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Lambchop Live on La Blogothèque

Podcast produced by La Blogothèque
Directed by Nat

Lambchop is a band that is full of contrasts, of subtle nuances that you’re never sure you have completely grasped. It’s a band that mixes wildly different ingredients: the flavors blend nonetheless, until it becomes almost impossible to separate them again. Here are two things you’ll find in all of their discography: a pinch of humor and a good swig of levity.

Because they spend so much time speaking in hushed tones of twilight ambiences, it’s easy to forget that the men of Lambchop, and Kurt Wagner the leader, are, much more often than it seems, pouring on the sarcasm. And, yes, in this Take Away Show, you’ll see them laugh. Not roaring laughter—but soft, like laughter between old friends that find comfort in their complicity. You’ll see him hang the lyrics of their song on the back of a friend, who gets transformed into a man/sandwich-board hybrid. There’s a sense of mischief with these guys.

As you hear them repeatedly unfold their dark, plodding folk with its slow-motion tempo, you forget that the men of Lambchop are usually specialists in levity. Each of their notes is retained as long as it can be, and each falls to the floor like autumn leaves that let go of the tree when their moment has finally come. However, this isn’t a Mark Hollis- style retention: it’s not a painful holding-on. It’s more a languid method, nearly carefree in its slowness, forged from an outdated sensibility of taking one’s time. (Copyright KMS on this idea.)

And now, in these videos, you’ll hear the bittersweet lyrics, sarcastic and not terribly optimistic, of “National Talk Like a Pirate Day.” You’ll hear the guitars stack over each other, turning one over the other, and finally taking flight. It’s a sweet take-off, calm and serene, a tiny crystalline tornado that sweeps up only some dust and a few leaves.


Réal : Nat

Tourné à Paris

You’ll hear the deceptively adolescent tune (if teenagers could be capable of weightlessness) of “I believe in you”, and its way of taking hold, slowly, very slowly. Like building a house of cards, somewhat. Watch the city around them, too: the musicians are hidden in an unpopulated alleyway, and the little street doesn’t seem to realize what’s happening until the last minute, until everything is almost done. Hidden in the middle is the band’s final promise, their credo that almost nobody hears: “I believe in music.”


Réal : Nat

Tourné à Paris

And then you’ll hear Kurt Wagner’s voice. If Antony is the voice of the new age, then he — this old, greying patriarch surrounded by young musicians who, it seems, could almost be his kids—is the voice of yesteryear.

- Translation by Caitlin Caven

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March 24, 2009 Posted by | Lambchop, _MUSIC, _VIDEO | Leave a comment

Sigur Ros Live on La Blogothèque

Podcast produced by La Blogothèque
Directed by Vincent Moon

We don’t go into la Closerie des Lilas. We pass by the front, we see some rich and paunchy people on the terrace meticulously protected by a wall of greenery, we smell the perfume of the oysters, but we don’t go in. Someday, we’ll have the occasion to go in—a family reunion organized by a wealthy old aunt, maybe. Or we’ll be invited to talk logistics of a festival, and spend the entire afternoon on the covered terrace. This was the case for Moon, who had just gotten back from Tanzania, and found himself wedged there, at la Closerie. He would go in, for the first time, to film the Icelanders.

For me, the equation is as follows: the band is staying at the Kube hotel, north of Paris; their equipment is at porte de la Villette; Moon and his camera are wedged at la Closerie, in the south of Paris; and, obviously, Sigur Ros are playing at Zénith this very evening. We only have a little time.

The first person passed by, and this guy will leave us with the best memories— he’s John Best, their manager. A 50-something English man in all his splendor, ‘70s glasses, classic raincoat, beige scarf and classy mustache. He makes us forget about the long saga of the sick bassist, about the rest of the band who’re fading fast.

We bought a bucket at a bazaar in a side-street, and we decided not to bother pulling out the costumes. We moved some tables to set up a splendid harmonium, we took over the piano, and everything seemed ready… the only thing missing was two drummer’s brushes, which weren’t in the van. Some guy had to go back to Villette to look for them.


Réal : Vincent Moon

Tourné à Paris

While we wait, we ask the group in vain to play a few other songs in the mean time—any song that doesn’t need the brushes. They decline.As John reminds us, they’ve never done anything like this before—they usually don’t perform acoustic. We just have to wait, and not add to the looming pressure of tonight’s huge concert.

Still waiting, we rummage around la Closerie. We chat with elegant old couples, we watch from afar as a fat businessman absentmindedly strokes the hair of a girl 20 years his junior, and we let ourselves be cradled by the incessant waltz of guys in vests running and pivoting with their plates filled to the brim.

Little by little the room empties, the remaining diners drag out the final moments of their lunch, and then the drumsticks arrive. The environment is tense, but they jump in. A few notes on the harmonium, and an incredible voice that it would have been a shame to exhaust. We don’t know if the sticks were essential. But in three minutes, our patience was repaid.

Translated by Caitlin Caven

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March 24, 2009 Posted by | Sigur Rós, _MUSIC, _VIDEO | Leave a comment

Suicide / Bruce Springsteen – Dream Baby Dream

Suicide would prove as influential as The Clash. Listening to their self-titled 1977 debut from the vantage point of late 2002, it’s all so obvious: the synthpop, techno, and industrial dance sounds of the ’80s and ’90s, and now the new New Wave of electroclash, all gesture back to that foundational album.

– Wilson Neate

A seminal track from Messrs. Alan Vega and Martin Rev, AKA the hugely influential Suicide!

With assistance from Ric Ocasek of The Cars and the inspirational figures of Englishman Michael Zilkha and Frenchman Michel Esteban (the brains behind ZE, New York’s then newest and hippest record label), the group released this famous track as the double A side single “Dream Baby Dream/Radiation” back in 1979.

The lyrics here won’t exactly win the Nobel literature prize, but the song is about much more than that and is a wonderful powerful piece nevertheless.

A song way ahead of its time, with a beautifully obsessive tone and lush, repetitive structure, Dream Baby Dream is now regarded as the classic Suicide record.

Suicide went on to be a huge influence on a slew of bands the likes of Joy Division, U2, New Order, Stereolab, Sisters of Mercy, Radiohead, The Cars and even Bruce Springsteen.

Springsteen used an interesting pared down solo keyboard version of “Dream Baby Dream” to close the concerts on his 2005 Devils & Dust Tour. See below.

