Geneviève Alison Jane Moyet (back then also often known as Alf, her nickname in the punk-era and title of her first solo album) was born 18 June 1961 in Billericay, Essex, to a French father and an English mother.
Annie Lennox (born 1954 in Aberdeen, Scotland) and Dave Stewart (born 1952 in Sunderland, Northern England), a.k.a. Eurythmics, met in a London restaurant in 1975. Annie was working there at the time and both went on to form and the play together with Peet Coombes in their group The Catch. They released one single, 1977's 'Borderline/Black Blood'. The single was released in the UK, NL, ES and POR. The Catch soon became known as The Tourists, who had some chart success in 1979-80 though disbanded soon after due to legal issues with management, publishers and their record label at the time, Logo Records.
Also having a personal relationship by then, Annie and Dave decided to go it alone and became Eurythmics (named after a style of Greek dance that Annie had did as a child), signed to RCA Records. Their breakthrough came with their second album, Sweet Dreams (Are Made of This), released early 1983. The title track featured a dark and powerful sequenced synth bass line and a dramatic video with Annie sporting an orange crew haircut, rapidly making her the new pop icon.
After strenuous years of touring and recording (Eurythmics had released eight studio albums in eight years), a rift had developed between the duo and Eurythmics disbanded, although no official notice was given. Dave began writing film soundtracks and had a big international hit in 1990 with the instrumental track 'Lily Was Here', featuring saxophonist Candy Dulfer, while in 1992, Annie released her first solo album, Diva. The album was a critical and popular success .
A piece of music strictly for adult ears only by the infamous Armand Van Helden from his 1998 album '2 Future 4U'
Armand Van Helden - Entra Mi Casa (1998)
Lyrics:
“Anyone with a taste for adult entertainment
I don’t know what you are talking ’bout.
I’m talking ’bout sex. I am talking about sex
………………..
Entra, ->come in
entra a mi casa papi,-> come in to my house daddy
y quita tus zapatos,-> and take off your shoes
sientate.->sit down
quieres algo de beber??-> anything to drink??
entonces ta’bien-> ok then
quita tu camisa par mi -> take off your shirt for me
yo quiere ver tu cuerpo -> i wanna see your body
hmmm asi -> hmmm like that
oh!
tu quiere que yo quite mi camisa tambien?-> you want me to take off my shirt too?
hmm
si, pero tu necesitas besar mi tetitas ->ok, but you need to kiss my tits
mira que duro esta-> look! how hard it is
y tu bicho es tan duro-> and your “bicho” is so hard
ay que grande-> ay! and big!
uh
yo puedo tocar tu huevito papi?->can i touch your nuts daddy?
si?-> yes
………………
Touch me right there
………………
tocame alli->Touch me right there
oh si
………………
Slide your tongue baby, up and down my ass.
Make it nice and wet.
You like to see those juices coming out on your face?
Make this Puerto-Rican feel sooooo good.
………………
ahora te tas representando como a mi me guta!-> now you’re representing the way i like
ay mira que caliente tu eres,-> look how hot you are
a mi me gusta eso-> i like that
oh papi-> oh daddy
toca mi culo-> touch my ass
como pasa tu lengua-> slide your tongue
por mi culo-> up and down my ass
si-> yes
hey papi?
dame tu bicho en mi culo tambien-> put your”bicho” in my ass too
duro->hard
duro->hard
hmm
……………..
let me get on top
hmm
you make me feel so good
Yeah, just f**k me
……………..
chicha conmigo papi->f**k with me daddy
dame ese bicho duro-> give me that hard “bicho”
ay papi, eso duele mucho-> ay daddy, that really hurts
no te para papi, no te para-> don’t stop daddy, fdon’t stop
dame mas-> gimme more
dame mas-> gimme more
ay que rico
asi eso que yo te guta-> that’s what i like!
oh papi
dios auidame-> God Help Me!!!
que rico-> so good
ay que rico-> ay! soo good
hey papi duro-> hard daddy
mas duro-> harder
mas rapido-> faster
hey no,te vas a venir-> hey no, don’t cum yet
no te vengas, no te vengas no-> don’t cum, don’t cum no!
quitalo bicho-> take it out!
quitalo bicho->take it out!
rapido->fast
mira to’s los jugos que ta saliendo-> look at those juices coming out
ta escurrando por tu cara-> sliping down your face
en tu mano-> in yourhand
en todos laos-> everywhere
mira todos mis jugos-> look all my jiuces
te guta??-> you like it?
quieres probarlos papi?-> wanna taste them daddy?
