DOCSLIB.ORG

MBW Yearbook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MBW Yearbook 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018YEARBOOK 2019 2019 2019 2018 20182018/2019 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018Brought to2019 you by 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 1 2 3 Are you making the most of your success? Our efficient international payments, transparent foreign exchange and smart treasury management services will help you and your artists realise your global ambitions. +44 (0)20 3735 1735 | [email protected] | CENTTRIPMUSIC.COM Centtrip Limited is authorised and regulated by the Financial Conduct Authority (FCA) as an Electronic Money Institution (EMI). Our firm reference number is 900717. For more information on EMIs please visit the FCA’s website. The Centtrip Prepaid Mastercard is issued by Prepaid Financial Services Limited (PFS) pursuant to a licence from Mastercard International Incorporated. PFS is also authorised and regulated by the FCA as an Electronic Money Institution (firm reference number 900036). Their registered address is Fifth Floor, Langham House, 302–308 Regent Street, London W1B 3AT. 4 5 Contents Lyor Cohen, YouTube 08 Dre London, London Ent 16 David Joseph, Universal Music 24 Carolyn Williams, RCA 32 Paul Rosenberg, Goliath Artists/Def Jam 36 Jon Platt, Warner/Chappell 40 Willard Ahdritz, Kobalt/AWAL 43 Jacqueline Saturn, Caroline 48 Linda Perry 54 Dina LaPolt, LaPolt Law 62 Ib Hamad, Dreamville 68 Ghazi Shami, EMPIRE 74 Matt Pincus 80 Joie Manda, Interscope Geffen A&M 88 Eliah Seton, ADA 94 Steve Salm, Concord Music 99 James Fauntleroy II 104 Joyce Smyth 110 Tom Windish, Paradigm 116 Amy Dietz, INgrooves 122 Dave Holmes & Phil Harvey 127 6 7 Lyor Cohen: ‘I’ve always had the gift of “WE HAVE THE OPPORTUNITY AFTER being self-assured.’ A DIFFICULT PERIOD TO ACTUALLY BUILD THE HEALTHIEST ECOSYSTEM Come on now. He doesn’t really here’s Lyor Cohen on Lyor Cohen. the major labels is partly a IN MUSIC INDUSTRY HISTORY.” need an introduction, does he? We get into it. The man, the reaction to that? A fear of what Lyor Cohen. It’s not hyperbole myth... and (as he sees it) the happens if Spotify gets too big? to suggest he’s one of the most- misunderstandings. It’s on the mind and the body talked about – and fiercely and the soul [of the industry]. message of reassurance in terms debated – music executives in Anybody who is in the business of the way YouTube intends to history. The thing is, he knows Congratulations on the of selling or streaming [content] work with artists? exactly what you say about him. international launch of has to recognize that diversity I don’t look at the competition. The good and the bad. YouTube Music. Do you think in distribution is their greatest I don’t spend an iota of a That stands whether you’re a the reputational tide has now offensive and defensive tool. second doing that. And I don’t supporter – one of those who turned for YouTube in the music When distribution is too know the details [of Spotify’s laud him for being sure-footed, industry? consolidated, it becomes a much direct licensing] – I’ve seen the determined or ruthlessly fighting I’m in my own bubble. And in different scenario. That’s very headlines but the devil’s in the for his artists during his three that bubble, the answer is yes. obvious. Of course my spiel on detail. What I do know, and this decades in the hotseats of Rush/ this feels self-serving, but now it’s I’ve been saying this for a while Def Jam, Warner Music Group Google/Alphabet is ultimately getting actual context. – when are you going to write and 300 Entertainment. a very ad-driven company. In Listen, [the Spotify fallout] it?! – is that if there is a healthy And it stands whether 2017, over 84% of its revenue [no doesn’t make me happy in any diversification in distribution, all you’re a detractor – one of less than $27.2bn from $32.3bn] shape or form; I want us as a hands get put on the table [ie. those who dismiss him as a came from its ad businesses. community of music people there’s no way to hide anything problematic, self-aggrandizing, or Do you feel you have the full to find, nurture, discover the from each other]. unnecessarily truculent force in weight of Google’s support next Kurt Cobain, Bob Dylan or Someone could only do recent music biz lore. when it comes to selling Jay-Z. That’s where our efforts that kind of thing [Spotify’s He knows