Some good Suicide links:

keep that flame burnin’
keep that flame burnin’

dream baby dream
dream baby dream
forever, and ever
forever, and ever

I see that smile on your face
yeah, makes you free
I see that smile

dream baby dream
dream baby dream
dream baby dream
dream baby dream
forever …

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March 23, 2009 Posted by | Bruce Springsteen, Music_Electronica, Music_Punk, Suicide, _MUSIC, _VIDEO | Leave a comment

The Detroit Cobras – Cha Cha Twist

Tell me, baby, have you seen my sis ?

Another classic reinterpretation by Michigan’s finest – and one of the late, great John Peel’s favourite bands – The Detroit Cobras!

This cover of proto-rock ‘n’ roller Hank Ballard‘s “Cha Cha Twist was released as a single in 2004 on seminal Brit indie label Rough Trade but had earlier appeared in a slightly different version on their 1998 LP Mink Rat or Rabbit.

The band’s biggest fan detroitcobracovers.blogspot writes about this track below;

Song: Cha Cha Twist

Artist: Brice Coefield

Written: Hank Ballard

Year : 1960

Album/Single: Madison # 137

Cobra’s Version

Song: Cha Cha Twist

Released: February 24th, 1998

Album: Mink Rat or Rabbit

While I can not find any specific information on today’s selection, I have found some information on Brice Coefield.

Quite frankly, the man was involved with some legendary names in the music industry – “Bumps” Blackwell (songwriter and producer of Little Richard), Herb Alpert (co-founder of A&M records, legendary trumpet player), Lou Adler (producer for, among others, Sam Cooke, Mama’s & Papa’s, the Monterrey Pop Festival) & Phil Spector (I don’t need to explain who he is, do I?). Draw your own conclusion as to why, with all these talented people around him, he wasn’t more successful himself.

He started off in 1955 in Los Angeles with his cousin, Rip Spencer, in a variety of vocal groups. It was Brice’s father who, through jazz pianist Lloyd Glenn, that put them in touch with “Bumps” Blackwell. Calling themselves the “Valiants”, they actually were the first to release “Good Golly, Miss Molly”, one of the songs Bumps had written (Little Richard had recorded it before them but the Valiants were the first to actually release it).

It was the flip side of one of two records they would every have chart – “This is the Night” (#43 R&B / #69 Pop). The other chart success they enjoyed was as members of the Alley Cats with “Puddin N’ Tain” – released in 1962 on Phil Spector’s Phillies Label (Brice was a co-writer of the song as well).

This brief bio was culled from Marv Goldberg’s excellent R&B Notebook – check it out for yourself.

Brice had 5 records released on the Madison label from 1960 to 1961. Four were as a member of the “Valiants”, with today’s record being released simply as “Brice Coefeild”.

Interestingly enough, despite the thoroughness of the aforementioned Marv Goldberg’s R&B Notebook, there is no mention of this record. The song writing credits go to the legendary Hank Ballard (thought jazz keyboardist Les McCann sometime get’s credit for writing it as well).

I would have to assume it was recorded/released late in 1960, to capitalize on the success of Chubby Checker’s massive hit earlier in the year – “The Twist” (which was also written by Hank Ballard!).

(Cha Cha Cha)

(Cha Cha Cha)

(Cha Cha Cha)

Come on baby

Let’s do the Twist

Come on baby

Let’s do the Twist

You look fine, yeah

when you go like this

Tell me, baby

Have you seen my sis ?

Tell me, baby

Have you seen my sis ?

She knows how to rock

and do the Cha Cha Twist

Hully, hully gully

Slop and Madison, too

When you do the twist

to a beat like this

You can Cha Cha with your baby too

Your Papa’s sleeping

and your Mama’s not around

Your Papa’s sleeping

and your Mama’s not around

Well come over here, baby

we’re gonna tear the house down

Hully, hully gully (shake your shoulders)

Slop and Madison, too (hit it)

When you do the twist

to a beat like this

You can Cha Cha with your baby too

Your Papa’s sleeping

and your Mama’s not around

Your Papa’s sleeping

and your Mama’s not around

Come on baby

we’re gonna tear the house down

Oh yaa Twist

Hey baby

The Cobra’s take on “Cha Cha Twist” both speeds the song and rocks it up courtesy of classic Detroit garage guitar crunch. What’s interesting on the original is all the stuff going on in the background – all the “Oooohhhhh Aaahhhh”, “Cha Cha Cha” and “Wuh Wuh” vocals that run throughout the song. If you listen closely to the Cobra’s version you will hear them doing similar things, but buried much deeper in the mix.

I understand this was used for a Diet Coke commercial a few years back. Never saw, but it had to be cool.

They did shoot a video for “Cha Cha Twist” (their only video ?) with Meg White as “Little Red Riding Hood”. Interestingly enough, it seems to be a different version of the song that was released on “Mink Rat or Rabbit”.

Some Cobras links:

The Detroit Cobras – Cha Cha Twist

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March 23, 2009 Posted by | Brice Coefield, Hank Ballard, Music_Alternative, The Detroit Cobras, _BABE, _MUSIC, _VIDEO | Leave a comment

On the Bus with Pete Doherty

Part time muso and full time posh chav druggie Pete Doherty gave a few lucky fans the ride of their life this week.

The Babyshambles frontman rented a double decker bus and transported them to his gig in Paris. The bus was decked out with posters and pictures, and the album cover for Doherty’s upcoming solo album, Grace/Wastelands, was plastered all over the walls.

While on the trip, Doherty serenaded his fans with some acoustic tunes, including “The Good Old Days” and “Can’t Stand Me Now.”

Check out some footage below …

March 20, 2009 Posted by | Babyshambles, Pete Doherty, _MUSIC, _VIDEO | Leave a comment

It’s only Ricky Gervais and Elmo!

From ‘The Hangover – Helperhere.

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March 18, 2009 Posted by | Ricky Gervais, Television, _COMEDY, _VIDEO | Leave a comment

Bob Dylan by Bono – The 100 Greatest Singers of All Time

Rolling Stone Magazine : 100 Greatest Singers

#7: Bob Dylan
by Bono

from Rolling Stone : 100 Greatest Singers

Key Tracks
“Like a Rolling Stone,” “Lay Lady Lay,” “Visions of Johanna”


John Lennon, Bruce Springsteen, Patti Smith, Conor Oberst

Photo: Wilmer/Redferns/Retna Born
May 24th, 1941

It is a voice like smoke, from cigar to incense, where it’s full of wonder and worship.

