As much as Matthew Curry is invested in summoning the spirit of the blues — a commitment that’s in full display on the pair of smokin’ hot albums he’s released to date, 2011’s barn-burning If I Don’t Got You and 2013’s hard-charging testifier Electric Religion — the 19-year-old guitar slinger and soulful singer from Bloomington, Illinois likes to take a much broader view of his style. “If somebody came up and asked me what I would call my music, I don’t think I would say ‘the blues,’” he admits. “And I don’t think I would say ‘rock and roll,’ either. I would actually say, ‘good music.’ Blues is my first love, but I also love ’60s rock like Cream, The Beatles, and Jimi Hendrix. I’m also into things like Southern rock, Chet Atkins, and Roy Clark. All of those artists are complete musicians. They write great songs, and they sing great too. They’re just incredible.”
 
Curry’s roots certainly run muddy-waters deep, something that’s not been lost on the guitar legends he’s had the honor of sharing the stage with over the past few years. “Matthew Curry is a phenomenal guitar player,” marvels Peter Frampton. “A highlight from my tour last year was jamming with him. He’s the next guitar hero!” Echoing that sentiment is Steve Miller, whom Curry both opened for and joined onstage during an exhilarating nine-date run in Canada in 2014 — and will again be his opening act for a slew of dates starting in May. Miller declares that Curry is a “wonderful guitar player [and] great songwriter in the Stevie Ray Vaughan area of virtuosity and originality.” Besides continuing on with the Steve Miller Band, Curry will also be opening for The Doobie Brothers and Don Felder. “I’m absolutely thrilled,” Curry says of supporting these and other heavy hitters. “We have so much fun out there and I really, really enjoy it. I grew up listening to those guys, so to be out on the road with people like Don Felder, The Doobie Brothers, and the Steve Miller Band is quite an honor.”
 
Not only does he get to go toe to toe and string to string with some of his heroes, but Curry recently became one of only 10 artists asked to be a part of The Fender Accelerator Tour, a program that provides developing artists the resources needed to get out on the road and spread the good word about what they do and where they can be seen next. Using Fender-supplied GoPro cameras in their decked-out tour van, Curry and his bandmates — bassist Tim Brickner, keyboardist Mike Nellas, and drummer Francis Valentino — will be sharing unique life-on-the-road moments in real time daily across social-media platforms via the #FENDERXLR8R tag. Says Curry, “I’ve always played Fender Strats, and it’s always been a dream of mine to work with Fender. I’ve long dreamt of looking inside a Musician’s Friend catalog years from now and seeing a Matthew Curry model for sale.” And just what would a Matthew Curry Signature Strat look like? “I’ve thought a lot about that,” he laughs. “Right now, my main axe is an Eric Clapton Fender Custom Shop Signature Stratocaster. I love that guitar so much! It’s based on a 1954 model. I really like the round necks on those old ’50s Strats and their smaller, more tapered bodies. Something about that just feels right, you know? But I’m also really into vintage Strat and Tele colors like surf green and fiesta red. Everybody’s got a black, white, or sunburst Fender — which is totally cool and iconic — but having a signature model that stands out from the pack would be pretty cool too.”
 
While Curry loves it when his band headlines its own gigs, he also sees the opening slot as a way of winning over new fans one lick at a time. “Part of the reason people like us so much is because we’re not just a corner-bar blues band,” he reflects. “We’re trying to make an impact and connect with audiences as best we can, even though when they see this young blond kid with a Stratocaster walk out there, they’re thinking, ‘Just get it over with.’ I know they’re there for someone else, but we’re able to grab their attention, so I like to think some of those people are walking away as fans.”
 
Curry believes the way to convert an audience is to perform an undeniably engaging set. “One thing I really enjoy is putting together a show,” he acknowledges. “We all have so much fun when we’re up there. Interacting with your bandmates or interacting with the people in the crowd — like maybe jumping off the mike and stepping out front and singing to them really loud — can really make people think, ‘This is so great!’ Sometimes it’s the real simple things that will connect you to the audience like that.”
 