it all. subscriptions? should be, not in fixing structural direct artist licensing] – and, We discovered this fact during a If you listen to the leadership here problems. again, I don’t know the details lengthy conversation with Cohen – and there are public statements We have the opportunity after – when they feel like they have which ostensibly occurred to about this – subscription is a huge a long, difficult period to actually a comfortable, unrestricted promote the fact that YouTube priority at this company. In terms build the healthiest ecosystem and unfettered lead in the Music is now available on iOS and of wider Google support, I feel it. ever created in the history of the marketplace. If there was a Android in multiple countries. Music is a universal language music industry. The physical good healthy environment of real Yet our discussion took a and it’s very scalable worldwide; was an absolute disaster – it was competition, I suspect it would be slightly unexpected turn. that’s music to the ears [of great for a period of time, but a different story. Lurking in the background Google’s leaders]. we’re now liberated from the from the kick-off was always expense of it, an expense which The positive conclusion to that question: why, when Google You’ve spoken previously about artists, consumers and labels had that, then: you obviously feel clearly desired to improve its the music business needing to to pay for. there’s enough room left in this fractious relationship with the be careful about backing one One of the things I say to the streaming market for YouTube music business, did it hire a horse in the streaming race too music industry is this: the sooner Music to challenge the No.1? person with Cohen’s pugnacious aggressively, and the backlash we shed the bunker mentality, I don’t believe this is a winner- reputation? that might result from doing the PTSD, the better. takes-all category. Not that I read And why, when all’s said and so. In the past fortnight, we’ve We should focus on how we the Goldman Sachs or Credit done, does that reputation exist heard about Spotify directly get more artists to invest in a Suisse [reports] but they’re in the first place? licensing artists – and a huge musical career. I think we’ve lost talking about how nascent music So here is Lyor Cohen on fallout ensuing at the labels. a lot of really talented musical subscription is, and they’re right. subjects that include (i) what We’re starting to see that people during [the past decades], I think Google has a history of it’s like to work at Google; (ii) backlash, no? and I’m excited to see how the not being first to [market] and Spotify’s recent direct licensing The timing is impeccable! It’s business evolves now. learning a lot from first entrants in shenanigans; (iii) YouTube Music’s like, wow. order to build great products. market advantage; and (iv) The industry seems quite This [YouTube Music] took a Facebook’s entry into music. Do you think the support paranoid about Spotify’s direct village of people to [make] – a But, perhaps more memorably, YouTube Music is getting from licensing. Do you have any bunch of really smart people. 8 9 Lyor interviews Dua Lipa at a YouTube event in London, February 2018 YouTube Music has heavily backed stars such as J Balvin What’s your hope for the amount [Long pause] Emphatically, yes. any [licensing agreement with a I first went to San Francisco. For Be careful what you wish for. It’s mission-critical. We are of subscribers you want by the Because it helped stimulate the ‘blind check’] sets the industry a second, I thought I would meet Distribution and tight curation seeing a bounce in our business, end of the year, and by the end success we’re now seeing. back in terms of the spirit of a bunch of people who would was eviscerated [by streaming], but I don’t think it gets fully of next year? The fastest-growing category where we’re trying to get to. say, ‘Could I take a selfie with and now you have a billion bands realized until the impresario, the We don’t talk about numbers, but of subscription globally is In the content world, where you? Great you joined us, but your swimming around your ankles. unemployable, roams once again. I know definitely on Monday we’ll music, primarily because of that artists get paid, clearly we need industry didn’t evolve, so they got How do you know which one is That Jamaican who signed U2 have more subscribers than we [decision].
