are already getting revved up for the 10th Anniversary of their annual spring concert series. Here are just a few of the names they're dropping on us this year: McCoy Tyner, Branford Marsalis, Madeleine Peyroux, Bill Frisell, Ahmad Jamal, Jenny Scheinman, John Scofield, Branford Marsalis Quartet, Will Bernard, Mingus Dynasty with John Handy, Allen Toussaint, Michael Feinstein, Brad Mehldau, Roy Hargrove, James Carter, and Kenny Burrell. But SFJAZZ isn't strictly limited to jazz, of course, so there are some great international flavors to be sampled as well, including Malian blues-trance stars Tinariwen, Afrobeat scion Seun Kuti Egypt 80, Portuguese fado songbird Mariza, Brazilian songwriter CéU, and (apparently bipolar) Balkan Goran Bregovic's Wedding Funeral Orchestra.

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In Deam Theater's catalog, there are only 5 items with assigning a 5-star rating; this is one of them.IMAGES AND WORDS is the quintessential Dream Theater album and the album that all Progressive Metal is judged by, even though Dream Theater were yet to reach true metal status until 1994's Awake. This album houses all upon which Dream Theater stands for; masterful instrumentalists, beautiful song writing, technicality, deep lyrics and pure epicness (sorry but it had to be said). The production values are through the roof, especially considering their debut's shoddy producing. James LaBrie's voice is still at it's peak, well before the food poisoning incident that caused Falling Into Infinity to be such a poor album vocally. Kevin Moore was at his keyboard playing and lyric writing peak and would be the last album he truly wanted to be a part of. Plus all of the songs on the album are true Dream Theater classics, especially Pull Me Under, Metropolis Pt. 1 and Learning To Live.The songs:Pull Me Under: The opening track of the album sets the stage for the whole album, a heavy record that blends technicality with beauty and a side of metal. The lyrics are some of Moore's best and will be a lasting testimony to his genius mind. LaBrie's vocals here immediately send the message that this is the man for Dream Theater, clearly sending his voice to those high notes and delivering perfect harmonies during the chorus and a screaming shockwave during the bridge and pre-chorus. John Pretucci's first signs of shredding are shown in this song during the pre-chorus, foreshadowing some of his later solo and DT works. Mike Portnoy and John Myung hold up well here but don't really add to the song and deliver unique parts like the others do. Probably my second least favourite on the album. 9.5/10Another Day: Ah yes, the first Dream Theater ballad, this is one of the few songs that Dream Theater would continue to play well into the 21st century and rightly so as it holds up well as a crowd favourite at shows. The outstanding saxophone work of Jay Beckenstein is also present in this song adding a nice feel to the overall product. The only real downside to the song is the somewhat cheesy lyrics and vocals but it is far from being a turn-off. A pleasant song, yet not one of my favourites. 9.5/10Take The Time: This song is fantastic, though I won't go out and purposefully play this song, when it comes on during an iPod shuffle session, I will be more than happy to listen to it. LaBrie's vocals are outstanding on this song especially during the second verse where he hits all those frequent high notes in quick, smooth succession, 'tis a shame whenever they play this song live they always cut this verse, but LaBrie's current voice just still isn't up to it. The instrument section of Moore, Myung, Portnoy and Petrucci are all at their best here, each showing off their skills and adding to the song at the same time. Overall, my least favourite but a fantastic song. 9/10Surrounded: This song is a piece of beauty, the vocal melodies and drumming are some of the best on the album, accompanied by Moore's fantastic keyboard texturing and layering during the intro and throughout the whole song which add a whole new level to the song. The most fantastic though is the dual accompaniment of Myung and Petrucci during the verses and the latter's lightning solo. My second favourite song on the album. 10/10Metropolis Pt. 1: The quintessential Dream Theater song on the quintessential Dream Theater album, every fan knows this song and any fan that doesn't isn't a true DT fan. The technicality in this song is the highlight and what the song is known most for (so much so that DT later created a sequel as an entire concept album based around technicality). The vocal harmonies mid-way, just before the instrumental section begins are astounding, so astounding that they never try and replicate it live (with the exception of Live Scenes From New York, where Portnoy delivers an average attempt at it). The highlight of the instrumental section for me is one of Myung's few bass solos, the man is an absolute master of the instrument creating a lightning fast shred-fest rivaling some of Petrucci's fast solos; all with his fingers! Probably the most famous song on the album but not necessarily the best. 10/10Under A Glass Moon: My favourite song of the album, though not as technical as the previous track, the band chooses to slow down the technicality somewhat (only to be revived later by the closing track) to produce a more texturized, metalized and beautiful song. The vocals are some of LaBrie's best, with Surrounded and the Metropolis harmonies beating it by only a slight bit. Petrucci's solo here is so good it was placed at #97 of the Best Guitar Solos Of All Time list. Portnoy and Myung hold up really well here and work together to create a strong and heavy rhythm section that rival that of Chris Squire and Alan White of Yes and Geddy Lee and Neil Peart of Rush. Moore has a much more subdued role here, providing background pads for most of the song, coming out with a fantastic and much overlooked solo straight after Petrucci's. My personal favourite on the album but still not the best. 10/10Wait For Sleep: This short piano and vocal piece suits as a perfect intro to Learning To Live (in which this piano line is repeated during the closing sections of the song). LaBrie's vocals are strong as always here and Moore has put all his heart and soul into writing this piece and it's easy to tell. 10/10Learning To Live: And here it is, the best song of the album and one of my favourites, coming in straight after Surrounded on my list. Learning To Live is DT's second epic and first track to break the 10-minute barrier. This song features lyrics by Myung, who has only contributed to 4 song in Dream Theater's entire catalog; he is a one-of-a-kind lyric writer, the lyrics themseleves aren't really that good but his style of writing is so different from the other members, which is probably one of the reasons he decided to stop contributing. This song features powerful work from all members, Moore's keyboard skills are at his best here, with tons of different patch changes throughout, giving multiple sounds and feels throughout the entire track. Petrucci uses a lot of clean guitar work here, giving a much more melodic and less metalish feel to parts of the track. Myung's bass is the most audible in this track, giving the most unique performance on the album from him. Portnoy deals with multiple time signatures on this track well, providing some of the best drum work from him, and LaBrie offers an astonishing vocal performance mid-way during the instrumental wordlessly singing and building up the notes until he hits that famously high F#, something he finds difficult to do these days (and on the Live Scenes rendition sadly). But the true treat is how all these parts come together to form what I would honestly call Dream Theater's second best song so far (surpassed only be A Change Of Seasons). All of these talented musicians come together to perfectly form a Progressive Metal masterpiece that should be listened to and adored by all Dream Theater and Prog Metal fans. An easy 11/10This is Dream Theater's defining album and, like I said at the beginning of the review, one of only 5 pieces of their work to score an honest 5 stars here at Prog Archives. If you are a fan of Dream Theater and haven't heard it; get it now, illegally if you must. If you're a fan of Prog Metal or even simple Prog Rock, I HIGHLY recommend you try this album, it will be well worth your time, even if you only enjoy one or two tracks.