Bob Dylan did what very, very few singers ever do. He changed popular singing. And we have been living in a world shaped by Dylan’s singing ever since. Almost no one sings like Elvis Presley anymore. Hundreds try to sing like Dylan. When Sam Cooke played Dylan for the young Bobby Womack, Womack said he didn’t understand it. Cooke explained that from now on, it’s not going to be about how pretty the voice is. It’s going to be about believing that the voice is telling the truth.

To understand Bob Dylan’s impact as a singer, you have to imagine a world without Tom Waits, Bruce Springsteen, Eddie Vedder, Kurt Cobain, Lucinda Williams or any other vocalist with a cracked voice, dirt-bowl yelp or bluesy street howl. It is a vast list, but so were the influences on Dylan, from the Talmudic chanting of Allen Ginsberg in “Howl” to the deadpan Woody Guthrie and Lefty Frizzell’s murmur. There is certainly iron ore in there, and the bitter cold of Hibbing, Minnesota, blowing through that voice. It’s like a knotted fist, and it allows Dylan to sing the most melancholy tunes and not succumb to sentimentality. What’s interesting is that later, as he gets older, the fist opens up, to a vulnerability. I have heard him sing versions of “Idiot Wind” where he was definitely the idiot.

I first heard Bob Dylan’s voice in the dark, when I was 13 years old, on my friend’s record player. It was his greatest-hits album, the first one. The voice was at once modern, in all the things it was railing against, and very ancient. It felt strangely familiar to an Irishman. We thought America was full of superheroes, but it was a much humbler people in these songs — farmers, people who have had great injustices done to them. The really unusual thing about Bob Dylan was that, for a moment in the Sixties, he felt like the future. He was the Voice of a Generation, raised against the generation that came before. Then he became the voice of all the generations, the voices in the ground — these ghosts from the Thirties and the Dust Bowl, the romance of Gershwin and the music hall. For me, the pictures of him in his polka-dot shirt, the Afro and pointy shoes — that was a brief flash of lightning. His voice is usually put to the service of more ancient characters.

Here are some of the adjectives I have found myself using to describe that voice: howling, seducing, raging, indignant, jeering, imploring, begging, hectoring, confessing, keening, wailing, soothing, conversational, crooning. It is a voice like smoke, from cigar to incense, where it’s full of wonder and worship. There is a voice for every Dylan you can meet, and the reason I’m never bored of Bob Dylan is because there are so many of them, all centered on the idea of pilgrimage. People forget that Bob Dylan had to warm up for Dr. King before he made his great “I have a dream” speech — the preacher preceded by the pilgrim. Dylan has tried out so many personas in his singing because it is the way he inhabits his subject matter. His closet won’t close for all the shoes of the characters that walk through his stories.

I love that album Shot of Love. There’s no production. You’re in a room hearing him sing. And I like a lot of the songs that he worked on with Daniel Lanois — “Series of Dreams,” “Most of the Time,” “Dignity.” That is the period where he moves me most. The voice becomes the words. There is no performing, just life — as Yeats says, when the dancer becomes the dance.

Dylan did with singing what Brando did with acting. He busted through the artifice to get to the art. Both of them tore down the prissy rules laid down by the schoolmarms of their craft, broke through the fourth wall, got in the audience’s face and said, “I dare you to think I’m kidding.”


1. Like a Rolling Stone
2. Lay Lady Lay
3. Visions of Johanna
4. Hurricane
5. Knockin’ on Heaven’s Door
6. Mr. Tambourine Man
7. Tangled Up in Blue
8. Blowin’ in the Wind
9. The Times They Are A-Changin’
10. All Along the Watchtower
Bob Dylan – Like a Rolling Stone

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March 18, 2009 Posted by | Bono, _ARTICLE, _BOB DYLAN, _MUSIC, _VIDEO | Leave a comment

The 100 Greatest Singers of All Time: #1 Aretha Franklin

No real quibbles about this one.

The undoubted Queen of Soul herself Miss Aretha Franklin!

We won’t say anything about her “taste” in hats, though!

Although it’s perhaps at first glance somewhat odd to see Bob Dylan in the top ten Greatest Singers of All Time, his immense songwriting influence aside, one needs to consider the phenomenal impact his singing has had on generations of singers – artists whose singing ability may not perhaps be technically exceptional but, thanks to Dylan’s inspiration, have gone on nevertheless to be powerful and impactful.

We’d also definitely have the sublime singing talent of Jackie Wilson in our top 10!

Of course, as always, there are a lot of so-called artists listed here that shouldn’t be anywhere near this list!

#1 Aretha Franklin
by Mary J. Blige

Born: March 25th, 1942
Key Tracks:
“(You Make Me Feel Like) A Natural Woman,” “Respect,” “I Never Loved a Man (The Way I Love You),” “Think,” “Chain of Fools”
Whitney Houston, Alicia Keys, Aaron Neville, Annie Lennox

You know a force from heaven. You know something that God made. And Aretha is a gift from God. When it comes to expressing yourself through song, there is no one who can touch her. She is the reason why women want to sing.

Aretha has everything — the power, the technique. She is honest with everything she says. Everything she’s thinking or dealing with is all in the music, from “Chain of Fools” to “Respect” to her live performances. And she has total confidence; she does not waver at all. I think her gospel base brings that confidence, because in gospel they do not play around — they’re all about chops, who has the vocal runs. This is no game to her.

As a child, I used to listen to Aretha’s music because my mom played “Do Right Woman” and “Ain’t No Way” every single day. I would see my mother cry when she listened to those songs, and I’d cry too. Then I discovered her on my own with the Sparkle soundtrack. I must have played “Giving Him Something He Can Feel” 30 times in a row; eventually, I connected the dots to that voice my mom was listening to.

Even the way she pronounces words is amazing: In “Giving Him Something He Can Feel,” when she sings, “Many say that I’m too young” — the way she says “I’m,” you can almost see her saying it, like she’s all in your face, but you’re still right with her. You can really visualize her hands when she sings, “You’re tying both of my hands,” on “Ain’t No Way” — it’s the powerful way she hits the word “both.”

When you watch her work, you can see why Aretha is who she is. When we did the song “Don’t Waste Your Time” on my album Mary, she just went in there and ate that record like Pac-Man. She could be doing a church vocal run, and it would turn into some jazz-space thing, something I never encountered before. You’d say, “Where did that come from? Where did she find that note?”

It’s beautiful to see, because it helps people with a lack of confidence in their ability, like myself. I look at her and think, “I need a piece of that. Whatever that is.”