All in all, it’s been an amazing trajectory for someone who just couldn’t get enough of that guitar stuff at age 4 to having a tune he’d written, If I Don’t Got You’s epic tour de jam “Blinded by the Darkness,” win accolades as the Best Blues Song in the International Songwriting Competition. “My dad had this beautiful Martin acoustic guitar, and he was really big into old-school blues like Muddy Waters,” Matthew recalls. “It really caught my ear. I can remember my dad sitting in his recliner and playing his acoustic while I would just sit on the floor, watching every single movement his fingers made. I was mesmerized by the sound.”
 
His parents, Paul and Patti Curry, were quick to recognize their son’s inherent fretboard talents. “My dad handed me a First Act miniature acoustic guitar, and the first thing I did was turn it upside-down,” Curry recounts. “I’m a lefty, and I do everything left-handed. He was trying to tell me, ‘No, no, no — you need to play it this way.’ He was a lefty too, but he played guitar right-handed. I just wasn’t having it, so my dad restrung that guitar to where the low E was on top.”
 
Young southpaw-pickin’ Matthew took to learning songs by The Beatles and James Taylor, establishing an early link with great songwriting and vocal acumen. By age 6, Curry already knew his life’s calling. “I had an idea of what I wanted to do for a living from a very early age,” he agrees. “At a certain point, my mom and dad would have to make me go outside and play with my friends, because I’d just want to be in my room with the guitar, practicing,” he says with a chuckle.
 
Taking formal lessons further cemented the basics, but guidance from his dad helped Matthew lock into even stronger influences. “I can still remember the first time I heard Stevie Ray Vaughan,” he notes. “It was a nice day and my dad was working on his motorcycle outside, where he had on Stevie Ray Vaughan and Double Trouble’s Texas Flood. I just remember thinking, ‘Oh my God — what is this guy doing?’ I wanted to sit there and listen some more. When my dad showed me Stevie, I was out in the garage with my cheap Mexican Fender Strat — which I still have, and still love — and a little Peavey solid-state amp, trying to mimic what he was doing. Hearing Stevie Ray for the first time totally meant everything. There will probably never be anyone like him again.”
 
Matthew feels he owes everything to his dad, who tragically passed away a few years ago after suffering a fatal aneurysm while watching his son play during a local soundcheck. “Without him, who knows if I ever would have even picked up a guitar?” he wonders. “I wish he was still with us today to see all the things we’ve gotten to do, but I guess I’ll never know what he thinks until my own journey ends. It was really unfair. Everybody says that when somebody leaves them. But he was the one who really pushed me and drove me to do what I’m doing. I look back now, just a few years later, and everything he told me was spot on — and I’m so glad I listened. He never played in a touring band or really wrote songs, but man, he sure had an ear. He knew what sounded good.”
 
Whenever you hear that cover of Warren Haynes’ touching, elegiac “Soulshine” in the set, you’ll know Matthew is thinking about his dad, note for note. “It was one of his favorite tunes, so I give him a little shout-out before we play it onstage,” he confirms. “That one brings up a lot of memories. Since he passed, I’ve been in the process of writing a song for him. It’s been a few years now, but before I share it, it has to be right.”
 
Family support has always been important, and both his mom Patti and his twin brother Andrew — a gifted musician in his own right — continue to support Curry on his chosen path. “There’s a great bond between Andrew and me, and I couldn’t have asked for more from my parents,” he says. “I wish there was a way I could repay them to the extent that they’ve helped me out. Words can’t even express how much I needed them. A lot of times, when a kid says, ‘I want to play rock and roll guitar and be in a band for a living,’ parents say, ‘No, you need to go to college; you need to do this.’ Kids can get shut out by their parents for wanting to do something like that, but mine were nothing but supportive about everything. I just can’t thank them enough.”
 
Moving forward as an artist, Curry recognizes that while the blues owes its pedigree to the past, it’s not an artform that has to be stuck in park. “Carrying on the tradition of blues guitar is something that’s important to me because, sadly, it is dying,” he observes. “A lot of people don’t know that’s where everything came from. And guys like Gary Clark Jr. are taking their interpretation of the blues somewhere else. Many people might hear what he does and say, ‘That’s rock and roll.’ So are The Yardbirds and The Rolling Stones, but if you really listen to what they do, it’s blues. It’s something that people should experience by going to a Joe Bonamassa concert or, who knows — a Matthew Curry concert.” 
 
