Bassist Roger Waters and drummer Nick Mason were working through marital strained relations, which would end in divorce for both couples. Within Abbey Road, Waters and guitarist David Gilmour were quarreling over musical direction—the early stages of a friction that flared into an all-out conflagration by the time the group made The Wall some four years later. In these volatile relationships, Waters found his grand theme for Wish You Were Here : the music business itself, and its tendency to crush the dreams of those who pursue fame, fortune and a chance at creative self-expression.
And for me, Wish You Were Here is the most satisfying album. I really love it. They came out of L. The aptly named Rage Against the Machine combined the ghetto anger of hip-hop and the testosterone fury of metal with a keenly felt political mandate to champion the oppressed and fight the abuses of privilege and power. It was a new and exciting concept back then, and what really drove the point home was the fiercely disruptive guitar work of a Harvard educated young Marxist named Tom Morello.
The napalm cry of exploding bombs, the jagged rhythm of strafing machine guns—Morello wrought seemingly impossible sounds with his ax and became an innovative and radical force in metal, as Hendrix and Van Halen had before him. The rhythmic freedom they have to drop sounds into a track. Peaking at No. Unlike Jeff Beck on his jazz-inspired Wired and Blow by Blow albums, Satch aimed below the belt instead of at the brain, rocking out with balls-to-the-wall abandon.
The Stones were on a roll in the early Seventies, riding out a long creative streak. Exile on Main St. Richards was wasted on smack but in top musical form, nonetheless, and coguitarist Mick Taylor was fitting like a glove. Exile was a perfect moment in the summertime of rock that would never again be equaled by the Stones—or anyone else. It came out of a haunted mansion in the Hollywood Hills—the album that established the Red Hot Chili Peppers as major-league contenders in the game of rock.
By this point, the Peppers had survived the Eighties L. But now they had John Frusciante in the fold, not to mention producer Rick Rubin, who worked with the band for the first time on Blood Sugar Sex Magik. Breaking into the mainstream was a real change in our lives.
Also it was a time when John brought a whole new concept into the band as a guitar player and songwriter. It suddenly gave us so much more to draw from—a bigger launch pad for us all to get launched into outer space from. What you have with Number of the Beast is the musical equivalent. Prior to its recording, Iron Maiden were a band in transition. Now, the remaining members—bassist Steve Harris, guitarists Dave Murray and Adrian Smith, and drummer Clive Burr—faced the challenge of building upon their accomplishments with an unproven frontman.
What happened next is the stuff of modern mythology. Dickinson, then the singer in Samson, had been watching Maiden from the pit on their tours—and thinking that he could do a rather better job of fronting them.
The Beast lineup was in place, consolidated by the return of Martin Birch, the production legend who had given Killers its muscle and whose past clients included Deep Purple and Black Sabbath.
With little more than a desire to make a record that would maintain their career trajectory, Maiden headed into the Battery Studios to start work. When they lef, they were armed with what many consider the most important metal album of the decade.
The Number of the Beast was anything but a lobotomized metal juggernaut. Thanks in part to Dickinson—who, alongside his abilities as a vocalist, was obsessed with military history, fencing and literature—the new album combined its aggression with imagination and an awareness of culture. Some burned the record in mass bonfires; others battered it into shards with hammers.
As the band toured the U. Fortunately, the hand wringing of the minority could not change the fact that Maiden had found their audience. Even with no airplay and little marketing, The Number of the Beast reached 33 on the Billboard Pop charts, earning a Gold disc the following year and going Platinum a few years later, setting up the band for the hallowed position they occupy to this day.
Stevie Ray Vaughan had a tremendous impact in his too-brief career, which featured just four studio albums and one live recording. From the moment his debut, Texas Floodhit the streets inVaughan made the world safe again for old-school blues-based rock and simultaneously took the music he loved into the future.
