Philly airwaves have no alternative: One year later
Here's a cover story that the Philly City Paper did on the whole Y100/Y100rocks.com controversy last year. It'll shed some more light what went down.
One man's journey as he experiences life, music, culture, sex and love.
Last week I was in the King of Prussia Mall and noticed that their Sam Goody's store was going out of business and was selling their CDs 30%, so I picked up a copy of the reissue of Be Yourself Tonight by the Eurthymics. Part of the Eurthymics reissues series that came out this past November, Be Yourself Tonight was first released in 1985 and it showed a more diverse musical palette that showed them that they were far more than a one-note synth outfit. The first single from the album "Would I Lie To You?" has an assertive rock/R&B style which kicks the album off in grand style. There would be several hits from the album including the duet with Areatha Franklin "Sisters Are Doin' It for Themselves" and the soulfull electronic "It's Alright (Baby's Coming Back)." This reissue contains six bonus tracks, including IMHO one of their best non-LP b-sides, "Grown Up Girls," which was on the flip side of the "There Must Be An Angel (Playing With My Heart)." I love this track; this should have been a single in my books.

Some photos are begging for a caption a la Mystery Science Theater 3000, such as this one of Madonna demonstrating her flexibility with yoga.
BTW the remixes of her latest single "Sorry" are now up at iTunes. The physical CD maxi-single hits the stores of February 28 in the US.


In the past year the few dance songs that have crossed over into the US pop charts have had a heavy air of nostalgia about them. If they weren't outright dance re-makes of 80s hits such as Crazy Frog's "Axel F" and the asformentioned D.H.T. with "Listen," they musically harked back to prior musical eras such as "Hung Up" with its Moroder rhythms and its sample of "Gimme! Gimme! Gimme! (A Man After Midnight)" from ABBA, as well as Missy Elliot's (okay she's known primarily as a hip-hop artist but still...) and Ciara's "Lose Control" which went back to the days when rappers weren't afraid to experiment with a track that went at about 120 beats per minute with its Afrika Bambaataa's "Planet Rock" vibe. The thing that sets "Everytime We Touch" apart from the recent crossover dance songs is that EWT is rooted in the here and now. Nothing nostaligic-sounding here, it's trance/dance-pop for the 2000's. Even though Natalie was raised in German she's actually of English descent, so she has no problem with singing in English. She sounds quite good here, with a hint of country. (Kind of like LeAnn Rimes.) BTW the other two members of Cascada are producers DJ Manian and Yanou.