Can’t argue with that logic. After all, as Curry sings in the impassioned “Hear the Highway,” one of the most poignant and expressive tracks from If I Don’t Got You, “It’s on myself just to keep the blues alive.” If you’re someone who likes good music, you’ll find that night after night, Matthew Curry amply proves that age ain’t nothing but a number. The kid was born with a six-string heart that just won’t quit, so be sure to catch him while he’s on the rise.
- Mike Mettler || 5/15

Carpe Diem Motherfucker.

The Fall of the Western Roman Empire (also called Fall of the Roman Empire or Fall of Rome) was the process of decline in the Western Roman Empire in which it failed to enforce its rule, and its vast territory was divided into several successor polities. The Roman Empire lost the strengths that had allowed it to exercise effective control; modern historians mention factors including the effectiveness and numbers of the army, the health and numbers of the Roman population, the strength of the economy, the competence of the Emperor, the religious changes of the period, and the efficiency of the civil administration. Increasing pressure from "barbarians" outside Roman culture also contributed greatly to the collapse. The reasons for the collapse are major subjects of the historiography of the ancient world and they inform much modern discourse on state failure.[1][2]

By 476 when Odoacer deposed the Emperor Romulus, the Western Roman Emperor wielded negligible military, political, or financial power and had no effective control over the scattered Western domains that could still be described as Roman. Invading "barbarians" had established their own power in most of the area of the Western Empire. While its legitimacy lasted for centuries longer and its cultural influence remains today, the Western Empire never had the strength to rise again.

The Fall is not the only unifying concept for these events; the period described as Late Antiquity emphasizes the cultural continuities throughout and beyond the political collapse.

Since 1776, when Edward Gibbon published the first volume of his The History of the Decline and Fall of the Roman Empire, Decline and Fall has been the theme around which much of the history of the Roman Empire has been structured. "From the eighteenth century onward," historian Glen Bowersock wrote, "we have been obsessed with the fall: it has been valued as an archetype for every perceived decline, and, hence, as a symbol for our own fears."[3]

The loss of centralized political control over the West, and the lessened power of the East, are universally agreed, but the theme of decline has been taken to cover a much wider time span than the hundred years from 376. For Dio Cassius, the accession of the emperor Commodus in 180 CE marked the descent "from a kingdom of gold to one of rust and iron".[4] Gibbon started his story in 98 and Theodor Mommsen regarded the whole of the imperial period as unworthy of inclusion in his Nobel Prize-winning History of Rome. Arnold J. Toynbee and James Burke argue that the entire Imperial era was one of steady decay of institutions founded in republican times. As one convenient marker for the end, 476 has been used since Gibbon, but other markers include the Crisis of the Third Century, the Crossing of the Rhine in 406 (or 405), the sack of Rome in 410, the death of Julius Nepos in 480, all the way to the Fall of New Rome in 1453.[5]

Is  Alpha Prime XL customizable? Suck it up! You would treat your  Alpha Prime XL like a short-term project. At this time I don't see what good that will do for us. Doing it is leading the charge. 
What would we do with our new  Alpha Prime XL? Would you put funds on it? Permit me to be philosophical for a minute. I only tried to cover up thproblem. At last, that is available today for several foolish people. That will take care of it. Do I need to spell everything out for you? Notwithstanding that, "Don't put all your eggs in one basket." This was really inconvenient. So,  you actually could say that these things pretty much cover the essence of the progress. I developed a 10-point game plan for an enlargement. Not! They were attempting to trick me. You may feel the need to argue this, but there is much more to the expansion. 
It really helped me understand what I am trying to do. There is very little, if any, info bordering on  Alpha Prime XL. 
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The HardCount is a rock n roll band cut from the same cloth as Motorhead, The Misfits, AC/DC, the Ramones and Johnny Cash. The most important thing to us is that everyone has a good time. We start by having a good time ourselves. Rock n Roll is in our blood, it keeps us sane enough to walk the planet with "normal people". If we didn't have this we'd be dead. It all started by accident, sort of. All of us had our own things going, we started doing stuff with each other and it snowballed into The Hardcount. The biggest thing that makes us special (in my opinion) is that each individual knows thier "part". No one needs to worry about a screw up, an attitude, being late, talking trash, getting too drunk or, just being a dick. Trusting that every other member know what to do, we only worry about 1 thing....making sure that every person that watches us is left speachless! We love what we do and it shows. Even if it isn't your "style" or "scene" you are going to walk away saying "that was really good" (that's the goal anyways). We don't cancel shows, we don't get there late, if we are treated disrespectfully by the club or staff we take with a smile (we will most likely be washing our hair the next time you want us to play though), we don't argue about money, we don't fight with anyone, we don't trash the place and, we make evry performace seem like it is going to be our last day on earth....we leave it all on stage. 