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La 6º edicion del Festival Internacional de Musica Cine de Auxerre se realiza entre el 12 y el 16 de Noviembre
Transmitiendo en vivo desde el festival, sintoniza el concierto especial. El programa incluye:
Leroy Anderson: The Typewriter
Georges Bizet : Jeux denfants (Suite for orchestra) : Galop final
Camille Saint-Saëns: Suite pour celle et piano : prélude sérénade
Modeste Moussorgsky: Scherzo pour orchestre
Haendel: Water Music : Suite n° 2 : Alla Hornpipe
Leroy Anderson: Syncopated Clock
Joaquin Rodrigo: Concerto dAranjuez : 2º mvt
Antonio Vivaldi: Quatre saisons : Concerto pour violon Le printemps
Mozart: Noces de Figaro : ouverture
Frédéric Chopin: Nocturne n° 3 op.

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SomaCow Media Network is proud to present Somacow, brought to you today by Semoran Skateway. If you re ever in the Orlando area, it s the only place left, really, for you to throw down and trip the lights on a fat four wheeled skate session. In this hour, we talked about Mickey s 35th birthday party, which The Chick That He Is Dating was kind enough to throw. It was surreal, and J and I came to the terrifying realization that Mickey was born to skate. He just looks right, twirling around, gossamer threads of diet mountain dew sweat arcing from his magnificent suddenly seven foot tall hair. The dude needs to be retro-installed into every ABBA video. We also discussed Bill Gates leaving office, as tipped by one of our chat room listeners. If you ever want to listen live, its pretty easy - just swing by the ustream and you can watch anonymously, or create a log-in and take part in our discussion. Just one of the many gifts that Bill Gates and his OS of shame have yet to take away from us. Maybe next build, yeah? We rounded out the hour talking about pie. Specifically, $60.00 if you eat it, you get it for free pie. I have yet to hear from the guys this week, as I know they are cowardly and afraid of my skills in the fields on munch, I cannot say that I am surprised. But I promise you this - the competition will happen, there will be video, and I will not fail. What s 29 inches, multiplied by 3.14? Lunch, that s what. Happy 4th of July to all our listeners. Try not to blow off any of your appendages, and send pictures of your firecracker boobs to Mickey@somacow.com. I will, apparently, be spending much of today getting to know our new toilet seat. I wish we had gone with the $700 dollar model. And listen to these fine tunes with us: Richard Cheese - Welcome to the Jungle Richard Cheese - Hey Ya.

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HYHU
12. Oh Kee Pa Ceremony
13. Golgi Apparatus
Encore:
14. Crowd Chant
15. Take The A Train
16. Big Fat Furry Creature From Mars

Well, the other sources in circulation sound great, but if they can be even better, why not? What you have here is the gold standard version of this show. This is a 100% digital transfer from a master DAT clone with no flaws and no cuts. While the other sources in circulation are almost certainly based on this original source, they have unknown lineage and at least minor flaws. The most recent one is circulating as "unknown soundboard". More importantly, it's almost certain that this other source has gone through analog or other processing.
The differences between this and the currently circulating source are as follows:
1. Source is of known lineage with no DAE. The technical quality is substantially different. Peak levels are almost 100% higher than the other source, and use most the full dynamic range. Since they are both obviously from the same original recording I suspect that the other version was transferred from the master through analog rather than digital, or some other processing got introduced along the way. This source is a 100% unprocessed digital transfer from a master DAT clone.
2. Nothing has been cut between songs. The other version had been clipped for space in Set I so it will fit on an 80 minute CD. This version will not fit on a standard 80 minute CD, so you'll either need to overburn or use a longer CD. The pre-encore crowd chanting from the master DAT has also been included in Set II and tracked separately so you can leave it off the CD if you want, though Set II is still under 80 minutes.
3. There are no known flaws in this version. The other version has at least one digital flaw that I found, a split-second dropout in the beginning of Divided Sky.
4. This version is distributed as FLAC rather than SHN ;-) C'mon people isn't it time to stop clinging to that ancient religion... FLAC compresses better, has integrated integrity checking so you don't need MD5 checksums, and you can encode tag details into the files so you get CD-TEXT and all sorts of other good stuff automatically. The FLACs in this distribution have been tagged.

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(IEM Edge's earfeed mp3@192)

cover here

Comments:
An outstanding gig with a fantastic setlist on the second night i
n Las Vegas. Mary J. Blige joined the band for One, and Brandon
Flowers (from local band The Killers) for In a Little While,
as well. Bono added some lines of The Killers'
All These Things That I've Done at the end of Beautiful Day.

This is a very nice sounding IEM tape.
Clarity is excellent as the recording is extremely clean.
However, it can sound slightly flat if you lower the volume,
all in all, sound quality is superb.

Disc 1: (69:49)
01 City Of Blinding Lights
02 Vertigo
03 Elevation
04 Mysterious Ways
05 Until The End Of The World
06 I Still Haven't Found What I'm Looking For
07 Beautiful Day
08 Miracle Drug
09 Sometimes You Can't Make It On Your Own
10 Love And Peace Or Else
11 Sunday Bloody Sunday
12 Bullet The Blue Sky

Disc 2: (62:55)
01 Miss Sarajevo / Human Rights
02 Pride (In The Name Of Love)
03 Where The Streets Have No Name
04 One (w. Mary J. Blige) / Encore
05 Zoo Intro
06 Zoo Station
07 The Fly
08 With Or Without You
09 All Because Of You
10 In A Little While (w.