His impassioned, yet highly technical, style altered the perceived parameters of virtuoso guitar playing. This two-CD collection features 33 of his best tracks, each beautifully remastered, and makes an excellent starting point for anyone who wants to dig into this modern master. Music fans who viewed other grunge acts as too aloof or just too damned weird suddenly had new heroes.
People can tap into that. Album) know something real is coming from that. That comes in his singing and writing, and hopefully our music backs that up. Their debut, Undertowwas harsh and compelling, but Tool paved their more experimental future with Aenimatheir sophomore outing.
Guitarist Adam Jones plays an equal balance of crushing chords, jagged riffage and ominous noodling, and the unusual time signatures and sprawling passages keep the tension in the songs building until the fierce, climactic release. Emotionally, it was a whole different story.
James Hetfield, Kirk Hammett and Lars Ulrich were shattered from the death of bassist Cliff Burton two years earlier and still had not did they ever? Whatever the reason, the production on Justice -harsh, unsettling and bone dry-accentuates the music's raw-nerve intensity. For all of its idiosyncrasies, Justice quickly eclipsed the success of Master of Puppets upon its release. Talk about disturbing. But …And Justice for All is not significant for these moments of mainstream triumph.
Rather, it is a remarkably raw and Album) document of a band exorcising their demons, as well as the sound of thrash metal pioneers taking the music they helped to create as far as possible before washing their hands clean of the whole damn thing for good. We always wanted to come together, but never had the time. I grew up in time when that was the most important thing and everyone had his or her own unique approach to music. My heart is in everything I do. Also, I stress that they develop their own unique abilities, along with respecting and refining what they have.
My voice is my life experience, my stories, the love that I grew up in, the tragedies and the victories that I have experienced. All that stuff is very much a part of my life and a part of inspiring my instrument. I grew up in multi-generational household where I could see the lines of generations of the music. The lines were never blurred and I could see the progression. I had great aunts and uncles whom were musicians playing their music. I had an uncle Charles Burrell who was a classical musician, but also a wonderful jazz bassist.
My older sisters and mother all listened to different things. It was the experience I had in the music when I started singing that was broad. So it was the times that erawhich was my greatest inspiration.
LA Jazz Scene: Why did you choose to sing instead of playing an instrument? Dianne Reeves: You go for what you feel passionate about. I started out playing piano, but I always like singing. Dianne Reeves: I went to Catholic Church and school. My family was interesting and on Sunday mornings everyone got up and went to different places.
A lot of times I would go with my neighbor who was Baptist. My mother viewed it all as spirituality so you could catch me at a lot of different churches. But every morning before school I had to go to mass at a Catholic church.
I made something outside of music that ultimately will inspire my music. It was needed! Most of my time in LA was good and I still come back all the time. I learned all the secret places to avoid traffic and can maneuver around there pretty well. I view it as my second home. I was expectant and excited when I heard that Harold Land, our beloved Los Angeles-based, tenor saxophone icon, will be part of a new project. A record company that calls itself Reel to Real Recordings launched in Its mission is to unearth important and previously unreleased jazz performances.
Their focus is on important archival and legendary artists. They were recorded at the Penthouse jazz club way back in through This original composition by Harold swings hard. Bassist, Monk Montgomery, is powerful beneath the excitement, walking his upright bass and holding the rhythm in place along with Jimmy Lovelace on drums.
Pianist Buddy Montgomery is tasty and creative as his fingers skip along the piano keys. He got a late start on his instrument, deciding to pursue the tenor saxophone at age sixteen. His gift on the instrument was immediately noticeable. Sometime between andHarold Land moved to Los Angeles. Thus, was born the Brown-Roach collaboration and band. However, Harold Land grew homesick and perhaps was concerned about his then pregnant wife, so he returned to Los Angeles.
Consequently, he was replaced by Sonny Rollins. Just a year after he returned to L. Inon a rain-slick Pennsylvania Turnpike, while driving to a gig in Chicago, the three suffered a deadly accident.