The Hardcount is led by singer The Reverend Adumb Green (brother of Modest Mouse drummer Jeremiah Green), who has his hand on the trigger at all times and does not hesitate to pull it. The Reverend preaches his message to the congregation, delivering lyrics that cover life’s ups and downs by way of his gravelly whiskey-soaked voice, not unlike Tom Waits or maybe Lemmy of Motorhead. 

The one and only Zen Master V brings guitar love that will thrill you with twists, turns and newly discovered levels of aural sensations around each corner. His resume of experience is too deep to list. 

Behind the Zen Master is a rhythm section that provides the raw power behind this rock and roll machine. Drummer T-Roy is the hard-hitting, no gimmicks, straight to work, longshoreman of the drum world. His history as a drummer began when he was in grade school and has never hit the drums better than he does now for the Hardcount. Bass duty goes to Disco Donnie; former lead singer and guitar player for Jack the Hotrod. Disco also played lead guitar for the Seattle band Guns of Nevada. With The Hardcount, Disco plays the bass like a man obsessed by equal parts love and hate.

Nothing in the world is black and white (except for our logo). Everything is gray and we hope to paint a picture with our music that we are all stuck on this garbage planet, we all have heartbreak, loneliness, bad times, good times, the mornings (or afternoons) we don't want to get out of bed, questions about the meaning of life, traffic jams, hangovers, empty bank accounts, momentous joy, death and, most importantly.....life!

A former DJ on Seattle radio station 107.7 the End, the Reverend Adumb Green is one of a kind and to see him front The Hardcount is an event not to be missed. 

Picking up the drumsticks at a late age of 16, Michael began his musical career in 1997 playing in church.  Later studying Jazz at CQCM, taught under Grant Collins he then started freelancing for 30+ original and cover bands along with many big support acts including INXS.  Michael is currently in high demand clocking up 265 shows last year working with acts such as Free Spirits, Qube, Tribal Influence (Beatmaster Mike) and recently added Chasing The Jeffrey.  Also taking pride as founder and organizer or the North Queensland Annual Drum Solo Competition, he has seen a great success for networking with other budding drummers nationwide. He has played most genres of music, although his preferred favourite is groove based music such as Crazy P, Miguel Migs, Jamiroquai etc.  Michael is inspired by many drummers such as powerhouse players like Donati, Lang and Royster, although its guys with experimental groove and chops like JoJo Mayer, Aaron Spears, Steve Jordan, Weckl and Gadd have that something extra.  I have played many factory made and mass produced drum kits in my time, but nothing has ever compared to my Metro Drums. Any drummer can be biased and argue that their kit is better, but facts are facts.  When it comes to custom made drums and ordering the exact timber, depths, sizes, bearing edges, lugs, finishes and thickness, you have your dream drums forever.  Metro Drum Co. keep my me and my equipment working with good service and a great sound.  I am proud to say, I play the best sounding drums I have ever heard on every show I play. Metro Drums = QUALITY!!!
 
