame (Streamline/Interscope/KonLive). “I almost want to trick people into hanging with something that is really cool with a pop song. It’s almost like the spoonful of sugar and I’m the medicine.”

On The Fame, it’s as if GaGa took two parts dance-pop, one part electro-pop, and one part rock with a splash of disco and burlesque and generously poured it into the figurative martini glasses of the world in an effort to get everyone drunk with her Fame. “The Fame is about how anyone can feel famous,” she explains. “Pop culture is art. It doesn’t make you cool to hate pop culture, so I embraced it and you hear it all over The Fame. But, it’s a sharable fame. I want to invite you all to the party. I want people to feel a part of this lifestyle.”

The CD’s opener and first single, “Just Dance,” gets the dance floor rocking with it’s “fun, L.A., celebratory vibe.” As for the equally catchy, “Boys Boys Boys,” Gaga doesn’t mind wearing her influences on her sleeve. “I wanted to write the female version of Motley Crue’s ‘Girls Girls Girls,’ but with my own twist. I wanted to write a pop song that rockers would like.”

“Beautiful Dirty Rich” sums up her time of self-discovery, living in the Lower East Side and dabbling in drugs and the party scene. “That time, and that song, was just me trying to figure things out,” says GaGa. “Once I grabbed the reigns of my artistry, I fell in love with that more than I did with the party life.” On first listen, “Paparazzi” might come off as a love song to cameras, and in all honestly, GaGa jokes “on one level it IS about wooing the paparazzi and wanting fame. But, it’s not to be taken completely seriously. It’s about everyone’s obsession with that idea. But, it’s also about wanting a guy to love you and the struggle of whether you can have success or love or both.”

GaGa shows her passion for love songs on such softer tracks as the Queen-influenced “Brown Eyes” and the sweet kiss-off break-up song “Nothing I can Say (eh eh).” “‘Brown Eyes’ is the most vulnerable song on the album,” she explains. “‘Eh Eh’ is my simple pop song about finding someone new and breaking up with the old boyfriend.”

For the new tour for this album, fans will be treated to a more polished version of what they saw (and loved) at her critically acclaimed Lollapalooza show in August 2007 and Winter Music Conference performance in March 2008. “This new show is the couture version of my handmade downtown performance of the past few years. It’s more fine-tuned, but some of my favorite elements to my past shows – the disco balls, hot pants, sequin, and stilettos – will still be there. Just more fierce and more of a conceptual show with a vision for pop performance art.”

It’s been a while since a new pop artist has made her way in the music industry the old-fashioned/grass roots way by paying her dues with seedy club gigs and self-promotion. This is one rising pop star who hasn’t been plucked from a model casting call, born into a famous family, won a reality TV singing contest, or emerged from a teen cable TV sitcom. “I did this the way you are supposed to. I played every club in New York City and I bombed in every club and then killed it in every club and I found myself as an artist. I learned how to survive as an artist, get real, and how to fail and then figure out who I was as singer and performer. And, I worked hard.”

GaGa adds with a wink in her eye, “And, now, I’m just trying to change the world one sequin at a time.”

Black Eyed Peas, Download Free Music Mp3 Black Eyed Peas, Review of Black Eyed Peas

May 1st, 2009

They’ve transcended their vigilant hip-hop roots and have become a global phenomenon, the likes of which the music world has rarely seen. Ever-curious and ever-confident, that group is The Black Eyed Peas, and after energizing crowds ’round the globe with the monster-stomp of Elephunk, it’s time for the quartet – William, Fergie, apl.de.ap and Taboo to get down to business – Monkey Business, that is.

2003’s Elephunk was a breakthrough album for The Black Eyed Peas, vaulting them to a level of success unparalleled by any other hip-hop group. The accolades are quick to recite: 7.5 million albums sold worldwide, 4 Grammy nominations, 1 Grammy award, and an unforgettable performance on the 2005 broadcast. But fitted with loose rhymes, buoyant anthemic funk and an ebullient live spirit, the album also heralded a new sound for the modern age – one that is inspired by hip-hop, eschews boundaries and inhibitions, and cuts across ages, races and backgrounds. It is a sound that can be described only as One Nation Under A Black Eyed Peas Groove.

