East 17 - It's Alright (DJ Tayna Bootleg Mix)

"East 17 are an English pop boy band formed in 1992. The group have achieved eighteen Top 20 singles and four Top 10 albums, and were one of the UK's most popular boy bands during the early to mid-1990s. They occasionally blended rap and pop in songs such as "House of Love", "Steam" and "Let It Rain", attaining popularity as a result of the group's songwriter Tony Mortimer and lead vocalist Brian Harvey.

Formation

The band began in 1992 when Mortimer was promised a record deal after he showcased his own material. The deal was granted under the condition that he form a group, which was the format London Records were looking for. The group was named East 17 after the postcode of their hometown, Walthamstow. The original roles in the band were soon altered when Brian Harvey, who was intended to be a back-up singer and dancer, was heard singing along during a recording session. He was duly promoted to lead vocalist. The group's other members are Terence Coldwell and John Hendy.

Peak of success

Mortimer wrote the vast majority of the group's songs, which often contained rap verses vocalised by him to complement Harvey's more fluid R&B style vocals. The group was usually seen as a grittier, more political and hip-hop or rap-aligned group than rival boy band Take That, as noted by Guy Adams of The Independent;

They shaved their heads, and had tattoos, and were a lot, lot cooler than the nancy boys of Take That. In the great five-year battle that dominated British pop, East 17 were also on the winning side. Their music was sharper and more streetwise. It was infused with hip-hop and R&B, and sold by the bucketload: 20 million records across Europe, compared with Take That's paltry 19 million.

East 17 scored twelve Top 10 hits on the UK Singles Chart between 1992 and 1998. Their debut album, Walthamstow, shot to #1 on the UK Albums Chart. It featured a string of Top 20 singles, including "House of Love" and "Deep". "It's Alright" became a major success in Australia, reaching #1 in early 1994 for seven consecutive weeks, and #3 in the UK in 1993. The lyrics to some of their songs, such as "Let It Rain", had political undertones, talking about war, peace, equality, love, and other political issues. Their popularity reached Mongolia, particularly with the song "It's Alright", helped by music television channels, Channel V and MTV.

In 1994, upon the release of their second album, Steam, they scored their only UK number-one single with "Stay Another Day", which remained at the top for five weeks and was also that year's Christmas number-one. Following the somewhat low-key release of the next album, Up All Night, their drop in appeal became apparent compared to previous albums. The album's songwriting duties were split among the four members of the group, rather than Mortimer alone, although all of the singles released from the album were penned by him.

East 17 also appeared on the Childliners record The Gift Of Christmas, alongside acts such as MN8, Boyzone, E.Y.C., Sean Maguire, Deuce, Ultimate Kaos, Let Loose, Backstreet Boys, Peter Andre, Michelle Gayle and Dannii Minogue. In 1996, the group hit #2 with the track "If You Ever", a duet with the singer Gabrielle.

Decline

In 1997, Harvey was engulfed in a drug-related controversy when he claimed that he took twelve Ecstasy pills in one night, stating that "(i)t's cool to take drugs"[citation needed] and claiming that Ecstasy "can make you a better person"[citation needed]. The act went against the group's "boy band" image, and there was a huge media uproar, leading to questions being raised by John Major in the House of Commons.With the group's career and reputation tarnished by the affair, Harvey was sacked and Mortimer decided to leave several months later, due to creative differences between himself and the rest of the group. The band's split in 1997 has been described as "one of the greatest break-ups in pop history".

Coldwell and Hendy later reinstated Harvey and attempted a comeback in 1998 renaming the group "E-17" and landed a record deal with Telstar Records after recording an album's worth of self-written material in their home studios. Their first single was "Each Time," which reached #2 in the UK. But without Mortimer's songwriting influence, the group's initial success soon wavered, and after disappointing sales of the next single "Betcha Can't Wait" reaching number 12 in the charts, and their album Resurrection failing to make the UK Top 40 and not selling as much as the record company would have liked, the band were dropped by their label in 1999 and subsequently split up.

