ck & roll. They were ugly, misogynist, violent; they were also funny, vulnerable, and occasionally sensitive, as their breakthrough hit "Sweet Child O' Mine" showed. While Slash and Izzy Stradlin ferociously spit out dueling guitar riffs worthy of Aerosmith or the Stones, Axl Rose screeched out his tales of sex, drugs, and apathy in the big city; bassist Duff McKagan and drummer Steven Adler were a limber rhythm section that kept the music loose and powerful. Guns N' Roses' music was basic and gritty, with a solid hard, bluesy base; they were dark, sleazy, dirty, and honest -- everything that good hard rock and heavy metal should be. Guns N' Roses released their first EP in in 1986, which led to a contract with Geffen; the following year, the band released their debut album, Appetite for Destruction. They started to build a following with their numerous live shows, but the album didn't start selling until almost a year later, when MTV started playing "Sweet Child o' Mine." Soon, the album shot to number one and Guns N' Roses became one of the biggest bands in the world. By the end of 1988, they released G N' R Lies, which paired four new, acoustic-based songs with their first EP. Guns N' Roses began to work on the follow-up to Appetite at the end of 1990. In October of that year, the band fired Adler, claiming that his drug dependency caused him to play poorly; he was replaced by Matt Sorum from the Cult. During recording, the band added Dizzy Reed on keyboards. By the time the sessions were finished, the new album had become two new albums. After being delayed for nearly a year, the albums, Use Your Illusion I and II, were released in the fall of 1991. The Illusions showcased a more ambitious band; while there were still a fair number of full-throttle guitar rockers, there were stabs at Elton John-style balladry, acoustic blues, horn sections, female backup singers, ten-minute songs with several different sections, and a good number of introspective, soul-searching lyrics. In short, they were now making art; amazingly, they were successful at it. While the albums sold very well initially, the band soon fell out of favor. Stradlin left the band by the end of 1991 and with his departure the band lost their best songwriter. Once Nirvana's Nevermind hit the top of the charts in early 1992, there was a distinct division between what was cool in hard rock and what wasn't; Guns N' Roses -- with all of their pretensions, impressionistic videos, models, and rock star excesses -- were very uncool. The band didn't fully grasp the change until 1993, when they released their album of punk songs, The Spaghetti Incident?; it received some good reviews, but the band failed to capture the reckless spirit of not only the original versions, but their own Appetite for Destruction. By the middle of 1994, there were rumors flying that the band was about to break up, since Rose wanted to pursue a new, more industrial direction and Slash wanted to stick with their blues-inflected hard rock.

it since 1976's "Don't Go Breaking My Heart", and his highest-charting solo hit since 1975's "Island Girl". The song can be described as an uptempo ballad. If I never heard another song for the rest of my life I can honestly say this song does it for me. In my top 5 favorite of all Elton songs.