But if Elephunk was the group being crowned prince of the castle, then Monkey Business, their fourth album, is The Black Eyed Peas conquering the throne to become King. It is an album that further intensifies their passion for making music together, for connecting with their audience through the most fundamental ways: making people have a good time. It is a credo that has inspired the group since they formed in the late 1990s, earning their keep in the nurturing environment of Los Angeles’ vibrant hip-hop underground. Even then, the group possessed a magnetic spirit that helped them establish a worldwide following through their first two albums, 1998’s Behind The Front and 2000’s Bridging The Gap.

In many ways, Monkey Business is a direct descendant of its predecessor. The success of Elephunk kept the group touring around the globe for nearly 18 months. “In going on the road for so long, we got an idea of what kind of music we wanted to play and make,” explains will.i.am. “Monkey Business is very much about the types of songs we play live. It’s about a party. It’s layered differently and has energy to it that reflects how we tour – from the beats to the types of instruments we used to how we interact with the audience. It’s very much about us and the crowd on this record.”

Monkey Business was literally produced and recorded during The Black Eyed Peas everlasting road trip. “I was in Brazil doing some CD shopping,” will.i.am recalls. “I came across this compilation and I thought it was one thing but it turned out to be something else. The Dick Dale song ‘Miserlou,’ was on it. At first I was angry – this isn’t what I wanted to buy,” he laughs. “But then, really, that song is hot. I said, ‘we should do a song like this.’ I jump-started the computer and made some beats on the train. Then we had to fly to Tokyo and I tightened up the beat on the plane. Then I recorded vocals in this park in Tokyo. And that’s how we recorded the song, ‘Pump It.’”

The song, a jump-up party anthem, is one of the featured tracks on Monkey Business – and made its debut in a commercial for Best Buy electronics. “It’s the beauty of technology now – you can record anywhere, anytime, any which way. And I love that song because it feels like our live shows, it has that energy.”

Monkey Business also furthers the bond the group forged as friends during the making of Elephunk. Before recording that album, the three original members of The Black Eyed Peas – will.i.am, apl.de.ap and Taboo – had been ensnared by personal demons. “I remember that we were each talking about the things that were haunting us and seemed to be crippling us,” recalls will.i.am. Adding the vocal talents of singer, Fergie, the group used music as a therapeutic vehicle. Making music with that near-desperate fervor also is maintained on Monkey Business, says will.i.am. “You’re always challenged not to go back to those bad habits in life,” he says. “When you’re comfortable living, you sometimes think that, well, I beat it once so I can do it again. But you never really escape the things that haunt you.”

Thus, making Monkey Business became an effort put forth by all the members of the group – the first the foursome co-wrote together – and the more sophisticated songwriting; the layered grooves of the record and its fulfilled spirit reflect that. “This was really about all of us building a house together,” says will.i.am.

“Don’t Phunk With My Heart” is a gripping soulful serenade that will.i.am describes as a sequel to The Black Eyed Peas song, “Shut Up.” “Not sonically but in subject matter,” he clarifies. “When you’re on bad terms with a significant other, you don’t want to break up. You tell her things and at the time you really mean them. But she’s saying, stop f****ing with me.”

If it sounds like the personal lives of the members infiltrated their songwriting, it is mostly because it did. “Don’t Lie,” is a song will.i.am says was born of true experience of deceptively bending the truth to an ex-girlfriend. “It’s a song about owning up and apologizing and realizing your faults. It’s about being a man or a woman – an adult – and confronting situations honestly.”

Singer Justin Timberlake joins the group again for the song, “My Style.” He first sang on the song, “Where Is The Love?,” the breakout single from Elephunk. “We get along real well,” says will.i.am, “and he sees music in a very similar way. Plus, he’s just a good dude.” The song was produced by famed beat-maker Timbaland. “I like experiencing things I’ve never experienced before,” will.i.am says. “It brings you out of your comfort zone and that can be creatively inspiring. And Timbaland is an incredible talent.”