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Claire Martin and Richard Rodney Bennett are on top of their game in this smoothly elegant collection of terrific, but not overly-exposed songs. This is an inventive and charming selection of material now getting some deserved attention. The titles reflect the vast knowledge and innate good taste of these artists and the entire CD is a treat from start to finish. Fans of this distinguished pair will be thrilled to add this recording to their collection, while those hearing them for the first time will quickly join the great numbers of us who enjoy them so much.
My admiration for Claire Martin dates from her first recording for Linn Records in 1992 called “The Waiting Game”. Her musicianship, natural vocal craftsmanship, perfection of pitch, substantial vocal range and ability to swing are characteristics that make listening to her one of the true joys of my life. Claire does not “mess” with songs; she does not over-embellish; she does not attempt any razzle-dazzle merely for the sake of flash and she is supremely confident. She is one of the most intelligent and intuitive singers of this generation. I go on applauding every syllable she utters.
It seems to me that Claire Martin has not encountered any sort of misstep in judgment since she first began to sing with regularity and it may be predicted with confidence that she will continue to thrive. She is skilled in her craft and intelligent in her choices. It is a master stroke as well that she and Richard Rodney Bennett have joined forces on more than one occasion, rapidly becoming this generation’s most gracious and popular jazz and cabaret performers.
My friendship with Richard began when first we met in 1981. At the time, I knew only that a charming man with an elegant British accent had entered my life, that he played piano beautifully and sang some lovely songs. In time I became aware of Richard’s many accomplishments including his highly ambitious compositions for symphonies, operas and ballets. He has received Academy Award nominations for film scores “Four Weddings And A Funeral”, “Murder On the Orient Express”, “Enchanted April”, “The Return Of The Soldier” and my personal favorite, the 1977 “Equus”, directed by Sidney Lumet. Like many of us, Richard was fascinated by jazz at any early age, and he was able to earn his living as a young jazz pianist while studying with Pierre Boulez in Paris. One can readily hear jazz influences in his playing today, and perhaps even more importantly in this context, he demonstrates a particularly sensitive awareness of the art of accompanying. Over the years, he’s played for many singers including Cleo Laine, Annie Ross, Chris Connor and even lucky me! And lest we forget, he himself ranks among the very best of the singer-pianists performing today.
As soon as “When Lights Are Low” arrived in my mailbox, I hurriedly popped it into the portable player, adjusted the headset, and settled into a comfortable chair with notepad. Mistakenly, I thought a simple method to indicate which tracks I’d choose for special mention would be a little * beside each title. When I found I’d ticked the first eight tracks, I abandoned the system entirely. Each selection is brilliant, but I must admit these took me straight to heaven:
Claire sings Fools Fall In Love, the seldom-heard Irving Berlin classic, with such an exquisite intensity that I found myself quickly playing it over several times before I was able to move on. Her voice is so well-suited to the range of the tune, and she sings it with such heartfelt sincerity, it is truly a form of vocal instruction for those who aspire to a career in jazz or cabaret. Please let this version be your guiding light.
Richard has chosen Not Exactly Paris, a song destined to be “covered” many, many times, as one of his ballads. Once again, the listener will be moved by the lyric and the plaintive quality of Richard’s voice. This is a beautiful song, sung by a Master. World Weary is another favorite, taken at a jaunty tempo, and I Keep Going Back To Joe’s is the most moving version of the song I’ve ever heard.
Of course, all the music on this CD is superbly sung, played by Richard in a lilting, swinging style when necessary, softly caressing Claire’s and his own voice on the ballads.
I tell you what: pretend it’s Christmas morning and there, beneath the tree, are 16* beautifully wrapped presents, each one only for you. It’s time to sip a little champagne and begin opening the first one.
Claire Martin and Richard Rodney Bennett sparkle and shine, soothe and swing, all in one glorious package. If at all possible, I hope you accept the opportunity to hear them sing in person some evening.
Carol SLOANE
Musicians
Claire MARTIN: vocal
Richard Rodney NBENNETT: piano, vocal
All tracks arranged by Richard Rodney BENNETT
Producer: Richard COTTLE
Recorded at: Systems Two Studio, Brooklyn, New York
Engineer: Calum MALCOLM
Studio Assistant: Max
SA-CD Mixing and Mastering by: Julia THOMAS, Finesplice UK
Tracklist
01. My One And Only (2:38)
02. I Was A Little Too Lonely (2:01)
03. My Mood Is You (3:18)
04. World Weary (3:06)
05. When Lights Are Low (2:56)
06. Fools Fall In Love (3:18)
07. I Got A Right To Sing The Blues (3:40)
08. Baby Plays Around (3:29)
09. The Very Thought Of You (4:55)
10. What I Was Warned About (2:52)
11. Baby, Dont You Quit Now (3:01)
12. No Love, No Nothing (3:45)
13. Not Exactly Paris (3:16)
14. Any Place I Hang My Hat Is Home (2:50)
15. I Keep Going Back To Joes (3:24)
16. Well Be Together Again (3:44)
••••••
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Lead singer and guitarist Jim James may have thanked the crowd at the Myrtle Beach House of Blues for bringing the thunder on Sunday night, but it was the guys in My Morning Jacket who stormed the stage, blasting their way through a tight setlist that included most of the songs on Evil Urges, their latest album, and some older gems that pumped the crowd into a frenzy. The band opened with “Anytime” from Z and went right into “Aluminum Park” from the new album. The fanboys went crazy for title track, “Evil Urges,” a funky tune reminiscent of Prince’s early-era hits (of all things). My Morning Jacket is the kind of band that causes writers to rifle through old songs to figure out who they sound most like — but the thing about them is, they kinda sound like a perfect amalgamation of all that has come before, whether that be the ’70s pop of Dr. Hook, the folk rock of Bruce Springsteen, the smooth sing-alongs of Jimmy Buffett, the mellow noodling of the Grateful Dead, or whatever. It’s as if they’ve sucked up the sound of 1976 and reworked it for our modern sensibilities. It’s comfortingly familiar but thrillingly new.
James, the driving creative force of the band, is a happy front man, changing guitars, humbly thanking the crowd for the gift of their adoration, and high-kicking his way through blistering guitar licks. The sound they emitted from the stage seemed way too powerful for the small House of Blues venue. It’s like seeing Pink Floyd play a stadium show in a bar. Guitarist Carl Broemer not only played slide guitar on some songs but busted out a sax during “Dondante” and added his harmonies to James’ soaring falsettos.