985. Created while the members were still in high school and named after a children's educational film, they released four demo tapes in the mid to late 1980s, before being signed to Warner Bros. Records, who subsequently released three full-length studio albums between 1991 and 1999. Mr. Bungle have not been active since touring in 2000 to support their last album, and a recent media interview has confirmed the group is now disbanded.[1] While early in their career Mr. Bungle went through several line up changes, the bands most long serving members were vocalist Mike Patton, guitarist Trey Spruance, bassist Trevor Dunn, drummer Danny Heifetz, and Clinton "Bär" McKinnon on saxophone and other woodwind instruments. Mr. Bungle were known for their distinctive musical traits, often blending and cycling through several musical genres within the course of a single song and fusing radically different musical styles together. Many of their songs had a non-conventional structure and utilized a wide array of instruments and samples. Distinguished by their live shows, which often featured members dressing up and an array of unlikely cover songs, their style has influenced many recent funk metal bands. During the course of their career the band also had an ongoing feud with Red Hot Chili Peppers frontman Anthony Kiedis, which escalated in the late 90s with Kiedis having Mr. Bungle removed from a number of large music festivals in Europe and Australasia where the Chili Peppers were headlining. Although signed to a major record label, Mr. Bungle never had significant commercial success and only released one music video. They did, however, gain a reasonable amount of worldwide popularity due to a large cult following. Mr. Bungle formed in 1985 in Eureka, California while the members were still in high school; initially consisting of Trevor Dunn, Mike Patton, Trey Spruance, Theo Lengyel, and Jed Watts. Watts was subsequently replaced by Hans Wagner, and he by Danny Heifetz, while Clinton "Bär" McKinnon joined in 1989.[2] The band's name was taken from a children's educational film devised to teach children good manners and hygiene, which was featured in a Pee Wee Herman HBO special in the early '80s. A puppet named Mr. Bungle was the main character, used to represent the kind of person no clean, polite child would wish to be. In 1989 Faith No More bassist Billy Gould told Patton about a pornographic video called Sharon's Sex Party, which also starred a character known as Mr. Bungle.[2] Soon after forming, the band's first demo, The Raging Wrath of the Easter Bunny, was recorded during Easter of 1986. It generally featured a fast, low-fi, death metal style, though it also utilized a trainwhistle, a saxophone, bongos, and a kazoo. The Raging Wrath of the Easter Bunny was followed by the demo Bowel of Chiley in 1987; this recording featured a completely different style incorporating the sounds of ska, swing, and funk. In 1988 Mr. Bungle released their third demo, Goddammit I Love America!, which was musically similar to Bowel of Chiley. Their final demo tape was OU818, released in 1989; this recording was the first to feature tenor sax player Clinton "Bär" McKinnon and drummer Danny Heifetz. OU818 combined songs from the earlier demos along with some new tracks having a heavier overall sound than the previous releases.[3][4] In 1989 Mike Patton landed the lead vocalist slot with San Francisco's Faith No More, getting the job after Jim Martin of Faith No More heard him on a Mr. Bungle demo.[5] Patton decided not to break up Mr. Bungle, and continued to be a member of both bands simultaneously. Having established a strong following in Northern California, Mr. Bungle was signed to Warner Bros., who released their self-titled debut in 1991. Their debut, Mr. Bungle, was recorded a year after Mike Patton was recruited into Faith No More and was produced by jazz experimentalist John Zorn. Released on August 13, 1991 the album contained several new songs but overall the sound was in a similar style as OU818. The record mixed metal, funk, ska, carnival music, and free jazz, but was normally described as "funk metal" by music critics.[3] The content is, however, very hard to pin down using specific genres, and the structure and musical style of any single track frequently changes dramatically.[6] Critic Steve Huey wrote in All Music Guide "Mr. Bungle is a dizzying, disconcerting, schizophrenic tour through just about any rock style the group can think of, hopping from genre to genre without any apparent rhyme or reason, and sometimes doing so several times in the same song."[7] The album featured numerous samples, including Kentucky Fried Chicken commercial outtakes, items from the videogames "Super Mario Bros", "Smash TV", and "RBI Baseball", the movies Blue Velvet and Sharon's Sex Party, and the pinball games "Cyclone," "Earthshaker," and "Haunted House." Almost all the members went by obscure aliases in the album credits. To promote the album in some stores, a Mr. Bungle bubble bath was given away with copies of the record sold.