Other collaborators join The Black Eyed Peas on this album, too, like Sting on “Union.” Neo-folk singer, Jack Johnson is sampled on the song, “Gone Going.” The Peas also got to live something of a dream when they hooked up with the Godfather of Soul, James Brown, for the song, “They Don’t Want Music.”

“That was just stupid, man,” will.i.am says. “Being a fan of hip-hop and knowing that the music’s backbone is based entirely on James Brown – the concept of hitting the beat on the “one,” it’s an otherworldly experience.” The Black Eyed Peas remain one of only a handful of select groups that have been able to collaborate with Funk’s inventor. “We met in the UK, at the Mojo Awards, and we talked about working together. I remember when we recorded; I played him the beat all nervous and everything. We all sat in the room and he nodded his head and grunted in approval.”

That song is reflective of the Peas’ fluid funk that can run from generation to generation – and is one of the reasons why the group is beloved and respected worldwide. “I think the fact that we just have fun with music is the reason why it works for us,” says will.i.am. “We love music and melodies and don’t try to distinguish ourselves from regular music fans. It’s really that simple.”

Positive messages and breakdancing are integral parts of hip-hop culture, but by 1990 those elements had been temporarily eclipsed by the tough gangsta image and bleak but compelling lyrics of West Coast groups like N.W.A. However, despite sharing a zip code, Black Eyed Peas’ vision goes beyond the cracked-sidewalk vignettes and sampled gunfire of Los Angeles’ gangsta style. The socially conscious group’s earliest connections go back to high school, when will.i.am and apl.de.ap were part of Tribal Nation, a breakdancing crew. Eventually the pair focused more on music — hip-hop, specifically — and split off into their own as Atban Klann, their esoteric name an acronym for A Tribe Beyond a Nation. Eazy-E’s Ruthless Records signed the group in 1992, but many in the Ruthless camp were puzzled by the group and the enthusiasm of Eazy, who had no problem reconciling his own gangsta style with the peace-minded breakdancing of Atban. Although an album was recorded, Ruthless shelved it, unsure how to market a group whose style wasn’t dependent on violent braggadocio like N.W.A.

The death of Eazy-E in 1995 signaled the end of any further deals with Ruthless. Undaunted by the experience, will and apl recruited another dancer/MC, Taboo, and reappeared as Black Eyed Peas. BEP began playing shows around L.A., impressing hip-hop fans with their mike skills and dazzling them with their footwork as well. In 1998 their debut, Behind the Front, was released to critical acclaim — not only for the trio of MCs, but for their live band and backing vocalist Kim Hill as well. Featuring guest appearances from Jurassic 5’s Chali 2na, De La Soul, and Macy Gray, BEP’s sophomore effort, Bridging the Gap, was released in 2000. The group’s third album, 2003’s Elephunk, featured a new member (Fergie, who replaced Kim Hill) and became their biggest hit yet, storming the Top 40 with three singles (“Where Is the Love?,” “Hey Mama,” “Let’s Get It Started”). Two years later, the quartet returned with a heavily crossover date, Monkey Business, which pushed them into the stratosphere courtesy of the hit single “My Humps.” ~ Wade Kergan, All Music Guide

Studio Albums

With Kim Hill

* 1998: Behind the Front
* 2000: Bridging the Gap

With Fergie

* 2003: Elephunk
* 2005: Monkey Business
* 2009: The E.N.D.

Compilations

* 2005: iTunes Originals
* 2006: Renegotiations: The Remixes
* 2006: iTunes Essentials

DVDs

* 2004: Behind the Bridge to Elephunk
* 2006: Bring in the Noise, Bring in the Phunk
* 2006: Live From Sydney To Vegas

Tours

* 2004: Elephunk Tour
* 2006: Honda Civic Tour
* 2006: Monkey Business World Tour
* 2007: Black Blue & You World Tour
* 2009: The Energy Never Dies Tour

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