Jamelia

Biography
"If anyone is likely to beat the world-conquering stars of American R&B at their own game, it's Jamelia". Daily Telegraph

After a two year absence to have and bring up her second daughter, Jamelia returns with what is easily her best album yet. If the twelve tracks on "Walk with Me" seem to have been a long-time coming, there's a lifetime of experience wrapped in these lyrics, belying the fact that Jamelia is still only 25.

This return is all the more amazing when you realise that she temporarily quit music when she was at the absolute height of her powers.

In 2004, she had three top 5 hits from her last album "Thank You" – the seminal "Superstar" (no 3), "Thank You" ( no 2) and her co-write with Chris Martin, "See It In A Boy's Eyes", which reached No 5. Incredibly, Jamelia then stormed the top 10 again with "Stop", her theme for the second Bridget Jones film.

At this point she was unstoppable, one of the most successful solo artists in the country. Her UK success was emulated in Europe where she was a continual serious chart presence, and in Australia and New Zealand where she reached No 1.

This triumphant period in Jamelia's career also saw her sweep the board at the MOBO awards, where she won all of her three nominated awards, including "Best UK Act". A week later no less a figure than Bono was genuflecting to her at the Q awards, where she won "Best Single" for ‘See It In A Boy's Eyes'. Coupled with words of high praise at the same event from Elton John, you could have been forgiven for thinking things couldn't get much better. But a week later Jamelia was signed by the prestigious modelling agency ICM and swiftly got her first contract as the face/legs of Pretty Polly and also a high profile contract with Reebok.

2004 was the most successful year in Jamelia's career but this success is about to be eclipsed with the release of her new album "Walk With Me", on which she wipes the floor with the competition. In a display of breathtaking bravado, Jamelia returns with an album as daring and innovative as it is commercial.

If the single "Something About You" might have prepared you for a harder edged Jamelia, the album reveals this to be no aberration.

For example, listen to the frenzied adrenaline fuelled onslaught that is "Do Me Right", which she co-wrote with hip hop's seminal Afrika Bambaataa who also guests on the track. Mixing hard beats with an Indian influence, the track lays down the gauntlet in the most uncompromising way. It's one of many on this record that could be a single.

Similarly on "Beware Of The Dog" Jamelia mashes a sample of Depeche Mode's "Personal Jesus" almost unrecognisably into a 1970's-style dance stomper, so frenetic in its sense of excitement that it seems to condense pop music's joyful madness into 3 minutes. It has already been hailed by influential website popjustice as a No 1 single to be.

But it's not all hard edges; on many tracks Jamelia shows that she is equally at home with a soulful ballad. On "No More" she utilises the musical motif from The Stranglers "Golden Brown" as a platform for one of her most heartfelt vocals yet. The track "Go" is easily as moving as her classic "Thank You", the lyric inspiring an incredible vocal performance from the artist. But throughout this bravura display Jamelia never lets go of the fact that her roots are most clearly in soul and R & B. This is the anchor of her most fully realised record to date – it's certainly the best and most consistently head-spinning record of her career and marks a remarkable return to the spotlight.

Watch Jamelia rise again. The single "Something About You" is already storming the airwaves whilst the video, by Dawn Shadforth, will be a tv fixture for months to come. In the words of Smash Hits in its heyday, Jamelia is back, back, back! Except this time it's for good.

The single "Something About You" is released on Sep 11.

The album "Walk With Me" is released on Sep 25.

source : http://www.jamelia.com/

Kubb

Biography
Its members are:

Harry Collier: lead vocals and bass
Dominic Greensmith: drums
John Tilley: keyboards
The band started to form when Harry met Ben Langmaid via mutual friend Rollo Armstrong (of Faithless fame). Rollo and Ben had studios in the same complex. Harry then met a friend of Langmaid's, Jeff Patterson. The threesome began writing together writing such songs as “Chemical”. Langmaid and Patterson however weren’t interested in being in the frontline of a band but Harry had energy and enthusiasm to spare.

Before long however the Kubb line-up was in place: Ex Reef member Dom Greensmith (drums) recruited via an old touring contact of Harry's; John Tilley (keyboards) fresh out Greenwich Conservatoire and recruited via an NME ad; and Adj (guitar).