2000s

In 2001, Harvey launched himself as a solo artist in a collaboration with Wyclef Jean on the Top 20 single "Loving You (Ole Ole Ole)", but returned to E-17 to perform numerous gigs on the nostalgia circuit with Coldwell and Hendy. On the ITV1 docusoap Redcoats, the group were shown performing at a gig that was held at Butlins in Bognor on a bill which also featured Keith Harris, whilst in 2005, Harvey, Coldwell and Hendy performed a gig in Mongolia. Harvey made the news in May 2005 when he accidentally ran himself over, and required surgical treatment. He suffered severe, life-threatening injuries as a result, falling into a coma for several weeks following the incident.

Mortimer attempted to create two bands of his own, but each time opted to return to production work for other artists from his Essex-based studio. He also recorded his own solo material, released in January 2006 on his now defunct, official website.

On 4 February 2006, Harvey appeared on the UK music television show CD:UK, where he announced that East 17 might make a comeback with its four original members. In mid-February 2006, the group reformed, and played their first comeback concert on May 30 at the Shepherd's Bush Empire in London. After reforming for the one-off gig, it was reported that East 17 had split up again, since Hendy was unable to fully commit to the band because his roofing business took up a lot of his time. Friction also flared up again between Harvey and Mortimer, who were "involved in a punch-up", resulting in the latter's departure, with the remaining members continuing to perform as a three-piece at various club events. A Channel 4 documentary, East 17: The Reunion, which charted the group's rise and fall, along with their subsequent attempt to re-launch, was broadcast in May 2007.

East 17 performance in Sibiu, Romania, on New Year's Eve 2007.East 17 continued to perform as a three-member group without Mortimer. They played at the University of Strathclyde on September 24, 2006, after DJ Colin Murray was unable to attend. Since then, the group has performed in clubs around the UK. A new single, "Fuck That" was due to be released in early 2008, but was ultimately cancelled. The group performed at the 2009 Glastonbury Festival on 25 June in the dance lounge. In November 2009, all four members of the band re-united again in aid of the Born Free Foundation, performing two of their best known songs—"Deep" and "Stay Another Day"—for the Wild & Live! event at the Royal Albert Hall. After the performance, the band agreed that it would be best if they never sang together again."

Article source: www.east17.net.  All rights reserved to the author(s) in the specified source.

Jason Derulo - Ridin' Solo (Justin Michael & Kemal Remix)

"In a fast-moving digital music industry where the release of throw-away music has become a daily occurrence, it’s sometimes hard to sort the contenders from the pretenders. Californian Justin Michael is all quality, however, and in the space of five years has lead the charge as the latest in a long and prestigious line of West Coast producers championing the sounds of quality music.

Able to seamlessly transition between musical genres but retaining a true love of and dedication to House music, the newly-signed Ultra Records artist, DJ, producer, remixer, engineer and owner of Hermosa Recordings has in 2009 continued his meteoric rise. Recent releases on London’s acclaimed house and event brand MN2S (‘Take Me To The Sky’), the evergreen Soulfuric Deep (‘Deep Is All I Know’) and Swiss producer Jamie Lewis’ Purple Music, (‘Change Is On The Way’, a collaboration with Dutch DJ-producer Born To Funk and Maiya) have kept Justin’s name on the lips of DJs and dancers alike and seen him tour extensively throughout the US, Europe and Asia.

With productions and remixes set to drop on friend Miguel Migs’ Salted Music and Ibiza’s Seamless Recordings, Justin’s love of all musical styles ranging from Rock and Pop to Hip Hop and R&B continues to evolve.

His discography reads like a veritable who’s who of world House. Since making his production debut in 2004, Justin has released on celebrated imprints including DJ Roog’s Hardsoul Pressings, DJ Spen’s Code Red Recordings, Look At You, Delecto, MoD, Pesto, Jask’s Thaisoul, Kaskade’s Quiet City, Richard Earnshaw’s Duffnote Recordings and Las Vegas’ Swank Recordings, on which he released his critically-acclaimed debut LP ‘Everything’ in 2007.

It has been home-grown releases on his own burgeoning Hermosa Recordings imprint, however, that have really set tongues wagging, and proven Justin is equally as comfortable with his A&R hat on as he is behind the decks. Since launching in 2005 the label has showcased upfront vocal bombs from some of music’s most established names alongside emerging talents, and in doing so expanding Justin’s reach internationally.