Load more

Recommended publications
  • Excesss Karaoke Master by Artist
    XS Master by ARTIST Artist Song Title Artist Song Title (hed) Planet Earth Bartender TOOTIMETOOTIMETOOTIM ? & The Mysterians 96 Tears E 10 Years Beautiful UGH! Wasteland 1999 Man United Squad Lift It High (All About 10,000 Maniacs Candy Everybody Wants Belief) More Than This 2 Chainz Bigger Than You (feat. Drake & Quavo) [clean] Trouble Me I'm Different 100 Proof Aged In Soul Somebody's Been Sleeping I'm Different (explicit) 10cc Donna 2 Chainz & Chris Brown Countdown Dreadlock Holiday 2 Chainz & Kendrick Fuckin' Problems I'm Mandy Fly Me Lamar I'm Not In Love 2 Chainz & Pharrell Feds Watching (explicit) Rubber Bullets 2 Chainz feat Drake No Lie (explicit) Things We Do For Love, 2 Chainz feat Kanye West Birthday Song (explicit) The 2 Evisa Oh La La La Wall Street Shuffle 2 Live Crew Do Wah Diddy Diddy 112 Dance With Me Me So Horny It's Over Now We Want Some Pussy Peaches & Cream 2 Pac California Love U Already Know Changes 112 feat Mase Puff Daddy Only You & Notorious B.I.G. Dear Mama 12 Gauge Dunkie Butt I Get Around 12 Stones We Are One Thugz Mansion 1910 Fruitgum Co. Simon Says Until The End Of Time 1975, The Chocolate 2 Pistols & Ray J You Know Me City, The 2 Pistols & T-Pain & Tay She Got It Dizm Girls (clean) 2 Unlimited No Limits If You're Too Shy (Let Me Know) 20 Fingers Short Dick Man If You're Too Shy (Let Me 21 Savage & Offset &Metro Ghostface Killers Know) Boomin & Travis Scott It's Not Living (If It's Not 21st Century Girls 21st Century Girls With You 2am Club Too Fucked Up To Call It's Not Living (If It's Not 2AM Club Not
    [Show full text]
  • UNITED STATES DISTRICT COURT EASTERN DISTRICT of NEW YORK ------X SETH GORDON, Civil Case No
    Case 1:20-cv-00696 Document 1 Filed 02/07/20 Page 1 of 9 PageID #: 1 UNITED STATES DISTRICT COURT EASTERN DISTRICT OF NEW YORK -----------------------------------------------------------------X SETH GORDON, Civil Case No. Plaintiff, COMPLAINT FOR WILLFUL COPYRIGHT INFRINGEMENT -against- JURY TRIAL DEMANDED BRYTAVIOUS CHAMBERS; DANIEL HERNANDEZ; CREATE MUSIC GROUP, INC.; TENTHOUSAND PROJECTS, LLC; and S.C.U.M GANG INC., Defendants. -----------------------------------------------------------------X Plaintiff, SETH GORDON (“Plaintiff”), by and through undersigned counsel and pursuant to the applicable Federal Rules of Civil Procedure and the Local Rules of this Court hereby demands a trial by jury of all claims and issues so triable, and, as for his Complaint against Defendants DANIEL HERNANDEZ; BRYTAVIOUS CHAMBERS; CREATE MUSIC GROUP, INC.; TENTHOUSAND PROJECTS LLC; and S.C.U.M GANG INC. (collectively, “Defendants”) hereby asserts and alleges as follows: NATURE OF ACTION 1. This is a civil action seeking damages and injunctive relief under the Copyright Act, 17 U.S.C. § 101 et seq., arising out of Defendants’ extensive unauthorized for-profit use and exploitation of Plaintiff’s original musical composition, registered as the “Yung Gordon Intro” (or the “Drop”), that was created and is wholly owned by the Plaintiff. JURISDICTION AND VENUE 2. Jurisdiction for Plaintiff’s claims lie with the United States District Court for the Eastern District of New York pursuant to the Copyright Act of 1976, 17 U.S.C. § 101 et seq.; 28 U.S.C. § 1331 (conferring original jurisdiction “of all civil actions arising under the Constitution, Case 1:20-cv-00696 Document 1 Filed 02/07/20 Page 2 of 9 PageID #: 2 laws, or treatiEs of the UnitEd StatEs”) and 28 U.S.C.