Their songs have seen airplay on radio stations and they have headlined several tours in the UK, they have played two gigs at the Shepherd's Bush Empire, and have made guest appearances on Friday Night with Jonathan Ross (on December 16, 2005, and on the Jonathon Ross Radio Show on February 4, 2006). They also appeared on Jools Holland's show, Popworld, CDUK, the Des and Mel Show,The Friday Night Project with Justin Lee Collins and Alan Carr along with special guest Jamie Oliver and have appeared three times on Top of the Pops. They performed an iTunes Live from London gig at the London Apple Store, they have recorded a 'secret session' for Tiscali and the group appeared at V Festival and the Isle of Wight Festival.

Kubb have recently announced on MySpace that they are busy writing for their second album; also, guitarist Adj Buffone announced that he has left the band. Lead singer Harry Collier features on the 2006 Faithless single "Bombs".

source : http://en.wikipedia.org/wiki/Kubb_%28band%29

K-os

k-os' socially aware raps and heartfelt melodies captured the imagination of the widest range of music fans and critics on his debut Exit. So what does he do for an encore? On Joyful Rebellion, the much anticipated follow-up, k-os elevates his clever rhyme skills and keen sense of musicianship, concocting an even more unique brew of protest music that simultaneously appeals to crossover and rap purist audiences.

There is good reason to believe that this Toronto-bred emcee/vocalist is about to take the rap world by storm. Even with his first album, k-os was fielding personal invites to tour in North America and Europe with Grammy winners such as India.Arie, The Roots and Nelly Furtado, as well as rap luminaries De La Soul. He also collaborated with The Chemical Brothers on their "Get Yourself High" hit, while his video for "Superstarr Pt. Zero" was rated Next and Buzz-worthy by both BET and MTV. Even more impressive was k-os snagging "International Album of the Year" honors at The 2003 Source Awards, even though he was considered a new artist to American audiences. This marked a watershed moment for contemporary hip hop. For once, music mattered more than where an emcee hailed from, and it proved that consumers hadn't lost their ability to discern real talent from media hype.

While commercial rap has pushed some of the music's brightest lights into flight or fight mode, it's clear that on Joyful Rebellion, k-os intentionally chose the latter. "Hip hop is an abandoned ship, and its vanguards are moving on to other things," admits k-os. "Everyone wants to be a rock star, because they don't know how to take hip hop to the next level."

k-os is at the forefront of the generation of rap artists who are pushing the limits of hip hop culture (i.e. Andre 3000 of Outkast, Missy Elliot). He has even added to his musical repertoire by playing guitar and piano on a few of the new songs. Much like Lauryn Hill, the artist he's often compared to, this album is a testament to his rare ability to harmonize and emcee, ignoring any creative straitjackets imposed on him by narrow rap or R&B categorizations. Though k-os may be compared to many great artists, his versatility makes it almost impossible to truly compare him to any.

Produced and written by k-os, Joyful Rebellion draws heavily from and seamlessly fuses together the full range of musical experience; from rap to jazz, rock and pop, blues and reggae, and everything in between. Even with all of these flavours, Joyful Rebellion is stripped down and raw like his thoughts and raps. The acoustic guitars, tablas, classical strings and drum kicks all provide the right ingredients for this creative masterpiece.

k-os comments on the meaning behind the album title, saying, "Joyful Rebellion is about knowing that living the truth in life, you have to sort of rebel against the system, but at the same time you want to be happy about it. If the key in music is to reach out to a lot of people and to have them get down with your ideas and philosophies, why wouldn't you want to make it something that was joyful?"

The first single off the new album, "B-Boy Stance" is k-os' rap reclamation masterpiece that lyrically embraces hip hop's storied past, and is even made to sound like it could have been recorded during rap's Golden Age in the '80's. When k-os opens up the track over 808 drum kicks with a thoughtful soliloquy that states: "It's so hard to remain authentic, everything around me is changing...to the end of time, I think I'll remain, I think I'll just stay a b-boy standing in my B-Boy stance," it's an homage to the DJ's, dancers and graffiti writers of today and yesteryear.

Critics often question whether dope rhymes have become a thing of the past. k-os' no-holds-barred response can be found on "Emcee Murdah." Here he raps on the catchy hook that "money and fame, could lead to emcee murder" implying that if rappers could somehow diversify their singular focus from profits to prophets then there might be "hip hope."

"The Love Song," is a memorable symphonic sonnet, in which k-os implores youth to stand up for their rights and convictions, just as he does on the mic, despite what the outside world might think. Professing over sexy beats and DJ scratches "this is not a love song" while pleading with people "not to get high off their own supply" he is encouraging everyone to not believe the hype, but believe in your inner self.