As the northern summer heats up, the exclusive Ultra artist now sits alongside world-famous dance artists including Deadmau5, Armin Van Helden, Axwell, David Guetta, Eric Prydz, Roger Sanchez, Fredde Le Grand, Tiesto and Paul Van Dyke as one of music’s most in demand personalities and, from his base in Los Angeles, is sitting pretty at the top of the global house heap." Article source: Justin Michael on Facebook.

Stevie Wonder - I Just Called To Say I Love You (DJ Fisun Remix)

"Stevie Wonder was born Steveland Hardaway Judkins (later taking the name of Steveland Morris when his mother married) in Saginaw, Michigan on May 13, 1950. Born premature, baby Steveland was placed in an incubator for oxygen treatment. Sadly, he received too much oxygen, causing him to suffer from premature blindness. Though his family didn't know it then, it was actually his loss of sight that later provided Wonder with a heightened awareness of sounds, evident in his vibrant, colorful music. Even as a child, Wonder was never deterred by his handicap, beginning to learn the piano at the age of seven and mastering both the drums and the harmonica by the age of nine. In 1954, Wonder's family moved to Detroit where Steveland joined his church's choir. The already musically inclined child absorbed this gospel influence and increased even further his musical interest.

While performing for some friends in 1961, Wonder was discovered by Ronnie White of the Miracles. White quickly arranged an audition for Wonder at Motown records, where Berry Gordy signed the child prodigy on the spot. Gordy dubbed the child with the name Little Stevie Wonder and placed him in the care of producer/songwriter Clarence Paul. Stevies first two albums were released in 1962: A Tribute to Uncle Ray, which consisted of covers of Stevie's idol Ray Charles, and The Jazz Soul of Little Stevie, a jazz album showcasing his instrumental skills on piano, harmonica, and percussion. Neither of these albums, though they did show Stevie's prodigal talents, sold exceptionally well because they lacked clear musical direction. This all changed in 1963, however, with the release of the jovial live album The 12 Year Old Genius, featuring the single "Figertips, Pt. 2". This harmonica instrumental release shot to the top of both pop and R&B charts, making the album Motown's first chart-topping LP and establishing Wonder's commercial success.
Over the following year, Wonder produced a few more singles but all failed to reach the level of success that "Fingertips, Pt. 2" had. Wonder's voice began to change, compelling his label to place his career temporarily on hold. Stevie did not sit idly by, rather he took up studying classical piano at the Michigan School for the Blind. Wonder reemerged triumphant in 1965, dropping the "Little" portion of his name and releasing the dance oriented smash "Uptight (Everything's Alright)." The song was number one in R&B and reached the Top Five on the pop charts. Wonder co-wrote the song, causing the public to view him as a more mature vocalist, and this led to the similar success of his next release "Nothing's Too Good for My Baby." These singles initiated a run of US Top 40 smashes that continued for over six years.

During this early part of Stevie's career, Motown marketed the young prodigy as they did any other star-selecting Wonder's material and compiling albums which blended traditional soul compositions with

sounds meeting current pop criterion. With minimal control over what he was allowed to produce, Wonder 

still managed to give the world an early glimpse of his humanitarian principles. He released a hit cover of Bob Dylan's "Blowin' in the Wind" and Ron Miller's "A Place in the Sun" in 1966. By this time, Wonder began to demand more control over his career. He co-wrote his next several hits, including "Hey Love," "I Was Made to Love Her" (number one in R&B and number two in pop), and "For Once in My Life" (number two pop and R&B). For Wonder's album For Once in My Life (1968) he co-wrote over half of the material and co-produced several tracks for the first time. His success commercially continued with three chart-toppers from this album, "Shoo-Be-Doo-Be-Doo-Da-Day," "You Met Your Match," and "I Don't Know Why." In 1969 he released a song he actually recorded three year previously, "My Cherie Amour," to much success and later the Top Ten "Yesterday Me, Yester-You, Yesterday." For the album Singed, Sealed, & Delivered Wonder received co-production credit for the first time. The single "Signed, Sealed, Delivered, I'm Yours," was co-written by Wonder and singer Syreeta Wright, whom he married later that year. The marriage between Wonder and Wright lasted only 18 months, but the two continued to collaborate on musical endeavors. Wonder found continued success with the singles "Heaven Help Us All" and a rearrangement of the Beatles' "We Can Work It Out." Wonder also began to combine with other Motown artists on releases, including the Spinner's "It's a Shame" and the Miracles "Tears of a Clown," which became the groups' only number one pop song.