1. (You Make Me Feel Like)
A Natural Woman
2. Respect
3. I Never Loved a Man
(The Way I Love You)
4. Think
5. Chain of Fools
6. Until You Come Back to Me (That’s What I’m Gonna Do)
7. Rock Steady
8. Call Me
9. Do Right Woman
10. I Never Loved a Man
Aretha Franklin – I say a little prayer

The 100 Greatest Singers of All Time

1 | Aretha Franklin by Mary J. Blige

2 | Ray Charles by Billy Joel

3 | Elvis Presley by Robert Plant

4 | Sam Cooke by Van Morrison

5 | John Lennon by Jackson Browne

6 | Marvin Gaye by Alicia Keys

7 | Bob Dylan by Bono

8 | Otis Redding by Booker T. Jones

9 | Stevie Wonder by Cee-Lo

10 | James Brown by Iggy Pop

11 | Paul McCartney

12 | Little Richard

13 | Roy Orbison

14 | Al Green

15 | Robert Plant

16 | Mick Jagger by Lenny Kravitz

17 | Tina Turner

18 | Freddie Mercury

19 | Bob Marley

20 | Smokey Robinson

21 | Johnny Cash

22 | Etta James

23 | David Bowie

24 | Van Morrison

25 | Michael Jackson by Patrick Stump of Fall Out Boy

26 | Jackie Wilson

27 | Hank Williams

28 | Janis Joplin

29 | Nina Simone

30 | Prince

31 | Howlin’ Wolf

32 | Bono by Billie Joe Armstrong

33 | Steve Winwood

34 | Whitney Houston

35 | Dusty Springfield

36 | Bruce Springsteen

37 | Neil Young

38 | Elton John

39 | Jeff Buckley by Chris Cornell

40 | Curtis Mayfield

41 | Chuck Berry

42 | Joni Mitchell

43 | George Jones by James Taylor

44 | Bobby “Blue” Bland

45 | Kurt Cobain

46 | Patsy Cline

47 | Jim Morrison

48 | Buddy Holly

49 | Donny Hathaway

50 | Bonnie Raitt

51 | Gladys Knight

52 | Brian Wilson

53 | Muddy Waters by Ben Harper

54 | Luther Vandross

55 | Paul Rodgers

56 | Mavis Staples

57 | Eric Burdon

58 | Christina Aguilera

59 | Rod Stewart

60 | Björk

61 | Roger Daltrey

62 | Lou Reed

63 | Dion

64 | Axl Rose

65 | David Ruffin

66 | Thom Yorke

67 | Jerry Lee Lewis

68 | Wilson Pickett

69 | Ronnie Spector

70 | Gregg Allman

71 | Toots HIbbert

72 | John Fogerty

73 | Dolly Parton

74 | James Taylor

75 | Iggy Pop

76 | Steve Perry

77 | Merle Haggard

78 | Sly Stone

79 | Mariah Carey

80 | Frankie Valli

81 | John Lee Hooker by Bonnie Raitt

82 | Tom Waits

83 | Patti Smith

84 | Darlene Love

85 | Sam Moore

86 | Art Garfunkel

87 | Don Henley

88 | Willie Nelson

89 | Solomon Burke

90 | The Everly Brothers

91 | Levon Helm by Jim James

92 | Morrissey

93 | Annie Lennox

94 | Karen Carpenter

95 | Patti LaBelle

96 | B.B. King

97 | Joe Cocker

98 | Stevie Nicks

99 | Steven Tyler

100 | Mary J. Blige

RS Contributors

Brian Braiker, David Browne, Anthony DeCurtis, David Fricke, Brian Hiatt, Ashley Kahn, Mark Kemp, Alan Light, Austin Scaggs, David Wild, Douglas Wolk

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March 18, 2009 Posted by | Aretha Franklin, Mary J. Blige, _ARTICLE, _MUSIC, _VIDEO | Leave a comment

Britney Spears vid for controversial "If U Seek Amy"

“Love me, hate me, but can’t you see what I see?
all the boys and all the girls are begging to F-U-C-K me”

The new one from Brit!

Lots of lingerie and bulging cleavage! When did Brit get the new boobs?

The greatest song this side of “Tangled up in Blue”!

NOT!! ….. Generic tat!

And a hilariously witty title! Who knew Oscar Wilde was still alive?

F .. U .. C .. K .. me! ….. Ha Ha Ha Ha Ha Ha Ha! ….. Shoot me please!!!

Allmusic said the song is:

… a Katy Perry-styled exercise in crass commercial carnality that is at once the best and worst song here. Best because Max Martin once again works his undeniable pop magic, turning this into a trashy stomper that feels inevitable and eternal, working against any sense of taste or decorum, something that the lyrics work overtime to undercut as they insist that all the boys and all the girls still want to F, U…well, spell it and you’ll get the picture, and if you don’t, Britney’s elocution will paint it for you. This sexy strut doesn’t work because Britney’s sexiness never was this explicit; she teased and hinted, at least in her music, and it feels wrong to have her be so nakedly vulgar here. Still, it was a necessary move, a way to stir up headlines and perhaps snatch the tabloid tiara from Katy’s head.

Entertainment Weekly called it “puerile” and that “it’ll be a middle-school sensation.”

Rolling Stone called the song “a saucy, swinging standout”.

The Guardian said “If U Seek Amy is a better pun than it is a song, but there’s a relish about her delivery of the chorus – “all the boys and all the girls are begging to F-U-C-K me” – that’s noticeably lacking elsewhere.”

USA Today said “If U Seek Amy mocks onlookers’ morbid fascination with the downward spiral of celebrities.”

The Independent gave the song a negative review, writing :”If You Seek Amy is crass: the entire song is simply an excuse for Spears to sing ‘All of the boys and all of the girls want to F-U-C-K me’, about as cheap as sensationalist outrage gets”.

In a Rolling Stone magazine interview, parents were quoted as saying, “I was astonished and totally taken aback when I heard my 5 and 7 year old kids walking around the house singing ‘F-U-C-K’ … When I asked them what it was, they told me it was Britney Spears. I was horrified”. Rolling Stone defended Spears, arguing that parents should have been aware of the singer’s musical themes.

The Parents Television Council cautioned radio stations and cable music channels about broadcasting the music video for this song for the same reason.

Due to this reaction to the music, in the US, a radio edit has been released as “If U See Amy”. This edit takes out the ‘k’ in ‘seek’ and speeds up the chorus, therefore running thirteen seconds shorter than the original version. The “If U See Amy” version will only be released to US radio, with the music video and the international radio single being both “If U Seek Amy”.