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Lead singer and guitarist Jim James may have thanked the crowd at the Myrtle Beach House of Blues for bringing the thunder on Sunday night, but it was the guys in My Morning Jacket who stormed the stage, blasting their way through a tight setlist that included most of the songs on Evil Urges, their latest album, and some older gems that pumped the crowd into a frenzy. The band opened with “Anytime” from Z and went right into “Aluminum Park” from the new album. The fanboys went crazy for title track, “Evil Urges,” a funky tune reminiscent of Prince’s early-era hits (of all things). My Morning Jacket is the kind of band that causes writers to rifle through old songs to figure out who they sound most like — but the thing about them is, they kinda sound like a perfect amalgamation of all that has come before, whether that be the ’70s pop of Dr. Hook, the folk rock of Bruce Springsteen, the smooth sing-alongs of Jimmy Buffett, the mellow noodling of the Grateful Dead, or whatever. It’s as if they’ve sucked up the sound of 1976 and reworked it for our modern sensibilities. It’s comfortingly familiar but thrillingly new.
James, the driving creative force of the band, is a happy front man, changing guitars, humbly thanking the crowd for the gift of their adoration, and high-kicking his way through blistering guitar licks. The sound they emitted from the stage seemed way too powerful for the small House of Blues venue. It’s like seeing Pink Floyd play a stadium show in a bar. Guitarist Carl Broemer not only played slide guitar on some songs but busted out a sax during “Dondante” and added his harmonies to James’ soaring falsettos.

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Why is it important that the telescope view shows us that things happen and that things change in space.
Why did people think that nothing happens in Space?
I really really really need help, its the holidays so everyones away on vacation, there are no books at the library related to this question and im lost. You dont have to answer the question please just give an idea of what i should right and what is being asked.

Im not sure what you mean by nothing happens. Are you referring to some ancient notions of the unchanging and immutable nature of the cosmos? If so, we have learned a great deal by collecting vast amounts of data which show processes in action. Many of these processes are too slow to detect, but we have thoousands of of the universe in which enough of these still shots shows that things are changing.
For example, if you could take ten thousand pictures of people at all times of the day. You could probably get a pretty good idea what a typical human day is like.
Fortunately there are things which we can see in short periods of time, most notably, supernovae. Naked eye supernovae are pretty rare, but using telescopes, we have been able to see many of them as they occur. We can also see huge explosions on the sun and sunspots, too, which come and go. There are also many stars which are variables. I believe there are only two naked eye variables. All the rest required the use of telescopes. Some vary because of another star orbiting it, but some vary by swelling and contracting, alternately.
In addition, we have seen things like a large comet crashing into Jupiter and volcanic eruptions on its moon, Io. Weve also been able to detect changes in the Martian polar ice caps, due to its seasons. Telescopes have shown us countles craters on the moon and our space probes have shown that they exist throughout the solar system, revealing a past of many, many large collisions.
Those are a few examples.

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Los Hermanos Chillado Biaus se caracterizan por interpretar la música folklórica argentina manteniendo vigente un estilo tradicional, con un extenso y variado repertorio basado en creaciones propias y de los mas destacados autores de nuestra música nacional.

"Con Juan en primera voz y guitarra, Gonzalo en segunda voz y guitarra acompañante, Sebastián en primera voz y primera guitarra y Diego en segunda voz y bombo, Los Hermanos Chillado Biaus mantenemos esta pasión de cantar e interpretar el estilo tradicional del folklore argentino, herencia de nuestros mayores, la cual cultivamos como legado para nuestros hijos".

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I was going to have another rant about people complaining about your opinions on local bands, but Im just gonna keep this one small and simple.
Simply put, if you think a band sucks in this area, they suck. Thats all there is to it. People complaining about your opinion is not gonna make them change their mind to like a bands tunes. If you bash a bands tunes and their talent, thats when their fans/supporters will come out and try and defend them. Thats what fans do, theyll back up their favorite band/artist no matter what happens to them. Thats why they are all doing this and why they all complain because they are fans/supporters of the band when you bash their music.
Why do fans defend their favorite band from teh haters? Its not that they try to get the hater upset, because when they do, the hater never stops bashing the band, theyll keep doing it the more the fans respond. The hater will never agree with what the fans are saying. Why do they defend them? Its because the fans want to show their favorite band they got them their true support. Thats the only reason they do it. They do it to make the band feel good. Fans are too obsessed with that band when they dont even know them personally. Kind of sad too.
If everybody dont like your opinions of what you say about bands, my advice is, fuck em all. Yep, fuck em. End of story.