On "Crucial," k-os' Caribbean (he's Trinidad-born) roots reggae leanings bleed through, and much like The Police's first hits, it showcases his abilities to incorporate hardcore reggae elements into pure pop songs. "Hallelujah" inhabits a mythic, introspective world where Bob Dylan-meets-Bob Marley for a dark modern day redemption song. The acoustic Latin guitar hop of "Commandante" (a song he wrote in Veradero, Cuba) still finds its way back to k-os' rap mission to "cut and slice irrelevance to the bone, and decapitate rappers that idolize Al Capone."

With newfound fame comes a whole new set of issues that most successful artists have to deal with. "Man I Used To Be" is an ode to the King Of Pop, providing a unique twist on some of the coping mechanisms that popular artists employ to deal with their celebrity.

Closer to home, "Crabbuckit" speaks to the age-old "crabs in the bucket" phenomenon that once threatened to derail k-os' commitment to his own rap dreams, prior to the awards and acclaim. "If everyone in your hometown is indie and underground and no ones yet swam to the surface, they start to have low self esteem, underachieve and believe it can't be done," relates k-os. Upright bass stabs, gospel hand claps and horn solos accessorize his vocal plea of hope...that there's "no time to get down, 'cause I'm movin' up."

"Dirty Water" features an exciting collaboration with fellow Canadian artist Sam Roberts. Although musically different in many ways, k-os and Sam do approach their craft with a similar sensibility. With great mutual respect and their individual talents, it is no surprise that the resulting track is something very special.

The most provocative song is the last track on the album "Papercutz." The track is directed at critics who hung off k-os' every word and wondered aloud about his decision to record another album despite saying Exit would be his first and last. "Papercutz" features rhyme contributions from the only artist he's collaborated with on both albums, spoken word prodigy Kamau. The upright bass blasts, mariachi horns and double time raps, push this track into futuristic rap territory and make it his most musically innovative track yet.

Joyful Rebellion asks us 'what's going on' in the Marvin Gaye tradition, but with a contemporary hip hop twist. It's an album sure to secure k-os' place in a progressive global rap movement filled with audiences that appreciate "next level" audio architecture and conscious rhymes.

source:http://www.sing365.com/music/lyric.nsf/K-OS-Biography/FFF8051451C8794F48256F1D0007F83D

Korn

Musical revolutions can foment in the oddest places: Athens, Georgia. Aberdeen, Washington. Bakersfield, California.

That's right, Bakersfield; a bleak, arid little town just west of Death Valley that could double as a David Lynch movie set-if there were anything going on, that is. As a kid Fieldy Arvizu spent much of his adolescence "standing around in dirt fields, drinking beer, watching other kids fight." At some point, Fieldy and some friends decided their time would be better spent taking out their frustrations on musical instruments instead.

And rock music would never be the same.

So Fieldy, James "Munky" Shaffer, David Silveria, Brian "Head" Welch, and eventually, an assistant coroner with a troubled past named Jonathan Davis left Bakersfield for Los Angeles and collectively became known as KORN. It helped that they all had common influences--the angry, urban stylings of hip-hop, the heavy, riff-driven angst of death metal. But the sounds emanating from this band's Huntington Beach rehearsal space would soon set an entirely fresh musical precedent--and set off a wave of imitators that eventually threatened to engulf the band itself.

After touring for nearly two years, KORN was signed by Immortal and released their now-classic eponymous 1994 debut. KORN opened with the prophetic, gravel-throated challenge "Are you ready?!" before kicking into the heaviest guitar sound yet heard in rock thanks to the team of Shaffer and Welch, who tuned their already-low 7-string guitars even lower and played with no regard for traditional harmonic consonance. The sound was metallic sludge, but tempered oddly by bassist Fieldy and drummer Silveria, who added a mix of porn-soundtrack funk and hip-hop rhythms that was puzzlingly aggressive and chill. Next, nursery-rhyme-like melodies were woven into the dark mix, helping make KORN the creepiest, heaviest debut since Black Sabbath. But Davis had no desire to sing about devils and witches; he was busy exorcising real-life demons. Songs such as "Faget" and "Shoots and Ladders" were discomfortingly personal confessionals of shattered childhood, and by album's end Davis was literally in tears in the harrowing "Daddy."

"Are you ready?!" Well, commercial radio sure wasn't. And neither was MTV. Not yet, anyway.

So KORN took their grisly show on the road someplace they knew it'd get noticed: back to the tour circuit, and a stint on Ozzfest. The band's unique sound may have been unfamiliar, but the kids knew it rocked mightily-and many of them could directly relate to Davis' grim lyrical obsessions. At that point in time, there was quite simply no band on earth like KORN.