[2] The first track on the self-titled recording was originally called "Travolta"(sample (help·info)); however, the actor John Travolta took issue with this title and threatened legal action. With the encouragement of Warner Bros. the song name was changed and on later pressings of the album was called "Quote Unquote", which is also the title of an unauthorized John Travolta biography by Bob McCabe.[2] They created a video for "Travolta" and submitted it to MTV. However, the station refused to air the video because of images of bodies dangling on meat hooks.[6] The album sold well despite MTV refusing to air their video and a lack of radio airplay. It received mostly positive reviews with Journalist Bill Pahnelas calling it "an incredible musical tour de force, and hands down the best alternative rock record of the year so far".[8] Following the release of the album the band toured North America successfully building a large and loyal cult following. Their popularity was partly due to unique stage shows where they often performed with masks to hide their identities and played unlikely covers during their set such as Billy Squier's "The Stroke," "The Star Wars Theme", and John Sebastian's "Welcome Back". Due to artwork delays and the band members' many side-projects, it was another 4 years before Disco Volante was released in October 1995.[3] This, their second major release, has a completely different tone and style to earlier Mr. Bungle recordings.[9] While the self-titled album was described as "funk metal", with Disco Volante this was replaced with the label "avant-garde" or "experimental."[6] The music was complex and unpredictable with the band continuing with their extreme shifts of musical style during songs. Some the tracks were in foreign languages and would radically change genres mid-song, arguably making it Mr. Bungle's most difficult and inaccessible release.[6] Featuring lyrics about death, suicide, and child abuse,[ along with plodding death metal, deranged children's songs, and a Middle Eastern techno number, music critic Greg Prato described the album as having "a totally original and new musical style that sounds like nothing that currently exists". Not all critics were impressed with the album, with The Washington Post describing it as "an album of cheesy synthesizers, mangled disco beats, virtuosic playing and juvenile noises", calling it "self-indulgent" and adding that "Mr. Bungle musicians like to show off their classical, jazz and world-beat influences in fast, difficult passages which are technically impressive but never seem to go anywhere". Disco Volante included influences from contemporary classical music, avant-garde jazz, electronic music pioneer Pierre Henry, Edgar Allan Poe, John Zorn, Frank Zappa, Penderecki, and European film music of the 1960s and 1970s such as those composed by Ennio Morricone and Peter Thomas. The album notes also contained an invitation to participate in an "unusual scam" - if $2 was sent to the bands address, participants would receive additional artwork, lyrics to the songs "Ma Meeshka Mow Skwoz" and "Chemical Marriage", and some stickers. Mr. Bungle supported this record with extensive tours through the United States, Europe, and Australia during '95 and '96, with the tours successfully widening the groups fan base. In 1996 Theo Lengyel retired as Bungle's original sax player and keyboardist due to creative differences. After another 4 year break between albums, the band's third album, California, was released on July 13 1999.[16] California is said to be Mr. Bungles most accessible[17][18] and while the genre shifts are still present, they are less frequent, with succinct song formats giving the album a less chaotic and more stable feel.[19] This resulted in what All Music Guide described as "their most concise album to date; and while the song structures are far from traditional, they're edging more in that direction and that greatly helps the listener in making sense of the often random-sounding juxtapositions of musical genres".[20] California continues the bands musical, lyrical, and thematic experimentation, although it has a much lighter tone.[21] On the different style of this album, Mike Patton explained that to the band "the record is pop-y", before adding "but to some #@!&ing No Doubt fan in Ohio, they're not going to swallow that."[22] The album was generally well received with music critic Robert Everett-Green stating "The band's newest and greatest album does not reveal itself quickly, but once the bug bites, there is no cure. The best disc of the year, by a length."[23] Additionally, the recording process for California became much more complex. The group chose to record the disc on analog rather than digitally[24] and some songs required several 24-track machines while utilizing more than 50 analog tracks.[19] As a result each song contains detailed layers of original samples, keyboards, percussion, and melodies.[6] Mr Bungle live in 1999 Mr Bungle live in 1999 The album displays numerous influences, including exotica, Burt Bacharach, and The Beach Boys, while blending lounge, pop, jazz, funk, thrash-metal, Hawaiian, Middle Eastern, kecak, and avant-garde soundscapes.