    [Show full text]
  • April 5, 2021
    APRIL 5, 2021 APRIL 5, 2021 Tab le o f Contents 4 #1 Songs THIS week 5 powers 7 action / recurrents 9 hotzone / developiong 10 pro-file 12 video streaming 13 Top 40 callout 14 Hot ac callout 15 future tracks 16 INTELESCOPE 17 intelevision 18 methodology 19 the back page Songs this week #1 BY MMI COMPOSITE CATEGORIES 4.5.21 ai r p lay OLIVIA RODRIGO “drivers license” retenTion THE WEEKND “Save Your Tears” callout OLIVIA RODRIGO “drivers license” audio DRAKE “What’s Next” VIDEO CARDI B “Up” SALES BRUNO MARS/A. PAAK/SILK SONIC “Leave The Door Open” COMPOSITE OLIVIA RODRIGO “drivers license” Your weekly REsource for music research MondayMorningIntel.com CLICK HERE to E-MAIL Monday Morning Intel with your thoughts, suggestions, or ideas. mmi-powers 4.5.21 Weighted Airplay, Retention Scores, Streaming Scores, and Sales Scores this week combined and equally weighted deviser Powers Rankers. TW RK TW RK TW RK TW RK TW RK TW RK TW COMP AIRPLAY RETENTION CALLOUT AUDIO VIDEO SALES RANK ARTIST TITLE LABEL 1 10 2 10 10 8 1 OLIVIA RODRIGO drivers license Geffen/Interscope 7 1 15 12 13 10 2 THE WEEKND Save Your Tears XO/Republic 23 x 21 1 6 2 3 JUSTIN BIEBER Peaches f/Daniel Caesar/Giveon Def Jam 10 2 3 16 23 18 4 24KGOLDN Mood f/Iann Dior RECORDS/Columbia 15 x 35 5 4 3 5 BRUNO MARS/A .PAAK/SILK SONIC Leave The Door Open Aftermath Ent./Atlantic 2 9 8 34 20 13 6 BILLIE EILISH Therefore I Am Darkroom/Interscope 6 6 10 31 25 11 7 TATE MCRAE You Broke Me First RCA 4 7 7 21 17 37 8 ARIANA GRANDE 34+35 Republic 21 16 11 20 15 7 9 SAWEETIE Best Friend f/Doja
    [Show full text]
  • Meet Warner's Matt Signore Bandtwango Funds The
    February 13, 2017, Issue 536 Meet Warner’s Matt Signore Named as incoming Warner Music Nashville COO as far back as July, Matt Signore brings 25 years of record busi- ness experience, a long history with WMN Chairman/CEO John Esposito and a few other Nashville connections to the role he started Jan. 1. CA: How did you end up in the music business? MS: I worked as a CPA in New York for a big accounting firm. Back in that day with those jobs, you hoped one of your clients would hire you. I had a friend who worked on the acquisition of Island Records by Polygram, went there and basically had a job for me. I was 26 years old, got a $3,000 raise and I could wear jeans to work. I came home and said, “I think I want to do this.” I wasn’t a musician and didn’t want to be in the music business, necessarily. But I went to work for Matt Signore Island and ultimately Island/Def Jam on the business side. How did you meet Espo? Exclusive Club: AT&T Pebble Beach Pro-Am tournament winner In 1994, he was the head of catalog sales at Polygram. He was Jordan Spieth (l) and partner Jake Owen celebrate a big the guy trying to get labels to clear things for catalog work, and my weekend on the links. In addition to the pair placing third in boss was a pain in the ass. His first memory of me was as the fi- the Pro-Am, Owen was honored with the Arnie Award, which nance guy at Island who helped him get stuff done.
    [Show full text]
  • Music and the American Civil War
    “LIBERTY’S GREAT AUXILIARY”: MUSIC AND THE AMERICAN CIVIL WAR by CHRISTIAN MCWHIRTER A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2009 Copyright Christian McWhirter 2009 ALL RIGHTS RESERVED ABSTRACT Music was almost omnipresent during the American Civil War. Soldiers, civilians, and slaves listened to and performed popular songs almost constantly. The heightened political and emotional climate of the war created a need for Americans to express themselves in a variety of ways, and music was one of the best. It did not require a high level of literacy and it could be performed in groups to ensure that the ideas embedded in each song immediately reached a large audience. Previous studies of Civil War music have focused on the music itself. Historians and musicologists have examined the types of songs published during the war and considered how they reflected the popular mood of northerners and southerners. This study utilizes the letters, diaries, memoirs, and newspapers of the 1860s to delve deeper and determine what roles music played in Civil War America. This study begins by examining the explosion of professional and amateur music that accompanied the onset of the Civil War. Of the songs produced by this explosion, the most popular and resonant were those that addressed the political causes of the war and were adopted as the rallying cries of northerners and southerners. All classes of Americans used songs in a variety of ways, and this study specifically examines the role of music on the home-front, in the armies, and among African Americans.
