Alexandra Amor biography

Alexandra Amor
Alexandra Amor
Alexandra Amor has some advice for starry-eyed teens: Do your homework.

That’s how her path to superstardom started, when the seemingly typical Florida teen took a unique, bold approach to her assignment in Communications class in early 2010. Instructed to give a 2-minute self introduction that would captivate the audience, Alexandra put an unexpected twist on her speech… by singing it!

Alexandra was no stranger to the spotlight, after all. The ability to captivate an audience was in her DNA. Her mother was the lead singer of a local rock band, and it was clear from an early age she was destined to follow suit. Alexandra’s teen years were filled with singing competitions and acting roles in local theater productions, but she really honed her craft in front of a worldwide audience of millions on the internet, where she developed a large and devoted digital fan base that would follow her all the way to the top.

Sure enough, Alexandra’s lyrical take on her homework assignment captivated the whole class, which happened to include artist manager Josh Mendez from Rich Music Ltd. “I immediately got the chills. I don’t even remember the rest of her speech,” Josh recalls. “As soon as I heard her sing, I knew we had to sign her.” After class, he introduced himself to Alexandra and immediately brought her to the attention of the label. Within weeks, she was signed to Jimmy J Management / Rich Music Ltd, a team of seasoned music professionals committed to taking the extraordinarily talented and charming singer to the next level.

Alexandra immediately entered the recording studio to record her debut album. Together with top notch producers The Agency (Ciara, Jordin Sparks, Cody Simpson), Naz Tokio (McFly) and Da Internz (Jesse McCartney, Sean Kingston), Alexandra’s first ever recording sessions churned out a number of radio-ready tracks, including the stellar first single “Superstar” – a peppy, polished pop anthem full of high energy vitality and sassy sing-along lyrics.

“‘Superstar’ is, in a sense, every aspiring artist/actor/singing-in-a-hairbrush performer’s dream! Becoming a superstar, living it up, buying whatever, wherever, WHENEVER,” Alexandra says. The single was released online in April 2010, where Alexandra’s uber-viral fanbase immediately propelled it to digital hit status, singing into their own webcams and filling Youtube with countless fan-generated “Superstar” videos.

Despite the living large theme of “Superstar,” Alexandra is remarkably gracious and unaffected. A pop fan herself, she cites influences across the spectrum including Christina Aguilera, Carrie Underwood, Rihanna, Justin Bieber and Katie Perry. “I’m a down to earth girl with big dreams and a positive outlook on life. It’s all been surreal and an absolute blessing. I’m still in shock… all because I did my homework.”

Oceana biography

Oceana connects! Just as the ocean connects continents, this young singer joins soul music of the ’60s with modern beats and contemporary texts. Oceana connects black to white, funk to soul, modern soul to jazz and pop. She manages to transport traditional styles of music to the present day through her unusual voice, charisma and stage presence. Her music is international, authentic and bubbles with energy. It has depth and is fun, even when she sometimes lets the more sombre side of her personality emerge. Oceana (in her mid-twenties), uses her personal experiences in her lyrics to sing about desire, love and life.

It is said of many Artists that they are born with a gift for music. While this can be an overused and sometimes incorrect expression , it really does apply to Oceana. The release of her debut album at the start of 2009 surprised us all. Knowing the story of her background, one wonders how much a person can subconsciously be influenced by the lifestyles of their parents. Is there really a musical or creative gene? Why, otherwise, does Oceana speak more of having the need to travel than of being homesick and feels the desire to keep discovering new things and expand her horizons?

OCEANA’s mother, a German Haute Couture fashion designer, moved to Paris because of job and was immediately fascinated by its varied music scene. She was especially taken with the African rhythms and in the evenings she could be found in the city’s hippest reggae clubs. There she met and fell in love with an attractive musician from the French Caribbean colony Martinique. The fruit of their love, OCEANA, followed shortly. After spending her early childhood in the “City of Love”, OCEANA moved with her mother to live near Hamburg, where they lived with her grandparents for the next few years. Mother and daughter often lived out of a suitcase, travelling between Germany and France, where OCEANA’s father was working as a musician and DJ when not travelling around the world on tour. “I always received a lot of postcards from around the world from my father. He sent me photos and videos of gigs and I thought it was great to have a father who was a musician, even if he never picked me up from school and was not there for ballet performances. I never had the “normal” family life, which most people know”. As her grandparents were sought-after Artists, it was normal for OCEANA, from an early age, to be surrounded by singers, artists, musicians and people from the film industry. One afternoon she met the legendary musician Maceo Parker, a family friend, jamming with her grandfather in the garden. Maceo Parker often asked OCEANA up on stage at his concerts and last year he even gave her a solo during one. Parker plays an important role in her life.