………………..
oh!
let me stop
cause I don’t want you to cum yet
hm hmm papi eso no
(hm hm papi. I said no.)
I want you to get buckwild with me.
just pull my hair
slap my ass
………………..
hmm
papi chulito
que rico
………………..
Damn, I feel so good I wanna cry
All this talk of getting old
It's getting me down my love
Like a cat in a bag, waiting to drown
This time I'm comin' down
And I hope you're thinking of me
As you lay down on your side
Now the drugs don't work
They just make you worse
But I know I'll see your face again
Now the drugs don't work
They just make you worse
But I know I'll see your face again
But I know I'm on a losing streak
'as I passed down by your street
And if you wanna show, then just let me know
And I'll sing in your ear again
Now the drugs don't work
They just make you worse
But I know I'll see your face again
'Cause baby, ooh, if heaven calls, I'm coming, too
Just like you said, you leave my life, I'm better off dead
All this talk of getting old
It's getting me down my love
Like a cat in a bag, waiting to drown
This time I'm comin' down
Now the drugs don't work
They just make you worse
But I know I'll see your face again
'Cause baby, ooh, if heaven calls, I'm coming, too
Just like you said, you leave my life, I'm better off dead
But if you wanna show, just let me know
And I'll sing in your ear again
Now the drugs don't work
They just make you worse
But I know I'll see your face again
Yeah, I know I'll see your face again
Yeah, I know I'll see your face again
Yeah, I know I'll see your face again
Yeah, I know I'll see your face again
I'm never going down, I'm never coming down
No more, no more, no more, no more, no more
I'm never coming down, I'm never going down
No more, no more, no more, no more, no more
The Pirates feat. Shola Ama - You Should Really Know (2004)
UK#8, IRL#25, FR#49
Lyrics:
Last week when you were cruisin'
Your best friend moved to me, one day
I didn't want to tell you
So I just kept it to myself
You should really know
I ain't playin' you
Babe you gotta know
Cause your love is all im living for
And if you look into my eyes and you will know
Oh baby you should really know
I'm mad you think I hurt you
Cause your love means everything to me
And I aint keepin secrets - no no
I'm just keepin to myself
You should really know
I ain't playin' you
Babe you gotta know
Cause your love is all im living for
And if you look into my eyes and you will know
Oh baby you should really know
Do you think I want you to leave
When you mean so much to me
But if you don't want to stay
Then just let go of me
It would be better off that way
If you won't trust in me
An millions people say
You're the only one I see
Boy you know that I got ya
Anything that you do boy you know I support ya - huh
How could you think I would do this to you
I thought wifey would mean more to you
I aint trying to say I weren't there that day
I'm just trying to say it didn't happen that way
Naila Boss the name is true, the game is true
You know I belong to you, come on
But if your trying give oramators
Then this right here is the point that I make yeh
Do you think I'd be your wife
Allezay, hot grade, i'm gonna be alright
Trust, cause the love we shared was so wrong
Shame, cause I felt it was so strong
It's okay, make your moves
Cause I know you'll be back in a year or two
You should really know
I ain't playin' you
Babe you gotta know
Cause your love is all im living for
And if you look into my eyes and you will know
Oh baby you should really know
A track that has been on constant loop on my iPod that past couple of days...
Lorraine are Ole Gunnar Gundersen, Anders Winsents and Paal Myran Haaland. Their drummer is a little black box. The band are hailing from Bergen, Norway, and began to rehearse in summer 2000 after deciding not to return to school. Their unique and modern sound is based on influences such as Depeche Mode, The Cure, New Order, The Smiths and Pet Shop Boys, a bit 1985 and a bit 2010.