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A2AD Newswire - New York NY - Thu 14 Aug 2008
A2AD Newswire, Thu 14 Aug 2008. Nearing 50 years of celebrating music through the GRAMMY Awards, The Recording Academy continues its rich legacy and ongoing growth as the premier outlet for honoring achievements in the recording arts and supporting the music community. The GRAMMYs are the only peer-presented award to honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position. The GRAMMY Awards rang in its 50th show with a wide-ranging, celebratory telecast that honored the old, the new and everything in between as The Recording Academy paid tribute to its legacy as well as the exciting list of this year's honorees and performers. Amy Winehouse won five awards, including Record Of The Year and Song Of The Year for her now-prophetic "Rehab," while Kanye West took home four, including the Best Rap Album award for Graduation, though Album Of The Year eluded him for the third time. That award went to longtime jazz great Herbie Hancock for his tribute to Joni Mitchell, River: The Joni Letters. Other top winners included gospel star Karen Clark-Sheard and Bruce Springsteen with three trophies each. Winners 50th Annual Grammy Awards: -Album of the Year: "River: The Joni Letters," Herbie Hancock. -Record of the Year: "Rehab," Amy Winehouse. -Song of the Year: "Rehab," Amy Winehouse (Amy Winehouse). -New Artist: Amy Winehouse. -Producer of the Year, Non-Classical: Mark Ronson. -Pop Vocal Album: "Back to Black," Amy Winehouse. -Female Pop Vocal Performance: "Rehab," Amy Winehouse. -Male Pop Vocal Performance: "What Goes Around...Comes Around," Justin Timberlake. -Pop Performance by a Duo or Group With Vocals: "Makes Me Wonder," Maroon 5. -Pop Collaboration With Vocals: "Gone Gone Gone (Done Moved On)," Robert Plant Alison Krauss. -Pop Instrumental Album: "The Mix-Up," Beastie Boys. -Pop Instrumental Performance: "One Week Last Summer," Joni Mitchell. -Traditional Pop Vocal Album: "Call Me Irresponsible," Michael Buble. -Alternative Music Album: "Icky Thump," The White Stripes. -Rock Album: "Echoes, Silence, Patience Grace," Foo Fighters. -Rock Song: "Radio Nowhere," Bruce Springsteen, songwriter (Bruce Springsteen). -Solo Rock Vocal Performance: "Radio Nowhere," Bruce Springsteen. -Rock Performance by a Duo or Group With Vocals: "Icky Thump," The White Stripes. - Hard Rock Performance: "The Pretender," Foo Fighters. Metal Performance: "Final Six," Slayer. -Rock Instrumental Performance: "Once Upon a Time in The West," Bruce Springsteen. -Rap Album: "Graduation," Kanye West. -Rap Solo Performance: "Stronger," Kanye West. -Rap Performance by a Duo or Group: "Southside," Common, featuring Kanye West. -Rap/Sung Collaboration: "Umbrella," Rihanna Featuring Jay-Z. -Rap Song: "Good Life," Aldrin Davis, Mike Dean, Faheem Najm Kanye West, songwriters (J. Ingram Q. Jones, songwriters) (Kanye West Featuring T-Pain). -Country Album: "These Days," Vince Gill. -Country Song: "Before He Cheats," Josh Kear Chris Tompkins, songwriters (Carrie Underwood). -Female Country Vocal Performance: "Before He Cheats," Carrie Underwood. -Male Country Vocal Performance: "Stupid Boy," Keith Urban. -Country Performance by a Duo or Group With Vocals: "How Long," Eagles. -Country Collaboration With Vocals: "Lost Highway," Willie Nelson Ray Price. -Country Instrumental Performance: "Throttleneck," Brad Paisley. -R B Album: "Funk This," Chaka Khan. -R B Song: "No One," Dirty Harry, Kerry Brothers Alicia Keys, songwriters (Alicia Keys). -Contemporary R B Album: "Because of You," Ne-Yo. -Female R B Vocal Performance: Alicia Keys. -Male R B Vocal Performance: "Future Baby Mama," Prince. R B Performance by a Duo or Group With Vocals: "Disrespectful," Chaka Khan, featuring Mary J. Blige. -Traditional R B Vocal Performance: "In My Songs," Gerald Levert. -Urban/Alternative Performance: "Daydreamin'," Lupe Fiasco, featuring Jill Scott. -Dance Recording: "LoveStoned/I Think She Knows," Justin Timberlake, Nate (Danja) Hills, Timbaland Justin Timberlake, producers; Jimmy Douglass Timbaland, mixers. -Electronic/Dance Album: "We Are the Night," The Chemical Brothers. -Bluegrass Album: "The Bluegrass Diaries," Jim Lauderdale. -Traditional Blues Album: "Last of the Great Mississippi Delta Bluesmen: Live In Dallas," Henry James Townsend, Joe Willie "Pinetop" Perkins, Robert Lockwood Jr. David "Honeyboy" Edwards. -Contemporary Blues Album: "The Road to Escondido," JJ Cale Eric Clapton. -New Age Album: "Crestone," Paul Winter Consort. -Contemporary Jazz Album: "River: The Joni Letters," Herbie Hancock. -Jazz Vocal Album: "Avant Gershwin," Patti Austin. -Jazz Instrumental Solo: "Anagram," Michael Brecker, soloist. -Jazz Instrumental Album, Individual or Group: "Pilgrimage," Michael Brecker. -Large Jazz Ensemble Album: "A Tale of God's Will (A Requiem for Katrina)," Terence Blanchard. -Latin Jazz Album: "Funk Tango," Paquito D'Rivera Quintet. -Latin Pop Album: "El Tren De Los Momentos," Alejandro Sanz. -Latin Rock or Alternative Album: "No Hay Espacio," Black:Guayaba. -Latin Urban Album: "Residente O Visitante," Calle 13. -Tropical Latin Album: "La Llave De Mi Corazon," Juan Luis Guerra. -Mexican/Mexican-American Album: "100 (Percent) Mexicano," Pepe Aguilar. -Tejano Album: "Before the Next Teardrop Falls," Little Joe La Familia. -Norteno Album: "Detalles Y Emociones," Los Tigres Del Norte. -Banda Album: "Te Va A Gustar," El Chapo. -Traditional Folk Album: "Dirt Farmer," Levon Helm. -Contemporary