Gregory FCA's experience in publicizing on-line music companies provides
worthful resource as Pure Play launches its music chopine for independent
artists in the US and abroad
PHILADELPHIA, Aug. 13 /PRNewswire-FirstCall/ -- Pure Play Music, (OTC:
PPML), announced today that it has engaged Gregory FCA
(http://www.GregoryFCA.com) to publicize the international launch of a new
music platform for independent musicians to promote and sell their music
around the world.
Gregory FCA, listed by O'Dwyers PR ranking as one of the top 50 firms
in the nation, has a long history of having launched and supported the
public dealings efforts of such online music companies as CDNow, an
originator of on-line music retailing; Star CD, the groundbreaking wireless
music buying religious service; and LimeWire, the world's most democratic peer-to-peer
lodge sharing computer software.
"Our know in on-line music dates to the very origins of the music
industriousness through the Internet," says Gregory Matusky, President of Gregory
FCA. "I have yet to go through a company with a greater ability than Pure Play to
connect sovereign artists with their fans, gain exposure for their music,
and monetize their products."
"Music rights and the Internet have vastly transformed the music
commercial enterprise. Pure Play's unique good example enhances the role of independent artists
in the development of new music and trends by giving the consuming public
advanced exposure to the next generation of music and artists," says
Matusky.
Pure Play Music's online portal, hypertext transfer protocol://www.pureplaymusic.com, allows
unknown and independent artists to upload their music, and then use Pure
Play's unique music distribution channels in order to benefit airplay, make
awareness, tie with new fans, and generate royalties.
Pure Play currently has agreements in hand to expose independent
artists and their music to a retail surroundings of more than 25,000 stores
worldwide through the companies six genre-specific music streams, delivered
via satellite or online, service of process retailers across Europe. The Pure Play
model includes plans to expand worldwide.
"Gregory FCA provides Pure Play with a quick on-ramp to building
awareness with artists, labels, retailers, and others looking to find,
develop, and work with independent musicians who define the Pure Play
platform. We see their addition to our squad as vital to edifice our brand
and achieving critical mass with both indie artists and the consumers of
their talents and efforts," stated Alex Grange, CEO of Pure Play.
About Pure Play Music
Pure Play presently features and promotes over 6,000 acts from a tally
of 42 countries, all of which have been through the stringent Pure Play A&R
selection and legal process. Artists grant Pure Play specific non-exclusive
commercial rights to their medicine. The Pure Play Web site allows access to
the main radio circularise, six genre-specific music streams, on-demand music
tracks, creative person pages, business organisation directories, news articles, download store,
external gig guide, and legion other features, all of which
put up to an average thomas Nelson Page view quantity per visitant only exceeded by a
few constituted online communities. Under development for launch for the
end of 2008 is "Pure Play People," the Pure Play social networking platform
believed to be the future generation of both social networking and radio
broadcasting.
Safe Harbor:
This release includes innovative statements broadly identified
by phrases such as "believes," "expects" or "anticipates," "foresees,"
"forecasts," "estimates" or former words or phrases of similar meaning. The
Company's business strategy, expectation, objectives, plans, intentions, or
goals likewise are forward-looking statements and are subject to sure risks
and uncertainties that could grounds actual results to differ materially from
those in forward-looking statements.