And so they began to amass a following that would send their next album, 1996's brutal yet cheekily titled Life is Peachy, into platinum sales. And this time at least the press was ready. "...Perverts, psychopaths and paranoiacs" gushed the Chicago Tribune. "An ingeniously twisted piece of personal hell" raved Cleveland's Plain Dealer.

And while Peachy served more to reinforce the band's core sound rather than innovate in the manner of the debut, it did introduce to the world to a side of the band no one ever suspected existed: humor. The bagpipe-driven cover version of War's "Lowrider" was just one example. An A-Z dictionary of vulgarity called "K@#%!" was another-though some critics and self-appointed moral guardians were put off by the language. One Zeeland, Michigan high school administrator told the press that KORN was "indecent, vulgar, and obscene" shortly after suspending a student for wearing a T-shirt that merely said "KORN." After the band filed a cease-and-desist order against the school on behalf of the student, he was reinstated. But the episode marks yet another milestone for the band: it was the first of many times the band would go to bat for its fans.

Years of touring followed again as the band fortified its fan-base to the degree that their next album, 1998's Follow the Leader, would debut at No. 1 on Billboard's Top 200. The band charted two bona fide singles with "Got the Life" and "Freak on a Leash," while the album's actual "rap-metal" tracks ("Children of the KORN" with guest rapper Ice Cube, and "All in the Family" with guest abuser Fred Durst) were some of the band's hardest-hitting to date, and reaffirmed their status as the band by which others would be judged in this genre.

Others seemed to agree. Rolling Stone christened Follow the Leader one of the best alternative albums of the '90s, praising KORN's ability to channel "their disgust with the state of the nation--and the generation doomed to inherit it--into booming, articulate violence."

Booming, articulate violence aside, Follow the Leader exposed yet another side of KORN.

When a 14-year-old boy suffering from terminal intestinal cancer requested to meet the band for a few minutes through the Make-A-Wish foundation, the band was stunned. And nervous. But they hit it off, and the few minutes turned into a day, and that turned into a few more days, and then a song-"Justin."

Reaffirming KORN's populist roots were their weekly live Internet video broadcasts from the studio during the album's making. These "after school specials" kept fans up on the progress of the record, offered them live, call-in Q&A sessions with the band themselves, and introduced them to guests running the gamut from members of 311, the Deftones, and Limp Bizkit to porn stars like Ron Jeremy and Randi Rage.

In yet another populist move, the band launched "KORN Kampaign '98," a political campaign-style American tour to promote their album that featured "fan conferences" in major cities throughout the country. KORN also put together a heavy-rock-and-rap arena circus, mockingly called the Family Values Tour, which featured everyone from Ice Cube to Limp Bizkit to Rammstein, and proved to be one of 1998's most successful tours. A live compilation CD, The Family Values Tour '98, was certified gold the following summer, when KORN performed an explosive set at Woodstock '99.

Meanwhile, KORN's record label Elementree was up and running just fine as its first signed act, Orgy, scored a platinum record for them with Candyass.

By now, almost every heavy band on the planet was playing down-tuned 7-string guitars (which were virtually extinct before KORN). The proliferation of sound-alike bands ironically placed the band in a tenuous position: Not only was KORN in danger of seeming "played out" in the very genre they spearheaded, the beginnings of a backlash to "rap-metal" chart domination were cropping up in the media. KORN knew that another Peachy or Leader, however great, however welcome by fans, and however commercially successful, would not do. It was time to reinvent themselves and break from the pack-a risky move given the band's traditionally loyal following. KORN took some time off to work on what would be one of the most important records of their career.

"We knew when we wrote this album that we were going to have to do something really great," Shaffer said at the time. "...We had to move forward, push the boundaries, and create something very personal."

In yet another nod to their audience, KORN allowed the fans to design the cover. Fans submitted their work, and one fan painting was chosen for the record's striking cover art. Several runners-up got limited-edition album covers of their own work.

Musically, Issues turned out to be the best album since the group's debut release, and eclipsed even that record in strength of songwriting. When Issues was finally released, all the band's efforts paid off wildly. For the second time in their career, they debuted at No. 1. They had yet another high-charting single with the eerie, crushing "Falling Away From Me." And the record went quadruple platinum. This was followed by yet another massively successful tour, which kicked off on Halloween 1999 at Harlem's historic Apollo Theater.

If Issues represented an artistic, critical, and commercial triumph at a crucial moment for the band, how would KORN respond to the inevitable pressure of its follow-up?

