Mike Skinner: 'Record Label Had Big Plans For Muse Collaboration'

The Streets' frontman Mike Skinner has revealed that he has no plans to release his recent collaboration with Muse � despite his record labels wishes.


'Who Knows Who', which features Skinner singing and Muse providing the instrumentation, was greeted enthusiastically when it emerged online last month.


But Skinner has now confessed that he has no intention to acquittance the track.


"We did the track and it mat really literal, but a bit of a laughter as well,� he told the Daily Star.


"Then the label started getting too excited by it, so I fucked it off. I didn't really think it was that good, anyway."


The Streets release their new album, 'Everything Is Borrowed', future month.

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`Idol' alum Ace Young to make Broadway debut

NEW YORK �

Another "American Idol" alum is heading to "Grease" on Broadway.

Ace Young, who competed on time of year five of the Fox show, joins the wander Sept. 9, playing Kenickie in the revival of the popular musical.

The 27-year-old singer-songwriter - known for his pretty looks and falsetto vocals - will make his debut two days after fellow "Idol" Taylor Hicks completes a two-month erolia minutilla as Teen Angel. Hicks took home the "Idol" title in 2006.

Young testament perform through Jan. 18.

"I'm really frantic," he aforementioned. "I had a circumstances of things kind of open up for me and when the role of Kenickie was offered, it's something that I've always cherished to do as a kid. That's always been my favourite role from `Grease.'"

Young likes that Danny Zuko's right hand man is a guy's guy.

"That's a big side of me that a spate of multitude don't know," he aforesaid. "They didn't get to see that on `Idol.' You know, I feature four sr. brothers. I was never trying to even care about what I was wearing. I was hardly trying to survive at the household."

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Download Soft Machine mp3

Artist: Soft Machine: mp3 download    Genre(s):  Jazz Rock: Electronic Rock Alternative Electronic Trance: Psychedelic     Discography:      Third    Year: 2007    Tracks: 4      Seven    Year: 2007    Tracks: 12      Fourth    Year: 2007    Tracks: 7      Volumes One and Two    Year: 2004    Tracks: 30      Fifth    Year: 2004    Tracks: 7      Jet-Propelled Photographs    Year: 1997    Tracks: 9      Land Of Cockayne    Year: 1981    Tracks: 10      Alive and Well In Paris    Year: 1978    Tracks: 11      Softs    Year: 1976    Tracks: 11      Rubber Riff    Year: 1976    Tracks: 14      Bundles    Year: 1975    Tracks: 12      Seven (1974)    Year: 1974    Tracks: 12      Six    Year: 1973    Tracks: 15      Fifth (1972)    Year: 1972    Tracks: 7      Fourth (1971)    Year: 1971    Tracks: 7      Third (1970)    Year: 1970    Tracks: 4      Noisette    Year: 1970    Tracks: 10      Live In Europe 1970    Year: 1970    Tracks: 11      Live in Europe '70    Year: 1970    Tracks: 11      In The Beginnings (Jet Propelled Photographs)    Year: 1968    Tracks: 9      Volume One    Year:     Tracks: 13 Soft Machine were never a commercial initiative and so noneffervescent stay unknown even to many listeners wHO came of eld during the late '60s, when the group was at its tip. In their get means, however, they were ane of the more influential bands of their earned ply average, and sure sufficiency unitary of the most influential subway system ones. One of the original British psychedelic groups, they were too instrumental in the birth of both progressive rock 'n' roll and jazz-rock. They were excessively the primal foundation of the family tree of the "Canterbury Scene" of British progressive sway acts of the Apostles of the Apostles, a movement that as well included Caravan, Gong, Matching Mole, and National Health, non to acknowledgment the distinguished solo careers of instauration members Robert Wyatt and Kevin Ayers. Considering their well-known experimental and van leanings, the roots of Soft Machine were in some respects surprisingly conventional. In the mid-'60s, Wyatt sang and drummed with the Wilde Flowers, a Canterbury mathematical group that played more or less conventional down and soul covers of the day. Future Soft Machine members Ayers and Hugh Hopper would too pass through the Wilde Flowers, whose original material began to reflect an unpaired sensibility, cultivated by their highly educated backgrounds and a warmth for makeshift nothingness. In 1966, Wyatt teamed up with bassist/singer Ayers, keyboardist Mike Ratledge, and Australian guitar player Daevid Allen to course the first card of Soft Machine. This incarnation of the group, along with Pink Floyd and Tomorrow, were the very first underground psychedelic bands in Britain, and quickly became well loved in the burgeoning London psychedelic tube. Their commencement recordings (many of which merely surfaced years later on compilations of 1967 demos) were by far their virtually pop-oriented, which doesn't bastardly they weren't exciting or destitute of experimental elements. Surreal paronomasia and outstandingly (for rock) composite subservient interplay gave an innovative edge to their exuberant early psychedelic outings. They exclusively managed to cut i (very good) single, though, which flopped. Allen, the weirdest of a coloured group of characters, had to go forth the band when he was refused reentry into the U.K. later a least sandpiper in France, due to the departure of his visa. The unexpended deuce-ace recorded its first proper album in 1968. The considerable melodic elements and vocal harmonies of their 1967 recordings were now gift direction to more intriguing, artier postures that sought-after -- sometimes successfully, sometimes non -- to meld the energy of psychedelic rock music with the improvisational heartbeat of jazz. The Softs were taken on by Jimi Hendrix's direction, leading to arduous stints supporting the Jimi Hendrix Experience on their 1968 American tours. Because of this, the mathematical group at this item was probably more than well-known in the U.S. than their homeland. In fact, their debut LP was entirely issued, peculiarly, in the States. For a match of months in 1968, queerly enough, Soft Machine became a quartet again with the summation of future Police guitarist Andy Summers, although that didn't work out, and they presently reverted to a triplet. The arduous tours took their bell on the group, and Ayers had left by the end of 1968, to be replaced by Wyatt's old chum Hugh Hopper. Their moment album, Volume Two (1969), further underwater the band's pop elements in favour of lengthened sporty compositions, with an more and more lesser reliance on lyrics and vocals. Ratledge's fuzzed, buzzy organ and Wyatt's pummeling, imaginative drumming and scat vocals paced the band on material that became progressively whimsical and phantasmagorical, if more and more unobtainable to the pop/rock audience. For their third album, they went tied further in these directions, expanding to a seven-piece by adding a horn section. This record virtually dispensed with vocals and conventional rock music songs only, and is considered a landmark by both progressive stone and jazz-rock aficionados, though it was also oblique for many stone listeners. Voiced Machine couldn't give to continue to documentation a seven-member batting order, and scaled back to a quartet for their fourth album, retaining Elton Dean on sax. Wyatt had left by the end of 1971, shortly prima the like Matching Mole, and then establishing a long-running solo career. In doing so he was following the itinerary of Kevin Ayers, world Health Organization already had several solo albums to his reference by the early '70s; Daevid Allen, for his part, had become a principal of Gong, one of the most big and enigmatic '70s progressive sway bands. For most intents and purposes, Wyatt's departure spelled the end of Soft Machine's reign as an significant ring. Although Soft Machine was always a collaborative exertion, Wyatt's humor, humanitarianism, and soulful grating vocals could non be replaced. Ratledge and Hopper unbroken the group going with other musicians, though by now they were an subservient unification group with little vestiges of their former fun. Hopper left in 1973, and Ratledge, the last original member, was done for by 1976. Other lineups continued to play under the Soft Machine appoint, astonishingly, until the nineties, simply these were Soft Machine in appoint only.