[17][18][21][25][20] The band did 5 tours to support this record. For the most part, perhaps with the exception of the Sno-Core 2000 tour where they were often booed, the band did have success attracting an audience. Following the 2000 tour the band again went on hiatus. Rumors circulated that the band had dissolved, with some members stating that the band was "over" while others insisted it was just "in limbo".[3] In 2003 Patton alluded to the fact that the band would probably not record any more albums stating "I think it is over. The guys are spread all over the world and we don't talk to each other. I have not spoken to a couple of the guys since the last tour, years ago."[28] While no official break-up announcement ever materialized, a 2004 Rolling Stone interview with Patton confirmed Mr. Bungle had disbanded with him revealing "We could have probably squeezed out a couple more records but the collective personality of this group became so dysfunctional, this band was poisoned by one person's petty jealousy and insecurity, and it led us to a slow, unnatural death. And I'm at peace with that, because I know I tried all I could."[1] When asked about a possible reunion, Mike Patton said, "It could happen, but I won't be singing. Some bridges have definitely been burned. It was a fun time and sometimes you just have to move on. I've got a lot on my plate now."[29] Trevor Dunn adds, on his website, "Bungle is dead and I'm happy about it" and that "the members of Mr. Bungle will never work together as such again".[30] Spruance,[31] Heifetz, and McKinnon[32] have been more optimistic; to quote Spruance, in response to the standard 'Mr. Bungle regrouping' question: "I hope so because that band could take over the #@!&ing world if it wanted to."[31] After the dissolution of Mr. Bungle the members have gone on to numerous different projects. Mike Patton co-founded the record label Ipecac Recordings[33] and is involved with several other ventures, most notably the bands Fantômas,[34] Tomahawk,[35] and Peeping Tom.[36] He also acted in the motion picture Firecracker.[37] Trey Spruance is involved with various bands, including Secret Chiefs 3 and Faxed Head. Trevor Dunn joined Patton in Fantômas as well as forming his own jazz band, Trevor Dunn's Trio Convulsant; he also occasionally played bass with Secret Chiefs 3.[6][38] Danny Heifetz's projects included playing with Secret Chiefs 3 and in a country/punk band called Dieselhed;[6] he now resides in Sydney, Australia, and plays in outfits such as The Tango Saloon and The Fantastic Terrific Munkle.[39][40] Clinton McKinnon also played with Secret Chiefs 3; he now lives in Melbourne, Australia, and plays with The Ribbon Device. Mr. Bungle were generally regarded as an experimental rock or avant-progressive rock group. All Music described Mr. Bungles music as a "unique mix of the experimental, the abstract, and the absurd",[4] while The Seattle Times characterized their music as "harsh, grating, unstructured, blasting, squeaky, speedy, slow, eerie and strangely compelling".[10] Distinctive features of the music were the utilization of numerous different instruments, unique vocals, and the use of unpredictable song formats and a number of different musical genres. Along with the normal instruments of a rock band, Mr. Bungle would also incorporate additions such as bongos, woodblocks, tenor sax, Jews harp, xylophone, glockenspeil, clarinet, piano, and organ.[14] Journalist John Serba commented that the instrumentation "sounded kind of like drunken jazz punctuated with Italian accordions and the occasional Bavarian march, giant power chord, or feedback noise thrown in"[42] Overlaying this was Mike Patton's vocals, who often used death metal growls, crooning, screeching, gurgling, or simply whispering. The arrangement of their songs was also unique, normally displaying a total lack of any structured song format and rotating through different genres ranging from slow melodies to thrash-metal.[19] Critic Patrick Macdonald commented "In the middle of hard-to-follow, indecipherable noise, a relatively normal, funky jazz organ solo will suddenly drift in, it doesn't seem to fit but you can't stop listening to it".[10] Similarly New York Times journalist Jon Pareles described it as music that "leaps from tempo to tempo, key to key, style to style, all without warning".[43] Some of the notable genres they utilized include heavy metal,[20] funk,[20] free jazz,[20] surf rock,[17] punk,[43] klezmer music,[43] ska,[6] kecak,[25] avant-jazz,[21] folk music,[44] pop,[20] doo-wop,[44] funk metal,[25] electronica,[45] swing music,[20] space age pop,[20] death metal,[20][44] rockabilly,[20][25] bossa nova,[20] progressive rock,[18] country and western,[20] circus music [20] and even video game and cartoon music.[25] Critic Greg Prato stated they "may be the most talented rock instrumentalists today, as they skip musical genres effortlessly, while Mike Patton illustrates why many consider him to be the best singer in rock".[11] Mr. Bungle's style has influenced many recent funk and metal chart-toppers, most notably Korn, whose guitarists utilize what they've dubbed the "Mr. Bungle chord".