Is it me …or is Montreal, Quebec, Canada becoming the new….
LOVE & SEX AND SOUL CAPITAL OF CANADA???
LaTour – People Are Still Having Sex
by SAMER ELATRASH
On a Saturday afternoon in January, students from several high schools in Montreal leave the offices of NDG community group Head and Hands, where they were taking instruction on becoming peer sex educators in their schools.
“It’s cool, and it’s non-judgmental,” says 16-year-old Joanna Bennet, while waiting for her mother to pick her up. “This is a good opportunity to learn about safe sex and to teach others about it.”
She is one of four students from Trafalgar, a private high school, who’ve signed up for the courses with Head and Hands. “A lot of people [have unsafe sex],” she says. “And they’re not thinking of the consequences, as if it’s nothing, like a handshake.”
U2 & B.B. King: When Love Comes To Town
Paul McCartney & U2- Live at Live8- Sgt. Peppers Lonely..
There are babies everywhere now!!!
AND THE BABIES ARE HAPPY
AND SMILING AND
BECAUSE THEIR MOTHERS
ARE BREASTFEEDING THEM….
(ok…..I added that last part in for effect.~Vaq)
Roberta Flack “The First Time Ever I Saw Your Face” (1969)
Johnny Cash – The first time ever I saw your face
Charles Jackson ` Passionate Breezes
YOU’RE MY LASTEST,GREATEST INSPIRATION – TEDDY PENDERGRASS (1981)
Cry Together – The O’Jays
Meli’sa Morgan – Do Me Baby
IT’S YOU THAT I NEED – ENCHANTMENT (1978)
Al Green “How can you mend a broken heart”
THAT’S THE WAY I FEEL ABOUT ‘CHA (Original Full-Length Album Version) – Bobby Womack
Tavares – That’s The Sound That Lonely Makes (1973)
Ann Peebles – It’s Your Thing
Since I Found My Baby – Cornelius Brothers & Sister Rose
Lady I Love You – O’Bryan
Freddie Jackson Me & Mrs Jones
Phyllis Hyman – What You Won’t Do For Love
I got all of these songs off of a compilation by EMI called HEART OF SOUL SERIES.
HEART OF SOUL SERIES PROJECT DIRECTION = BRUCE HARRIS
EXECUTIVE PRODUCER=BONNIE BARRETT
COMPILATION PRODUCED BY =LEO SACKS
MASTERED BY TOM RUFF @ SONY MUSIC STUDIOS, NY
ART DIRECTION = HENRY MARQUEZ/LU ANN GRAFFEO
PROJECT COORDINATOR =VIVIANA CHAN
DO YOU SEE WHAT WE CAN ACHIEVE WHEN ………
ARTISTS ARE IN CHARGE AND NOT SOME RANDOM GUYS IN SUITS TAKE THE HELM???
Lenny Kravitz “Are You Gonna Go My Way”
When Black people are free…
everyone is free.
did you notice that???
That 70’s Show: The Joker (HD)
The Steve Miller Band The Joker and lyrics
Steve Miller Band Live From Chicago Jet Airliner
Robin Thicke – Lost Without U
for some people having sex
or if you prefer
makes them feel alive
…not me Ma…..
I said some people…
SOME PEOPLE, Maaaaa;(
it make me feel dead MOM.
I wanted to become a Sexologist
I never had time for studying…
just time for PRACTICING…
ha! ha! ha!
I’LL BE HERE ALL WEEK… ~ Vaq
Keyshia Cole – I Should Have Cheated (With Lyrics)
Brandy – Long Distance
Mission Bells – Armistice – Béatrice Martin & Jay Malinowski (Official Video)
The horizon. Where things end, where things begin,
and the point where possibilities are limitless.
Inspired decision, then, that Juno Award-winning trio Bedouin Soundclash should choose to dub their latest collection of west-friendly, world-pop Light the Horizon. Inspired. And fitting. “This record is really looking forward,” says vocalist Jay Malinowski. “It’s from the point where we don’t have any baggage from the past. We’re just genuinely in the moment with this record, for the first time in a long time.” Soundclash co-founder and bassist Eon Sinclair agrees. “It’s a really optimistic and hopeful record,” he says. “That’s been said about some of the stuff we’ve done in the past, but this time we’re just feeling more self-assured and more confident in doing what it is that we do in Bedouin Soundclash. It’s positive and optimistic and forward-looking.”