    [Show full text]
  • Special Issue
    ISSUE 750 / 19 OCTOBER 2017 15 TOP 5 MUST-READ ARTICLES record of the week } Post Malone scored Leave A Light On Billboard Hot 100 No. 1 with “sneaky” Tom Walker YouTube scheme. Relentless Records (Fader) out now Tom Walker is enjoying a meteoric rise. His new single Leave } Spotify moves A Light On, released last Friday, is a brilliant emotional piano to formalise pitch led song which builds to a crescendo of skittering drums and process for slots in pitched-up synths. Co-written and produced by Steve Mac 1 as part of the Brit List. Streaming support is big too, with top CONTENTS its Browse section. (Ed Sheeran, Clean Bandit, P!nk, Rita Ora, Liam Payne), we placement on Spotify, Apple and others helping to generate (MusicAlly) love the deliberate sense of space and depth within the mix over 50 million plays across his repertoire so far. Active on which allows Tom’s powerful vocals to resonate with strength. the road, he is currently supporting The Script in the US and P2 Editorial: Paul Scaife, } Universal Music Support for the Glasgow-born, Manchester-raised singer has will embark on an eight date UK headline tour next month RotD at 15 years announces been building all year with TV performances at Glastonbury including a London show at The Garage on 29 November P8 Special feature: ‘accelerator Treehouse on BBC2 and on the Today Show in the US. before hotfooting across Europe with Hurts. With the quality Happy Birthday engagement network’. Recent press includes Sunday Times Culture “Breaking Act”, of this single, Tom’s on the edge of the big time and we’re Record of the Day! (PRNewswire) The Sun (Bizarre), Pigeons & Planes, Clash, Shortlist and certain to see him in the mix for Brits Critics’ Choice for 2018.
    [Show full text]
  • A Multi-Level Analysis of Songwriter Career Strategies by Rachel S
    Changing Patterns of Cooperation in Occupational Communities: A Multi-Level Analysis of Songwriter Career Strategies By Rachel Skaggs Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in Sociology August 10, 2018 Nashville, Tennessee Approved: Daniel B. Cornfield, PhD Shaul Kelner, PhD Joshua Murray, PhD Copyright © 2018 by Rachel Skaggs All Rights Reserved ii To my father, Donnie Skaggs, who I’ve watched pursue his songwriting dreams. To my mother, Rose Skaggs, who supports his dreams and mine. To David Carlson. His dreams and mine are intertwined. iii ACKNOWLEDGMENTS It is an overwhelming task to think of all of the support that people have given me in support of this dissertation. My dissertation is about collaboration, and I have been unmeasurably lucky to have collaborated with wonderful people. I want to begin by thanking every songwriter I interviewed. Without their trust and insight, I could not have conducted research that is as compelling, touching, and important as the project that has emerged. The generosity and openness of these people, most of whom were total strangers to me, is inspiring. Next, I must acknowledge the support of the Robert Penn Warren Center for the Humanities. As a dissertation fellow at the Warren Center, I was able to truly develop my ideas and focus on the work of writing a good dissertation. My fellow fellows at the Warren Center challenged me and supported me. Danielle Picard, Wietske Smeele, Sara Kollner, Alexandra Alekseyeva, David Vila, and James Phelan all contributed to the ways I think about my own work as I try to present it in a manner that is intelligible and meaningful to an interdisciplinary audience.