“If U Seek Amy” is the third single released from Brit’s sixth studio album Circus.

The track was co-written and produced by Max Martin, who also wrote previous hits for Spears, including “…Baby One More Time” and “Oops!… I Did It Again”.

The music video (directed by Jake Nava) was originally planned to begin shooting on February 10, 2009, but instead began filming on February 7, 2009. The “If U Seek Amy” video also contains references to other Spears’ videos.

The music video premiered on March 12, 2009 on both Virgin Mobile (USA)’s official website and Spears’ official websites.

The video starts off with a news anchor saying the title of the song above a newsbanner that reads “Britney Spears song lyrics spell out obscenity in disguise”, a parody of a FOX News report by Megyn Kelly. It then skips to a house, in which a party is coming to an end. Spears gets up singing. After looking out the window, she dances with other party goers as the chorus starts. She is looking around for Amy while she is singing and begins to dance and joins the other party goers again as she sings the chorus once more.

All the guys watch her dancing until she stops and begins to dress into a conservative 50s-style outfit. As the chorus begins again, she comes out of her bedroom. She walks down the stairs where a woman gives her a potholder, which she uses to pick up a pie. She then takes the pie outside to be joined by her children and her husband. As they go down the walkway, they are surrounded by paparazzi who have no idea what truly goes on behind closed doors. While the kids and husband wave, Spears smiles for the camera and blows a kiss. The video then returns to the anchor, who says “it doesn’t make sense, does it?”.

<a href=””>Britney Spears – If U Seek Amy</a>

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March 16, 2009 Posted by | brittney Spears, _BABE, _MUSIC, _VIDEO | Leave a comment

Bikini Models On Crazy Japanese Variety Show

More from the land where the word”crazy” does not exist!

Bikini Models On Crazy Japanese Variety ShowThe most amazing videos are a click away

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March 11, 2009 Posted by | Japan, _BABE, _VIDEO | Leave a comment

How To Undress In Two Seconds

Yap, you’ve guessed it! A Japanese TV game show!

This guy Akira’s been fantasising so much for the past decade about having a real girlfriend that he idles away the hours practising how to get all those pesky clothes off insanely fast when that unfortunate chick Yoko eventually arrives in his bedroom!
A few questions spring to mind! For example, how did this guy realise he had this “skill” and where did he practice?
But mainly the one question here has to be WHY?

How To Undress In Two Seconds?These bloopers are hilarious

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March 11, 2009 Posted by | Japan, _COMEDY, _VIDEO | Leave a comment

The Loved Ones – "Sad Dark Eyes"

by sleepybutterfly

Darling, I want to kiss your burning mouth, your sad dark eyes and your ghostlike soul.

“Sad Dark Eyes” was a 1966 song by pioneering Australian rock band The Loved Ones.

A powerful blues-rock/pop song that has proven very influential.

Beautiful, strong lyrics here in this song! I can recall a couple of Nick Cave tracks where he rips off some of these great lyrics!

The Loved Ones were formed in Melbourne in 1965 by Gerry Humphreys, Ian Clyne and Kim Lynch in the wake of the British Invasion.

Although the band’s career lasted only two years, the group is now regarded as one of the most significant Australian bands of the sixties.

“Sad Dark Eyes” has been covered by Ed Kuepper, Die Haut with Mick Harvey, Die Haut with Nick Cave, and by Mick Harvey ‘solo’.

Die Haut first covered the song on their 1988 LP Headless Body In Topless Bar with Mick on vocals.

Die Haut recorded this live version on the LP Sweat – Live at Berlin Metropol, August 24, 1992, and Apeldoorn August 1992.

The Loved Ones were renowned as an exciting, if erratic, live act in a Stones/Animals mould, and quickly rose to prominence in the local club and dance scene.

The group’s visual impact was heightened by their striking mod stage attire and the band had a strong focal point thanks to the charismatic stage presence, saturnine good looks and growling, blues-influenced baritone voice of Humphreys, who is widely acknowledged as one of Australia’s finest male pop-rock vocalists.

The Loved Ones’ were also one of the first Australian pop bands to use electric piano as part of their regular stage set-up and their distinctive keyboard-based sound set them apart from most of their contemporaries.

This song, Sad Dark Eyes, followed the successful singles, The Loved One and Everlovin Man. By this time, Clyne had left and been replaced on piano by Treva Richards.

The band had some further single successes, including Blueberry Hill, but broke up in November 1967.

Sadly, Humphreys died in December 2005 of a heart attack.

Sad Dark Eyes

I look at you in your sad dark eyes
And your gypsy face with your Spanish grace
With your words like rhymes and your voice like chimes

Darling, I want to kiss your burning mouth
Your sad dark eyes and your ghostlike soul
Darling baby say that you’ll be mine

Put your ring on my finger
And comb your long red hair
Put on your sad eyes
And tell me that you care
That you’ll be mine, you’ll be mine
Until the end of time

– Humphreys/Lovett/Richards/Lynch/Anderson/LPA

Big thanks to mcphert1 who compiled these nice shots and who says “this video slideshow is dedicated to Gerry Humphreys and the band.”

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March 9, 2009 Posted by | Die Haut, Mick Harvey, Music_ClassicRock, Nick Cave, The Loved Ones, _MUSIC, _PHOTOGRAPHY, _POETRY, _VIDEO | Leave a comment

Nick Cave, with Die Haut – Sad Dark Eyes / Pleasure is the Boss

Nick Cave with Die Haut – Sad Dark Eyes / Pleasure is the Boss
Berlin Tempodrome,
24 August 1992

“My view of Die Haut is they have a great love of guitars – they’re a guitar orientated group. I love singing behind a barrage of ugly, dirty guitars.”

– Nick Cave, on Die Haut, 1992

“Sad Dark Eyes” is an amazing blues-rock/pop 1966 song by influential Australian band The Loved Ones.

The Loved Ones were formed in Melbourne in 1965 by Gerry Humphreys, Ian Clyne and Kim Lynch.

I look at you in your sad dark eyes
And your gypsy face with your Spanish grace
With your words like rhymes and your voice like chimes

“Sad Dark Eyes” has been covered by Ed Kuepper, Die Haut with Mick Harvey, Die Haut with Nick Cave, and by Mick Harvey ‘solo’.

Die Haut first covered the song on their 1988 LP Headless Body In Topless Bar with Mick on vocals.