[1] Brandon Boyd of Incubus also cited Mr. Bungle as an influence.[46] Although, Patton has stated that he considers it an insult when people cite him as a forefather of Korn and Limp Bizkit, stating "I feel no responsibility for that, it's their mothers' fault, not mine." Mr. Bungle were well-known for their stage shows, where all of the band members would dress up in outrageous costumes and masks, often wearing a uniform of mechanic's jumpsuits along with masks such as Madonna, Nixon, Darth Vader, an executioner's hood, or plastic clown or gimp masks.[13] Bassist Trevor Dunn explained that initially the reason for the masks and dressing up was to assure anonymity.[48] The shows for the California tours, while still involving various members in costumes, were largely devoid of the trademark masks and outfits due to the increased demands of the music.[19][49] Often the theme was related to California with palm tree props and the band members wearing beach party outfits including Hawaiian shirts and khaki pants.[19][50] Occasionally, the band would simply appear in black suits with white dress shirts or dress up in chef costumes, cowboy suits, or as the Village People.[42][51] Throughout their career Mr. Bungle also performed numerous covers in their live shows, ranging from tiny snippets to whole songs. The covers were by a wide variety of artists and genres encompassing movie scores by Ennio Morricone, Henry Mancini, and John Williams, pop songs by Elton John and Jennifer Lopez, hip hop by Public Enemy and Ol' Dirty Bastard, to punk and metal songs by the Dead Kennedys, Metallica, and Slayer.Mr. Bungle is known to have had a bad relationship with the Red Hot Chili Peppers' frontman Anthony Kiedis.[2] The feud began when Kiedis saw singer Mike Patton performing with Faith No More and accused him of imitating his style. Stating "Yeah I watch that 'Epic' video, and I see him jumping up and down, rapping, and it looked like I was looking in the mirror. The thing is, I had no problem with him personally. I mean, I love 'The Real Thing,' and I liked his vocals on that record. I mean, when I heard the record I noticed subtle similarities, but when I saw that video it was like, 'Wait a second here, what the #@!&?".[2] Mike Patton and Mr. Bungle took offense to Kiedis' comment, sarcastically threatening Kiedis in the press. In the early nineties, Patton met with Kiedis; the two were polite to each other and the feud seemed to have ended.[2] However, in 1999 Mr. Bungle's album California was scheduled to be released on June 8, but their label, Warner Bros. Records, pushed it back so as not to coincide with the Red Hot Chili Peppers similarly titled album, Californication, which was to be released on the same day. This appeared to reignite the old feud with Kiedis having Mr. Bungle removed from a series of summer festivals in Europe; as the headlining act at the festivals The Chili Peppers had final word on the bands that would appear.[2][28] Patton stated "Our agent was in the process of booking these festivals, and it was becoming apparent that we'd landed some pretty good ones—one in France, another one in Holland, some big-name festivals. Turns out someone's holding a grudge! We were booted off several bills, including a really big festival in Australia, specifically because Anthony Kiedis did not want us on the bill. He threatened to pull the Chili Peppers if Mr. Bungle was on the bill. Now, rationalize that one! That's so #@!&ing pathetic! I mean, this guy's selling a million records! We are not even a speck of dust on this guy's ass! What's the #@!&ing problem?"[52] Trey Spruance added "We were booked, months in advance, to do eleven festival dates in Europe. Come Summer, we get a call from the three biggest of those festivals, all of them the same day, saying that we can't play, because the headlining band retains the right to hire and fire whomever they wish. We found out it was the Red Hot Chili Peppers, so our manager called their manager to find out what the hell was going on, and their manager was very apologetic, and said, 'We're really sorry, we want you to know this doesn't reflect the management's position, or the band's for that matter, it's Anthony Kiedis who wants this.'"[53] As a result, Mr. Bungle parodied the Red Hot Chili Peppers in Detroit, Michigan on Halloween of 1999. Patton introduced each Mr. Bungle band member with the name of one of the Red Hot Chili Peppers before covering the songs Give It Away, Around The World, Under the Bridge and Scar Tissue, with Patton deliberately using incorrect lyrics. Mr. Bungle also satirized many of the mannerisms of the band, mocking their frequent heroin injections and on-stage antics. Kiedis responded by having them removed from the 2000 Big Day Out festival in Australia and New Zealand,[2][28] stating "I would not have given two #@!&s if they played with us there, but after I heard about some Halloween show where they mocked us and read another interview where Patton talked #@!& about us, and I was like, you know what, #@!& him and #@!& the whole band."

