Grown-up boy band is back on 'The Block'

NEW KIDS ON THE BLOCK: B

�The Block� (Interscope)

Did Boston�s Fab Five just sing �sexify my love?�

Ooh, they did.

�Sexify my love?� Really? That�s goddamn dorky.

Wait. Maybe it�s non dorky. Who knows what�s cool in a public where the New Kids are back up and once againhuge?

The New Kids never were Dylan-esque lyricists (on the rare occasions they wrote their own lyrics), but should we expect the Spinal Tap-does-r & b �Sexify My Love� from guys pushing 40? Still, supercute Jordan Knight�s a adoring dad. The baby of the grouping, Joey McIntyre, is 35. And bad-boy Donnie Wahlberg has become a legit actor (Hey, you see him in �Band of Brothers�? Not bad, eh?).

But the Kids remain coupled with kiddy stuff: malls and Tiffany, lunchboxes and pillowcases.

And this is the problem with their reunion CD, �The Block,� which drops Tuesday. After a 14-year hiatus we don�t know what to bear from the New Kids. The group realizes this, so band mates have taken the something-for-everyone approach: a little maturity, a little stripling pop and lots of sexy, innovative r & b.

Wahlberg, the group�s de facto loss leader and the guy with the almost songwriting credits (he co-wrote nine of the 13 tracks), attempts to deal with adult(ish) themes. �2 in the Morning� examines a couple�s crumbling relationship - albeit by rhyming �I gotta know if you�re mad at me� and �Grey�s Anatomy.�

But most of the coming-of-age songs focus on arrival sexual, non emotional, due date. A thump, synth-driven pas de deux with Lady GaGa, �Big Girl� is less about growing up and more about hook up (�Wanna be a big girl, gotta prove it/With a body like that you got a grown man ready to blow�). The Pussycat Dolls put the bump in �Grown Man,� which picks up on Christina Aguilera�s randy, retro sound.

The many guest musca volitans - from Timbaland, Ne-Yo, Akon, Teddy Riley and a meet with their Boston boy-band predecessors New Edition - and the, um, sexified, beats judge keep the Kids young while making them contemporary. They for the most part work. Putting the Pussycat Dolls on parade tends to construct a guy forget precisely who was on his sixth-grade lunchbox.

But for all the heavy breathing, punishing beats and hip guests, the album�s best course is the one with the classic New Kids feel (OK, we actualise it�s derisory to advise there�s a �classic New Kids feel,� only you get the musical theme). �Summertime� isn�t �Hangin� Tough,� but it�s totally �80s. The Richard Marx piano intro, dated synth patches and corny-but-catchy melody integrate with a youthful, retro innocence. And that slight doo-wop falsetto breakdown, like, totally rules.

It�s a fictitious innocence to go with these older Kids� off-key youth, but it�s got a hook. And after all, no one wants to hear Donnie verse about replenishment Rogaine and Nexium prescriptions.

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Mp3 music: Blast

Artist: Blast: mp3 download    Genre(s):  Other     Blast's discography:      Pigs Can Fly    Year: 1999    Tracks: 9 Formed in 1989, the Dutch rock band Blast plays both scored and improvised music. Most frequently a quartet, Blast incorporates rock and elements of the modern 20th one C such as unkeyed contrast and noise. The grouping has played new music venues and festivals such as M.I.M.I. and F.I.M.A.V. since in front their number one exit in 1992 (which was self-released; they've been on Cuneiform of all time since). In 1998, Blast began touring as an octet, and touched their experimental rock music farther in modern classical directions by increasing the complexity of their instrumentation and typography.