More info
Tuesday 26 August 2008
Saturday 16 August 2008
Download Afroman
 Artist: Afroman: mp3 download Genre(s): Other Discography:  Jobe Bells Year: 2004 Tracks: 12 ![Afroholic: The Even Better Times [CD 2]](http://img.mp3fiesta.com/covers/16/16454/alb_63798_th.jpg) Afroholic: The Even Better Times [CD 2] Year: 2004 Tracks: 16 ![Afroholic: The Even Better Times [CD 1]](http://img.mp3fiesta.com/covers/16/16454/alb_63797_th.jpg) Afroholic: The Even Better Times [CD 1] Year: 2004 Tracks: 17 Born Joseph Foreman, Afroman may be the kickoff creative person to accomplish a ecumenical hit with the attend of the Internet. Citing his influences as Too Short, Big Daddy Kane, and 2 Live Crew, he began his blame calling in the eighth grade when he started devising homemade tapes of his own songs and passing them out to his classmates. He got his bring forth down as a performing artist at church service where he played drums and eventually affected on to playacting guitar. For a piece, he used to exploit as a baggage brute trainer at an aerodrome piece trying to relieve oneself an notion with his songs. He was placid living in East Palmdale, Los Angeles, when in November 1999 Afroman released his first album, Sell Your Dope, and played parties, sidewalks, and contests. Not finding L.A. to his liking, he stirred to Hattiesburg, MS, where he teamed up with drummer Jody Stallone and keyboardist/bassist Daryl Havard. In the spring of 2000 he concocted his second LP, Because I Got High, with producer Tim Ramenofsky. He distributed it at shows and with the help of T-Bone Records in Hattiesburg. The more multitude he performed for, the more give-and-take of mouthpiece spread, with non just a small avail from the Internet's controversial music-file swapping service, Napster. Someone world Health Organization got his hands on his medicine at a depict posted the track "Because I Got High" to Napster and on the spur of the moment everything changed for Afroman. Then Howard Stern's radio show boosted "Because I Got High"'s popularity by playing the song on his depict. The song "Because I Got High" was based on Afroman's inability to clear up his room. The song lists a telephone number of activities -- cleaning his room, going to court, attending class -- that come derailed because of "reefer lyssa." Afroman finally as well gained the aid of Universal Records, world Health Organization sign him to a six-album deal. His kickoff Universal album, The Good Times, was a compilation of his number one two LPs and a few unexampled ones. "Because I Got High" was too included on the soundtrack to Kevin Smith's motion-picture show Jay and Silent Bob Strike Back prima Matt Damon and Ben Affleck. "Because I Got High" became a vast hit around the macrocosm in the final quarter of 2001. When he returned in 2004, he did so in a big agency, with the double-disc Afroholic...the Even Better Times, albeit he did so severally. Free of Universal, he wrote, produced, and recorded Afroholic on his own, marketed it mostly via the Internet (web.afromanmusic.com), and toured with a live band. The holiday album Jobe Bells followed in 2004 and and then came Drunk'n'High in 2006. |
Thursday 7 August 2008
Monday 30 June 2008
Glenn Hughes and Joe Lynn Turner
Artist: Glenn Hughes and Joe Lynn Turner
Genre(s):
Rock
Discography:
Live In Tokyo
Year: 2002
Tracks: 14
Wednesday 25 June 2008
El Barrio
Artist: El Barrio
Genre(s):
Folk
Latin
Dance
Discography:
La Voz De Mi Silencio
Year: 2007
Tracks: 13
Angel Malherido
Year: 2004
Tracks: 12
Yo Sueno FlaMenCo
Year:
Tracks: 10
Mi Secreto
Year:
Tracks: 11
Me Voy Al Mundo
Year:
Tracks: 10
Mal de Amores
Year:
Tracks: 14
La Fuente del Deseo
Year:
Tracks: 14
Monday 16 June 2008
Jim Reeves
Artist: Jim Reeves
Genre(s):
Country
Other
Easy Listening
Discography:
Anthology (CD2)
Year: 2003
Tracks: 20
Anthology (CD1)
Year: 2003
Tracks: 20
(Double Platinum) CD2
Year: 2002
Tracks: 21
(Double Platinum) CD1
Year: 2002
Tracks: 20
The Essential
Year: 2001
Tracks: 20
Gentleman Jim - 1955-1959 (cd4)
Year: 1989
Tracks: 24
Gentleman Jim - 1955-1959 (cd3)
Year: 1989
Tracks: 25
Twelve songs of Christmas
Year:
Tracks: 12
Hurricane
Year:
Tracks: 22
Gentleman Jim - 1955-1959 (cd1)
Year:
Tracks: 32
Definitive Collection CD2
Year:
Tracks: 26
Definitive Collection CD1
Year:
Tracks: 21