One of the few, if only known taping of trumpet prodigy Clifford Brown, was from an appearance on the Detroit-based Soupy Sales Show. The band is behind the curtain with Clifford out front and interviewed briefly by Soupy after his performance. Harold Land has a warm, buttery sound on his saxophone.
Drummer, Jimmy Lovelace, propels this bebop tune forward on his trap drums and Monk Montgomery sticks with him like Velcro, pumping his walking bass vigorously. This historic album is made up of various bands and concerts that Harold Land performed in Seattle. Montgomery remains the bassist and this lovely ballad unfolds with Hampton Hawes performing an ear-catching introduction on piano. When bass man, Curtis Counce invited Land to join his band, Harold said yes and worked with them between and The album cover featured the legendary Watts Towers looming behind Harold playing his tenor sax.
You clearly hear his hard-bop prowess sparkling on these albums. All through the s, Harold Land was in demand as a studio session musician. He also worked regularly with Red Mitchell throughout and He co-led a band with Bobby Hutcherson from to These beautiful ballads, made famous by Billie Holiday showed the softer, more romantic side of Harold Land.
His band is stuffed with legendary talent including L. Monk Montgomery is still on bass and this quartet was recorded on August 5 of at the Penthouse jazz club. Land was a professor at the University of California, Los Angeles. Harold Land left this Earth in July of after suffering a terminal stroke. This historic album continues to sing his legacy. Born July 31,in my hometown of Detroit, Michigan and currently based in Los Angeles, Kenneth Earl Burrell is a legendary jazz guitarist who celebrated his 90th birthday yesterday.
Happy Birthday, Kenny Burrell! This musician was born during a time when the Motor City was producing a wealth of jazz talent; many who were destined to become iconic jazz legends, including Kenny Burrell himself. At age six, his father died and his loving mother worked hard to raise and support her three sons.
Kenny had two older brothers, Donald and William Burrell, who was eleven years older frequently played jazz records. He introduced Kenny to artists like Charlie Christian. This was prior to the Charlie Parker era. All three brothers played guitar. It was during World War II, in the early forties that young Burrell made a conscious decision to become a professional musician. At first, he wanted to play a saxophone, but he settled for guitar, because it was more financially accessible.
I bought a guitar for ten bucks at a pawn shop. Later, at Miller High School, there was a jazz band … I played both guitar and upright bass in the band. I think that band had an influence on me. Burrell developed into a post-bop musician, steeped in straight-ahead, traditional jazz and rooted deeply in the blues.
Working around his hometown, Kenny honed his guitar skills playing with some of the greatest musicians that ever lived. When Kenny was nineteen years old, Dizzy Gillespie came calling. That was a huge lift for me because I recorded with Dizzy. In that month, Coltrane and I became friends and remained friends.
We were about the same age. That was the first time Dizzy had a group with no piano and the guitar had to perform chordal. That worked out fine for me because I had already formed a guitar, bass, drum trio in Detroit.
I was comfortable playing that style. Milt Jackson was in the group and Percy Heath was on bass. Kenny thought Milt might have recommended him for the gig with Dizzy, but he admits he never asked Milt Jackson about that call he got and making that historic recording session.
Kenny must have been outstanding, because even though he was a teenager, Dizzy offered the blossoming guitarist a job with his quintet. She said the famous musicians would come calling again. He followed that parental guidance and she was right. As you know, Dizzy was a pioneer in Latin jazz. He even backed-up soul singer, James Brown, showing his vast versatility on guitar.
Burrell stayed in school, got his degree and after graduating college inhe took a Belt (Acoustic) - Say Anything - .Is A Real Boy (Vinyl touring with the phenomenal Oscar Peterson. Soon after, he relocated to New York City.
As a thoughtful, gifted accompanist he landed work with Tony Bennett and Lena Horne. He could bebop and swing with the best of them. He shared a special memory with the attendees, quite animated when telling us:.
He and John Coltrane recorded several records together, but this original recording was first released on the New Jazz label and later, the same recording was released on Prestige and quickly distributed all over the world.