Michael Palmer plays;
 
Shells
Kauri Ply with Inner Jarrah and Outer Black Limbre Veneer and Gloss Finish. Rounded Metro Lugs, Chrome Hardware, Suspension Mounts with Graduating Reinforced Bearing Edges
8x7
10x8
12x9
16x14
22x18
 
Snare
14x6.5 Mahogany Block Stave with Outer Black Limbre Veneer with Spotted Gum Hoops and Gloss Finish (no stain). Heavy Duty Long Tube Lugs and Trick Throw-Off.
 
Auxiliary Snare - 10x6 Mahogany Block Stave. No gloss, No Veneer, No Wood Hoops. Small Low Mass Black Nickel Lugs and Rims.

Saxophonist, Composer and Educator Sharel Cassity is a nationally acclaimed saxophonist prominent on New York and Chicago jazz scenes. Listed as "Rising Star Alto Saxophone" in Downbeat Magazine for the past 13 years, Sharel has appeared on the Today Show, Good Morning America, The Colbert Show, is in the Oklahoma Jazz Hall of Fame, and is a recipient of the ASCAP Young Jazz Composers Award.  Sharel has worked with with Multi-Grammy Award-winning artists Jennifer Hudson, Natalie Merchant, Aretha Franklin, Vanessa Williams, & Trisha Yearwood among others. She has also performed alongside NEA Jazz Masters, also Grammy Award wining artists Herbie Hancock, Wynton Marsalis, Dee Dee Bridgewater, Jimmy Heath, and Christian McBride, and has been a featured guest soloist with the Cincinnati Pops Orchestra and the Wisconsin Chamber Orchestra. As a bandleader, Sharel's five albums have received top-rated reviews in publications like the The Chicago Tribune, The New York Times, JazzTimes, Jazziz, Downbeat, American Indian News, with a cover feature on Saxophone Journal. Cassity earned a Masters Degree under full scholarship at Juilliard in NYC, and gives back to the next generation teaching at Columbia College Chicago, DePaul University, and E;gin Community College. Sharel is a current member of the Dizzy Gillespie Afro Latin Experience and the Dizzy Gillespie All Star Big Band, runs her record label "Relsha Music," is the director of her educational program "Jazz Up,” and is a proud Yamaha and Vandoren Performing Artist.

Samira Said is one of the biggest Arabic superstars today with a repertoire that exceeds 50 albums and many massive hits and successful music videos.

Diva of Arabic Music is what Samira Said Fans like to call her. This is due to her ever changing style and image in her music and appearance. To many, this may seem like a negative thing; however, in Said’s case it is hardly so. Singer,songwriter, performer, producer, actor —is there anything Samira Said hasn’t done, and done exceedingly well? One of the most accomplished singers of the three last decade of the Arab world.

Born in Rabat, Morroco, Samira began singing at an early age. She grew up inRabat in Morocco and was almost instantly praised for her beauty and charming personality. People knew these would carry her far, but it was only when shegrew a little older and began singing that people realized she was destined forgreat things. Her parents realized this and they began entering her in singing competitions. Always a favorite of the judges, she often won, and launched her professional singing career from this. Soon after she was the most popular singer in the country.

However, she decided to move to Egypt so she could make a major impact on the entire Arab world. Sensing her greatness, many producers took her on and she began crafting beautiful songs, and recording many Arab favorites.

Early career

Samira began singing professionally at the age of 9. Encouraged by her family,she began her career by participating in talent shows. Her first appearance ontelevision was in the show "Mawaheb".

In a short time, Samira Said, as she is known in Morocco, became one of theleading names in her home country. Her best known works include"Maghlouba" and "Wa'ady".

Said's ambitions extended beyond Morocco and following the advice of her idol and friend, Abdul Halim Hafez, she moved to Egypt to expand her career.

International career

In 1980 Said sang Morocco's first (and so far only) entry in the EurovisionSong Contest. In the early 1980s, Said recorded a song called "Al hob Elli Ana Aichah", composed by Mohamad Sultan. She went on to record with big names in the music scene in Egypt, including Baligh Hamdi, Helmi Bakr and Mohamad Al-Mouji.