By making a better one: Untouchables. Using a 24-BIT sampling rate--twice the highest rate normally used for recording--KORN and producer Michael Beinhorn have created a rich sonic panorama. Unfathomably heavy, uncompromisingly introspective, and startlingly unique, Untouchables catapults KORN to yet another level.

But what should we expect? After all, this is a band marked by an insatiable desire to push the rock envelope. It's what makes them KORN.

Thanks to Meelis Magi for submitting the biography.

source:http://www.sing365.com/music/lyric.nsf/Korn-Biography/62593FBB6059AC5948256860002E6662

Kenny G

Early life
Kenny was born in Ann Arbor, Michigan, and first came into contact with a saxophone when he heard someone performing with one on The Ed Sullivan Show.[1] He learned how to play by practicing along with records (mostly of Grover Washington, Jr.), trying to emulate the sounds that he was hearing.[1] At Franklin High School he failed to get into the jazz band when he applied,[2] although was accepted the following year when he tried again.[3] He also played for his high school golf team,[3] a sport which he had loved ever since his older brother, Brian Gorelick, introduced it to him when he was ten years old.[3]


[edit] Career
Kenneth Gorelick began his career as a musician when he acquired his first professional job as saxophone soloist for Barry White's Love Unlimited Orchestra in 1976 at the age of 20,[4] while studying for a major in accounting at the same time.[5] After he graduated from the University of Washington he played with the funk band Cold, Bold & Together[5] before becoming a credited member of The Jeff Lorber Fusion.[4] He began his solo career after his period with Lorber.[4]

In 1982 Kenny G signed with Arista Records as a solo artist, after being heard by the president of the label, at that time Clive Davis.[4] He has released many solo albums and collaborated with various artists including Whitney Houston,[6] Toni Braxton,[7] Natalie Cole,[8] Steve Miller[9] (which marked the only time he appeared on a rock and roll album) and Aretha Franklin.[6] Influenced by the likes of Grover Washington, Jr., his own albums are usually classified as smooth jazz.

He received success quite early on, with both G Force and Gravity, his second and third studio albums respectively, achieving platinum status in the United States. These sales were topped by his fourth studio album, Duotones, which shifted over five million copies in the U.S. alone. His fifth studio album, Breathless, became the number one best selling instrumental album ever, with over 15 million copies sold, of which 12 million were in the U.S. He broke another record when his first holiday album, Miracles, sold over 13 million copies, making it the most successful Christmas album to date.[5]

Gorelick's 1999 single, “What A Wonderful World” stirred controversy among the jazz community regarding the overdubbing of Louis Armstrong's classic recording. A common criticism was that such a revered recording by a musician known especially for improvisation should not be altered.[10][11][12][13][14] The "duet" was produced by David Foster who also recorded the Natalie Cole and Nat King Cole duet. Gorelick stated at the time,"...I didn't want to spoil the original. I said, 'Whatever we do, if we're not going to make it better, let's throw it away and we won't do it.' So (Foster) guaranteed that it would be better, and I hope that we did a good job on it."[15] Some columnists countered the criticisms suggesting such a recording would bring classic jazz to a wider audience.[16] Nevertheless, Kenny G fans considered the live performance of this duet with Armstrong on a video taped backdrop a "show stopper."[17] Additionally, Gorelick has stated that all the proceeds from this single go to his Kenny G Miracles Foundation which "funnel(s) the money to charities to purchase musical instruments and to supplement funding for the arts in schools."[18]

As of 2003, Kenny G was named the 25th-highest selling artist in America by the RIAA, with 48 million albums sold in the USA as of July 31, 2006.[19] In 1994, Kenny G won the Grammy Award for Best Instrumental Composition for Forever in Love.


[edit] Personal life
Kenny G is currently married to wife Lyndie Benson, with whom he has two children – Max (aged thirteen) and Noah (aged nine). They have expressed an interest in saxophone and piano respectively.[20]

He plays golf regularly, and has a playing handicap

source : http://en.wikipedia.org/wiki/Kenny_G#Early_life

Kelly Clarkson

Who would have guessed that small town sweetheart Kelly Clarkson would eventually grow up and become one of America's brightest stars?

Certainly, not Kelly!

As a child growing up in Burleson, Texas, singing was far from her choice career.

Kelly wanted to become a marine biologist.

Lucky for the rest of the world, she quickly changed her mind upon seeing "Jaws," because it was only a matter of time before her true talent and passion were unveiled for the rest of the world to see.