Bomb (aka Alternate Vision) - Theatre Of Magic 03- Eskimo - Open Your Eyes Up 04- Sub6 & Pixel -Navigate Into 05- Wrecked Machines, Domestic & Pixel - A.D.D. 06- Halucinogen - Gamma Goblins (GMS RMX) 07- Skazi - Fire N Ice 08- Talamasca - Speaking Robot [GMS RMX] 09- Soundaholix (aka Earthling & GMS) - The Moon 10- Soundaholix - LSD Story [Infected Mushroom RMX] 11- Phoenix Family & Earthling - Killer Dope [Chromatone RMX] 12- Mindstorm (aka Doctor Spook) - Starstuff http://video.google.com/videoplay?docid=-1539427242901049408 Release Notes: At last! The worlds most popular trance artists together with one of the planets most celebrated psychedelic animators present 12 amazing 3D FX videos perfectly synched to the biggest hits! Each spectacular video abducts you on a SPUN filled journey into Dr. Spook's vivid and exotic imagination set to a fusion of acid techno, deep tribal beats and progressive tunes known worldwide as "GOA" or "Psychedelic" Trance. Spun Records and GeoMagnetic.tv, leaders of this unique art form proudly step forward with this revolutionary DVD. Spun was the 1st to bring Psytrance to Hollywood, the Superbowl broadcast, Sony's Grand Turismo games and now a worldclass achievement with this DVD/CD. Spook has worked with the biggest labels like Arista, Sony, Geffen, Universal, Elton John (Rocket Man Rec), Allman Brother's (Peach Rec), Cartoon Network/Adult Swim, featured in Res Fest and won multiple international awards. Experience Dr. Spook's mind mending full power art adventure in Dolby AC3 Pro Logic Surround Sound. - This DVD is a Complete Party on a Disc - DJs, VJs, Clubs love seamless looping visuals - Hi Res 7 Mbs 24fps 480P Mpeg2 video Encoding - Awesome Dolby AC3 Pro Logic Surround Sound - Made with Oscar Winning animation technology - Compatible with all regions worldwide - Bonus Mix CD with full indexed soundtrack CREDITS Dist: Arabesque (Europe) Solstice Int. (Japan) DVD Produced by Doctor Spook Executive Producer - Seth Hoffman (p) and © Spun Rec / Geomagnetic.tv www.geomagnetic.tv info@geomagnetic.tv

ased as a single with "'Cos You Like To Love Me" on the B side. Chart performance: The UK release was on 1 September 1969. The US release was 3 months later - 1 December 1969. "He Ain't Heavy" shot up the charts reaching #3 in the UK and #7 in the United States. The song was also re-released in late 1988 in the UK following its use in a television advertisement for Miller Lite Beer, it was paired with "Carrie" on the re-release. "He Ain't Heavy" finally reached the #1 spot in the charts for two weeks in September 1988 with this re-release. Origin of the song: "He Ain't Heavy" was composed by Bobby Scott and Bob Russell. The pair were introduced to each other by Johnny Mercer at a California nightclub. Despite the fact that Russell was dying of cancer and that the pair met in person only three times, they managed to turn out "He Ain't Heavy". The Hollies soon recorded the emotional ballad, featuring the piano talents of Elton John, and with Allan Clarke providing a heartfelt rendition of the lyrics. The song had been discovered by the group's guitarist Tony Hicks as a publisher's demo. Hicks later said that the demo was very slow in tempo, and that really only the lyrics remained in The Hollies version. The Hollies version features Allan Clarke on lead vocals and autoharp, Terry Sylvester on high harmony, Tony Hicks on bottom harmony and guitar. Bobby Elliot played drums, Bernie Calvert bass, while Elton John guested on piano. More Info @ : http://en.wikipedia.org/wiki/He_Ain't_Heavy,_He's_My_Brother ************************* Cover - He Ain't Heavy, He's My Brother (Bobby Scott and Bob Russell) The road is long With many a winding turn That leads us to who knows where, Who knows where But I'm strong, Strong enough to carry him. He ain't heavy, he's my brother. So on we go. His welfare is my concern. No burden is he to bear, We'll get there. For I know He would not en#@!&ber me. He ain't heavy, he's my brother. If I'm laden at all, I'm laden with sadness That everyone's heart Isn't filled with the gladness Of love for one another. It's a long, long road From which there is no return. While we're on the way to there, Why not share? And the load Doesn't weigh me down at all. He ain't heavy, he's my brother. He's my brother. He ain't heavy, he's my brother... .