Die Haut recorded this live version on the LP Sweat – Live at Berlin Metropol, August 24, 1992, and Apeldoorn August 1992

More details on this vid below from the great Cave resource, nickcavefixes.wordpress

Line Up:

Die Haut:

Christoph Dreher – Bass;
Rainer Lingk – Guitar;
Jochen Arbeit – Guitar;
Thomas Wydler – Drums.

Nick Cave – Guest Vocalist.


This is one of my all-time favorite Nick Cave performances. Unbelievably good.

Die Haut members are connected to Nick Cave and two of his Bad Seeds, Blixa Bargeld and Thomas Wydler.

Die Haut’s founder, Christoph Dreher, directed Bad Seeds videos ‘Tupelo’ and ‘The Singer’ and was Nick’s Cave flat-mate while he lived in Berlin.

Jochen Arbeit joined Blixa Bargeld’s now-legendary band, Einstürzende Neubauten, in 1993.

Finally, Thomas Wydler, Die Haut drummer since 1982, continues to perform with Nick Cave & the Bad Seeds.

Link: Die Haut Discography

Source: Sweat (WSFA 140V/Triple X 51184-3, 1993) — live video from Tempodrom, Berlin, August 1992, 66 minutes; directed by Rolf S. Wolkenstein

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March 9, 2009 Posted by | Die Haut, Music_Alternative, Nick CaveThe Loved Ones, _MUSIC, _VIDEO | Leave a comment

The Pixies Acoustic at the 2006 Newport Folk Festival

by Jonathan Furmanski

Vid from Train422 who says;

The only acoustic performance by the Pixies on their 2005/6 Tour appearing at the Newport Folk Festival. I shot this myself, and although a little shaky in parts (because of fatigue) it is well worth a look…

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March 9, 2009 Posted by | Music_Alternative, Pixies, _MUSIC, _VIDEO | Leave a comment

William S. Burroughs – Shotgun Painting (Film)

William S. Burroughs – ‘Shotgun Painting

film via ‘

This is related to Pollack’s drip canvases, although this is a rather more basically random process, there’s no possibility of predicting what patterns you’re going to get.

During his later years in Kansas, Burroughs developed a painting technique whereby he created abstract compositions by placing spray paint cans in front of, and some distance from, blank canvasses, and then shooting at the paint cans with a shot gun. These splattered canvasses were shown in at least one New York City gallery in the early 1990s.

In an interview with Gregory Ego, entitled “William Burroughs & the Flicker Machine,” as published in David Kerekes’ 2003 “Headpress (the journal of sex religion death),” William explains how he made ths shotgun art painting, and others.

Here’s an excerpt from the interview:

EGO: Are you still doing your “shotgun art?”

BURROUGHS: Oh, all kinds. Brushwork. Shotgun. Paint. Knife.

EGO: What exact process do you use for your visual art?

BURROUGHS: There is no exact process. If you want to do shotgun art, you take a piece of plywood, put a can of spracy paint in front of it, and shoot it with a shotgun or high powered rifle. The paint’s under high pressure so it explodes! Throws the can 300 feed. The paint sprays in exploding color across your surface. You can have as many colors as you want. Turn it around, do it sideways, and have one color coming in from this side and this side. Of course, they hit. Mix in all kinds of unpredictable patterns. This is related to Pollack’s drip canvases, although this is a rather more basically random process, there’s no possibility of predicting what patterns you’re going to get.

I’ve had some I’ve worked over for months. Get the original after the explosions and work it over with brushes and spray paints and silhouettes until I’m satisfied. So, there isn’t any set procedure. Sometimes you get it right there and you don’t touch it. The most important thing in painting is to know when to stop, when everything is finished. Doesn’t mean anything in writing.

EGO: It does rely to a high degree on chance — the shotgun art?

BURROUGHS: It introduces a random factor, certainly.

EGO: Just like the cut-up method.

BURROUGHS: Yes. But you don’t have to use it all, you can use that as background. There’re a lot of other randomizing procedures like “marbling.” Take water and spray your paint on top of the water and then put your paper or whatever in the water and pull it out and it sticks in all sorts of random patterns. And then there’s the old inkblot. [Ruffles imaginary paper] Like that. Sometimes they’re good only as background or sometimes you get a picture that you’re satisfied with at once. There is no certain procedure.

EGO: Allen Ginsberg proposed to me that the cut-up technique you developed with Brion Gysin is a sort of counter-brainwashing technique. Do you agree with that?

BURROUGHS: It has that aspect in that you’re breaking down the word, you’re creating new words. Right as soon as you start cutting, you’re getting new words, new combinations of words. Yes, it has that aspect, sure.

But remember that all this brainwashing and propaganda, etc., is not by any means expected to reach any intelligent corners. It isn’t expected to convince anybody that has any sense. If they can get ten percent, that’s good. That’s the aim of propaganda; to get ten percent. They’re not trying to convince people that have a grain of sense.

from ‘Ubuweb

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March 9, 2009 Posted by | William S. Burroughs, _ART, _LITERATURE, _VIDEO | Leave a comment

The Go-Betweens – Bachelor Kisses

The Go-Betweens – Bachelor Kisses
1984, Sire
mp3/ RS

Don’t believe what you’ve heard. Faithful’s not a bad word.

One of Grant McLennan’s greatest moments. One of modern music’s greatest moments!

An ostensibly simple song where a sumptuous melody wraps around beautiful, minimalist, plaintiff, ambiguous poetry.

I’ve played this track thousands of times down the years and it’s profound beauty never ever diminishes!

Spring Hill FairThis song was recorded in 1984 for the great Spring Hill Fair LP and released as a single in August 1984.

Spring Hill Fair was one of the first GB’s albums I came across way back in the day. My pal Kev, who had wonderfully eclectic music taste, was gushing about the LP and in particular this fine track. He popped it onto a cassette – yap, real high tech times! – and I played it so much, the f*cking thing eventually fell apart!

Below is the original video of the song.

by BooBooGBs

Hey wait, please wait,
Don’t rush off,
You won’t be late.
Wait, yes, he’ll wait,
The engine’s running
At the gate.

Don’t believe what you’ve heard,
Faithful’s not a bad word.

Oh, won’t you save these bachelor
kisses now, they’re for your brow.
Oh, won’t you save these bachelor
kisses now, they’re for your brow.

Hand, hands like hooks,
You’ll get hurt
If you play with crooks.
Your hand, that’s all he took,
The world opened up
For your looks.

Don’t believe what you’ve heard,
Faithful’s not a bad word.