Summoning the spirit of the May season in which it was recorded, Light the Horizon charts a new course for Bedouin Soundclash in 2010 — one that is awash with optimism, shimmering with possibilities and heralds the beginning of what could be the most defining chapter in the life of one of Canada’s finest and freshest musical entities. But, as with much in this life, before you know where you are and where you’re going it’s important to know the journey you’ve travelled. And the tale of Bedouin Soundclash has been filled with step after step of something special — from live shows that are as emotionally incendiary as they are monstrously entertaining to albums that have stoked the hearts and minds of thousands.
Forged from friendships made at Kingston’s Queen’s University a decade ago, the Toronto trio released its debut disc Root Fire in 2001. That album, and a steady diet of gigging, paved the way and planted the seed for their acclaimed sophomore release Sounding A Mosaic (2004), which caught critics’ and audience’s ears at home and abroad with its honest blend of pop, rock, punk and reggae. Propelled by the joyous, soul-slaking hit single, When the Night Feels My Song, the disc helped earn Bedouin its first Juno Award, for this nation’s Best New Artist. Follow up release, 2007’s Street Gospels, yielded hits such as Walls Fall Down and Until We Burn In the Sun (The Kids Just Want a Love Song), and only furthered the band’s reputation — earning Pop Album of the Year considerations at the Junos, and leading to international tours performing alongside acts such as No Doubt, Coldplay and Nine Inch Nails.
And here’s where the horizon began to cloud up ever so slightly for a band known for its overwhelming positivities and successes: The constant touring, the pressures, excesses and personal sacrifices that can accompany fame and acclaim began to weigh down on them, with tensions in the band resulting in the departure of drummer Pat Pengelly and a brief, but necessary hiatus for the rest of Bedouin. That time was put to good and positive use, though, founding the new indie label, Pirates Blend Records, with one of the first orders of business being to release a solo disc from Jay, the modestly, marvellously understated Bright Lights and Bruises. While the album allowed Jay to showcase a more acoustic and personal side of himself, the break itself offered him the time and space he needed to truly understand what Bedouin Soundclash meant to him and the possibilities that were now open. “Naturally it makes you appreciate what you have,” Jay says. “We all came back really being engaged to Bedouin and really seeing a future for it.”
Eon, who had encouraged Jay all throughout the guitarist’s solo exploration, came back to Bedouin equally refreshed. “It was necessary and I think it was great because it allowed us to reconnect with ourselves a little bit. I feel like we were so busy with how fast everything seemed to happen with our careers. After our first single hit, it was kind of like we were going, going, going — which was great, but we didn’t really have time to stop and reflect on where we were going and why. We finally had that opportunity. . . . And since then it’s been amazing. Honestly, never better. Everyone’s feeling a lot more comfortable and healthy and positive and energized.”
Adding to the healthy outlook was the addition of longtime Canadian session drummer Sekou Lumumba, who brought with him not only unshakable and uncanny rhythmic skills behind the kit, but an attitude his new bandmates describe as “cool,” “laid-back,” “relaxed” or, to put it more succinctly — “more ?uestlove than Keith Moon.” “He’s very comfortable with anything that we’re throwing at him,” says Jay. “That makes us feel confident because the guy’s responsible for keeping the beat together. It’s allowed a lot more expressiveness in the way we’re playing and the way the songs are being written. And as a person he’s very even-keeled and a calming presence amongst us. It’s allowed us to be a little bit more mellow, I guess — take it a little bit easier, be a little bit more reflective.”
So, armed with a new outlook, sense of purpose and a batch of songs written in a healthier frame of mind, the reinvigorated and reconstituted Bedouin Soundclash set out to build on their sturdy and stellar three-album foundation, heading down, fittingly, to the City of Brotherly Love and teaming with famed DJ/producer King Britt — an artist who was a member of groundbreaking alt ’90s hip-hop act Digable Planets, and has since worked with such talent as Macy Gray and Santigold, and remixed tracks by everyone from Miles Davis to Everything But the Girl.