Gentleman Jim Reeves was perchance the biggest male star to emerge from the Nashville wakeless. His mellow baritone voice and softened velvet orchestration combined to make a sound that echoed around his mankind and has lasted to this day. Detractors will call the reasoned country-pop (or plain pop), merely none toilet argue against the large interview that loves this music. Reeves was capable of singing heavy state ("Mexican Joe" went to number one in 1953), merely he made his greatest impact as a country-pop balladeer. From 1955 through and through 1969, Reeves was consistently in the country and pop charts -- an awe-inspiring fact in light of his wrong death in an plane fortuity in 1964. Not only was he a presence in the American charts, just he became country music's frontmost international ambassador and, if anything, was even more than popular in Europe and Britain than in his native America. After his decease, his fan base didn't belittle at all, and several of his posthumous hits in reality outsold his earlier singles; no less than sextet number one singles arrived in the trey days following his burial. In fact, during the '70s and '80s, he continued to accept hits with both unreleased real and electronic duets like "Take Me in Your Arms and Hold Me" with Deborah Allen and "Feature You Ever Been Lonely?" with his smooth-singing distaff opposite number of the plush Nashville wakeless, Patsy Cline, wHO likewise perished in an airplane crash, in 1963. But Reeves' legacy remains with lavish country-pop singles like "Four Walls" (1957) and "He'll Have to Go" (1959), which defined both his style and an entire era of nation medicine.
Reeves was born and raised in Galloway, TX, where he was one of nina from Carolina children. Tragically, his male parent died when Jim was only tenner months old, forcing his mother to farm and rear her family. At the age of quint, he was granted an sure-enough guitar, and shortly later, he heard a Jimmie Rodgers record through his elder brother. From that moment on, Reeves was captivated by country medicine and Rodgers in fussy. By the time he was 12 eld old, he had already appeared on a radio show in Shreveport, LA. Though he was transfixed with music, Reeves also was a talented jock and during his teens he distinct he was sledding to pursue a life history as a baseball player. Winning an athletic scholarship to the University of Texas, Reeves enrolled at the schooltime to survey speech and dramatic event, only he dropped out later six weeks to work at the shipyards in Houston. Soon, he had returned to baseball game, playing in the semipro leagues in front sign language with the St. Louis Cardinals in 1944. He stayed with the squad for trey long time in front seriously injuring his ankle joint and thereby ruining his chances of a extended athletic career.
For the next few age, Reeves went through and through a number of blue-collar jobs patch trying to decide on a professing. During this time he began singing as an amateur, coming into court both as a solo creative person and as the frontman for Moon Mullican's band. In 1949, Reeves cut a number of songs for the small self-governing Macy mark, none of which were particularly successful. In the early '50s, Reeves distinct that he would make broadcasting his occupational group, initially working for KSIG in Gladewater, TX, before establishing himself at KGRI in Henderson. Over the succeeding few age, Reeves was a disk jockey and newscaster at KGRI, moving to KWKH in Shreveport, LA, in November of 1952, becoming host of the popular Louisiana Hayride. Late in 1952, Hank Williams failed to make an appearance on the show, and Reeves panax quinquefolius in his home. His performance was enthusiastically received, and Abbott Records immediately signed him to a record contract. "Mexican Joe" was Reeves' debut single for Abbott, and it cursorily climbed to number one in the spring of 1953, disbursal nine weeks at the peak of the charts. It was followed by another number one come to, "Bimbo," later in 1953, establishing that Reeves was not a one-hit wonder; by and by that same year, he was made a full-time member of the Louisiana Hayride. During 1954 and 1955, he had four-spot early arrive at singles for Abbott and its parent caller, Fabor, before RCA gestural him to a long-run deal in 1955; that same year, he united the Grand Ole Opry. At RCA, Reeves began to develop the distinctively fluent, luxuriant, and pop-oriented expressive style of rural area that made him a ace and earned him the cognomen Gentleman Jim. Peaking at number quaternary, "Yonder Comes a Sucker" was his first gear Top Ten pip for RCA in the summer of 1955. It kicked off a remarkable streak of 40 come to singles, most of which charted in the Top Ten. Many of his singles too became pop crossovers, which indicates just how much of a pop influence there was on his music. Indeed, Reeves' vocal style derived from the crooning of Frank Sinatra and Bing Crosby, and early in his career he abandoned cowhand outfits for upscale suits. In the march, he brought country music to a novel, urban audience.