From an early age it was clear which direction she would take. OCEANA’s whirlwind path could not be stopped. Her mother started taking her to concerts as a young child. She saw big name Artists including Ziggy Marley, Burning Spear, James Brown and she felt drawn to the stage, where she wanted to sing and dance. She took ballet lessons, danced through studios and at the age of five she was given a part in a film directed by Hamburg’s Lars Becker. As a teenager she won a music scholarship and had her first singing lesson with the Italian vocalist Etta Scollo. Her natural strength and disciplined nature have helped OCEANA to establish herself and make her way in the business.

Today OCEANA is a modern, confident young woman, who knows what she wants. She actually knew what she wanted from an early age. She moved away from home when she was 16 years old, travelling constantly for the next few years. “I always had an extraordinary lifestyle, was always independent and boxed my own way through life. I didn’t need pocket money – I learned from early on, how to manage on my own.” OCEANA never felt homesick, but always felt the need to travel and sees herself as a “citizen of the world”. A real cosmopolitan, she has lived in Paris, Hamburg, London, New York, Los Angeles and a fair amount of time in Martinique, in order to discover her Caribbean roots. She earned her living through gigs and was constantly improving her knowledge of song and dance. Aside from music, she is particularly interested in fashion and photography. She is also very loyal to her family and friends.

When she moved back to Germany she worked as choreographer on videos for Seeed and Fettes Brot. She has also worked as a backing singer for Seeed’s lead vocalist Demba Nabé and has gained live stage experience on tour with Seeed and Boundzound. Just lately she was support act for Germany’s Peter Fox.

It was Maceo Parker, who last year made her finally start thinking about working on her own career as a vocalist. “He gave me the deciding PUSH! Over the years I had kept writing my own material, but after a concert Maceo said to me “You’re ready now; do your own thing!””. Luckily this sentence took seed and she did not forget it. She started working in London on several songs and travelled to New York to record her debut album “LOVE SUPPLY”. Suddenly things started to move quickly, the team worked well and they produced a fantastic album in a short period of time, which mixes the finest soul-pop, funk, R’n’B and reggae to make the rounded, international-sounding, top-quality album.

Git Fresh biography

Git Fresh
Git Fresh
In a time where cultures are merging more than ever, diversity has enriched our world in many ways, especially in the form of music. Hailing from three distinctively different backgrounds, the members of I.M.G./ Def Jam’s Git Fresh have made a name for themselves by seamlessly blending their backgrounds to create a super group that is determined to change the face of popular R&B.

“Together our cultures combine and give us a different sound and a different look than you would see in a typical R&B group,” Penny. “We all come from different backgrounds,” Rude Boi. “Me, I’m African American. Pretti Sly is from South Africa and Penny is White. Each member’s influence on the group is different.”
Hailing from Ft. Lauderdale, Florida, Penny and Rude Boi met in high school at the Dillard School of the Arts. There, they studied various performing arts including musical theatre and vocal training. “Our school was predominantly Black so that developed my interest in hip-hop and R&B and helped my swag,” says Penny. “We had a gospel choir in our school that I was a part of and that was really a big help in me learning different vocal arrangements and chords.”
Meanwhile, Rude Boi met up with Pretti Sly soon after he relocated to the US from South Africa. “As soon as I got here, I met Rude Boi at a talent show and we decided to form a group with Penny” says Sly.
In their first years of high school, the boys created the group Deep Side and instead of keeping their combined talent under wraps, they planted themselves in the center of the teenaged universe. “Every Saturday and Sunday we used to be just performing inside the mall,” says Rude Boi. “If we’d see pretty girls walking by, we’d stop them and sing for them.” The guys also entered local talent shows, where they were approached by their former manager who was their first ticket into a legitimate recording studio.

Not long after, Deep Side was invited to perform in Chicago at R. Kelly’s birthday party. At the time, they had recorded a song called “Shook” which was getting radio play in select markets. R. Kelly was thoroughly impressed by the young group’s performance and connected them to his A&R Wayne Williams who was signed the guys to their first label deal. Two years later, the group decided to leave the label and break ties with their former manager and head out once again on their own.

In 2008, the guys moved to Atlanta and wrote and recorded “Booty Music” under their new group name, Git Fresh. The highly addictive hit quickly picked up hundreds of spins in major markets across the country. It wasn’t long before the boys were fielding calls from multiple major labels. Although they incited a multi-label bidding war, Git Fresh saw the most prosperous future with Def Jam Records.