 In 1971, Wonder's contract with Motown expired as he turned 21. He was also given access to the royalties set aside in his trust fund. Rather than immediately renewing his Motown contract, Wonder, who for some time now had fought with the label for more control over what he produced, set out on his own. Wonder financed and recorded two albums of exclusively his own material, giving him the ability to experiment with varying and more ambitious musical forms for the fist time. For Where I'm Coming From, Wonder forged the use of the synthesizer in black music, and also broadened his lyrical concerns to incorporate racial issues and spiritual concerns. Though the album produced only the Top Ten hit "If You Really Love Me," it was critical in proving to Motown that Wonder was no longer content to produce albums of hit singles and filler-he wanted his work to be an artistic statement. Using the money from his trust fund, Wonder built his own recording studio and enrolled in music theory classes. He worked with Motown to negotiate an entirely new recording deal, in which he received much higher royalty rates and established his own music production company, Black Bull Music. This allowed Wonder to retain the rights to his music and gave him full artistic control over his music. Under this new music deal, Wonder first released Music of My Mind, which he produced and wrote entirely on his own. This album showed the industry the new Wonder, an artist of original talent willing to push the boundaries of contemporary R&B music.

Talking Book, released in 1972, showcased Wonder's artistic advances and met with tremendous commercial success. The album became on of the strongest R&B works to ever be released, perfecting Wonder's song craft as well as his use of futuristic electronic sounds. The funk classic "Superstition" (praised for featuring one of the most distinctive examples of the sound of the clavinet) and the mellow ballad "You Are the Sunshine of My Life" went on to win three Grammy's between them. Wonder amazingly pushed his success even further with the 1973 release of Innervisions; a socially aware concept album about state of contemporary society. From this, the singles "Living for the City" and "Higher Ground" became hits, and Innervisions received a Grammy for Album of the Year. Later that year, Wonder narrowly escaped death when a large timber fell on his car while en route to a concert in North Carolina. He suffered serious head injuries and lapsed into a coma, but thankfully recovered in a relatively short amount of time. The accident and his near brush with death had considerable impact on Wonder's next few releases, as they incorporated the awareness of mortality and a renewed focus on spirituality. Fulfillingness' First Finale (1974) was overall more somber, but featured the upbeat hit "Boogie On, Reggae Woman" and the scathing Richard Nixon critique "You Haven't Done Nothin." Wonder won his second straight Album of the Year Grammy. During this time, Wonder had been involved as a producer on Syreeta's second album and upon its completion he retreated to his studio for two years to devout all his energy on creating what would be considered his magnum opus. Released in 1976, the double album Songs In The Keys of Life exceeded the expectations of any Wonder fan. It is considered by many to be Wonder's most ambitious and fulfilling work of all time. The album showed Wonder's talent in a variety of musical forms and a range of instruments, as well as thrilling audiences with a cheery tribute to Duke Ellington and praising powerful black figures in "Black Man." If there were still people questioning Wonder's musical abilities, this album secured him as one of the most admired musicians in the field of contemporary music.