rite tracks at just 12 years old and made his first club appearance in Italian clubs at the age of 15. Demark's first studio outing was a track called "You Got To Know". Produced with Mark Munro, it appeared alongside DJ Craig Obey's first production, "Feel The Vibe", on limited edition 12" vinyl. In 2002, Demark produced three tracks with Italian DJ, Blade from Jestofunk. "Palace City", "Spanish Lab" and "So Good" were all released through Blade's own label Cavernjatt. In 2004, Demark produced a compilation album entitled 'Ghetto Paradise' with Blade and Mark Munro - the compilation's name inspired by his now homebase on the Gold Coast. 'Ghetto Paradise' sold over 10,000 copies worldwide and featured "Seven Mile", a track written and produced by Demark, Mark Munro and keyboard player Dan Gulson under the name of Grooveyard. After spending time in the studio producing a batch of new material, an association with NEW YORK DJ, Carl Kennedy led to Demark signing his production of "Tiny Dancer" to Carl's own label, Wasted Youth. The remake of one of Elton John's most famous songs has proved to be a dance floor winner and is already getting a great response from some of Australia's leading DJs including Craig Obey and The Stafford Brothers and naturally, Carl himself. The promo of "Tiny Dancer" is about to come out for the European summer with remixes from Craig Obey and one of Italy's top producers, Andy F. Now with over 15 years experience as a DJ, Demark's sets now reflect how important his music is to him, blending powerful House and Electro grooves with a dash of upfront Italian attitude, the best is yet to come from this rising producer. http://www.marcodemark.com Singer CASEY BARNES may well be Australia's best-kept musical secret. The Gold Coast singer-songwriter finished an amazing year in which he opened an outdoor concert for visiting Canadian rocker Bryan Adams and showcased his radio-friendly rock style alongside well-known Australian acts such as Eskimo Joe, The Whitlams, Jack Jones and Diesel. Barnes has just released his third album on which he delivers what's best described as incredibly passionate music. It's honest, easy to digest and boasts many memorable moments. The acoustic stunner, "Princess" and the single-worthy cuts "Coming Back To You" and "All Falls Down" are just three that stand out. Fans of Rob Thomas, John Mayer and Matchbox 20 will love Casey's new album, which has just been released through i-Tunes - he's a name to watch. Having recently returned from a successful five week promotional tour of the U.S. and Europe, there is seemingly no environment that Casey cannot adapt to. This is further emphasised with Casey lending his vocal talents to DJ/Producer Marco Demark's breaking track "Tiny Dancer", the Elton John classic. "Tiny Dancer" has now been licensed around the world and is gathering momentum with remixes by The Camel Rider, Deadmau5, John Dahlback and Moto Blanco. It has also been added to the daytime play lists of the biggest and most influential radio stations in the UK; Radio 1, Kiss FM, Capital and Galaxy. This radio play with dance floor support from some of the biggest international DJs; Tiesto, Eric Morillo, Paul Van Dyke, Armin Van Buuren and naturally Pete Tong and Carl Kennedy, have set up "Tiny Dancer" to cross-over to commercial hit status and potentially be one of the biggest tracks of 2008. 