“We went into L.A. Reid’s office and we performed two acapella songs for him and he was sold after that,” says Rude Boi about Git Fresh’s audition for the Island Def Jam Chairman. “I remember jumping on L.A.’s desk! He told us we weren’t leaving New York without signing to Def Jam.”
Git Fresh solidified their deal in the beginning of 2009 and quickly got started recording their debut album. Around the same time, they also joined Strong Arm Management, who also manages hit maker Flo Rida. Git Fresh’s first single, “She Be Like” is a fresh take on Suzanne Vega’s hit “Tom’s Diner” where the guys ride through the club popping bottles, while “What’s Your Favorite Place” finds them singing about their favorite places to entertain their lucky guests.
On “Earth, Wind, and Fire” the boys express their love over a moody, up-tempo track that leads into “Singin,’” a playful song that talks about mattress springs overpowering their mood music during a raucous love making session.

“We like to go out and have fun,” says Rude Boi. “That’s who we are. We’re young guys in the prime of our lives and our album is definitely a party album, it’s all about the ladies. We don’t even like to consider ourselves as R&B, we just make good music. The sound is new and fresh, it’s something that you wouldn’t expect to hear from a three man group that’s just crooning.”

Combining their different backgrounds and experiences, Git Fresh has managed to find a perfect musical balance. Citing Michael Jackson, Jodeci, and Sam Cooke as influences, Penny, Rude Boi and Pretti Sly all bring a valuable piece to their collective puzzle.

“We have a lot of different styles—a lot of crazy melodies and different influences that you’ll hear in the music,” says Rude Boi. “We could sit down in front of you and sing harmony all day or we could sing a club song so I like to think the group is extremely well rounded in that way.”
Git Fresh—A more perfect union.

Fred the Godson biography

Fred the Godson
Fred the Godson
Hip Hop is alive and well. For those of you who are skeptical meet South Bronx native, ‘Fred the Godson.’ Known for his cunning rhymes and smooth flow Fred has New York City Hip Hop enthusiasts believing again. Hailed as “The Next Great One,” he is impervious in his restoration of the genre where it emerged decades ago.

Born Fredrick Thomas into a household rich in music, R&B and Rap won his alliance at an early age. His father, who worked as security at the Tunnel, one of New York City’s most prominent Hip Hop clubs, frequently brought the hottest records home before they hit the air-waves, a cherished treasure among a household of seven children. Fred had fallen in love at the age of eight and would, despite being diagnosed with asthma, begin his ascent to achieving his dream of becoming a rapper.

Already known throughout Monroe High School for his quick wit, Fred began free-styling in the late 90’s turning his tongue into a lyrical gem. His delivery, seemingly effortless, and considering his severe asthma condition it was everything but. Years of maturation, over-coming personal hardships and tragedies so common to those who inhibit the ruthless streets of the South Bronx, Fred emerged as an exceptional lyricist. His astute talent for creating metaphors that register to listener’s hours later, is perhaps his most distinctive gift; a gift that won him “Best Male Rapper” at the 2007 Underground Music Awards and editorial in industry magazines such as Juice and XXL.

Attaining a devoted fan base with hugely successful mixtapes They Call Me Flow and American Gangster, and his most recent single “Get ‘em Fred,” currently flooding radio, Fred’s putting Hip Hop on notice, “The Bronx is back!” He’s gained the respect of music industries’ toughest critics and greatest tastemakers, New York’s DJs. DJ Enuff, Suss One, Self and Envy are just a few that are coining Fred the Godson as “Hip Hop’s Messiah.”

Still working with long time contributors TBM/Blockwork but under new management, Fred has returned to the studio. Now guided by famed music execs Shawn Prez (BadBoy Entertainment) and Jer-z (Interscope Records/TakeOver Entertainment), Fred the Godson forges ahead working on his first mainstream debut with his lead street single “Get ‘em Fred” already gaining momentum and “Flawless Victory” set to drop. In an industry flooded with artists claiming to bring rap back to its “Golden Era,’ Fred stands alone, capable with a myriad of talent and rhyming versatility.

Jenna Andrews biography

Jenna Andrews
Jenna Andrews
On her forthcoming Island Records debut, Canadian born singer/song writer, Jenna Andrews weaves a deep tapestry of emotion, personal growth and introspection in her debut album. She imbues everything from pop to soul with poignant lyrics, suggesting a strength and wisdom beyond her years.

“I know everybody’s gone through pain,” Jenna confides. “I talk to the little girl in me or the little girls that are dealing with similar things to remind them that you can do big things in your lives if you have hope.”