Edyta Górniak is one of the most popular female singers in Polish pop music. Perhaps a bit over-optimistic, but she is being hailed as the next big international female singer. Described as Whitney Houston, Mariah Carey and Celine Dion all rolled into one, the singer has already had huge success outside Poland in countries such as Japan, Norway, Switzerland, Portugal and South Africa.
In 1994 Edyta was the first Polish artist to participate in the Eurovision Song Contest 1994, in which she claimed a highly credible second place, which still stands as Poland's best showing in the contest. Her song was 'To nie ja' (That's Not Me), which was also released in English as 'Once In A Lifetime'. It proved to be her breakthrough in Poland, becoming there the biggest hit of the year 1994. Her first studio album The Touch released year later has moved half a million units only in Poland, bringing eponymous hit 'Dotyk'. In 1996 she signed a contract with EMI International in London for recording of five albums.
Edyta released her first English album a year later, in association with the producer Chris Neil, responsible for international success of Celine Dion. The singles 'When You Come Back To Me' and 'One & One' followed.
In 2002 she was signed to Virgin Germany. The album Invisible had international premiere. It was produced by team Absolute responsible for success of Spice Girls and containing club hit 'Impossible'.
To this day, Edyta has sold over 1 million albums in Poland alone. The readers of Maxim magazine have voted her their most beautiful international cover girl.
Your love's impossible
You need too much to just survive
Get enough and you're gonna fly
We're in the rhythm
The groove's forgiven
There's no mistake in
My optimism
There's nothing hidden
Nothing's forbidden
The beat is driven
We got the feeling
We're operating
Don't need no healing
At least I'm breathing
I'm estimating
I'll up the rating
Loves for the taking
Baby won't you slide with me
Stay close by with me
Baby you can fly with me
It could be so good
If only you can see that
Your love's impossible
You need too much to just survive
Get enough and you're gonna fly
(Impossible, illogical, illogical, impossible)
Your love's illogical
With just one touch you run and hide
Take your chances and take a ride
(Impossible, illogical, illogical, impossible)
You got me vibing
So high we're riding
Don't stop this feeling
The Sun is shining
It's no surprising
My sign is rising
Just keep on movin'
Baby won't you slide with me
Stay close by with me
Baby you can fly with me
It could be so good
If only you can see that
Your love's impossible
You need too much to just survive
Get enough and you're gonna fly
(Impossible, illogical, illogical, impossible)
Your love's illogical
With just one touch you run and hide
Take your chances and take a ride
(Impossible, illogical, illogical, impossible)
Illogical, impossible to love
(Impossible, impossible to love)
Impossible, illogical to love
Impossible, illogical to love
Impossible, impossible, illogical to love
Impossible, illogical to love
Your love's impossible
You need too much to just survive
Get enough and you're gonna fly
(Impossible, illogical, illogical, impossible)
Your love's illogical
With just one touch you run and hide
Take your chances and take a ride
(Impossible, illogical, illogical, impossible)
(Baby won't you slide with me
Stay close by with me
Baby you can fly with me
You can fly with me)
Your love's impossible
You need too much to just survive
Get enough and you're gonna fly
(Impossible, illogical, illogical, impossible)
Your love's illogical
With just one touch you run and hide
Take your chances and take a ride
(Impossible, illogical, illogical, impossible)
I´m thinking of your liquid touch
A little love, just can´t get enough
Day and night I´m hypnotized
The temperature starts to rise
And I can feel the heat
And I can´t bear to speak
Now I´m overcome
Let´s take it one to one
Slipping to the groove somehow
Because I want it now
I´ve got to have it now
Talk to me what are you thinking of?
I can´t breath I need your liquid touch
Can´t you see I want a little love
Talk to me I just can´t get enough
Over and over release me and baby talk to me
Uncover, discover and baby talk to me
I´m thinking of your liquid touch
A little love, just can´t get enough
Slow and cool a liquid smooth
Come on with my appetite
Feed me through the night
Now the time is right
Talk to me what are you thinking of?