Kelly's innate singing ability was first discovered in 7th grade after her junior high choral director heard her singing in the school hallway and encouraged her to sign up for the school choir. Up until that point, Kelly was considering joining the band!

Kelly immersed herself in choral activities throughout high school, starring in musicals ("Brigadoon"), performing overseas, and earning top honors as a member of the Texas All-State Choir.

Upon graduation, Kelly solidified her committment to music, working numerous jobs to finance her demo CD and market herself to record labels. Frustrated with the lack of results and unopened mail, she made her way to Los Angeles along with a friend, hoping for the best.

While in L.A., she found odd jobs to help make ends meet and wound up getting a role as an extra on Sabrina the Teenage Witch.

After answering a newspaper ad, she coincidentally hooked up with famed songwriter Gerry Goffin (("You Make Me Feel Like A) Natural Woman") through a mutual friend and began recording vocal demos of his songs. Little did Kelly know that the same song Goffin was famous for, would later provide her with a moment of clarity as she worked to achieve her dream.

Kelly's stay in Los Angeles was tragically cut short after Goffin grew ill, her apartment burned down, and her car got towed. Both emotionally and financially, Kelly was drained.

She turned home to recuperate and re-energize herself before heading back to L.A. Shortly thereafter, her best friend, Jessica, presented her with paperwork for American Idol, FOX Television's national talent search competition/television show.

Already jaded from an earlier stint on the WB's Popstars, Kelly was semi-reluctant, but signed the paperwork and went to the audition, hoping for the best.

Before you could say "You're going to Hollywood," Kelly was there.

After dozens of auditions, she found herself centerstage, among the top 30 contestants, and live on national television.

Belting out an energized rendition of Aretha Franklin's "Respect," she captured the hearts (and votes) of people from all over the United States and advanced to the top 10 finals.

Week after week, Kelly quietly gained ground, rising above the competition, enduring a whirlwind promotional calendar, in addition to the responsibility of preparing live performances every week.

She was later provided with moment of clarity toward the middle of the competition.

When asked what the greatest thing to come out of the American Idol experience was, Kelly said, "the best moment for me was when I realized that I actually really wanted this. This is a public life now, and I wasn't sure if I wanted to do that part of it...The defining point was during my performance of "Natural Woman." I was on stage and the crowd was just going crazy, and I was like, I think I can do this."

It may have took Kelly a while to realize that she could handle it, but the American public showed no hesitation in casting their votes and naming Kelly Clarkson their American Idol on September 4, 2002.

Moments later, she took to the stage for an emotional performance of her first single, "A Moment Like This," capping off the competition and reminding millions of viewers why they tuned into the show week after week--to watch people's dreams come true: "Oh I can't believe it's happening to me/Some people wait a lifetime for a moment like this."

On October 5th, 2002, "A Moment Like This," shot straight from No. 52 to No. 1 on the Billboard charts, eclipsing the 38-year record of "biggest leap to No. 1," previously held by the Beatles' "Can't Buy Me Love," which went from No. 27 to No. 1 in 1964.

Her full-length solo debut is slated for March 4, 2003, and already, Kelly is attracting famed songwriters and producers like Diane Warren and the team of Jimmy Jam & Terry Lewis (Janet Jackson, Mariah Carey). Kelly also has a desire to showcase her songwriting skills on her solo album as well.

A No. 1 song, legions of fans, and an inner-drive that is unparalleled, Kelly Clarkson is on her way.
source:http://www.sing365.com/music/lyric.nsf/Kelly-Clarkson-Biography/D11A1FA15DBF378448256C7D00257284

Kelis

I want it to represent Kelis’ world. When you put on my record, I want you to feel that you've entered into a new dimension, some place where you haven't been before. You know when you go to a carnival and there's a funhouse where the colours are different and the music is distorted? It's reality but it's not really reality, you know what I mean? I kind of want it to feel like that…

- Kelis, on her dazzling new album, Wanderland


It's just under two years since we first got a chance to step into Kelis' world. Her debut album, Kaleidoscope, was a landmark record of psychedelic sci-fi soul that moved in an orbit all its own. When you take the generosity of spirit and higher love of vintage Stevie Wonder, give it the space age treatment of production superheroes The Neptunes, and add a born superstar barely out of her teens, you've got something very special indeed.

Last year, this “something very special” secured three Top 40 hits (“Caught Out There,” “Good Stuff” and “Get Along With You”), and cleaned up on the awards circuit, scooping the Brit for “Best International Newcomer,” the Q award for “Best video” (“Caught Out There”) and the NME gong for best “R&B Singer.” Kelis remembers: "As an artist you learn how to make the business, but all you really want is respect for your work. The fact that it happened at the first go around is kind of amazing. It was a surprise that anyone listened at all!"