The meeting with Baligh Hamdi was considerably going to enrich the directory of the Moroccan young person, by composing her songs like: "Ben leef", "Sayidati sadati", "Malich eenwan", "Akher hawa". Another meets with Mohamed Soltane by 'Hikaya' , 'Methaya li', 'Ellila dee', 'Kassidyakoulouna aanni kathiran'.

Till now she still search the big tube, she worked with Mohamed El Mougi ('Yadamiiti haddi' from the only movie of Samira Said) Khaled El Amir by 'Shoft habibi', 'Helmi Bakr' by 'Lilet el ouns', 'Ech gab li gab', 'Amrak aajib', 'Menghir sabab'.

It is Baligh Hamdi who finally composed to Samira the magnific song"Aalemnah el Hob", who she presented it counting for the festival of 'Layali' of television in Cairo, in 1983.

After this song Samira became star among the first stars in Egypt and she continued with Baligh by "Ketre el kalam" song "Asmarmalak", "Malak mosh zay aawaydak"

Later Samira worked with Gamal Salama who composed her gracious song "Algani baad youmine" with whom dominated during a very long period the Hit-Parades. The new couple does not stop there, rather they presented another song it was 'Mosh hatnazel aannak Abadan'.

After that, Samira and after these big successes had to prove nothing more inEgypt. Another challenge was outlined that the position of the great star didnot allow her to darken.

The next few years in Said’s career were exploding with success. Her popularity however, picked up as she emerged with beautiful hits like “Aiwa Bashta’lak Sa’at” (Yes, sometimes I miss you) a sultry, jazz quite cheesy but sexy track, “Oyoonak Alit” (Your eyes say so) and Al Gani Ba’dyomein (He came two days later). Samira’s ever changing style picked up new armies of listeners as she transitioned in and out of the many styles and genres out there. Gambling her music career away and outrageously experimenting in every situation possible, Samira became known for her blatant and unconcealed mentality as this was vividly seen within her music.

In 1998, we saw a lot of change for Said when she emerged with her “Al Bal” (On the mind) album. The title track, a livid, furious call to her loved one,stormed the Arab world. The dramatic and very sexy video, showed Said’s striking side. Said was dressed in a black sleeveless dress with a black shawl spontaneously fluttering across her body. With wind effects blowing her hair,fires burning everywhere and Roman style statues engulfing her, a wonderful video was created. That same album had a great bunch of hits, the philosophical, mind-numbing “Halit Malal” (Situation of Boredom) and the wetand jazzy “Beteegee witimshee.” (You come and you go.)

The next few years witnessed even more success for Said. With the Rohi (Mysoul) album, Said experimented with new producers and lyricists creating agrand album. The array of the many styles she experimented established new groundrules for the Arab song. Bringing her Moroccan influence back into perspective,the album progressed into becoming yet another hit for Said.

In 2000, we witnessed the release of “Lailah Habeebee,” (One night, my love) the title track of the album, won the best video award in the Arab world for 2001. The video which cost significantly more than your average Arab music video, showed Said in a state of depression and anxiety. With the pathetic fallacies being anything but pathetic Said showed her dramatic side. Rainpouring in and out of every possible place, wine glasses breaking at Victorian style settings, the video was remarkable! The album had one of the most beautiful ballads ever sung by Said, “Te’dar Te’oli” (Can you tell me?) moresaucy jazzy influences with “Malee,” (What’s it got to do with me?) grooving tracks like “Moshta’alak” (I miss you) and of course, not leaving anything behind, Samira had the enticing “Beyban Alaya” (It shows on me) a traditional Arab track, longer than the typical pop song, with recurring, mind boggling lyrics. “Lailah Habeebee” was definitely a winner!

2002 came along and many, who have never heard of Samira Said before, had suddenly heard of her. “Youm Wara Youm” (Day after Day) is not necessarily her finest work to date, but definitely her greatest achievement. She had achieved what I’d like to call partial international stardom. With the two international awards, Said has definitely, with no doubt, set new standards for herself. Manywill argue that “Yom wara Yom” is not a work of art, but merely a commercially driven album. To an extent there is a lot of truth in that statement, for “Yom wara Yom” was released by “Alam El Phan” a record company famous for creating the best selling albums. It would be wrong to say that it was just the music that created such success. “Yom wara Yom” was very cleverly crafted, in every possible way. The album had the great collaboration with Cheb Mami. Marketing wise, the album had premieres in Virgin mega stores in Dubai and Beirut. The album cover itself was pretty catchy and the video of “Yom wara Yom” need less to say was spell bounding, raising controversy across the Arab world, revealing Said’s sexy and wild side.