Relying on that very hope, Jenna left home after just six months of college, determined to make a name for herself in Vancouver. The going was rough; some nights she couldn’t afford to fill her gas tank, preventing her from getting to work. So she would spend those car-bound nights learning the guitar and writing songs; how ironic that a car without gas would eventually steer her to the office of Chairman Antonio ‘L.A.’ Reid, where she’d sign to Island Def Jam. That said, the more you learn about Jenna Andrews, the less surprised you become to hear of unwavering determination.

Music, particularly jazz and R&B, was her mother’s passion. She would take Jenna on long drives and introduce her to great vocalists like Donnie Hathaway and legendary singer/ songwriters such as Carly Simon and Carole King. As a young girl, Jenna connected with the music of her mother’s generation more than the music of her own peers. “Melody can make you feel any given emotion—happy, sad, angry,” she explains. “But lyrics are hugely important because when you attach amazing lyrics to the melody, it synchs. A great song resonates like nothing else in the world.”

Jenna’s mother noticed her daughter’s innate talent but didn’t want to push her. Jenna, however, needed no such prodding. She learned the piano by ear and started writing songs when she was just 14 years old. She would eventually travel with a youth performance troupe. By high school, her performances at downtown Calgary nightclubs fetched as many as 500 patrons per night. So while Jenna was scribbling furiously in her song book, so too would the proverbial writing appear on the wall.

Jenna decided to leave college, and her family, and move to Vancouver. She scraped out a meager existence playing at open mic nights. “I wanted to struggle, and I wanted to really, really discover myself as a musician and as a person,” Jenna reveals. “I just wanted to go through the pain because I felt like it was helping my music.” How prophetic this would prove.

With no money for Christmas presents that year, Jenna instead composed a song for her parents entitled “Adore.” “It was never meant to be exploited,” Jenna explains. “I really wasn’t thinking of it having anything to do with my career. It was just for my love of the music, and for my parents.” Yet this personal ditty trigged public groundswell when the studio owner/producer heard the song and insisted that Jenna make it available via MySpace. She did, and promptly fielded calls from industry heavyweights Bryant Reid (brother of L.A. Reid) and Toronto-based Chris Smith Management, the force behind Nelly Furtado among others.

Jenna signed with Chris Smith and spent the next year writing and recording with hitmakers ranging from Babyface to Max Martin (Pink, Carrie Underwood, Britney Spears, Celine Dion). The result is eclectic—pop to jazz with funk and soul elements, and even some sultry beats. But more apt than any genre label is a feel. It’s real. “My album is heartfelt and honest. It came out very naturally,” Jenna delights. “Every song is really close to my heart. I want my listeners to feel like I’m right beside them in any circumstance they face.” And certainly Jenna has navigated some rough seas, particularly a negative body image that triggered an enduring eating disorder. But her travails alone won’t define her. “There is a lot more going on here than just pain,” she insists. “I feel like you need your first album to show your different colors. I don’t want it to seem like I’m this dark person all the time.”

Maroon 5 biography

Maroon 5
Maroon 5
Maroon 5 have released two multi-platinum studio albums (2002’s Songs About Jane and 2007’s It Won’t Be Soon Before Long), scored a string of hit singles (“This Love,” “She Will Be Loved,” “Harder to Breathe,” “Sunday Morning,” “Makes Me Wonder”), won three Grammy Awards, and sold 15 million albums around the world. Now the Los Angeles quintet is back with its third-studio album, entitled Hands All Over — a killer hybrid of rock, pop, funk, and R&B, that showcases the band’s considerable strengths: buoyant, unforgettable melodies, sleek, stylish grooves, charged lyrics about turbulent relationships, and crisp, dynamic performances.

Adam Levine, the band’s lyricist, began writing the songs that appear on Hands All Over after winding down from a world tour in support of It Won’t Be Soon Before Long. A few months later, Maroon 5 received a phone call from veteran studio wizard Robert John “Mutt” Lange (AC/DC, Foreigner, The Cars), who had heard that Maroon 5 were beginning to write a new album and expressed an interest in producing it. “We didn’t even talk to anyone else,” Levine says. “Mutt is undeniably one of the most successful producers who’s ever lived.”

