Music

Alex Rodriguez Sells Miami Beach Mansion For $30 Million [#PHOTOS] #news #photoops #sports

Two men in London decapitated a soldier with knives including a cleaver. Shit is real across the pond yo.

Voyeur is an R&B/dance act from the 80s. Not much information is given about them, but it was formed by producer Michael Calhoon. In 1985, Voyeur released their debut album on MCA Records. It's unknown how or if the album made the charts. The single, "Paradise" peaked at #70 on Billboard's Hot Black Singles chart, staying on the chart for 5 weeks. In 1988, they released their follow-up album, "Boulevard" on Columbia Records. Once again, it is unknown how or if the album charted. The only single to chart was "Hangin' on the Boulevard" peaked at #36 on Billboard's Hot Dance Music/Club Play chart. After that, it seemed as if Voyeur has faded into obscurity. Nothing much has been heard from them since.To see a fan-made video for the dub version of "Hangin' on the Boulevard," go to:https://www.youtube.com/watch?v=3QGiPwCgyFk

Front lines of the @sosoglos show are steamy. Catch their last few songs live here:

Doyle Lawson & Quicksilver Roads Well Traveled Mountain Home Music Company 2 stars (out of 5) By Aaron Keith Harris If this CD had arrived in the mail with no cover or promo sheet, I would have had no inkling this is a Doyle Lawson & Quicksilver project until the sixth track, which features the unparalleled bandleader singing lead on “Dobro Joe,” a bouncy  bluegrass tune that’s essentially an update, on a different instrument, of Jim & Jesse’s “Fiddlin’ Will,” which closes this 11-song, 37-minute effort. Those two cuts, along with the expertly picked “By the Waters of the Clinch,” a Lawson original mandolin instrumental, are indeed about all the Doyle you’ll get here. The rest is, if I am reading the liner notes correctly, songs sung by Mike Rogers and Corey Hensley—I listened to this all the way through three times and can’t tell the difference—backed by a featureless mix of bluegrass, Southern gospel, and contemporary country arrangements. The songs are standard Nashville, which is to say they contain lots of little details with which the listener is supposed to identify—such as graduating from Ohio state, enjoying the taste of tomatoes and cornbread, and pride in one’s ability to change a flat tire—but do not allow for any emotion to be conveyed or felt. Special opprobrium must be heaped on “Say Hello to Heaven,” a lachrymose tale about a man prayerfully trying to forgive a drunk driver who killed a family member (or members, I can’t stand to go back and listen long enough to find out). There may be a songwriter alive who could make something worthwhile out of that scenario, but we know Lewis N. Hyatt is not that songwriter. There may be some people who could enjoy this disk—it is smoothly executed with good harmony singing—but having one of the true greats, and great gentlemen, of American acoustic music spend his time and ours on something that bears so little of his genius is frustrating.

Khyati, The Girl That Miguel Leg-Dropped, Discusses The Now-Infamous Billboard Awards Incident [VIDEO]

@TahiticoraStart your day with Tahiti Cora. End your day with Tahiti Cora.Free ChillyHi-DefinitionGotta EatSuperstarHello…Dumb it downGo Go GadgetPut You on GameSURPRISE!

Sheek Louch (@RealSheekLouch) and @therealStylesP go back and forth over Wiz Khalifa’s “Bout Me” track. Listening to the D-Block bombardment, you hear Sheek reveal in his verse that Jadakiss, L.O.X. and Wu-Block albums are releasing this year. We’ll see. The post Sheek Louch & Styles P – “Bout Me” Freestyle appeared first on DDotOmen.

@Jasfly @KimOsorio1 @MsDrama @AngelaYee @SharonCarpenter and the other two joints are back it in this episode of The Gossip Game. The post The Gossip Game Episode 8 (Full Episode) appeared first on DDotOmen.

We love the music we have — the wooden boxes of phonograph records and cassettes, the wall shelves of CDs, the iPods with thousands of songs.  But our hearts beat faster for those things imagined but not realized.  Poring over discographies, we breathe faster when reading of unissued takes, the performances rumored to exist, acetates held by someone in another country, the film footage . . . But here, thanks to Lorenz Yeung and Fernando Ortiz de Urbana (I’ve had the good fortune to meet the latter in person) are a few bite-sized bits of one kind of Holy Grail. (Fernando’s blog, EASY DOES IT, is a wonderful cornucopia on its own.) Who assembled this I do not know.  It is a tribute to Sidney Bechet, who well deserves such honors.  But obviously someone followed Bechet around in 1949, on his penultimate visit to the United States.  And Bechet appeared a number of times on television (think of it!) in the States — most often, I believe, on the Eddie Condon Floor Show oon WPIX. It’s always heartwarming to be able to praise Mr. Condon, so allow me a few sentences.  Whenever he could (later with the help of his wife Phyllis and the publicist Ernie Anderson) he looked for venues where his music could be played — in mixed bands on Fifty-Second Street, at the Park Lane Hotel, at Town Hall, the Ritz Theatre, and Carnegie Hall, several incarnations of his own club . . . on records, radio broadcasts, transcriptions for the servicemen and women . . . and television. The Floor Show was his rewarding pioneering television series, broadcast between 1948 and 1950 on WPIX-TV.  It brought together the best jazz players and singers — Louis Armstrong, Sidney Catlett, Jack Teagarden, Lee Wiley, Billie Holiday, Earl Hines, Pee Wee Russell, Woody Herman, Buddy Rich, Hot Lips Page, Count Basie, Bobby Hackett, Buzzy Drootin, Ralph Sutton — alongside Rosemary Clooney and tap-dancer Teddy Hale, and fifty or so other luminaries. Eddie was wise enough to understand that the human ear and psyche would wilt on a steady unremitting diet of Hot, so in his club there was an intermission solo pianist; there were ballad medleys, slow blues, medium-tempo pop tunes, as well as RIVERBOAT SHUFFLE. And his understanding of “show,” of variety, developed in the visual world of early television — hot numbers interspersed with slow ballads, sweet singing, tap dancing, and more.  (I’ve seen a still photograph of what must have been a perfect jazz trio: Hot Lips Page, James P. Johnson, and Zutty Singleton.  Pardon me while I rhapsodize silently.) Some small portion of the music survives on vinyl issues on the Queen-Disc label and in the collectors’ underground trading world, but we know that the kinescopes made at the time — films of the programs — no longer exist.  I have this on very solid authority, unless there were multiple sets made. However . . . this YouTube surprise package has color silent footage of Sidney with Cliff Jackson, Kid Ory, Muggsy Spanier, Teddy Hale, Peanuts Hucko, possibly Kansas Fields, Gene Schroeder, Buddy Rich, Chubby Jackson, George Wettling, and another saxophonist named Charlie Parker. You will have to watch the video several times to fully appreciate all its great gifts, including shots of Bechet acting in several French films, occasionally at the stove or battling an over-assertive shirt dickey. About the television footage: I imagine that someone who loved Bechet followed him onto the soundstage with a movie camera (the kinescopes would have had sound and been in black and white) — blessings on this intrepid soul and those who saved the footage and shared it with us.  (I’ve written to Lorenz Yeung, the poster, to ask the source of the Condon material; he generously told me that it was part of a Bechet CD package he bought in Australia, a bonus CD (!)  I’m also quite amazed that none of the orinthologists have noticed this — and i