Oh, won’t you save these bachelor
kisses now, they’re for your brow.
Oh, won’t you save these bachelor
kisses now, they’re for your brow.

The arcade lights are hanging down.
The rain surrenders to the town.
The world of men don’t mean a thing
When all they give you is a diamond ring.

Don’t believe what you’ve heard,
Faithful’s not a bad word.

Oh, won’t you save these bachelor
kisses now, they’re for your brow.
Oh, won’t you save these bachelor
kisses now, they’re for your brow.

But don’t be slave to bachelor
kisses now, they’ll break their vow.
But don’t be slave to bachelor
kisses now, they’ll break their vow.

– Grant McLennan

The Go-Betweens – Bachelor Kisses
1984, Sire

Side One:
Bachelor Kisses

Side Two:
Rare Breed

Released as 7″ and 12″ (with Unkind and Unwise (instrumental) ) vinyl single in August 1984: UK 7″: Sire W 9156

Here she be!

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March 7, 2009 Posted by | Go-Betweens, Grant McLennan, Music_Alternative, Robert Forster, _MUSIC, _PHOTOGRAPHY, _POETRY, _VIDEO | Leave a comment

The Go-Betweens – Cattle and Cane

The Go-Betweens – Cattle And Cane
1983, Rough Trade
mp3 / RS

In the sky, a rain of falling cinders. From time to time the waste. Memory wastes.
Another one of the late great Grant McLennan‘s finest moments, the sublime “Cattle and Cane” from the seminal and supremely influential Before Hollywood LP.

“Cattle and Cane” was released as a 7″ vinyl single in February 1983.

by bleed-the-sky

One of the first songs where Grant delved into clearly autobiographical subject matter; this time his growing up on a cattle station in the wilds of Queensland.

A beautiful melody here accompanies vivid pastoral poetry dredging up memories of better times. Youthful times. Times long gone in a faraway place.

This great song’s a celebration of those times and that faraway place. A sadness for those times. A longing for those times and for that place.

However, much like what Highway 61 represented for a young Bob Dylan growing up far from the big city in the remote rural heartland of Duluth, Minnesota, it’s “the railroad” here that represents for a young Grant an escape from the remote rural heartland of Queensland to the big city, the wider world of creativity, the future.

In the end, all he has of that treasured fledgling time is what exists in memory.

However, alas, as the lyric emphasises, “memory wastes … memory wastes.

Grant spoke about “Cattle and Cane” in an interview soon after its release in 83:

I wrote (the song) to please my mother. She hasn’t heard it yet because my mother and stepfather live (on a cattle station) and they can’t get 240 volts electricity there, so I have to sing it over the phone to her […]

I don’t like the word nostalgic; to me, it’s a sloppy yearning for the past, and I’m not trying to do that in that song. I

‘m just trying to put three vignettes of a person, who’s a lot like myself, growing up in Queensland, and just juxtaposing that against how I am now.

– Grant McLennan, 1983

In May 2001 “Cattle and Cane” was selected by Australasian Performing Right Association (APRA) as one of the Top Australian songs of all time.

art by etherealspace

I recall a schoolboy coming home
Through fields of cane
To a house of tin and timber
And in the sky
A rain of falling cinders
From time to time
The waste, memory wastes.
I recall a boy in bigger pants
Like everyone
Just waiting for a chance
His father’s watch
He left it in the showers
From time to time
The waste, memory wastes
I recall a bigger brighter world
A world of books
And silent times in thought
And then the railroad
The railroad takes him home
Through fields of cattle
Through fields of cane
From time to time
The waste, memory wastes
The waste, memory wastes
Further, longer, higher, older

– Grant McLennan

Two versions here, both great.

Firstly, the original video of the song, recorded in 1982 for the great Before Hollywood LP.

Secondly, the Go-Betweens perform Cattle and Cane live on Aussie TV on the show Rock Arena, in February 1983.

The Go-Betweens – Cattle And Cane
1983, Rough Trade

Side One:
Cattle And Cane

Side Two:
Heaven Says

Released as a 7″ vinyl single in February 1983: UK: Rough Trade RT 124
Australia: Stunn BFA 952

Here she be

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March 7, 2009 Posted by | Go-Betweens, Grant McLennan, Music_Alternative, Robert Forster, _MUSIC, _PHOTOGRAPHY, _POETRY, _VIDEO | Leave a comment

Bob Dylan 2009 Tour Dates

Bob Dylan 2009 Tour Dates
Bob Dylan will soon kick off on a major concert tour of Europe – another leg of the Never Ending Tour.

Dylan doesn’t have any tour dates schedules in North or South America for 2009 as of yet, though his schedule may change later as 2009 progresses. His last U.S. tour dates were in late 2008.

Tickets are still available for most of the events.

Here are the official 2009 tour dates:

March 23, Stockholm, Sweden; Globe Arena
March 25, Oslo, Norway; Spektrum
March 27, Jönköping, Sweden; Kinnarps Arena
March 28, Malmö, Sweden; Malmö Arena
March 29, Copenhagen, Denmark; Forum
March 31, Hannover, Germany; AWD Arena
April 1, Berlin, Germany; Max-Schmeling-Halle
April 2, Erfurt, Germany; Messehalle
April 4, Munich, Germany;Zenith
April 5, Saarbrücken, Germany; Saarlandhalle
April 7, Paris, France; Palais des Congres
April 8, Paris, France; Palais des Congres
April 10, Amsterdam, Netherlands; Heineken Music Hall
April 11, Amsterdam, Netherlands; Heineken Music Hall
April 12, Amsterdam, Netherlands; Heineken Music Hall
April 14, Basel, Switzerland; St. Jakobshalle
April 15, Milan, Italy; MediolanumForum
April 17, Rome, Italy; PalaLottomatica
April 18, Florence, Italy; MandelaForum
April 20, Geneva, Switzerland; Geneva Arena
April 21, Strasbourg, France; Zenith
April 22, Brussels, Belgium; Forest National
April 24, Sheffield, England; Sheffield Arena
April 25, London, England; O2 Arena
April 28, Cardiff, Wales; CIA
April 29, Birmingham, England; NIA
May 1, Liverpool, England; Echo Arena
May 2, Glasgow, Scotland; SECC
May 3, Edinburgh, Scotland; Edinburgh Playhouse
May 5, Dublin, Ireland; O2 Arena
May 6, Dublin, Ireland; O2 Arena

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March 3, 2009 Posted by | _ARTICLE, _BOB DYLAN, _MUSIC, _VIDEO | Leave a comment

Best Bob Dylan Impressions/ Parodies by Other Musicians/Celebrities

Aside from the Seuss thing, a few good Dylan impressions/ parodies here!