    [Show full text]
  • Edition 2017
    YEAR-END EDITION 2017 HHHHH # OVERALL LABEL TOP 40 LABEL RHYTHM LABEL REPUBLIC RECORDS HHHHH 2017 2016 2015 2014 GLOBAL HEADQUARTERS REPUBLIC RECORDS 1755 BROADWAY, NEW YORK CITY 10019 REPUBLIC #1 FOR 4TH STRAIGHT YEAR Atlantic (#7 to #2), Interscope (#5 to #3), Capitol Doubles Share Republic continues its #1 run as the overall label leader in Mediabase chart share for a fourth consecutive year. The 2017 chart year is based on the time period from November 13, 2016 through November 11, 2017. In a very unique year, superstar artists began to collaborate with each other thus sharing chart spins and label share for individual songs. As a result, it brought some of 2017’s most notable hits including: • “Stay” by Zedd & Alessia Cara (Def Jam-Interscope) • “It Ain’t Me” by Kygo x Selena Gomez (Ultra/RCA-Interscope) • “Unforgettable” by French Montana f/Swae Lee (Eardrum/BB/Interscope-Epic) • “I Don’t Wanna Live Forever” by ZAYN & Taylor Swift (UStudios/BMR/RCA-Republic) • “Bad Things” by MGK x Camila Cabello (Bad Boy/Epic-Interscope) • “Let Me Love You” by DJ Snake f/Justin Bieber (Def Jam-Interscope) • “I’m The One” by DJ Khaled f/Justin Bieber, Quavo, Chance The Rapper & Lil Wayne (WTB/Def Jam-Epic) All of these songs were major hits and many crossed multiple formats in 2017. Of the 10 Mediabase formats that comprise overall rankings, Republic garnered the #1 spot at two formats: Top 40 and Rhythmic, was #2 at Hot AC, and #4 at AC. Republic had a total overall chart share of 15.6%, a 23.0% Top 40 chart share, and an 18.3% Rhythmic chart share.
    [Show full text]
  • 10 April VLUS Weekly
    http://vassallane.cpsd.us/school_news/school_newspaper/ April 10, 2015 VLUS WEEKLY Stories by and About the Vassal Lane Upper School’s Scholars Vassal Lane Upper School, 197 Vassal Lane, Cambridge, MA 02138 Image by Susan Peloquin Connect to the VLUS Update on the April 17th VLUS Day of Silence Weekly: By Susan Peloquin http://vassallane.cpsd.us/ school_news/school_newspaper/ Just a reminder that VLUS students and staff will be participating in the National Day of Silence as part of our In this issue of the work in the Gay Straight Alliance next Friday, April 17. VLUS Weekly: Students can choose to participate in 2 ways. The first is to wear a sticker stating that the student pledges to be silent Essays! Reviews! that day to recognize the silence that LGBTQ peers and Articles by New families feel regularly. The second is to wear a sticker that Authors! states the student supports the Day of Silence and its Our First Reader’s purpose but isn't committing to be silent. Teachers will be Write Original Story! modifying the classes that day to allow for students who are choosing to be silent to be able to participate through writing. http://vassallane.cpsd.us/school_news/school_newspaper/ !1 http://vassallane.cpsd.us/school_news/school_newspaper/ April 10, 2015 On the Road Again: Journalism for a Moving World Effects on Streets By Fiona O’Loughlin Image by Fiona O’Loughlin After three weeks of almost constant blizzards and snow, Cambridge streets were nearly impassable. Plows pushed snow to the sides of streets, causing them to lose one or more lanes of traffic.