They'll be listening again to Wanderland. Even more fearless than Kaleidoscope, it again rewrites the script, flinging the purest soul to the furthest sonic reaches. Pharrell Williams describes it as "Retro-pop. Year 3000. But retro. That doesn't make sense, but that's how we are." Complimenting Pharrell’s portrayal of their sound and style, Kelis herself sheds light on the title’s significance: "We're all wandering in this world searching for something, and this is my search."

Kelis' search began in Harlem, New York in 1980. The daughter of Pentecostal Minister Kenneth, and children's clothes designer Iveliss (hence Ke-lis), Kelis Rogers was always as individual as her name. The youngest of three daughters, she began travelling across America with her father (also a jazz saxophonist) to sing at his sermons, while soaking up the classic soul her mother played.

With a defiantly independent streak, it is no surprise Kelis didn't fit in at her predominately white Upper East Side private school. At 13, she was already looking elsewhere, becoming a model on the covers of fashion and teen magazines. A year later she enrolled in LaGuardia, the performing arts school immortalised in the movie, “Fame.”

Her first proper venture into music was a girl group called BLU (Black Ladies United), which didn't last long, but procured the ears of hip-hop producer Goldfinghaz, who gave her a spot on the second album by RZA side project, Gravediggaz. Leaving home at 16, she struck out on her own. It wasn't easy at first, but two years later she met Virginia Beach production duo Pharrell Williams and Chad Hugo, aka the Neptunes, and subsequently landed a deal with Virgin Records. Her first foray into the music world’s center stage on Ol' Dirty Bastard's delirious hit “Got Your Money,” a single which turned out to be the anthem of its time, set the stage for her first full length album, Kaleidoscope.

Even in the context of a golden age for cutting edge R&B, Kelis stood out from the crowd thanks to her sheer originality. A modern soul singer who attracts the attention of U2 and Moby, sings the praises of Basement Jaxx and Muse, defines her own image without using stylists, and has fresh and witty opinions to spare, all without throwing tantrums in hotel rooms, is not your usual off-the-peg vixen.

In the many months since Kelis’ distinct image made the world do a double take, this multi-talented phenom has certainly remained busy. "There are a lot of things that have happened, but I don't even know where to start," she laughs. “It's all one big blur. But this year things have finally settled down. Now it's more about dealing with situations rather than being surprised by them."

Dealing with these situations has allowed her to leave her mark in all circles of the world. She spent last summer taking her live show around European festivals, and subverting expectations yet again by covering “Nirvana's Smells Like Teen Spirit.” Bono was so impressed by the show’s bravado that he gave her a high profile support slot on U2's recent European tour.

Kelis has also been collaborating far and wide. In the past year, she's sung on Busta Rhymes’ “What It Is,” Moby’s “Honey” remix, Foxy Brown’s “Candy,” LFO’s “Dandelion,” and N*E*R*D’s “Truth Or Dare.” With further appearances on Guru’s “Jazzmatazz: Streetsoul” album and the hip-hop stars’ “Phil Collins Tribute” album, partnerships with rappers Outsidaz and German trance innovator Timo Maas are on their way.

And of course, there’s Wanderland. The album was recorded at her house in Virginia Beach with The Neptunes. And while the duo was credited with writing most of Kaleidoscope, this time Kelis took the song writing reins. "It was inevitable," she explains. "It's like you start off at a job, and the next year you get a promotion, you know what I mean? I wasn't ready last time, but (now) I had a much clearer idea of what I wanted to do."

This makes Wanderland a much more autobiographical record than its predecessor. “Easy Come Easy Go,” which features Korn's Fieldy on bass, tackles men’s responses to Kelis since she became famous. “Digital World” deals with the toll that last year’s touring schedule took on her love life. “Star Wars,” meanwhile, is a comic book-inspired anthem for the Star Trak clique, the collective of rappers and singers that she and The Neptunes have assembled. Apart from Fieldy and No Doubt (who play on “Perfect Day”), they're the only guest musicians on the album -- a refreshing change from the usual big name bombardment. "They're big names,” Kelis states as a matter of fact. “The people that I know are incredibly talented, so why go outside when you've got it at home?"