Levine’s first performing experience — in fact the event that ignited his desire to become a singer and musician — actually involves Lange. The story goes like this: 20 years ago, when Levine was 10, he attended a friend’s birthday party “at one of those places in the San Fernando Valley where the kids dress up in rock’n’roll gear and lip-sync their favorite songs,” he says. Levine chose the Def Leppard classic “Pour Some Sugar On Me.” “I knew I could sing because my music teacher told me I had a voice, but I had never really performed before. I grabbed the mic and just went for it. Afterwards I knew that I’ve got to do this for the rest of my life. That’s what got the whole ball rolling for me.” The classic anthem “Pour Some Sugar On Me” was, of course, famously produced by Lange. “If that’s not a full 360, I don’t know what is,” Levine says. “It doesn’t get more circular than that.”

In July 2009, the members of Maroon 5 — Levine, keyboardist Jesse Carmichael, bassist Mickey Madden, guitarist James Valentine, and drummer Matt Flynn — decamped to Lange’s studio in Vevey, Switzerland, on the north shore of Lake Geneva where they worked distraction-free with the Swiss Alps looming in the distance. “Just being near those majestic mountains and lakes was so inspiring,” says Jesse Carmichael. “Waking up and seeing these giant snow-capped peaks, it set the tone for the record and made the whole thing feel like some sort of magical summer camp experience.” Adds Carmichael: “Mutt really helped us play to the best of our ability. And it drove us to be bigger and better than ever. Everything he does is huge.”

“Huge” is a good way to describe Hands All Over, starting with the hard-rocking title track that is heavier than anything Maroon 5 has ever done. Says Valentine: “It doesn’t sound like anything we’ve done so far.” Another stylistic departure is “Out of Goodbyes,” a stunning country ballad that features musical and vocal contributions from Nashville chart-toppers Lady Antebellum. “We’ve always loved country music,” Levine says, “and they brought that necessary twang to it with the lap steels, ambient guitar, and Hillary Scott’s pretty country voice.” Other highlights include the deeply groovy “Don’t Know Much About That,” the propulsive “Stutter” (“a great showcase for Adam’s voice,” Valentine says) and “Misery,” which will thrill long-time Maroon 5 fans with its funky guitars and high-stepping melody.

Maroon 5 first hit it big in 2002 with Songs About Jane, which went quadruple platinum and spawned four hit singles: the blockbuster Top 40 No. 1 “This Love,” the Top 5 “She Will Be Loved,” as well as “Harder to Breathe” and “Sunday Morning.” Its success cemented their status as a world-class rock band and led to a 2005 Grammy Award win for “Best New Artist.” They followed up Songs About Jane with Acoustic (2004), a collection of unplugged songs, and Live — Friday the 13th (2005), which earned them a second Grammy for “Best Pop Performance by a Duo or Group With Vocal” for the 2006 live recording of “This Love.”

In May 2007, Maroon 5 released It Won’t Be Soon Before Long, which debuted at No. 1 on the Billboard Top 200 album chart, selling nearly half a million copies its first week of release. The Grammy-nominated album featured several hits, including “If I Never See Your Face Again” and “Makes Me Wonder,” which earned Maroon 5 their third Grammy, once again for “Best Pop Performance By A Duo or Group With Vocals.” In 2009, they released Call & Response: The Remix Album, an 18-track “mixtape” that featured Pharrell Williams, Mark Ronson, Swizz Beatz, Paul Oakenfold, and many others, putting a new twist on the band’s biggest hits. Maroon 5 also collaborated with Rihanna on a Grammy-nominated new version of “If I Never See Your Face Again,” which appeared on the re-release of the Barbados-born pop star’s 2007 album Good Girl Gone Bad. (Levine has also collaborated with Ying Yang Twins, Kanye West, Alicia Keys, Natasha Bedingfield, and K’naan.)

Along the way, Maroon 5 toured the world, including a sold-out headlining tour of the U.S., during which they partnered with environmental action organization Reverb to reduce their carbon footprint. Known for their commitment to the environment, Maroon 5 also became members of the NRDC (Natural Resources Defense Council) and were honored at the 2006 Environmental Media Awards and have pledged both time and energy toward Global Cool, an initiative launched to fight global warming by motivating a billion people worldwide to reduce their personal energy use.

It won’t be any different in 2010 when Maroon 5 release Hands All Over, which is as accessible and broadly appealing as anything the band has ever done, including their breakthrough smash Songs About Jane. “Every record should be like our first, that’s the way we think about it,” Levine says. “We don’t ever want to rest on our laurels or get too cozy. We always want to keep aspiring to do our best — and this album captures that.”