enging side at Man United, who hope to be the biggest threat to Liverpool, themselves fielding a young and unknown forward by the name of Ian Rush. However, it's Graham Taylor and Elton John whose Watford side mount the biggest push this season. Meanwhile, Bobby Robson leaves Ipswich to take over the England job.

d producers Paul Williams (We've Only Just Begun, Old Fashion Love Song) and Mentor Williams (Driftaway, Loving Arms). With the career explosion of Elton John, Dennis Morgan was recruited away from his position as National Promotion Director for MCA/ Universal Music Group by Elton's management firm, John Reid Enterprises (to take-over operations of fledgling,The Rocket Record Company). Morgan's archives are filled with extra-ordinary accounts of The Rocket Record Company years; However, Rocket Records recording artists Kiki Dee, Neil Sedaka, Brenda Russel, and Elton's drummer and vocalist Nigel Olsson are among his favorites (good friends). Along the way, there are many folks responsible for the success of Elton, and The Rocket Record Company. Among other things, Morgan attributes that fabulous success to deejays like the late Frank Terry (aka T.F. Crilly) and the radio organizations he worked for (RKO/Drake Chenault, ABC Radio Network, MetroMedia, etc.) who had extraordinary power in propelling record sales via airplay. Frank and Dennis enjoyed writing songs together-- much of the time to Frank's rhythmic tapping as they tossed verses around. Luckily, Dennis managed to track down 'the lost tapes' and has posted them here on TheDennisMorganShow channel (Morgan Crilly Band: "The Lost Tapes"; and "Eulogy for TF Crilly aka Frank Terry"). Frank passed away from colon cancer last June. Here's how TV writer/producer and major league baseball announcer Ken Levine (MASH, Frazier, Cheers, Wings...Seattle Mariners, Baltimore Orioles, San Diego Padres) eulogized Frank on his web-site at 1. http://kenlevine.blogspot.com/ Ken Levine wrote (June archives): As any musician knows, the difference between a good song and a great song is the drummer. Usually in the background, often times pounding away in relative obscurity, it's the drummer who provides the backbone to the song, as well as its vitality and spark. Frank Terry was the Ringo Starr, Hal Blaine, and Gene Krupa of Boss Radio 93/KHJ. Originally a drummer himself, Frank Terry, more than any other Bossjock (even Morgan & Steele) set the template for the Boss Radio format and was its most consistent performer. He was the guy who broke in the other Bossjocks. He was the guy who worked every shift, often going months at a time without a day off. The beat had to go on and he was the drummer. There was no more versatile performer in radio. The two biggest rock stations in America in the mid 60's could not have sounded more different. KHJ Los Angeles was ultra streamlined, WABC New York was all bells and whistles (chimes actually) -- organized chaos. Only one disc jockey ever worked both formats. Frank Terry at KHJ and later at WABC's sister station and clone in San Francisco, KSFX. You just gave him the charts and he could play. Later Frank moved into country radio at KNEW and KSAN in the Bay Area. He could bang on washboards as well as snares. Wherever he went, two things were certain. He made every station he ever worked for sound the very best they ever did, and he dented every console, cart machine, and music stand in the studio with his drum sticks. Radio has lost a giant. Terrence Francis Crilly. Better known as Frank Terry. For those of us who knew and loved him, he will always remain in our heart... beating and beating and beating. From the forthcoming semi-autobiography by Dennis Morgan, 'All The Dark Horses; All The Kings Men'.

he biggest threat to Liverpool, themselves fielding a young and unknown forward by the name of Ian Rush. However, it's Graham Taylor and Elton John whose Watford side mount the biggest push this season. Meanwhile, Bobby Robson leaves Ipswich to take over the England job.