In 2004 Samira's new album is out and this album was a success too, with the singles 'Aweeny Beek' wich video is shooted at Barcelona (Spain) and 'Makhalas'. A promotional Concert for this Album promotion took place at Cairo in2005 will Samira sang too Youm Wara Youm.

In summer 2005 Samira rekindled an old flame between her and her Tunisian fans during her performance at the Carthage festival, she sang a collection of songs in different dialects varying from Moroccan to Egyptian, Lebanese, and even western.

In 2006, she again struck gold with "Kolena Enssan" (We are all humans), a new song for Africa Cup of the Nations which she sings in French,English, and Arabic. "Kolena Enssan" debuted at the opening of theC.A.N. in Cairo.

In 2008 Samira Said (Saeed) reinvented herself once more as a disco-diva for the release of her tenth album Ayaam Hayati "Days of my life". The album not only spawned several hits (most notably "Already - Awam Kida","Hob Mayouss Minoh - Hopless Love" and "Nefssi Atkalem - I WishI Can Talk", but also sparked a renewal of interest in disco among main stream music fans. It also won the MEMAwards for Best Singer and best Album of the year. Samira's Thirty-Three studio album, Days of my life (200 [8)] , sold almost 600,000 copies in its debut week, easily topping the charts.

The latest video clip by mega star Samira Said for the song “Hob Mayoos Minoh”(Hopeless Love) from her last album was directed by Hadi Al Basjori and the story of the clip is about a girl in her car while it isdrowning in the sea. As hersoul rises up to the sky she accuses her lover of betraying her and tells the story of their failed relationship

In 2009, The 6th Arab Radio and Television ART Festival announced winners for the 2008 round in music, as voted to in a record pan-Arab survey that covered Arabs at home and in exile, in all spanning 60 million voters. Samira Said gotan honorary award for her comeback after a 3 year hiatus, through her latest album, Ayaam Hayati Days of My Life, for which she was awarded a Distinguished Creativity Prize.

Also, Samira Said won the Murex d'Or award for best female artist in North Africa/ the Middle East.

Style

Samira Said has achieved an unusual longevity in the Arabic world, frequentlyadopting new stylistic influences, such as Tarab, Raï and Jazz. She has workedwith a variety of young talents, producing a series of albums including"Inssani", "Khaifa", "Ashka", "EntaHabibi", "Kul Dee Eshaat", "Al Bal", "Rohy","You Wara Youm" and her latest album, "Aweeni Beek" whichwent on to sell more than 25,600,000 copies.

Solo artist Samira Saïd reinvented the very basis of the contemporary Arabic song medium, paving the way for music video just over 20 years ago. Since her one-woman revolution, composers have morphed classical 20-to-30-minute songformats into short, camera-ready forms, and she has been *the* term of reference for an entire generation in the performing arts throughout the Arab world. She is often imitated but impossible to duplicate. Flamboyant yet discreet, Samira is an awe-inspiring creator whose passion gives new meaning tothe word charity. As an example for all -- don't just stand there, do something-- she gives intelligently, discreetly and powerfully, even when the world hasn't yet realized it needs to wake up. Courage, strength and conviction areher middle names -- she always ends up standing up for what is right, whetheror not it's fashionable or popular, destroying taboos and launching AIDS awareness in the Arab world, as well as rallying other European and African stars to the urgent need to aid earthquake victims across North Africa. As abeacon of tolerance, she has spearheaded mega concerts to draw people together after the riots in immigrant suburbs across France, and to bring about solidarity between all religions, whether performing at the Vatican (Diva SamiraSaid was the only Arabic artist to perform in front of the former Pope JohnPaul II), or taking the show on the road where other stars dare not go,bringing her joie de vivre live to people in Gaza. Not just another star in the sky looking pretty, but a voice for humanity.