10. Joan Baez in “Mary Hamilton (Bob Dylan version)”

As well as this one, Baez has another hilarious parody in a version of “A Hard Rain’s A-Gonna Fall,” in which she sings all the questions (“Where have you been, my blue-eyed boy?” etc.) in her beautiful voice and all the answers in great nasally Dylan twang! Very strange and funny.

9. Benny Hill sketch

A Dylan parody by the late Benny Hill.

8. Paul Simon in “A Simple Desultory Philippic” by Simon and Garfunkel

[no embedding on this one, sorry]

6. Frank Skinner sketch

During an episode of The Frank Skinner Show, UK comedian Skinner does a parody of a Bob Dylan song bizarrely involving the news story of a man from Scotland beating HIV.

6. Weird Al Yankovic in “Bob” by Weird Al Yankovic

5. Hugh Laurie in A Bit of Fry and Laurie

[no embedding on this one either]

4. Ed Mann in “Flakes” by Frank Zappa

(At 1:19 in the video)

Note: the studio version of this one was done by Adrian Belew, an impression probably better than Mann’s. This one’s great too, though.

3. John C. Reilly in Walk Hard

2. John Lennon in an unreleased solo track

1. Mark Knopfler – his entire career!!

thanks to peterandrobmakelistsofthings


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March 3, 2009 Posted by | Benny Hill., Frank Zappa, Joan Baez, John C. Reilly, John Lennon, Mark Knopfler, Paul Simon, Weird Al Yankovic, _BOB DYLAN, _COMEDY, _MUSIC, _VIDEO | Leave a comment

Hottest horny hip-hop honeys!

What’s the main reason anyone watches Hip hop vids?

Easy! Hip-hop honeys. Dime pieces. Video vixens.

The bootiful girls who put the “booty” into “bootylicious”! The all important eye candy in hip-hop and R&B music videos.

There are a special few hip-hop honeys who form an elite group of chicks who have made careers out of appearing in these videos. Most of them, obviously, hope to jump-start acting or modeling careers, and every so often one of them goes on to make a name for herself for something other than shaking it on camera.

Here are some of the hottest and most successful hip-hop honeys to shake their rumps on the small screen.

They’re all really talented!

Keep up the great work honeyzzzz!

Maliah Michele - Credit: BlackJackSkanz.comMaliah Michele

Sample video: “Get It Shawty” – Lloyd Banks

According to several websites, Maliah Michele started out as an exotic dancer, but moved into the music video biz after being discovered by director Erik White. This hip-hop honey has appeared in videos for Lloyd Banks, T.I., Busta Rhymes, and The Game.

Esther Baxter - Credit: Esther-Baxter.infoEsther Baxter

Sample video: “Freek-a-Leak” – Petey Pablo

Esther Baxter first turned heads as one of the hip-hop honeys in Petey Pablo’s “Freek-a-Leak” video (and is often referred to as Miss Freek-a-Leak). She’s also appeared in videos for Ludacris, Will Smith, Ghostface Killah, Kanye West, and Ja Rule. Even though she claims to be retired from the music video game at only 23 years old, we can probably expect to see more of her again soon.

Karrine Steffans - Credit: Karrine.comKarrine Steffans

Sample video: “Hey Papi” – Jay-Z

Known throughout the rap community as Superhead (and apparently for good reason), Karrine Steffans was a music video mainstay before writing two best-selling books about her life as a hip-hop honey, which included details of her romps with a number of high-profile celebrities and entertainers including Shaquille O’Neal, Jay-Z, Nas, Xzibit, Kool G Rap (with whom she has a child), Method Man, Ja Rule, Vin Diesel, Busta Rhymes, Allen Iverson, and — um — political satirist Bill Maher.

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Meagan Good  - Credit: Meagan-Good.comMeagan Good

Sample video: “21 Questions” – 50 Cent

Meagan Good has been around for a while as an actress and model, but never really achieved the recognition she deserved. However, her hip-hop honey career was underway after turning up in several mainstream music videos — 50 Cent’s “21 Questions” in particular. She also had a short and stormy relationship with Jamie Foxx, which he continues to deny ever happened.

Melyssa Ford - Credit: Melyssa-Ford.netMelyssa Ford

Sample video: “Yeah!” – Usher

Melyssa Ford has appeared in countless music videos and set the standard for young aspiring actresses/dancers who want to break into the industry. The Toronto-born hip-hop honey is often referred to as Jessica Rabbit for her cartoon-like proportions. West Coast rapper The Game ridiculed her and many others in his famous dis to hip-hop honeys in the song “Couldn’t Get Far”: “They don’t know Melyssa Ford drives a Honda Accord.”

Jesikah Maximus - Credit: AllHipHop.comJesikah Maximus

Sample video: “Can U Werk Wit Dat?” – The Fixxers

Jesikah Maximus is relatively new to the hip-hop video scene, but she has already earned a spot among the industry’s most sought-after honeys. She has been eye candy in videos by The Fixxers and Ray Lavender, and this Mexican-American bombshell is sure to be a name we’re all familiar with soon.

Vida Guerra - Credit: VidasWorld.comVida Guerra

Sample video: “Shake Ya Tailfeather” – Nelly feat. P Diddy and Murphy Lee

Vida Guerra had a number of spots on Chappelle’s Show, but her major breakthrough came in 2004 when she was named FHM’s Model of the Year. After appearing in several prominent videos, including Nelly’s “Shake Ya Tailfeather,” she went on to launch her own music career and declared she’d never be in another hip-hop video unless she was doing the rapping.

After nude photos of her surfaced on the internet, she gained much attention when she posed for Playboy to show people “what she really looked like naked.” Great idea! All the other chocks should do that too!

So there you have it — the hottest video vixens in the game. These girls may not be household names (or even talented, for that matter), but so what! They’re certainly some of the sexiest babezzz around.

They may not do much more than shake their “tail feathers” and party on yachts with rappers, but that’s more than enough for them to earn a spot in the hearts of hip-hop lovers and wannabe gangstas around the world.


March 3, 2009 Posted by | Esther Baxter, Fifty Cent, Jay-Z, Jesikah Maximus, Karrine Steffans, Maliah Michele, Meagan Good, Melyssa Ford, Vida Guerra, _BABE, _VIDEO | Leave a comment