Amazingly, he took the chair that once belonged to the man he admired as a young musician; Mr. Charlie Christian. This album received more rave reviews. Kenny Burrell recalled having regular jam sessions back in Detroit before he moved to the East Coast. We used to get together to play and. When I was coming up, there was hardly any sheet music for the jazz records we were listening to… so, we would transcribe the melody, the harmony and the bass lines.
That was important in terms of ear training and memory. You had to figure out what chords they were playing. He has consistently been about education and passing on the legacy of jazz music. Professor Burrell feels that one of his jobs of joy has been to take a student aside, after they play some little thing that is unique, and to closely examine their individuality.
You might want to work on that. The important lesson he taught his students was for them to be themselves. He was working in the Pit Band of two Broadway musicals when he began writing music for this recording. Blue Note wanted another album from Burrell and he used his down time, in between working on these shows, to compose new music.
Kenny Burrell asserts that music is spiritually based. He thinks Charlie Parker was a perfect example of this premise. He was expressing his inner soul. Burrell endeavors to do the same thing. He believes that combining intellect, soul and the courage to be yourself is the key to becoming a great musician. Kenny explained it this way in a recent interview:.
It always works if you allow your inner-self to come and play. A balance between head and heart; your intellect and your emotions. He is one of the most innovative, versatile and important jazz guitarists of this century. Unapologetically, Brian was drawn to the bass by accident years before this first album was released.
Let me explain. His father, Howard Bromberg, was a prominent drummer in Tucson, Arizona, where baby Brian was born and raised. I bet the Bromberg house was raucous with rhythm and music. I asked Brian, how his mom handled a house full of drummers. My dad was a jazz drummer and my older brother played drums and so did I. After I fell in love with the bass, I practiced day and night. At thirteen, a youthful and talented Brian Bromberg was already getting gig calls to play his drums. In elementary and junior high school, teenaged Brian also became attached to the cello.
One day, the orchestra director at Mansfield Jr. High in Tucson was afraid the tenacious and gifted drummer was going to saw the school cello in half. So, the music teacher diverted Brian Bromberg to the acoustic bass instrument. After all, it was an important part of any rhythm section, but it could also sing melodies and provide harmony. Young Bromberg put down his sticks, laid aside the cello and happily picked up the gigantic double bass.
From age fourteen to eighteen, he was fanatical about practicing and mastering his new-found, bass instrument. While attending high school, Brian was also taking music classes at the University of Arizona. Clearly, he was intent on becoming a professional musician. His family supported his dream. While still in high school, Brian was playing in the university orchestra, in the lab band and he found himself drawn to performances with their jazz combo.
After all, he grew up under the tutelage of a jazz drummer. At the Bromberg home, there was always jazz playing and Brian was drawn to both jazz and classical music.
Even as a teenager, I was into jazz and listened to jazz. At first, I was a purist. I was into acoustic jazz and classical. I was playing in the orchestra. I listened to all the big band stuff and to Sarah Vaughan. When Bill Evans came to Tucson, touring, the genius pianist was using Marc Johnson as his bass player. Somehow, Marc heard young Brian Bromberg playing his bass. He was memorably impressed. Not long after, Stan Getz happened to mention to Marc Johnson that he was looking for a young bass player to take on the road with him and to mentor.
Marc immediately flashed back to Tucson and young Brian. The call was made and inwhen the young man was a mere nineteen years old, Brian Bromberg joined the great Stan Getz Quintet for a world-wind tour.
The music was great, but I learned more about humanity, because I got to travel the world. I saw the world and different cultures. But, dealing with Stan Getz; that was an interesting experience because of his mental state, which was usually altered most of the time.
Being a teenager, a normal kid from Tucson, Arizona, who grew up in a very normal lifestyle, to all of a sudden be hanging out with somebody like Stan was quite an experience. I mean, he used to be a heroin addict, a cocaine addict, he smoked pot constantly. He was a heavy drinker. Stan taught me a lot about humanity and, in some instances, about who I did not want to become.