Folk/Americana Album: "Washington Square Serenade," Steve Earle. -Native American Music Album: "Totemic Flute Chants," Johnny Whitehorse. -Hawaiian Music Album: "Treasures of Hawaiian Slack Key Guitar," Various Artists, Daniel Ho, George Kahumoku Jr., Paul Konwiser Wayne Wong, producers. -Zydeco or Cajun Music Album: "Live! Worldwide," Terrance Simien The Zydeco Experience. -Reggae: "Mind Control," Stephen Marley. Traditional World Music Album: "African Spirit," Soweto Gospel Choir. -Contemporary World Music Album: "Djin Djin," Angelique Kidjo. -Polka Album: "Come Share the Wine," Jimmy Sturr and His Orchestra. -Gospel Performance: "Blessed Highly Favored," The Clark Sisters; "Never Gonna Break My Faith," Aretha Franklin Mary J. Blige (Featuring The Harlem Boys Choir). (Tie.) -Gospel Song: "Blessed Highly Favored," Karen Clark-Sheard, songwriter (The Clark Sisters). -Rock or Rap Gospel Album: "Before the Daylight's Shot," Ashley Cleveland. -Pop/Contemporary Gospel Album: "A Deeper Level," Israel and New Breed. -Southern, Country or Bluegrass Gospel Album: "Salt of the Earth," Ricky Skaggs The Whites. -Traditional Gospel Album: "Live - One Last Time," The Clark Sisters. -Contemporary R B Gospel Album: "Free to Worship," Fred Hammond. -Compilation Soundtrack Album for Motion Picture, Television or Other Visual Media: Love (The Beatles) George Martin Giles Martin, producers (Apple Records/Capitol Records). -Score Soundtrack Album for Motion Picture, Television or Other Visual Media: "Ratatouille," Michael Giacchino, composer. -Song Written for Motion Picture, Television or Other Visual Media: "Love You I Do (From Dreamgirls)," Siedah Garrett Henry Krieger, songwriters (Jennifer Hudson). -Musical Show Album: "Spring Awakening," Duncan Sheik, producer; Duncan Sheik, composer; Steven Sater, lyricist (Original Broadway Cast With Jonathan Groff, Lea Michele Others). -Musical Album for Children: "A Green and Red Christmas," The Muppets. -Spoken Word: "The Audacity of Hope: Thoughts on Reclaiming the American Dream," Barack Obama. -Spoken Word Album for Children: "Harry Potter and the Deathly Hallows," Jim Dale. -Comedy Album: "The Distant Future," Flight of the Conchords. Instrumental Composition: "Cerulean Skies," Maria Schneider, composer (Maria Schneider Orchestra). -Instrumental Arrangement: "In a Silent Way," Vince Mendoza, arranger (Joe Zawinul). -Instrumental Arrangement Accompanying Vocalist(s): "I'm Gonna Live Till I Die," John Clayton, arranger (Queen Latifah). -Engineered Album, Non-Classical: "Beauty Crime," Tchad Blake, Cameron Craig, Emery Dobyns Jimmy Hogarth, engineers (Suzanne Vega). -Remixed Recording, Non-Classical: "Bring the Noise (Benny Benassi Sfaction Remix)," Benny Benassi, remixer (Public Enemy). -Surround Sound: "Love," Paul Hicks, surround mix engineer; Tim Young, surround mastering engineer; George Martin Giles Martin, surround producers (The Beatles). -Classical Album: "Tower: Made in America," Leonard Slatkin, conductor; Tim Handley, producer; Tim Handley, engineer/mixer (Nashville Symphony). -Orchestral Performance: "Tower: Made in America," Leonard Slatkin, conductor (Nashville Symphony). -Producer of the Year, Classical: Judith Sherman. -Engineered Album, Classical: "Grechaninov: Passion Week," John Newton, engineer (Charles Bruffy, Phoenix Bach Choir Kansas City Chorale). -Opera Recording: "Humperdinck: Hansel Gretel," Sir Charles Mackerras, conductor; Rebecca Evans, Jane Henschel Jennifer Larmore; Brian Couzens, producer (Sarah Coppen, Diana Montague Sarah Tynan; New London Children's Choir; Philharmonia Orchestra). -Choral Performance: "Brahms: Ein Deutsches Requiem," Simon Rattle, conductor; Simon Halsey, chorus master (Thomas Quasthoff Dorothea Roschmann; Rundfunkchor Berlin; Berliner Philharmoniker). -Instrumental Soloist(s) Performance (With Orchestra): "Barber/Korngold/Walton: Violin Concertos," Bramwell Tovey, conductor; James Ehnes (Vancouver Symphony Orchestra). -Instrumental Soloist Performance (Without Orchestra): "Beethoven Sonatas, Vol. 3," Garrick Ohlsson. -Chamber Music Performance: "Strange Imaginary Animals," Eighth Blackbird. -Small Ensemble Performance: "Stravinsky: Apollo, Concerto in D; Prokofiev: 20 Visions Fugitives," Yuri Bashmet, conductor; Moscow Soloists. -Classical Vocal Performance: "Lorraine Hunt Lieberson Sings Peter Lieberson: Neruda Songs," Lorraine Hunt Lieberson (James Levine; Boston Symphony Orchestra). -Classical Contemporary Composition: "Made in America," Joan Tower (Leonard Slatkin, conductor; Nashville Symphony Orchestra). Classical Crossover Album: "A Love Supreme: The Legacy of John Coltrane," Turtle Island Quartet. -Short Form Music Video: "God's Gonna Cut You Down," Johnny Cash. -Long Form Music Video: "The Confessions Tour," Madonna. Recording Package: "Cassadaga," Zachary Nipper, art director (Bright Eyes). -Boxed or Special Limited Edition Package: "What It Is!: Funky Soul and Rare Grooves (1967-1977)," Masaki Koike, art director. Album Notes: "John Work, III: Recording Black Culture," Bruce Nemerov, album notes writer. -Historical Album: "The Live Wire - Woody Guthrie in Performance 1949," Nora Guthrie Jorge Arevalo Mateus, compilation producers; Jamie Howarth, Steve Rosenthal, Warren Russell-Smith Dr. Kevin Short, mastering engineers (Woody Guthrie). The 50th Annual GRAMMY Awards were held on 'GRAMMY Sunday,' Feb. 10, 2008, at STAPLES Center in Los Angeles and was broadcast live in high-definition TV and 5.1 surround sound on CBS from 8-11:30 p.m. (ET/PT). www.grammy.