Enrique Iglesias biography

Enrique Iglesias
Enrique Iglesias
Enrique Iglesias returns his eagerly-anticipated new album, Euphoria. With its seductive pop, driving hip hop beats and heart of pure passion, Euphoria is set to bring a rush of blood to the dancefloor, with VIP guests including Akon, Nicole Scherzinger, Usher, Puerto Rican reggaeton duo Wisin and Yandel, Juan Luis Guerra and the legendary Lionel Richie.
His most diverse, eclectic collection to date, Euphoria is also Enrique’s first album to feature songs sung in both Spanish and English. “This territory is so exciting for me,” says Enrique. “It taps into so many different styles of music. It’s like nothing I’ve ever done before.”

‘I Like It’ is the first international single from the forthcoming album, produced by Red One, it features a vocal cameo from Lionel Richie, reprising the chorus of his timeless hit ‘All Night Long’. The track is an upbeat floor-filler and comes backed with a crazy hot remix from #1 selling US rapper Pitbull (‘I Know You Want Me’). Enrique was thrilled to work with his friend Lionel Richie, but it was Pitbull who really took it out of him. “Man, working with Pitbull, it’s like he’s got everybody in the world’s mojo, his energy is so intense. And shooting the video together was just insane… ”

Other tracks on Euphoria include Enrique’s Spanish-language smash ‘Cuando Me Enamoro’, featuring Latin superstar Juan Luis Guerra, which crash landed in top 10s across Latin America and Spain on its release. Then there’s the sizzling ‘Heartbeat’, a duet with Nicole Scherzinger of the Pussycat Dolls. It’s utterly pop but emotionally naked. Says Enrique, “If you can create an upbeat song and still put sentiment in it like that… man, that song is raw.”

‘One Day At A Time’, is a departure into mellow calypso, the melody coming to Enrique after he had spent so long battling on the song that he was driving home from the studio in despair. “I turned straight round and went back to record it,” explains the perfectionist. “It was one of those special songs that make you fight for it.” ‘Dirty Dancer’ is a party piece, thick with slamming synthesisers and featuring vocals from Usher, who announces that this is a song “for the dirty girls, all around the world.”

Born in Spain, raised in Miami, and now an international superstar, Enrique discovered his musical talent young, but got his first record deal from a small Mexican label while using a fake name. In 1995 he won a Grammy for his first ever Spanish release (Enrique Iglesias) and in 1999 his eponymous English language debut went on to sell six million albums, go double-platinum in the US, and achieve gold or platinum status in 32 countries. Since then he has had a string of successful albums, from Escape (2001), 7 (2003) and Insomniac (2007) to his Greatest Hits album (2008), while his sold-out world tours have established him as a captivating live performer.

In the US he is one of the biggest-selling Spanish artists of all time, with over 12 million albums sold and 19 #1 Billboard Latin hits across the Americas. Meanwhile, in the UK Enrique has sold 2.2 million albums and 1.6 million singles, the biggest of which – the inimitable ‘Hero’ – spent four weeks at #1 and is now a staple of teary X Factor scenes. Enrique has had 12 top 20 singles, and six Top 10 singles in the UK, including ‘Bailamos’, ‘Could I Have This Kiss Forever’, ‘Escape’, ‘Not In Love’ (ft Kelis), and ‘Do You Know’.

Traditionally, Latin artists release Spanish and English versions of the same songs. “But I always wanted to combine completely different songs, rather than translate them,” Enrique explains. “I’d write one I liked in Spanish, but then I’d write one I liked even more in English, so then there’d be this internal competition to write an even better one in Spanish, and vice versa. The US is now the biggest market for Spanish songs, so this is an experiment.”

“I know people always believe their new record is the best thing they’ve ever done, but truly, this record is my most diverse, my most exciting and the most surprising album I’ve made in my career,” he says, grinning wildly. The anticipation is tangible.

Disturbed biography

Nearly a decade after the release of their groundbreaking debut, The Sickness, Disturbed have become one of the most passionate and well-respected bands in the hard-rock universe, a dependable source not only of pummeling riffs and jackhammer beats, but of personal and political insights into our troubled times. Yet success (in the form of three platinum-plus albums, with both Believe and Ten Thousand Fists topping Billboard’s album chart and over nine million albums sold) hasn’t dulled this Chicago-based foursome’s taste for adventure. If anything, Disturbed’s loyal fanbase has pushed the band to newer heights of self-expression. So it makes sense that on the occasion of their fourth album, Indestructible, that frontman David Draiman, guitarist Dan Donegan and drummer Mike Wengren decided to take the reins and produce themselves in the studio.