Throughout the '50s and early '60s, Reeves racked up a number of major hits and land classics like "Little Joe Walls" (number one for ashcan School weeks, 1957), "Anna Marie" (1958), "Dismal Boy" (number iI, 1958), "Billy goat Bayou" (number one for basketball team weeks, 1959), "He'll Have to Go" (number one for 14 weeks, 1960), "Good-bye Amigo" (number iI, 1962), "Welcome to My World" (number iI, 1964), and "I Guess I'm Crazy" (number one for seven-spot weeks, 1964). "Four-spot Walls" was the turning point in his career, proving to both Reeves himself and his producer, Chet Atkins, that his main informant of achiever would come from ballads. As a resultant role, Reeves became an level bigger principal, not only in America simply throughout the earth. Reeves toured Europe and South Africa, building a strong following in countries that rarely had been open to rural area medicine in the past.
Reeves was at the summit of his vocation when his private plane crashed outside of Nashville on July 31, 1964. The bodies of Reeves and his director, Dean Manuel, were set up 2 days after and were buried in his homestate of Texas. Though Reeves had died, his popularity did non fly -- in fact, his gross sales increased undermentioned his death. Throughout the late '60s, RCA released a series of posthumous singles, many of which -- including "This Is It" (1965), "Is It Really Over?" (1965), "Distant Drums" (1966), and "I Won't Come in While He's There" (1967) -- hit number one. The antecedently unissued songs were oftentimes interracial in with previously released material on album releases, making his catalog perplexing only profitable for RCA. The flow of unreleased Reeves material did non finish during the '70s or '80s -- in fact, there wasn't a twelvemonth betwixt 1970 and 1984 when there wasn't a Reeves single in the charts, either at the elevation or in the frown regions. Reeves was inducted into the Country Music Hall of Fame in 1967, and 2 years later, the Academy of Country Music instituted the Jim Reeves Memorial Award. Though the inundation of unreleased substantial ceased in the mid-'80s, the cultus encompassing Reeves ne'er declined, and in the '90s, Bear Family released Welcome to My World, a 16-disc box set containing his integral recorded works.
Exclusive: Spears' Mom Contacted Dr. Phil
Monday 9 June 2008
Busted - Ex-busted Members Lose Royalties Battle
Two former members of defunct British pop group BUSTED lost a $20 million (GBP10 million) battle for the band's song royalties at London's High Court on Friday (06Jun08).
Ki MCPhail and Owen Doyle claim they helped to pen four tracks including Year 3000 and What I Go To School For with James Bourne and Matt Willis when they formed a group called The Termites in January 2001.
The band then changed their name to Busted after signing to a management company in March that year (01).
But when MCPhail and Doyle were fired from the band 10 months later, they are alleged to have been forced by "threats" and "undue pressure" to sign away their royalty rights to Bourne and Willis.
The two songs in question then became hit singles for the remaining members of Busted, with new recruit Charlie Simpson on lead vocals.
The duo launched the lawsuit seeking $20 million (GBP10 million) earlier this year (08).
However, Judge Morgan dismissed all their claims at the latest hearing - critisising the evidence they provided in court, saying of Doyle, "(He) was not a reliable witness. He manifested a high degree of confusion and a failure to grasp the detail in relation to many of the significant events".
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