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A2AD Newswire - New York NY - Fri 04 Jul 2008
A2AD Newswire, Fri 04 Jul 2008. Nearing 50 years of celebrating music through the GRAMMY Awards, The Recording Academy continues its rich legacy and ongoing growth as the premier outlet for honoring achievements in the recording arts and supporting the music community. The GRAMMYs are the only peer-presented award to honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position. The GRAMMY Awards rang in its 50th show with a wide-ranging, celebratory telecast that honored the old, the new and everything in between as The Recording Academy paid tribute to its legacy as well as the exciting list of this year's honorees and performers. Amy Winehouse won five awards, including Record Of The Year and Song Of The Year for her now-prophetic "Rehab," while Kanye West took home four, including the Best Rap Album award for Graduation, though Album Of The Year eluded him for the third time. That award went to longtime jazz great Herbie Hancock for his tribute to Joni Mitchell, River: The Joni Letters. Other top winners included gospel star Karen Clark-Sheard and Bruce Springsteen with three trophies each. Winners 50th Annual Grammy Awards: -Album of the Year: "River: The Joni Letters," Herbie Hancock. -Record of the Year: "Rehab," Amy Winehouse. -Song of the Year: "Rehab," Amy Winehouse (Amy Winehouse). -New Artist: Amy Winehouse. -Producer of the Year, Non-Classical: Mark Ronson. -Pop Vocal Album: "Back to Black," Amy Winehouse. -Female Pop Vocal Performance: "Rehab," Amy Winehouse. -Male Pop Vocal Performance: "What Goes Around...Comes Around," Justin Timberlake. -Pop Performance by a Duo or Group With Vocals: "Makes Me Wonder," Maroon 5. -Pop Collaboration With Vocals: "Gone Gone Gone (Done Moved On)," Robert Plant Alison Krauss. -Pop Instrumental Album: "The Mix-Up," Beastie Boys. -Pop Instrumental Performance: "One Week Last Summer," Joni Mitchell. -Traditional Pop Vocal Album: "Call Me Irresponsible," Michael Buble. -Alternative Music Album: "Icky Thump," The White Stripes. -Rock Album: "Echoes, Silence, Patience Grace," Foo Fighters. -Rock Song: "Radio Nowhere," Bruce Springsteen, songwriter (Bruce Springsteen). -Solo Rock Vocal Performance: "Radio Nowhere," Bruce Springsteen. -Rock Performance by a Duo or Group With Vocals: "Icky Thump," The White Stripes. - Hard Rock Performance: "The Pretender," Foo Fighters. Metal Performance: "Final Six," Slayer. -Rock Instrumental Performance: "Once Upon a Time in The West," Bruce Springsteen. -Rap Album: "Graduation," Kanye West. -Rap Solo Performance: "Stronger," Kanye West. -Rap Performance by a Duo or Group: "Southside," Common, featuring Kanye West. -Rap/Sung Collaboration: "Umbrella," Rihanna Featuring Jay-Z. -Rap Song: "Good Life," Aldrin Davis, Mike Dean, Faheem Najm Kanye West, songwriters (J. Ingram Q. Jones, songwriters) (Kanye West Featuring T-Pain). -Country Album: "These Days," Vince Gill. -Country Song: "Before He Cheats," Josh Kear Chris Tompkins, songwriters (Carrie Underwood). -Female Country Vocal Performance: "Before He Cheats," Carrie Underwood. -Male Country Vocal Performance: "Stupid Boy," Keith Urban. -Country Performance by a Duo or Group With Vocals: "How Long," Eagles. -Country Collaboration With Vocals: "Lost Highway," Willie Nelson Ray Price. -Country Instrumental Performance: "Throttleneck," Brad Paisley. -R B Album: "Funk This," Chaka Khan. -R B Song: "No One," Dirty Harry, Kerry Brothers Alicia Keys, songwriters (Alicia Keys). -Contemporary R B Album: "Because of You," Ne-Yo. -Female R B Vocal Performance: Alicia Keys. -Male R B Vocal Performance: "Future Baby Mama," Prince. R B Performance by a Duo or Group With Vocals: "Disrespectful," Chaka Khan, featuring Mary J. Blige. -Traditional R B Vocal Performance: "In My Songs," Gerald Levert. -Urban/Alternative Performance: "Daydreamin'," Lupe Fiasco, featuring Jill Scott. -Dance Recording: "LoveStoned/I Think She Knows," Justin Timberlake, Nate (Danja) Hills, Timbaland Justin Timberlake, producers; Jimmy Douglass Timbaland, mixers. -Electronic/Dance Album: "We Are the Night," The Chemical Brothers. -Bluegrass Album: "The Bluegrass Diaries," Jim Lauderdale. -Traditional Blues Album: "Last of the Great Mississippi Delta Bluesmen: Live In Dallas," Henry James Townsend, Joe Willie "Pinetop" Perkins, Robert Lockwood Jr. David "Honeyboy" Edwards. -Contemporary Blues Album: "The Road to Escondido," JJ Cale Eric Clapton. -New Age Album: "Crestone," Paul Winter Consort. -Contemporary Jazz Album: "River: The Joni Letters," Herbie Hancock. -Jazz Vocal Album: "Avant Gershwin," Patti Austin. -Jazz Instrumental Solo: "Anagram," Michael Brecker, soloist. -Jazz Instrumental Album, Individual or Group: "Pilgrimage," Michael Brecker. -Large Jazz Ensemble Album: "A Tale of God's Will (A Requiem for Katrina)," Terence Blanchard. -Latin Jazz Album: "Funk Tango," Paquito D'Rivera Quintet. -Latin Pop Album: "El Tren De Los Momentos," Alejandro Sanz. -Latin Rock or Alternative Album: "No Hay Espacio," Black:Guayaba. -Latin Urban Album: "Residente O Visitante," Calle 13. -Tropical Latin Album: "La Llave De Mi Corazon," Juan Luis Guerra. -Mexican/Mexican-American Album: "100 (Percent) Mexicano," Pepe Aguilar. -Tejano Album: "Before the Next Teardrop Falls," Little Joe La Familia. -Norteno Album: "Detalles Y Emociones," Los Tigres Del Norte. -Banda Album: "Te Va A Gustar," El Chapo. -Traditional Folk Album: "Dirt Farmer," Levon Helm. -Contemporary Folk/Americana Album: "Washington