The producer and the city also proved to have an impact on the band, with King Britt offering them a window and doorway into the rich Philadelphia music scene via his two decades immersed in it and through his regular Monday night Back 2 Basics residency at the club Silk City, where area musicians such as Jill Scott, Erykah Badu and members of The Roots still show up, sit in, and make music magic. “It was a really inspiring thing for us to be in that kind of environment,” says Eon of the overall experience. “For us, it was an opportunity to satisfy one of our other sources of inspiration, which is soul, R&B — more urban genres. We’ve recorded in rock studios and punk studios, this was an opportunity to do something a bit more on the urban level and get that kind of vibe on our record.”
Being south of the border also allowed them to focus entirely on the recording of Light the Horizon and step out of their comfort zone, in all aspects. Encouraged by the Back 2 Basics atmosphere, Bedouin chose to record, for the first time live off the floor — an experience Jay describes as “liberating.” “We’ve always had the comment that our records don’t sound like our live show,” he says, before adding, “And that’s not a good thing.”
He likens previous studio efforts to “cut up versions of a person” or a jigsaw approach that never quite reproduced or represented the true Bedouin entity. It’s a problem that has, finally, been rectified by Light the Horizon, an album where everything comes together and an album that is undeniably, unequivocally Bedouin — from its inherent power and energy to its ability to surprise and delight. Longtime fans will hear in tracks such as A Chance of Rain and Mountain Top that expected syncopated island beat, this time supplemented by that
seductively lazy delivery and some gorgeously brash, brassy horns or added soul. There’s also the anthemic, yet more melodically grounded Elongo, a song that sounds like a holdover from Jay’s solo sojourn. And, just when the trio and album appears to have exhausted its abilities and ways to worm inside, they deliver the monumental Brutal Hearts, a devastatingly gorgeous duet between Jay and 20-year-old, old soul chanteuse Beatrice Martin (a.k.a. Coeur de Pirate), with string arrangements by the legendary friend to Philly soul Larry Gold.
Of course, that’s only the beginning. The rest will reveal itself to fans, to the uninitiated and to the band itself when Light the Horizon is released on September 28, 2010.
The past is the past. The future? “I don’t know where we’ll go,” Eon says of the journey that awaits. “We’re trying to take one day at a time — and every day’s been good so far.” With many, many more . . . just on the horizon.
a chance of rain
Bedouin Soundclash – Brutal Hearts (feat. Coeur De Pirate)
Bedouin Soundclash – “Mountain Top” Nat Geo Music
why are people hating-on VEVO???….thank G*d THEY EXIST!!! ~ Vaq
Biographie | Coeur de pirate
Cœur de pirate, c’est une jeune femme de 19 ans, Béatrice Martin, qui joue du piano depuis l’âge de 3 ans. Forte de cinq années d’études au conservatoire, c’est en mars 2007 qu’elle commence à composer ses propres chansons. Le trop-plein d’émotions vécu par la jeune artiste à cette époque est transmis par la fragilité de sa voix qui fait même fondre les cœurs les plus durs. Des membres de Bonjour Brumaire la remarquent et l’accueillent dans leur groupe où elle œuvre en tant que claviériste et voix féminine.
Printemps 2008, Béatrice annonce qu’elle quitte le groupe et se concentre sur Cœur de pirate, projet qui jongle avec la chanson française et la musique folk, styles musicaux aux sons desquels elle a grandi. Avec seulement quatre concerts à son actif, c’est par le phénomène MySpace que Cœur de pirate se fait connaître. Un véritable engouement qui, très vite, va au-delà des limites du web. Impatiente de présenter son premier opus, qui paraîtra à l’automne 2008 sur l’étiquette Grosse Boîte, la chanteuse est déjà en studio avec David Brunet (Tricot machine, Daniel Boucher, etc.) pour enregistrer un album aux textes sincères et aux douces mélodies. D’ici là, on aura eu la chance de la voir avec son piano et ses compagnons de scène, Renaud Bastien (Malajube) et Julie Brunet (Le Husky, Carl-Éric Hudon), dans le cadre des FrancoFolies de Montréal ainsi qu’au festival Osheaga.
POUR ÉCRIRE À COEUR DE PIRATE