“Doing three records with Johnny K taught us a tremendous amount,” Draiman says of the industry veteran who helmed The Sickness, Believe and Ten Thousand Fists. “We’re always trying to evolve and try new things and experiment,” adds Donegan. “So this time we wanted to do things a little bit differently.” Wengren says that Indestructible—which the band tracked over three months in Fall 2007 at Chicago’s Groovemaster Recording—afforded the band the “opportunity to prove to ourselves and to everybody else that we could do it.” The result of Disturbed’s experimentation in the studio is the group’s darkest, angriest outing yet. Inspired by two and a half years’ worth of challenging experiences, Draiman told the rest of the band that he was in the mood to purge. Fortunately, they were right there with him.

“We wanted to get back to some of the elements that were maybe lacking on the last two records,” says Donegan. “David’s got a great ability to sing really melodically, but we wanted him to get back to the rhythmic, animalistic, rapid-fire delivery he’s known for. He’s very hard to touch when he does that, and we wanted to give him music to provoke that.”

Indestructible reflects that intensity of emotion across a broad spectrum of songs: “Deceiver” takes to task a former girlfriend of Draiman’s whom he calls “a master of deception.” “Divide” celebrates the will of the individual against the conformity of the masses. In “Haunted,” which Draiman calls a veiled critique of Los Angeles (where he lived for a few years before recently moving back to Chicago), a place of love becomes a nightmare landscape populated by demons masquerading in human form. “Inside The Fire” imagines the devil encouraging the singer to take his own life as a way of rejoining his dead girlfriend. (“Writing this record is the reason I don’t have therapy bills,” Draiman notes.)

Two of the album’s most powerful tracks address the situation in the Middle East, with “Enough” lamenting the causes of war and the suffering it causes, and the title track offering support for the troops “or anyone else looking to strip themselves of fear,” as Draiman says.

Throughout Indestructible, Donegan, Wengren and Moyer back up Draiman’s words with some of the most visceral, sophisticated music they’ve ever created. Donegan says his goal was to increase the dynamics—“to have the highs be higher and the lows be lower”—and to make more cohesive the relationship that exists between guitar, bass and drums and the band’s signature electronics.

“I don’t wanna sound arrogant,” says Wengren with a laugh, “but I think we’ve made the kind of record the industry needs right now. There are not a lot of heavy bands delivering these days. I think our fans—and fans of this genre—will go absolutely nuts for this.” “People never lose their desire for aggressive music,” adds Draiman. “And we’re happy to keep giving it to them.”

Lights Over Paris biography

Lights Over Paris
Lights Over Paris
As a teenager in 2005, W/P did a web search for “singers” for his band The Voice to compete in a battle of the bands. Singer TaLLLLL responded to the search and what would eventually be Lights Over Paris, began to take shape. After competing in battle of the bands, the two of them took all their savings, rented out a cheap studio and cut eight songs. They posted these songs on their MySpace page. Soon they captured the attention of songwriter and producer Matt “JetSet” Salazar. The Voice broke up but Salazar came in and cut four new songs and brought in another addition, DJ Shiny to help W/P and TaLLLLL shape the sound of the band now known as Lights Over Paris.

Lights Over Paris operates with a group mentality. The lyrical content, stage show and party atmosphere are a direct representation of the music that pours through the blood of each member. Front man TaLLLLL writes the lyrics and melodies summoning his own life experiences as well as his active imagination. W/P rocks out on his custom Keytar providing the piano based tracks that are evident throughout Lights Over Paris’ music. W/P has been a noted classical piano player since the age of five. Lead Guitarist Devin Bronson is the seasoned veteran of Lights Over Paris as he has not only toured with multi-platinum acts like Avril Lavigne but also helmed the music director reigns, the same position he holds with Lights Over Paris. Dave Gentry has been playing drums since 12 years old, touring since a teenager and kicks ass on the Pork Pie Lights Over Paris kit. Rounding out the band is Mike Torres who was handpicked for his mind blowing bass playing (playing upside down) and leadership, Mike has been touring worldwide for acts such as Ashley Tisdale.

Lights Over Paris dropped its first EP, Turn Off The Lights EP on April 13, 2010 on Type One Records/Digital Records. With musical influences ranging from AC/DC and Oingo Boingo, Kanye West and Lady Gaga to Blink 182 and Green Day, Lights Over Paris is not limited to one particular genre. “The EP is really designed to have very unique tracks that suit various types of moods the audience could be feeling on any given day. I wanted to make an album where all the songs didn’t sound the same”, says TaLLLLL, “My influences were all over the place.”
Although the music comes first, the social interactions come in a close second. Lights Over Paris is the marriage of music and the show Entourage. The parties are not just a way to blow off steam as much as they are a way to bringing fans to that next level of being a part of your favorite band. “People should expect a lot of movement and random events happening throughout the show” states TaLLLLL “A little after party to get to know the fans, always something eventful. Fans are most important to us.” Lights Over Paris have been known to create events just so that fans can get involved and get the most out of there Lights Over Paris experience.