For three years following the release of his magnum opus, Wonder released no new recordings. Instead, he directed his energy to creating the soundtrack music to the documentary film The Secret Life of Plants. This double album was released in 1979 (though the documentary never reached the public) to minimal success. The mostly instrumental album managed to make the Top Ten list but most speculated this was due to Wonder's previous record alone. Eager to stay on top, Wonder released the pop album Hotter Than July in 1980. The reggae infused "Masterblaster (Jamming)" shot Wonder back to the top of the charts, as did "Happy Birthday," a tribute song to Martin Luther King Jr. which was apart of Wonder's campaign eventually successful to make this black leader's birthday a national holiday. The Hotter Than July LP was Wonder's first to go platinum thanks to enormous fan support.
When working on a follow up album in 1981, Wonder was hindered by delays. He sought outside projects, and in 1982 completed a racial harmony duet with Paul McCartney entitled "Ebony and Ivory." The duet hit number one, and Wonder additionally released his greatest hits set Original Musiquarium I. From this, the new singles "That Girl," and the jazzy "Do I Do" were both noteworthy chart-toppers. Next, still unable to finish his follow up to Hotter Than July, Wonder took on the project of creating a soundtrack for the Gene Wilder comedy The Woman in Red. The well-known song "I Just Called to Say I Love You" had audiences enthralled, and it soon became the best selling single ever and went on to win an Oscar for the Best Song. Though the public adored the hit, critics disregarded it as unsophisticated and sentimental.
Finally, in 1985 the album Wonder began 5 years ago was released. In Square Circle went platinum and consisted of several strong songs, most notably "Part Time Lover." On the humanitarian front, Wonder performed on the number one charity singles "We Are the World" by USA for Africa and "That's What Friends Are For" by Dionne Warwick and Friends. In 1986 President Reagan granted the request of Wonder and his fellow campaigners to have Martin Luther King Jr.'s birthday celebrated as a national holiday. The first Martin Luther King Day was celebrated on January 15, 1986 with a concert headlined by Wonder. It was a triumphant day for this outspoken campaigner of black rights.
In 1987 Wonder returned with the release of Characters, which was to be his final release of the '80's. This album, best known for the single "Skeletons," was a hit on the R&B charts, but slid on the pop side. In 1989 Wonder was inducted into the Rock 'n' Roll Hall of Fame-- a tribute to Wonder's tremendous influence on contemporary music. Following two years of silence, Wonder emerged in 1991 with the soundtrack to Jungle Fever, a Spike Lee film. His next full album, Conversation in Peace (1995) failed to ignite the public but did win two Grammies for the single "For Your Love." Coolio helped to revive Wonder's notoriety by putting a rap spin on Wonder's "Pastime Paradise," which he called "Gangsta's Paradise." Temporarily back in the limelight, Wonder created a duet with Babyface, "How Come, How Long" (1996) that became a hit. Since then, Motown has continued to release Stevie Wonder's work, repackaged in a variety of ways and recompiled endlessly, in order to showcase his legacy. Stevie Wonder is viewed today as a living legend; a man who continues to influence contemporary artists through his unique jazz soul, talent in a wide variety of musical genres, and willingness to defy set standards to convey a deeper social message." Article source: www.stevie-wonder.net.

Delerium - Silence (Kostas B. Remix)

"Kostas B. is a 17 year old composer/producer. It all started already at the age of 6, in Greece. His favorite hobby was to record and mix down music from the radio to tapes, he did that almost every day. Since little kid he liked pop-disco music. Next year, 1998, he begun to take piano lessons. That didn't go so far and after a year he quit. After 3,5 years, at the age of 10, did Kostas B. and his family move to Sweden. There bought his parets a present to him, a nice computer and a Internet connection. Since then everything happened, he begun to listen to Trance music and Dance music, like Tiesto, Above and Beyond, Underdog Project, Bob Sinclair, Benny Benassi and many more. He got curious if there was any mixing programs on Internet so he searched on Google and found Traktor DJ Studio. When he got that, he directly started to mix.

Some months later he noticed that mixing was nothing for him. He felt more like composing his own music! He thought it would be impossible first but when he found Fruity Loops did everything change. He saw that he had a chance to go forward with it. So he begun to make his first Trance loops. After composing 3 years with Fruity Loops, he decided to try any other program. Under these years he composed music genres like HipHop, Trance and House until he decided to only compose House/Electro music in future. So he got Ableton Live, bought a studio microphone, a sound card and a keyboard that he had since he was little. First he had no clue how to use Ableton and it seemed very complicated, but after some time he learned how to record and put some samples. The time passed and he learned more and more. He liked it so he decided to use it in future. Now five years has passed since he made his first sounds and only one thing is for sure... many more will pass!" Article source: Kostas B. on MySpace.