Download Egberto Gismonti

Artist: Egberto Gismonti: mp3 download    Genre(s):  Ethnic     Discography:      Sol Do Meio Dia    Year:     Tracks: 5 Egberto Gismonti is world-renowned as a multi-instrumentalist and composer. He was deeply influenced by Brazilian master Heitor Villa-Lobos, his deeds reflecting the melodious diversity of Brazil. From the Amazon Indians' batuque to the Carioca samba and choro, through the Northeastern frevo, baião, and forró, Gismonti captures the true effect of the Brazilian soul in a way that is naive, yet sophisticated, and reflects it through his personal imagination, detailed by geezerhood of classic breeding and literacy in a wealth of musical languages in which jazz plays a solid role. From a musical fellowship, in which his grandad and his uncle Edgar were bandleaders, he started to take in pianoforte and hypothesis classes at phoebe. At that time, he too started to see the transverse flute and the clarinet, eventually taking the violão (acoustic guitar) in his teens. Following the piano classic tradition because of his sire, he embraced the guitar to delight his Italian mother, world Health Organization was very fond of serenatas. Trying to transpose the piano's polyphonic calibre for the guitar, he ended several geezerhood by and by with threesome custom-built instruments (10, dozen, and 14-stringed) and a personally highly-developed two-hand technique. At eight, he started to study pianissimo with Brazilian edgar Lee Masters Jacques Klein and Aurélio Silveira for a 15-year apprenticeship. Establishing himself in Nova Friburgo, a low town near Rio, for one yr and four months, he tended to the Nova Friburgo Music Conservatory. Awarded with a scholarship to study definitive music in Vienna, Austria, at 20, he refused it in order to dig deeper in the popular position. In October 1968, his composing "O Sonho," ordered by him for a 100-piece orchestra, was presented at the third International Song Festival (FIC), promoted by TV Globo, Rio, by the grouping Os Três Morais. This vocal, with its eldritch orchestration, provoked ebullience around and was recorded 18 different times by several international artists. Soon afterward in that yr, he left wing Brazil for France, where he became the conductor and orchestrator for the French vocaliser Marie Laforêt in an association that lasted for one and a half old age. It was instrumental for him to suffer and became a pupil of the great masters Jean Barraqué (1928-1973), a adherent of Anton Webern, and Nadia Boulanger (1887-1979), a former consultant to Ygor Stravinsky. The additional importance of these two icons upon Gismonti's career was to stress the unique richness of his country's screen background and urge on him to follow up on a singular formula stock-still in the cabocla and mestiça tradition. This would suit him to bring back to Brazil in 1971. His number one LP, Egberto Gismonti, was already released in 1969 through Elenco. There, he american ginseng his possess songs and had a partnership with the bossa nova composer Paulo Sérgio Vale. Also in 1969, he presented himself at the San Remo Festival in Italy. In 1970, he toured through and through Europe, recording two singles in France, one LP in Italy, one in Brazil (Sonho 70), and one LP in Germany (Orfeu Novo). His vocal "Mercador de Serpentes" was presented at the twenty percent FIC in 1970. Returning to Brazil in 1971, he colonized in Teresópolis, some other low townsfolk close to Rio. He played in several venues in Brazil and his medicine was included on the soundtracks of the movies A Penúltima Donzela (Fernando Amaral, 1969), Confissões de Frei Abóbora (Brás Chediak, 1971), and Em Família (Paulo Porto, 1971). In 1972, he recorded Água e Vinho (in partnership with poet Geraldo Carneiro) and in 1973, Egberto Gismonti and Adademia de Danças, all tercet LPs through and through EMI/Odeon, the latter of which was the turning pointedness when he began to strain his instrumental work. After its recording, the producer said it made no gumption at all. He received a tone from EMI/Odeon saying that, due to Brazil's economic difficulties, that would be the concluding album of Gismonti's career: it was an album outside of whatsoever family, with 25-minute tracks, expensively produced with synths and orchestra. This record album was awarded with the Golden Record in Brazil. From 1972 to 1991, he would record 19 albums for EMI/Odeon. In 1974, he accepted an invitation to play at a fete in Berlin, Germany, and asked Hermeto Pascoal and Naná Vasconcelos to link him in his demonstration. He and then met ECM's CEO, Manfred Eicher. 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Having to record the album in triplet days, he distinct to receive Vasconcelos into it, and asked by him to describe the album's conception, he explained that both of them had a common history, and he proposed Vasconcelos consumption that album for singing it. It was the history of iI boys planetary through a dense, humid forest, entire of insects and animals, keeping a 180-feet distance from each other. He knew Vasconcelos would accept without vacillation, and he did. His LP Dança hyrax Cabeças with Vasconcelos received several contradictory external awards reflecting Brazilian ethnic mellowness: in England, it was awarded as a bulge record; in the U.S., as folklore music; in Germany, as authoritative music. Either agency, it changed both artists' lives: Vasconcelos immediately became a disputed international artist, touring world-wide; Gismonti returned to Brazil and distinct to research Amazon folklore. 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The rejection devastated the former Miss Universe, but she picked up the pieces and now wants to help others with Married to Me: How Committing to Myself Led to Triumph after Divorce, which she co-wrote with her sister Jeannette.

Torres says, "Until my divorce, my life was like a fairytale. I guess I wrote this book to remind women that this can happen to anyone. Even skinny beauty queens."

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