The first single, a radio SMASH called “Turn Off The Lights”, produced by Kevin Rudolf (“Let It Rock”) is heating up the airwaves. The band is now preparing for its first nationwide tour to kick off on the West Coast this FALL! The guys always have a plan lined up before and after the show, so regardless of anything else, people who come to a Lights Over Paris show can count on having an INSANE night!

Burnham biography

Alex, Andre and Forrest Burnham have been performing together for seven years, which is pretty remarkable because the three brothers from Vermont are, respectively, just 18, 16 and 14.

Early on, Burnham took over their family living room and converted it into a jam space where they honed their skills playing for four to five hours a day. “When we plug in and start playing, we lose all sense of time.”

After almost five years of performing live, a friend hooked them up with NY based producers, Andy Marvel and Freddy Shehadi, who set-up several showcases with various major record labels. Apparently, the record execs saw what everyone else was seeing; a young band oozing with talent and a front man with an unmistakable and powerful voice. With two major record deals on the table, the boys did one final showcase in New York for Island Def Jam chairman and CEO Antonio “L.A.” Reid. The veteran record exec wouldn’t let the band leave the room until he signed them, not even after youngest member Forrest beat him at pool. “I happened to be on my game that day both vocally and with a pool cue,” says Forrest with a smirk. High-spirited and confident, Forrest fronts the band as vocalist, with older siblings Alex on guitar and Andre playing bass and keyboards.

The three brothers got the performing gene from their mom, a UCLA music major who studied opera, and their love of rock from their dad, who shared his record collection with his boys on a nightly basis.

Burnham has crafted a debut album filled with catchy rock/pop anthems. It features songs like Tedder’s “Catch Me If You Can,” the Espionage-produced “Look Like Her” (“I have been waiting all my life/for someone to come and put things right”), “Thank You,” a collaboration with producer/songwriter Kennedy, and the power ballad by Burnham that helped get them signed, “Slow Dance.”

Their Island Def Jam debut album represents their first time co-writing with such established producers as OneRepublic’s Ryan Tedder, Brian Kennedy (Chris Brown, Rihanna, Backstreet Boys, Jesse McCartney), the N.Y.-based Norwegian production team Espionage of Espen Lind and Amund Bjorklund (Train’s “Hey, Soul Sister” and Beyonce’s “Irreplaceable”), and James Bourne of Busted (“Year 3000”).

“We started writing our own songs about three years ago,” says Andre. “But collaborating with these great producers has allowed us to take our song writing skills to another level.”

The boys started out by learning to play their instruments at a local music school in Vermont. At the time the two older boys joined the ensemble, there were no singers. Andre said, “Forrest will do it,” and the rest is history. “It was either this, or go play in the sandbox,” he jokes about joining his older brothers in the band. “I’m very competitive, but most of the time I’m joking and being sarcastic. From what I can tell, they don’t mind me getting a lot of the attention. In fact, they’re cool about it. They know their place,” Forrest says laughingly…“But seriously, we’re all equal.”

With Forrest in front, the band boasts brotherly three-part harmonies and indelible hooks, lacing them with lyrics that are universal and ageless… romance, betrayal, young love and, well, girls. “I never actually believed they had cooties, but up until a few years ago, I used to think that they should have their side and we should have ours…but now I’m a BIG fan,” says Forrest, whose vocal heroes include U2’s Bono, Coldplay’s Chris Martin, and The Killer’s Brandon Flowers.

“Our music has hooks and choruses that people can sing along with,” adds Alex.

And while their initial audience is most likely teenage girls, Andre is quick to point out, “The Beatles’ fans were teenage girls when they first started out… Just give us another 40 years.”

“We definitely set goals for ourselves,” says Forrest. “One of them was to get a record deal and we’ve done that. Now our goal is to make great music that is timeless and to reach as many people as we can.”

With their good-natured sibling rivalry, each of the three Burnhams bring something a little different to the table. Alex is the designated riff-meister and Forrest is great at finding melodies, while Andre, also known as M.D.(music director), organizes the rehearsals and comes up with lyrical ideas.

“Everyone in the band does a bit of everything,” adds Forrest.

“When we first started playing, it was for fun,” says Alex. “And now it has developed into an insane amount of fun.” “We’re normal kids doing things that all kids do. We just happen to have a record deal,” says Andre.

With the release of their debut album, Burnham is ready to take the next step. It certainly won’t be the last.