But the music was amazing. He was such a brilliant musician! So, that was incredible. InBrian Bromberg relocated to Southern California.
I asked him how that happened. He was doing a record for Japan and somebody from the Japanese label said you need to get Brian Bromberg on bass. Phil said; Brian who? I was living in Arizona at the time. For whatever reason, the band knew who I was and knew my playing. So, somebody told Phil; you have to have Brian Bromberg on this record. Consequently, I got the call, came to L. Then, I went back to Tucson. A few weeks later, Phil calls me up and he said, man, you were great.
Look, if I got some gigs, would you come out here and work. I said sure. So, he calls me back with enough local gigs to relocate to Los Angeles. Back in those days, there were plenty of gigs. Phil had months of gigs booked in advance. I asked him about the times he toured with Eddie Harris and inquired about what he got out of that relationship?
He was really fun to hang with and fun to play with. Eddie was great and I say this with love and respect; he was just out of his mind in a good way. His sense of humor and spark and energy; oh, he was great. It was really fun playing with him, because he was just crazy and you never knew what he was going to do. He played with all these gadgets and did things no one had done before; blew his saxophone through those things.
I had a lot of respect for Eddie Harris. In one way he had a lot of fame and success. I think he was a really a cool blend between the funky, contemporary stuff and the real straight-ahead stuff.
He could do both. This writer thinks Brian Bromberg, himself, is a genius in his own right. Like Eddie Harris, Brian can play many styles of music and he plays them all with excellence. This is exemplified in the long list of recordings he has made as a bandleader performing both smooth jazz and traditional, straight-ahead jazz. Music just kept pouring out of him. Inhe reached back to his acoustic roots, embracing a traditional jazz path. He walked up that road successfully with Doug Webb and Ernie Watts on saxophones, Freddie Hubbard on trumpet, Mike Garson, dramatic and emotional on piano and Mitch Forman bringing his own spice and brilliance to the eighty-eight keys on some tracks.
Minneapolis was another smash hit album. The other creative discovery Brian made in his career is the mastery of the piccolo bass. When I started playing bass, I realized I had this melodic side to me. I started messing around with changing the tuning of my bass and one day, I tuned the strings an octave higher than my regular bass. I started playing all this stuff and I said, Holy Mackerel.
You know, when you play bass chords down low, they sound kind of muddy. And it rewired me. For whatever reason, I started playing it more and more. I realized I have all this melodic stuff inside of me and it came out and excited me. What the piccolo bass did for me was allow me to sing. I was playing melodies and telling stories. I had no idea all this stuff inside of me even existed. It helped me communicate with music in that register. It was perhaps because it was higher and tuned like a guitar.
So, all of a sudden it totally changed my playing, my phrasing and my melodic thought. I put my fingers in the same place as a regular bass, but it just sounds different. It became a voice of mine. It made me grow into the music. It made me better. It forced me to be better. I love it. I get to play music, not just the bass. It shows me that so many of the limitations we have are our own. I try not to be limited by my instrument. The instrument challenges me.
It was produced virtually, using technology to synchronize the musicians together during the quarantined, pandemic year of This album is back to his smooth jazz, funky style. They supply a rhythm track that bounces like a trampoline for Everette Harp to showcase his dancing saxophone. Tom Zink is on every track of this new CD, adding keyboards that fatten the arrangements. Always pushing the boundaries of his creativity, Brian Bromberg began to design basses. He wanted something comfortable to hold, ergonomically shaped, with high quality and a resonating tone.
His next project was starting a radio show that exclusively introduced bass players to his listening audience. It exceeded my expectations in many ways. We had listeners in countries and it was incredible. I had a lot of luck as a bass player. I wanted to give other bass players a platform to be heard.