Square Serenade," Steve Earle. -Native American Music Album: "Totemic Flute Chants," Johnny Whitehorse. -Hawaiian Music Album: "Treasures of Hawaiian Slack Key Guitar," Various Artists, Daniel Ho, George Kahumoku Jr., Paul Konwiser Wayne Wong, producers. -Zydeco or Cajun Music Album: "Live! Worldwide," Terrance Simien The Zydeco Experience. -Reggae: "Mind Control," Stephen Marley. Traditional World Music Album: "African Spirit," Soweto Gospel Choir. -Contemporary World Music Album: "Djin Djin," Angelique Kidjo. -Polka Album: "Come Share the Wine," Jimmy Sturr and His Orchestra. -Gospel Performance: "Blessed Highly Favored," The Clark Sisters; "Never Gonna Break My Faith," Aretha Franklin Mary J. Blige (Featuring The Harlem Boys Choir). (Tie.) -Gospel Song: "Blessed Highly Favored," Karen Clark-Sheard, songwriter (The Clark Sisters). -Rock or Rap Gospel Album: "Before the Daylight's Shot," Ashley Cleveland. -Pop/Contemporary Gospel Album: "A Deeper Level," Israel and New Breed. -Southern, Country or Bluegrass Gospel Album: "Salt of the Earth," Ricky Skaggs The Whites. -Traditional Gospel Album: "Live - One Last Time," The Clark Sisters. -Contemporary R B Gospel Album: "Free to Worship," Fred Hammond. -Compilation Soundtrack Album for Motion Picture, Television or Other Visual Media: Love (The Beatles) George Martin Giles Martin, producers (Apple Records/Capitol Records). -Score Soundtrack Album for Motion Picture, Television or Other Visual Media: "Ratatouille," Michael Giacchino, composer. -Song Written for Motion Picture, Television or Other Visual Media: "Love You I Do (From Dreamgirls)," Siedah Garrett Henry Krieger, songwriters (Jennifer Hudson). -Musical Show Album: "Spring Awakening," Duncan Sheik, producer; Duncan Sheik, composer; Steven Sater, lyricist (Original Broadway Cast With Jonathan Groff, Lea Michele Others). -Musical Album for Children: "A Green and Red Christmas," The Muppets. -Spoken Word: "The Audacity of Hope: Thoughts on Reclaiming the American Dream," Barack Obama. -Spoken Word Album for Children: "Harry Potter and the Deathly Hallows," Jim Dale. -Comedy Album: "The Distant Future," Flight of the Conchords. Instrumental Composition: "Cerulean Skies," Maria Schneider, composer (Maria Schneider Orchestra). -Instrumental Arrangement: "In a Silent Way," Vince Mendoza, arranger (Joe Zawinul). -Instrumental Arrangement Accompanying Vocalist(s): "I'm Gonna Live Till I Die," John Clayton, arranger (Queen Latifah). -Engineered Album, Non-Classical: "Beauty Crime," Tchad Blake, Cameron Craig, Emery Dobyns Jimmy Hogarth, engineers (Suzanne Vega). -Remixed Recording, Non-Classical: "Bring the Noise (Benny Benassi Sfaction Remix)," Benny Benassi, remixer (Public Enemy). -Surround Sound: "Love," Paul Hicks, surround mix engineer; Tim Young, surround mastering engineer; George Martin Giles Martin, surround producers (The Beatles). -Classical Album: "Tower: Made in America," Leonard Slatkin, conductor; Tim Handley, producer; Tim Handley, engineer/mixer (Nashville Symphony). -Orchestral Performance: "Tower: Made in America," Leonard Slatkin, conductor (Nashville Symphony). -Producer of the Year, Classical: Judith Sherman. -Engineered Album, Classical: "Grechaninov: Passion Week," John Newton, engineer (Charles Bruffy, Phoenix Bach Choir Kansas City Chorale). -Opera Recording: "Humperdinck: Hansel Gretel," Sir Charles Mackerras, conductor; Rebecca Evans, Jane Henschel Jennifer Larmore; Brian Couzens, producer (Sarah Coppen, Diana Montague Sarah Tynan; New London Children's Choir; Philharmonia Orchestra). -Choral Performance: "Brahms: Ein Deutsches Requiem," Simon Rattle, conductor; Simon Halsey, chorus master (Thomas Quasthoff Dorothea Roschmann; Rundfunkchor Berlin; Berliner Philharmoniker). -Instrumental Soloist(s) Performance (With Orchestra): "Barber/Korngold/Walton: Violin Concertos," Bramwell Tovey, conductor; James Ehnes (Vancouver Symphony Orchestra). -Instrumental Soloist Performance (Without Orchestra): "Beethoven Sonatas, Vol. 3," Garrick Ohlsson. -Chamber Music Performance: "Strange Imaginary Animals," Eighth Blackbird. -Small Ensemble Performance: "Stravinsky: Apollo, Concerto in D; Prokofiev: 20 Visions Fugitives," Yuri Bashmet, conductor; Moscow Soloists. -Classical Vocal Performance: "Lorraine Hunt Lieberson Sings Peter Lieberson: Neruda Songs," Lorraine Hunt Lieberson (James Levine; Boston Symphony Orchestra). -Classical Contemporary Composition: "Made in America," Joan Tower (Leonard Slatkin, conductor; Nashville Symphony Orchestra). Classical Crossover Album: "A Love Supreme: The Legacy of John Coltrane," Turtle Island Quartet. -Short Form Music Video: "God's Gonna Cut You Down," Johnny Cash. -Long Form Music Video: "The Confessions Tour," Madonna. Recording Package: "Cassadaga," Zachary Nipper, art director (Bright Eyes). -Boxed or Special Limited Edition Package: "What It Is!: Funky Soul and Rare Grooves (1967-1977)," Masaki Koike, art director. Album Notes: "John Work, III: Recording Black Culture," Bruce Nemerov, album notes writer. -Historical Album: "The Live Wire - Woody Guthrie in Performance 1949," Nora Guthrie Jorge Arevalo Mateus, compilation producers; Jamie Howarth, Steve Rosenthal, Warren Russell-Smith Dr. Kevin Short, mastering engineers (Woody Guthrie). The 50th Annual GRAMMY Awards were held on 'GRAMMY Sunday,' Feb. 10, 2008, at STAPLES Center in Los Angeles and was broadcast live in high-definition TV and 5.1 surround sound on CBS from 8-11:30 p.m. (ET/PT). www.grammy.

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