Touch & Go - Tango In Harlem (DJ Fashion & Andrey S.P.L.A.S.H. Remix)

"DJ Fashion - When you hear the word DJ, you picture a guy behind the turn-table with a heat-set and a microphone getting the crowed hyped and making it all happen. Born in Portugal, raised in Switzerland of Cape Verdean parents, DJ Fashion is the new sensation who is redefining the image and the sound of DeeJay. Raised in a cross-cultured world of music, her passion for music, dance and the nightlife, led her to find her soul-profession. In 2007, at the age of 28, she made her debut at club Atelier Volant in Lausanne, Switzerland. Inspired by Sen Conta, one of the best Zouk DJs in Switzerland & Vincz Lee, one of the best hip-hop DJs in Switzerland, and supported and motivated by Nelson "Klasszik" da Sousa, the producer/Ceo of Deefine Music, DJ Fashion strives to reach her goal of becoming a famous and recognized professional DJ performing at the greatest clubs.

Within two years of her debut, she has Djed at several European clubs namely: VIP Club, Monthé Christo (Geneva, CH), Amnesia (Lausanne, CH), Spirit Club, Las Vegas (Fribourg, CH), Gibus (Paris, FR), Red Room (Lyon, FR), Shivas 97 (Marseille,FR) Kiss Club (Luxembourg, LX), Sol Club (Lisbonne, PRT), AXE MOI (Aveiro, PRT.) In a field that is tough to break through and male dominated, she is only getting started. Crafting her art of mixing the different styles of music from house to R&B with influences of Kuduro. DJ Fashion is the next big thing to bless the turntables and dance floors." Article source: Dj Fashion on MySpace.

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Chicane & Natasha Bedingfield - Bruised Water (Michael Woods Dub Mix)

"Genius can be measured in a number of ways: ability, originality and accomplishment. In Michael’s short career he has managed to touch on every cornerstone, leaving proof of his musical competence at producing big room, progressive and tech-house tracks, along with a discernible motivation to better the quality of music being distributed. This has not gone unnoticed, with DJs like Pete Tong jumping at the chance to document Michael's rise, featuring him on shows such as Radio 1’s 15 minutes of Fame. From Argentinean & Guyanese decent, he was born and raised in Hackney London which he still calls home running his studio from there. Classically trained in a range of instruments at an early age provided Michael with a catalogue of creative skills including the keys—which he learned to play at the tender age of 3—guitar, drums and trumpet, practically making him a one man band. When not in the studio messing around with Cubase developing his craft, he would be found at Pimlico’s Trinity Music College where he contracted a love for musicality, often using his spare time orchestrating with the percussion section of the London Symphony Orchestra. Earlier achievements include the Michael Woods Remix of Energy 52’s Café Del Mar which held pride of place on the acclaimed Chilled Ibiza Gold Album and is a prime example of the ever growing popularity of the Woods marque. It has never ceased to be continually played and is still considered a classic among DJs and fans alike.

Collaboration’s with the likes of Chris Lake on Domino’s are proof of his skillful production abilities. These, however, are not the sole examples of his talent; many established artists have hired Mr Woods to renovate their sound into a style which emulates Michael’s musical vision. His remixes include Feels Like A Prayer on Toolroom Records, Deadmau5’s Strobe on mau5trap, Deadmau5 & Chris Lake with I Said as well as the more mainstream artists: Adele, Nate James, Xenomania signing Gabriella Cilmi, The Temper Trap, Way Out West and more recently, Estelle (I Can Be A Freak). Each have turned to Michael to help send shock waves through the music world with their sound, upping his status as a respected artist, track-after-track. His ability to rework music with an exceptionally sharp ear for quality production has left him in high regard with many artists and labels across the industry, with direct Tweets from the likes of Tiesto hailing his skill as one of the many examples. Diffused Music has become his major priority since he founded the label in September 2008. Using it as a platform from which to promulgate his perfected sound, the label has released numerous acclaimed records: Yemba, Dropzone and the Envolver EP. As Michael’s career continues to escalate he has lined up countless events to build on his current success, touring with Deadmau5, setting a number of UK based gigs and also earning a coveted residency spot at one of the most sought after places in the clubbing realm, Cream’s Amnesia in Ibiza. Along with Mark Knights Toolroom Knights events and Pete Tongs Wonderland, the Woods fan base and clientele continues to sky rocket. It is apparent that this is not the height of his creativity, but rather a preview into what assuredly will be an illustrious career. Article source: Michael Woods on MySpace.