Most Belt (Acoustic) - Say Anything - .Is A Real Boy (Vinyl the record labels are gone and there are so many bass players out there worthy to be heard. A few companies believed in us and gave us a shot. But the Industry let us down with no willingness to support the global bass community. None of the magazines supported us. There are hundreds of companies that make bass equipment who had no interest in taking out ads on our show.
If you think about it, the people listening to our show were mostly bass players. Bass players buy strings, straps, instruments, cases, all that stuff. They buy cars to get to gigs. They get financed by Wells Fargo, just like I did. I had overhead. I would have liked to see more industry support. Consequently, I had to shut it down. This is music you can pop into your car CD player, or pull up on your phone and head to the open highway.
It was so good to speak to my longtime friend and gifted bassist, Tomas Gargano last week. As we chatted, I discovered some little-known facts about his life and musical career. Always in celebration of the history and legacy of jazz, Tomas was inspired early-on by his father, a man who initially had aspirations to become a saxophone player. Then, my father bought me a cheap, eighteen-dollar guitar. I started playing that. My father also played Count Basie in the house, relentlessly, at a very high volume.
I was seven years old. My father was a frustrated saxophone player. So, I played saxophone until I was sixteen years old. From that seven-year-old moment, staring up in awe at Marshall Royal and the Count Basie Big Band, Tomas Gargano fell in love with the bass instrument. SlumberlandFortuna Pop! Pop punkindie rockemo. Love, Hate and Then There's You. Rockelectronic.
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The Enemy. Music for the People. Together Through Life. Folk rockblues rock. Hard rockpost-grunge. The Devil You Know. Heavy metaldoom metal. RhinoRoadrunner. No song better married the experimental impulses of American Life with her more accessible pop sensibilities like this topsy-turvy electro-romp, which simultaneously romanticized dreams of Tinseltown stardom while also calling out their emptiness.
Of course a song about the phoniness of the entertainment industry would soundtrack her infamous stunt at the '03 VMAs. As Madonna slips from lovestruck coo to sultry contralto, producer Nile Rodgers peppers in sprightly guitar and wry giggles from the star herself. The lyrics to this True Blue Hot topper, of course, started a firestorm for the lightning-rod pop star when it came out inwith critics unfairly accusing her of glamorizing teen pregnancy and typically anti-Madonna conservatives praising what they saw as the song's pro-life message.
But the real melodrama was in the music, with dramatic, staccato strings accompanying a driving dance beat that perfectly matched the urgency of the song's pleading message.
Despite its most famous quote being about crying, you wouldn't necessarily think of baseball dramedy and all-time what's-on-TBS-today classic A League of Their Own as a tearjerker -- until you remember "This Used to Be My Playground.
A half-decade before "Blurred Lines," The Neptunes granted Madonna a very similar bass-and-cowbell shuffle for her finest Hard Candy single. The song stiffed on the charts at the time, peaking at No.
I lived so selfishly. An icy declaration via alter ego Dita Parlo that it was time to kick open the doors on kinks and own them without shame made plenty of prudes bristle in But years of dirrty followers have proven that not only was Madonna fingering a chord that was already deep within our collective unconscious, but few can do it better than M when it comes to getting raw without pandering or risking exploitation.
One of Madonna's biggest early hits -- and the one most despised by the singer herself. Madonna has worn plenty of hats in her career, and for the Music era she literally decided to grab her best Stetson and become a full-blown cowgirl. But for Madonna, it landed her yet another top five Hot hit. The devastating truth at the core of "Live to Tell" is never revealed, but also "never far behind," the knowledge leaving Madonna both empowered and paralyzed.
But as captivating as the lyrics are, the song's most affecting Album) is its pre-bridge dissolve, where only the dramatic waves of synth remain, a moment of seeming crisis or revelation before a fragile Madonna gently reintroduces herself to the melody: "If I ran away I'd never have the strength to go very far.