I can´t breath I need your liquid touch
Can´t you see I want a little love
Talk to me I just can´t get enough
Over and over release me and baby talk to me
Uncover, discover and baby talk to me
The name Cappella was first used in the year 1987. In the beginning, the act was a Hi-NRG act and the main man behind Cappella was the Italian producer Gianfranco Bortolotti of Media Records, with contributions from the likes of Michele Persona and Mauro Picotto. In 1988, the act debuted on the British charts with the song 'Bauhaus (Push the Beat)', and the following year with 'Helyom Halib' which peaked at UK#11. At the time, the act was fronted by the singer Ettore Foresti. Three years later Cappella scored another UK Top30 hit with 'Take Me Away', which sampled Loleatta Holloway's 'Love Sensation' - the same track that had been unlawfully sampled on 'Ride On Time' by Black Box in 1989.
It was not until 1993 when Cappella began to gain momentum. After 'U Got 2 Know', based on the distinctive riff of Siouxsie and the Banshees' 'Happy House', got to the heady heights of UK#6, two permanent members were drafted in: rapper Rodney Bishop from London and ex-SL2 dancer Kelly Overett from Ipswich.
'U Got 2 Let the Music', which sampled Alphaville's 'Sounds Like a Melody', was released in October 1993 and climbed to UK#2, held off from the top slot only by Meat Loaf's 'I'd Do Anything For Love (But I Won't Do That)'.
Further hits followed: 'Move On Baby' UK#7 February 1994, 'U & Me' UK#10 in June and 'Move It Up' UK#16 hit in October.
Shortly after this, Kelly was fired from the group. It emerged that she had not actually performed on any of the records - though this should have been obvious to anyone who had seen her performing 'Move On Baby' live on Top of the Pops.
Born on Christmas Day 1966 in the Italian town of Cavour near Torino, Mauro Picotto was raised in a family of stonemasons and dancers. His father ran a mason's yard called CRW, a name Mauro would later use as a pseudonym for one of his trance side-projects. Mauro longed to start making his own productions, but felt that to be successful he should take the route of first becoming a DJ. After winning the Walky Cup competition, an event for DMC DJs in Italy on national TV, he met with Daniele Davoli who was there to promote his Black Box single 'Ride On Time'. Mauro's first track 'We Gonna Get', produced under the name RAF, became a Top20 track across much of continental Europe. In 1996, another RAF release followed, alongside remixes and co-writing credits for Clubhouse's 'Light My Fire', Cappella's 'U Got 2 Know' and the 49ers. A track released under his own name, 'Bakerloo Symphony', ended up being IT#1 for eight weeks! He became a partner in Media Records alongside Gianfranco Bortolotti.
1998 saw the release of the gatecrasher anthem, 'Lizard (Gonna Get You)'. It hit the Top30 in the UK and was followed by two further instalments in the reptilian trilogy: 'Iguana' and 'Komodo', which would give Mauro the highest UK chart position of his career - UK#13. To promote it, he was the first DJ to mix live on Top of the Pops.
Later tracks also made an impact on the UK charts: CRW's 'I Feel Love' reached UK#15 in 2000. His remix of York's Chris Rea cover of 'On The Beach' was propelled into the UK Top5 that year.
My personal favourite track by Mauro is 'Proximus', also released in 2000. Part of the track was sampled in the British Airways TV ad at the time.
Two solo albums followed, as well as remixes and productions for Freddie Mercury, Jimmy Somerville, the Pet Shop Boys and U2. Upon leaving Media Records in 2002, Mauro formed Bakerloo Music, as well as a new label Alchemy. That same year he launched his Meganite party at the Miami Winter Music Conference. More recently he released several Meganite Ibiza albums on a new label Big In Ibiza. His 'Meganite' party is held every Wednesday at Ibiza'a Privilege club.