Awards

The Diva Samira Said won more than 40 AWARDS around the Arab World and other.In 2003, the Diva Samira Said won a World Music Award and a BBC award for thebest artist in the Middle East with her album 'Youm Wara Youm' (the title trackof which is a duet with Cheb Mami)

Samira Said's fan base increases with every new album. Her concerts are constantly fully booked, sometimes with so many people that it exceeds the capacity of the stage at which she is performing.

Discography

1. El hob elli ana a'aycheh (1980)

2. Bitaqat hob (1980)

3. Ben Lif (1981)

4. Hikaya (1982)

5. Allemnah el Hob (1983)

6. Ketr al Kalam (1983)

7. Methaya'li (1984)

8. Lilet el Ouns (1984)

9. Ya Damaiti Haddi (1984)

10. Ehki ya Shehrazade (1985)

11. Youm akablak Fih (1985)

12. Ech gab li gab (1985)

13. Amrak ajib en (1986)

14. Ana walla anta (1989)

15. Moch hatnazel a'anak (1986)

16. Sibak (1986)

17. Ya ebn al halel (1987)

18. Ghariba (198 [8)]

19. Sibni louahdi (198 [8)]

20. Ensani (1989)

21. Ba'adin neta'ateb (1990)

22. Choft el amar (1991)

23. Hannitlak (1992)

24. Khayfa (1992)

25. a'ach'a (1993)

26. Enta habibi (1995)

27. Kolli de echa3at (1996)

28. a'al bal (199 [8)]

29. Rouhi (1999)

30. Laila habibi (2001)

31. Youm Wara Youm (2002)

32. Awweeni Beek (2004)

33. Kolena Enssan (We are all humans) (2006) - single

34. El Hayate We Essalam (Life & Peace) (200 [8)] - single

35. Ayaam Hayati (Days of my life) (200 [8)]

36. Be W1nner - Samira Said featuring Fnaïre (2010) - single

37. Min Tourabak - From Your Dust(2010)- single

38. Lahetini El dounya - Life Got in the Way(2010) - single

39. Yarab Ana Gitlak - Back to God(2010) -single

40. Khalouh - Let Him Be (2010) - single

Samira Said needs no intro for sure! Samira Said is one of the biggest Arabic superstars today with a repertoire that exceeds many albums and many massive hits and successful video clips.samira Said will back with her upcoming eagerly awaited killer album and it will be her huge comeback from the Arabic Music Queen The Diva Samira Said.

© 2012 . SamiraSaidMedia. All rights reserved.
Redistribution of all proprietary text, audio, music and other media materials prohibited without prior, express written permission of copyright holder.

And the award for Overachiever of the Decade in the Category of Musical Expression goes to……..Little Moses Jones!

Sure, James Brown was the de facto Hardest Working Entertainer in Show Biz, but he also had a few years head start on Little Moses, so we’ll just have to see how this plays out over time.

At 5 years old Little Moses answered music’s calling before his feet could even touch the floor beneath a piano bench, and for the next 30 years, he’s continued his devotion to learning and perfecting as many facets of the art and the industry as possible.

That’s right…before even reaching the age of 40, Little Moses has:

Become a multi-instrumentalist (all saxophones, piano, tuba, drums/percussion)
Built and directed dozens of highly successful dance and party bands
Performed more than 1500 live concerts
Produced & released an award-nominated CD (“LEGENDARY”) that hit #1 on Latin Jazz, R&B, Funk & Blues charts
Managed and assisted many other artists toward their success
Created and DJs a radio show (LMSS Radio)
 

Overachiever? Indeed. But don’t count on Little Moses resting on past accomplishments. His second, funk and blues oriented CD (“Little Moses Jones”) featuring award-winning musicians from Gladys Knight; Earth, Wind and Fire and Dotsero and is scheduled to drop in the Spring of 2021. Then, a US tour in support of that CD is in the works in addition to maintaining and performing with his successful wedding and corporate events bands.

Watch for the good things to come from Little Moses over the next decades. Your ears will thank you.

Dennis Gay is following