As for striking first single, “Young, Fresh & New,” Kelis retorts: "First of all, people that are older than me and have lived their lives differently are always questioning how it is I run my life. So (this single) is sort of like, ‘Nah-nah-nah-nah-nah. I’m 21, I’m happy, I’m doing exactly what I want, and who the fuck are you to tell me that I can’t?’ And also, I think it’s a reminder for those that maybe aren’t doing the things they want to do that we have the right to. It’s about taking a step and asking questions and recognizing that (we all) deserve more from life."

Kelis isn't sure what the future may bring. She plans to start a range of accessories called “Mizrebelle” this autumn and perhaps a clothing line with Pharrell, in addition to waiting for the right movie script to pop through her door. Beyond that the possibilities are wide open, and that's just the way she likes it.

In Kelis' world, there's still plenty of wandering to be done.
source:http://www.sing365.com/music/lyric.nsf/Kelis-Biography/15C7645A5E17D08C48256A8600145317

Keane

Vocals: Tom Chaplin / Piano: Tim Rice-Oxley / Drums: Richard Hughes

Keane formed in 1997 at a Hastings Secondary School.

In 2002, following several years of experimenting and honing their sound, Keane decided that they needed to get out and play live. They booked two acoustic gigs, one at the 12 Bar Club, another at the Betsey Trotwood. Fierce Panda mini-mogul Simon Williams caught the Betsey Trotwood gig, and asked Keane to put out a single on his label.

They chose ‘Everybody’s Changing’, a sweeping, majestic ode to feeling utterly lost when everyone else seems to know the score, which was recorded for zero pence. “The recording session was a little rough and ready – the song was literally made in a room in someone’s house,” Tom laughs. “And we had to go round to a different house to mix it, because the speakers broke.” It would be difficult to find origins more desperately indie, yet ‘Everybody’s Changing’ sounded like a Number One chart hit before you even got to the chorus, and it immediately began turning heads. Steve Lamacq decided that it was one of the best singles in Fierce Panda’s entire history – not bad for a label, which housed early releases from Coldplay, Idlewild and Supergrass. He declared that Keane were “somewhere between a scuffed Coldplay and a frankly bewildered Beautiful South”, hammering the single on his show and eventually calling the band in for a session on BBC 6Music. Xfm were on the case, too, with Clare Sturgess requesting a session from the band, while a Sunday Times profile noted that Keane were responsible for “three and a half minutes of pure pop loveliness”. NME wrote that ‘Everybody’s Changing’ was “indisputably mighty” and compared Keane with “‘Kid A’-era Radiohead covering A-ha”.

What all these people spotted – and what the rest of the world will shortly find out for themselves – is that despite the reference points, Keane’s beguilingly beautiful music really isn’t like anything else that’s out there right now. “Our songs have universal themes and are emotional,” Tim nods. “People want emotion. But that seems like quite a rare thing these days. I don’t think there are many bands who are making music which actually means anything. There’s nothing to identify with.”

Things, at last, were beginning to gather pace. Keane’s first UK tour saw Tom, Richard and Tim performing at venues up and down the country to audiences of between five and 300 people. They didn’t look like many other bands – there was no guitarist, a factor which might send some purists screaming into the hills but, Richard says, really wasn’t a conscious decision.

By the time spring 2003 rolled around, the boys were out on the road again, and labels were already putting offers on the table. “All we were after was the opportunity to make the right record with the right people,” Tom shrugs – which is where Island stepped in. “We’ve never wanted to be a small, cult band,” Tom adds. “We want to get our music heard by as many people as we possibly can, because that’s why we’re making it.”

Throw in a startling appearance in the New Bands tent at the Reading and Leeds Carling Weekend, more plaudits for the boys’ second single ‘This Is The Last Time’. And, once again, it sounds like all the bands who’ve ever meant anything to anyone, but at the same time it only sounds like Keane.

“People often say that they wish they’d been around in the 60s,” Tom says. “But we’re happy just where we are. We love rock’s back catalogue, and now we’ve got a chance to add to it. After all, tunes never go out of fashion.”


January 2004

source:http://www.sing365.com/music/lyric.nsf/Keane-Biography/A79D1B73D636024148256E8700075B77

Kangta & Vanness

Birth Name
Chil Hyun Ahn


Trivia
Early 2006, Kangta collaborated with Vanness Wu of F4 from Taiwan, and formed Kangta & Vanness. Their first debut was in Thailand ending the ceremony for the 2006 MTV Asia Awards. They released their single "Scandal" and have been busy promoting their single all over Asia. "Scandal" was a success over Asia and released a repackage version in mid-July.
source : http://www.imdb.com/name/nm1214513/bio