From singer to porn star to singer, Glenn Soukesian, a.k.a. Colton Ford has blazed a unique path to the dance floor:
Born 1962 in Pasadena, Colton got out of high school and his family really tried to dissuade him from getting into music as a profession, so he started going to college. He landed a gig in a dinner theater nightclub with six singers a night perform musicals and contemporary music. Colton got into a jazz quartet and hit the jazz club scene in Los Angeles. He moved to Los Angeles and heard Dawna Montell spinning in a nightclub. Making friends with her, Dawna heard his music and inroduced him to Romey, who has been his manager off and on ever since 1986. At that time, Romey was with Formula One which was Jon St. James' production company, which produced Stacey Q and Louis Louis and they were looking for a male vocalist so Colton got a go at a single called 'The Hardline' in 1986. A year and a half later, he signed to Mighty Productions, owned by Michael O'Hara and Denise Rich. At that time he was working with a producer who was co-producing Frankie Knuckles' second album. Colton started working on an album but there was a conflict of interest with the record label Virgin. They were having a hard time with Colton being white and being the front singer for Frankie Knuckles, He was replaced by Adeva. About four years later he had another deal on the table with Virgin, but Virgin cut back and Colton got shelved. He negotiated a deal with Third Stone, but before the album was finalised, the company folded. Colton's music career was stalling.
At that time he got to know Blake Harper and dating him. Blake was at the top of his game in the porn world and was going to film a scene and to pose for a calendar. His scene partner couldn't get from New York to Palm Springs because of 9/11, so Blake asked if Colton if he wanted to stand in. At the time Colton was in a 9 to 5 job and wasn't content with what he was doing. Bored and stagnant musically, he thought what the hell. Thirty-nine years old and with an opportunity to leave boring corporate America, he created Colton Ford.
But he never really left music and inbetween his porn bookings, he kept composing and trying to move forward musically. In July 2002, both Colton and Blake felt burnt out and we were introduced to Chris Long, who at the time was with Miramax Films. He had heard Colton's music and got him into dance music, knowing that the gay community, who followed him through his porn career, would stay loyal. So it seemed a natural fit for him.
Colton Ford - The Way You Love Me
Colton Ford - The Way You Love Me (Morel's Pink Noise Mix)
Jean-Phillippe Aviance & Victor Imbres, a US house production team from Washington, DC, under the synonym Alcatraz released a track that would become the must-have item in any DJ box at the turn of 1995/1996 and the subsequent spring. It should remain their one and only single but lead to several remixes for big names at the time, including Apollo 440, Lil Mo' Yin Yang and BT. Following Alcatraz, Victor then teamed up with Ruth Rothwell in the UK and formed Greenlight Records in 1997. The label soon churned
out some very classic tunes. He continued making dance house records until 1999. During that year Victor lost interest in music and decided to go back to college to pursue computer programming. But he soon returned to music in 2006. Over the past few years his love of music has developed back into the same creative passion he once had in the 90’s. Victor is behind epic tracks, such as Fragma's 'I Need A Miracle', De Lacy's 'Hide Away', Sandy B.'s 'You Make The World Go Round' and - ahem - Alcatraz's 'Give Me Luv':
Alcatraz - Give Me Luv (1996)
UK#12, FIN#15, SWE#31, NL#41
Peter Jozzepi Burns, a.k.a. Pete Burns, born in 1959 near Wirral, England, to an English father and a German mother, who escaped the Jewish progroms of the Nazi 1930s, is probably the - shall we say - most flamboyant of UK's celebrities since Adam Ant. Most famous to the oldskool people amongst us as the lead singer of Dead or Alive in the 1980s, the younger generation may still recognise him for Dead or Alive's track 'You Spin Me Round' or, rather more unglamorous, for his 2006 appearance in the UK Version of Celebrity Big Brother on Channel 4 or a the £1 million payout over a blotched facelift job. Originally labelled as gay, perhaps owed due to his gender atypical appearance and sexual relations with men, Pete is actually bisexual and was married to Lynne Corlett. Thanks to my friend Franck, I did dig out this treasure from 2004, one of two of his solo career tracks, produced by the very majesties of synth pop: the Pet Shop Boys.
Peter Cunnah, a.k.a. D:Ream, born 1966 in Derry, Northern Ireland, is the prime example why not to get involved in politics as an artist... UK clubbers may remember him as THE high flyer in 1994. Everything he touched turned into a hit at the time. He was so popular, that Tony Blair chose this track (with his agreement) for his 1997 election campaign, which resulted in a MAJOR Labour landslide in 1997. Given, Tony achieved a peace agreement in Northern Ireland, but - in hindsight - failed miserably elsewhere. First victim: D:Ream's success. Final victim: Labour's landslide loss at the last election, with plenty of casulties inbetween...