    [Show full text]
  • Songs by Title Karaoke Night with the Patman
    Songs By Title Karaoke Night with the Patman Title Versions Title Versions 10 Years 3 Libras Wasteland SC Perfect Circle SI 10,000 Maniacs 3 Of Hearts Because The Night SC Love Is Enough SC Candy Everybody Wants DK 30 Seconds To Mars More Than This SC Kill SC These Are The Days SC 311 Trouble Me SC All Mixed Up SC 100 Proof Aged In Soul Don't Tread On Me SC Somebody's Been Sleeping SC Down SC 10CC Love Song SC I'm Not In Love DK You Wouldn't Believe SC Things We Do For Love SC 38 Special 112 Back Where You Belong SI Come See Me SC Caught Up In You SC Dance With Me SC Hold On Loosely AH It's Over Now SC If I'd Been The One SC Only You SC Rockin' Onto The Night SC Peaches And Cream SC Second Chance SC U Already Know SC Teacher, Teacher SC 12 Gauge Wild Eyed Southern Boys SC Dunkie Butt SC 3LW 1910 Fruitgum Co. No More (Baby I'm A Do Right) SC 1, 2, 3 Redlight SC 3T Simon Says DK Anything SC 1975 Tease Me SC The Sound SI 4 Non Blondes 2 Live Crew What's Up DK Doo Wah Diddy SC 4 P.M. Me So Horny SC Lay Down Your Love SC We Want Some Pussy SC Sukiyaki DK 2 Pac 4 Runner California Love (Original Version) SC Ripples SC Changes SC That Was Him SC Thugz Mansion SC 42nd Street 20 Fingers 42nd Street Song SC Short Dick Man SC We're In The Money SC 3 Doors Down 5 Seconds Of Summer Away From The Sun SC Amnesia SI Be Like That SC She Looks So Perfect SI Behind Those Eyes SC 5 Stairsteps Duck & Run SC Ooh Child SC Here By Me CB 50 Cent Here Without You CB Disco Inferno SC Kryptonite SC If I Can't SC Let Me Go SC In Da Club HT Live For Today SC P.I.M.P.
    [Show full text]
  • J Cole Album Forest Hills Drive Download J Cole Album Forest Hills Drive Download
    j cole album forest hills drive download J cole album forest hills drive download. 1) Select a file to send by clicking the "Browse" button. You can then select photos, audio, video, documents or anything else you want to send. The maximum file size is 500 MB. 2) Click the "Start Upload" button to start uploading the file. You will see the progress of the file transfer. Please don't close your browser window while uploading or it will cancel the upload. 3) After a succesfull upload you'll receive a unique link to the download site, which you can place anywhere: on your homepage, blog, forum or send it via IM or e-mail to your friends. 2014 Forest Hills Drive. Purchase and download this album in a wide variety of formats depending on your needs. Buy the album Starting at $9.99. 2014 Forest Hills Drive. Copy the following link to share it. You are currently listening to samples. Listen to over 70 million songs with an unlimited streaming plan. Listen to this album and more than 70 million songs with your unlimited streaming plans. 1 month free, then $14.99/ month. J. Cole, Associated Performer, Main Artist, Producer - Jermaine Cole, Composer, Executive Producer, Lyricist - James Rodgers, Bass, Trombone - Casey James, Saxophone - Travis Antoine, Trumpet - Ronald Gilmore, Producer - Juro "Mez" Davis, Mixing Engineer, Recording Engineer - Jeremy Cimino, Assistant Engineer - Jack Mason, Assistant Engineer, Recording Engineer - Dreamville, Executive Producer - Mark Pitts, Executive Producer - Roc Nation, Executive Producer - Brian Gardner, Mastering
    [Show full text]
  • “Amarillo by Morning” the Life and Songs of Terry Stafford 1
    In the early months of 1964, on their inaugural tour of North America, the Beatles seemed to be everywhere: appearing on The Ed Sullivan Show, making the front cover of Newsweek, and playing for fanatical crowds at sold out concerts in Washington, D.C. and New York City. On Billboard magazine’s April 4, 1964, Hot 100 2 list, the “Fab Four” held the top five positions. 28 One notch down at Number 6 was “Suspicion,” 29 by a virtually unknown singer from Amarillo, Texas, named Terry Stafford. The following week “Suspicion” – a song that sounded suspiciously like Elvis Presley using an alias – moved up to Number 3, wedged in between the Beatles’ “Twist and Shout” and “She Loves You.”3 The saga of how a Texas boy met the British Invasion head-on, achieving almost overnight success and a Top-10 hit, is one of triumph and “Amarillo By Morning” disappointment, a reminder of the vagaries The Life and Songs of Terry Stafford 1 that are a fact of life when pursuing a career in Joe W. Specht music. It is also the story of Stafford’s continuing development as a gifted songwriter, a fact too often overlooked when assessing his career. Terry Stafford publicity photo circa 1964. Courtesy Joe W. Specht. In the early months of 1964, on their inaugural tour of North America, the Beatles seemed to be everywhere: appearing on The Ed Sullivan Show, making the front cover of Newsweek, and playing for fanatical crowds at sold out concerts in Washington, D.C. and New York City.
    [Show full text]