This irresistible dance hit is a nightclub nursery rhyme, taking the children's poem "Star Light, Star Bright" and flipping it into a sexy Studio 54 come-on about heavenly bodies. Madonna is credited as the sole songwriter on the track, so she gets full credit for taking advantage of the rote simplicity of a nursery rhyme and turning it into a radio-ready earworm, with a music video that created the first of many iconic looks for the burgeoning superstar.
Madonna's career has been too mutli-faceted to reduce to a simple two-word message, but "Express Yourself" would probably be a pretty good start: From her "Material Girl" days to her Rebel Heart era, self-expression, and the need to identify what you want and then go out and get it, has always been paramount.
Speaking of that clip, when you're grabbing "Express Yourself" for party playlists, make sure you pass over the overcooked Like a Prayer version for the much tighter video edit, found on the Celebration compilation. Makes the people! Come together…. In reality, the dirtiest part of the song is the drum loop, a smoked-out, bass-bombed James Brown-via-Public Enemy shuffle that suggests all kind of nocturnal activities -- expanded upon only lightly by Madonna's lyrics taken from a poem by former Prince protege Ingrid Chavezwhose calls for emotional intimacy are more provocative than any carnal fantasy described.
But just because it's not explicitly NC doesn't mean the song's eroticism isn't still palpable and formidable -- few moments in pop history are as sexually charged as the chorus, where everything drops out but Madonna " Wanting. To justify my love.
For the very first time? Madonna was a big enough star in the '90s that an album like Bedtime Stories could go multi-Platinum and spawn a seven-week Hot No. The song became iconic enough that Rihanna could borrow its skeleton for her own breakup ballad a decade later, without needing to make the callback any more explicit than its title. You could check into a hotel in your own town for a short staycation, but wouldn't it be cheaper to just go to the club instead?
Madonna preaches the power of dance to escape from everyday worries, borrowing the British variant of holiday for her first mainstream American hit and marking her maiden voyage to the Hot top It turned out that one of her most carefree singles is what quickly made top 40 radio care about her, starting a fixation that would last for a stunning 33 consecutive top 40 hits from there. With the help of go-to '90s producer Dave Hall Mary J.
It shouldn't work, really: Madonna adapting a folk tune and turning into a raving adrenaline-fest that sounds like what you'd probably hear if you took a Hyperloop train to the center of the sun in the year But just go with it -- that's Madonna does. Why exactly is she addressing a zephyr in the sky at night? Is getting home from work a cause for celebration or an admission of defeat? Who cares! There's a reason Madonna doesn't finish her sentence half the time when she wails "And I fe-el You might try to resist, but once it starts playing, you have no choice but to let your body go with the flow.
Religious iconography has been a key part of Madonna's image since she wore a rosary dangling above her "Boy Toy" belt buckle at the VMAs. Or, really, since her name was first scribed on her birth certificate.
Rock Paper Scissors (Dynamite Remix) - Andrew Huang - Remixes (File, MP3, Album), Logans Run - The Weird Lovemakers (2) - Electric Chump (CD), The Hawaiian Wedding Song (Ke Kali Nei Au) - Joe Maize And His Cordsmen - Isle Of Dreams (Instrument, Wonderful Day - Various - This Is Techhouse (CD), Oh Lala, Sie Hat Rotes Haar - Various - 56 Deutsche Evergreens (Vinyl, LP), On The Slide - Glass (32) - Saudade (Vinyl, LP, Album), Monster (Part II) - The Audreys - Collected (CD, Album), Black-Eyed Katy - Phish - Livephish 12.30.97 Madison Square Garden, New York, NY (CD, Album), The Inefficiency Of Emotion - Grade (2) - Under The Radar (Cassette, Album), Shout To The Lord - Anthony Burger - The Story: Praise & Worship (Cassette, Album), I Couldnt Sleep A Wink Last Night - Star Turn* - Maybe Definitely The Best Turn Album In The World.., Ангедония, Slappin Rods And Leaky Oil - Various - Original Rock Instrumentals (CD), Earthquake - Various - High-Energy Double-Dance (Vinyl, LP)