D:Ream - Things Can Only Get Better (1994)
1993 - UK#24, 1997 - UK#19
Lyrics:
You can walk my path, you can wear my shoes
Learn to talk like me and be an angel too
But maybe you ain't never gonna feel this way
You ain't never gonna know me, but i know you
I'm singing it now-
Things can only get better
They can only get better if we see it through-
that means me and I mean you too
So teach me now that things can only get better,
They can only get, they only get, take it on from here
You know i know that things can only get better
I sometimes lose myself in me, I lose track of time
And I can't see the wood for the trees
You set them alight
burning bridges as you've gone
I'm too weak to fight ya
I've got my personal hell to deal with, then you say
Walk my path, wear my shoes, talk like that-
I'll be an angel then
Things can only get better
they can only get better, now i found you
Things can only get better, they can only get better,
now I found you
and you and you
You have shown me prejudice and greed
And you've shown me how I must learn to deal with this disease
I look at things now in a different light than I did before
And I've found the cause
and I think you can be my cure
So teach me to...
Walk your path, wear your shoes, talk like that, I'll be an angel and
Things can only get better...
Antonio Carmine Di Bartolomeo, a.k.a. Tony di Bart, despite his Italian/Portuguse name, was actually born in Maidenhead, UK. Before hitting it big time on the UK club scene, he owned a bathroom-fitting business. What possessed him to cross-over to music is a mystery, but alas, he managed to score. Talking of cross-over, his club anthem 'The Real Thing' did make it mainstream, hitting UK#1(!) and US#35(!). Tony subsequently had a follow up with 'Do It' but nothing has been heard of him since. Nevertheless, clubbing in 1994 was largely shaped by this track.
Tony di Bart - The Real Thing (1994)
Lyrics:
(If I can't have you)
(Got to be you)
(Real thing)
(If I can't have you)
(Got to be you)
(Real thing)
Come on stay tonight
Come on soothe my mind
Oh honey (got to be you, real thing)
I've been holdin' on
I've been lookin' for the real thing
Waitin' patiently but I never stopped believin'
Say I'm chasin' rainbows livin' in a dream
Girl I kept my fantasy I'm never givin' in
I'll tell you why, oh why
If I can't have you
I don't want nobody baby
Girl it's got be you
Oh I need the real thing
If I can't have you
I don't want nobody baby
Girl it's got be you
I don't need no substitute
I need the real thing
Had a part-time love
But I never fell complete
But when you touch me there
Ooh you get me reelin' yes you do
Can I dare to wonder
If it could be you
Girl you set my heart on fire
When I dream of you
I wanna fly, oh so very high
If I can't have you
I don't want nobody baby
Girl it's got be you
Oh I need the real thing
If I can't have you
I don't want nobody baby
Girl it's got be you
I don't need no substitute
I need the real thing
(If I can't have you)
(Got to be you)
(Real thing)
Come on stay tonight
Come on soothe my mind oh honey
(got to be you, real thing)
Come on stay tonight
Come on soothe my mind oh honey
(got to be you, real thing)
Battle of Hastings? Well, almost - Tom Chaplin, Tim Rice-Oxley, Richard Hughes and Jesse Quin hail from the 1066 field of glory. Though formed in 1997, their major breakthrough came in with 'Everybody's Changing' seven years later.
You say you wander your own land
But when I think about it
I don't see how you can
You're aching, you're breaking
And I can see the pain in your eyes
Says everybody's changing
And I don't know why
So little time
Try to understand that I'm
Trying to make a move just to stay in the game
I try to stay awake and remember my name
But everybody's changing
And I don't feel the same
You're gone from here
And soon you will disappear
Fading into beautiful light
Cause everybody's changing
And I don't feel right
So little time
Try to understand that I'm
Trying to make a move just to stay in the game
I try to stay awake and remember my name
But everybody's changing
And I don't feel the same
So little time
Try to understand that I'm
Trying to make a move just to stay in the game
I try to stay awake and remember my name
But everybody's changing
And I don't feel the same