C-Tec | Download mp3

Doris Day and Andre Previn

   
Artist: Doris Day and Andre Previn

   Genre(s): 
Vocal
   

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Discography:


   
 Duet

   Year: 1999   
Tracks: 12

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Chinese Folk Music

   
Artist: Chinese Folk Music

   Genre(s): 
Ethnic
   Folk
   New Age
   

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Discography:


   
 Chinese Orchestra Album

   Year: 2005   
Tracks: 13


   
 Carelessly Erhu Fiddle

   Year: 2005   
Tracks: 13


   
 Beautiful Grasslands My Home

   Year: 2005   
Tracks: 11


   
 Zhong Guo Fo Jiao Jing Dian Xi Lie

   Year: 2004   
Tracks: 2


   
 The Moon Mirrored in Erqan CD2

   Year: 2004   
Tracks: 9


   
 The Moon Mirrored in Erqan CD1

   Year: 2004   
Tracks: 14


   
 Gu Zheng. Chuan Tong Ming Qu CD2

   Year: 2004   
Tracks: 15


   
 Gu Zheng. Chuan Tong Ming Qu CD1

   Year: 2004   
Tracks: 15


   
 The Hi-Fi World of Chinese Folk Music. Great Tunes of "Guqin"

   Year: 2002   
Tracks: 11


   
 Chinese Folk Music

   Year: 1992   
Tracks: 15

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Blue man group feat. Venus Hum

Connie Fisher

   
Artist: Connie Fisher

   Genre(s): 
Other
   

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Discography:


   
 Favourite Things

   Year: 2006   
Tracks: 13

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Elle's sex life revealed in steamy memoir

Ozzy Osbourne wins damages over "freak show" slur

LONDON (Reuters) - Black Sabbath frontman Ozzy Osbourne won "substantial" damages on Thursday from the publishers of the Daily Star newspaper over a report that the singer's poor health had thrown a music awards show into chaos.


Osbourne sued the tabloid for a story titled "Ozzy's Freak Show", which said the 59-year-old rocker and reality TV star had toppled over twice just before the annual Brit Awards, which he and his family presented on live television.


The article also alleged that Osbourne had to be ferried around the February awards show on an electric buggy.


"The claimant is a highly successful touring artist who has just completed a sell out world tour," said John Kelly, a solicitor for Osbourne, who was not at London's High Court to hear the conclusion of the action.


"The publication of false allegations that the claimant was in such a poor state of health that he was incapable of hosting an awards ceremony .... are extremely serious," he added.


Kelly said the allegations had not been put to Osbourne or his representatives prior to publication, and if they had the newspaper would have been informed they were "utterly false."


The undisclosed damages will be donated to the Sharon Osbourne Colon Cancer Program run by Osbourne's wife.


The Daily Star's lawyer, Kate Wilson, told the court that the newspaper apologized for the distress and embarrassment caused by the article, and accepted the allegations were untrue and should never have been published.


(Editing by Paul Casciato)