‘Brain Implosion’ features more than 7 minutes of chugging beats and generous use of the EP-1 Envelope Phaser, which creates phase modulation and phase inversion effects. “Catch Up to Time” frequently throws the entire tune into reverse but stays true to the overall meter of the song, giving listeners a sense that time has been warped for a second while we catch up to the beat.

http://www.songsandsoundtracks.com/music%20files/brain_impl_xcrpt.mp3

A video of “Trans Addiction” was created in India by Sunil Shibad and is available on several sites, including The G-Man’s MySpace page as well as on YouTube at: http://www.youtube.com/watch?v=N9IERE0mJE8

There are 5 more songs on the album, each one proven effective for wild dancing through club presentations by DJ Insane in his sets.

About Scott G (The G-Man)
When not composing and producing music, Scott G creates advertising campaigns for Fortune 500 clients. He writes the “Communication Nation” column for the Advertising Industry Newswire and the “Music Critics Must Die” column for the Music Industry Newswire. Albums by The G-Man are on Rhapsody and iTunes.

http://www.gmanmusic.com

About DJ Insane
When not creating beats and aural outrage, Oosterom tours Europe and the globe with the world famous DJ Insane show, bringing his unique brand of dance-trance to hordes of bodies-in-motion.

http://www.dj-insane.com

Album: ‘Crazed + Dazed’
UPC: 6-75604-10252-0
Genre: Trance, Electronica, Dance
Performed by: The G-Man & DJ Insane
Produced by: Scott G
Mastered by: Art Sayecki
Album art and G-Man logo: Phil Hatten
Label: http://www.delvianrecords.com
Promotion/Distribution: Gate Media

New York, NY – Wabi Sabi Production’s staged reading and mini concert of it’s new 1 hr 45 minute two act musical play that explores the life and music of legendary musical great Barry White opens for a public reading 4- 28-07 at 8 PM at the Times Square Arts Center located at 300 W 43rd Street room 301-3 NYC 10036 Between 8th and 9th ave. Tickets are $15 and $17 if purchased online. For info and reservations contact Emmitt at 917 716-6635 or purchase online at http://www.wabisabiproductions.com/current.htm.

A scarcity of musicals about contemporary African American musicians Inspired Emmitt Thrower, the writer, producer and director of “Barry White: Guided By Destiny” in collaboration with Lanar, to undertake the challenge of beginning to rectify that condition. The musical is scheduled for a two week showcase production June 14th to June 24th, 2007 at the Times Square Arts Center at the 411 Theater Room 411 NYC 10036. Tickets go on sale for the June showcase April 28, 2007 through Theatermania ticketing. The public reading 4-28-07 is the springboard to the showcase production.

Barry White is played by Lanar who also has created original music for the production along with singing original Barry White and Love Unlimited Songs as part of the mini concert. Venus Adore who plays lead singer Glodean, Jessica Opong who plays Dee Dee and Gezele Portwood who subs as Linda and also plays Destiny are all part of The Love Not Limited Singers group.

Like Barry White who had a stroke, Emmitt Thrower also fell victim to a disabling brain stem stroke in 2001. He lost his vision in his left eye, was confined to a wheelchair and unable to walk or speak. He will be featured in the play as the great Muhammad Ali. He hopes he inspires other disabled artists to continue to make their contributions to the performing arts community. Emmitt Thrower the owner/producer of Wabi Sabi Productions also produced the NYC musical called Katrina:A Whole Lotta Water. In Barry White: Guided By Destiny Emmitt explores Barry White’s preoccupation with the guiding voice that led him to greatness. His relationships with Muhammad Ali and Elvis Pressley whom he credits with literally changing his life are also chronicled. Lanar has performed with such R and B legends as Gerald Austin of the Manhattans, Kevin Owens longtime Luther Vandross backup singer now lead singer of Ray, Goodman and Brown, The Persuaders, Gregory Johnson from Cameo, The Legendary Intruders and he also worked with Ray Serrano of African Bambata and Soul Sonic Force. He is a managing partner with radio host and promoter M. Martin Hall. Lanar will be appearing at the Apollo Theater in a Special show on May 30, 2007.

About Wabi Sabi Productions Inc

Created as a Not For Profit in March 2005 by the founder Emmitt Thrower. It’s goals are to bring social, political, and health issues affecting our communities to the stage/screen and to foster a spirit of cooperation and collaboration within the performing artists community.

Santa Cruz, CA — Japanese alphabet sounds are quite tongue twisting for most Westerners, but Hiragana Song, a new single CD release by 16-year old Alyssa Collins makes it all come together with a quirky dance beat and a fresh, but richly musical, mix. The young singer teaches the vowels sounds and raps the syllabi in Japanese as educational harmonies soar through creative, sophisticated production.

The youthful vocalist loves Japanese culture and has a wide collection of her own sketches of anime and a few self-portraits ala Japanese maiden. She adds authenticity to the vocal performance in the record, but no feeling is lost by singing simple sounds here; it’s rather oddly the opposite, one begins to feel drawn in and somewhat happy to feel your own feet tapping. This is her first released single, and she’s ecstatic with her record which has created quite a stir in Canada. iTunes added the song to their roster on her birthday, Christmas Day.

“That was the best present I could ever imagine getting for my 16th birthday or for Christmas!” Alyssa exclaims. “To hear my own voice on iTunes was a dream come true!”

Alyssa and her “Hiragana Song” have been the subject of many recent interviews in Canadian papers and radio stations and her song has been played repeatedly, its popularity spreading across Canada. The engineers in the radio station control booth where she was first interviewed called it “the Velcro song,” because it “stuck” to anyone who listened to it. “We kept playing it over and over,” one engineer told Alyssa.

Hiragana Song began when Daniel Bloom, a reporter in Taiwan, sent songwriter Janet Fisher, Santa Cruz, CA, a lyric idea along with a letter regarding his vision of “Hiragana” becoming an internationally enjoyed song. He wrote that he wanted to keep it fresh and young, highly danceable, yet still make it educational. Fisher created a melody and a direction, looked for some reliable production help and then found the right singer.

The Internet was used to send blossoming versions, fresh mixes, and edited ideas back and forth between Alyssa, Fisher, and the other members of the team. Working back and forth via email, Fisher, with co-producers Adam A. Johnson (MN) and Art Munson (CA), built and rebuilt the composition until it became a true record. They decided that iTunes would become their distributor of choice, as housing and shipping physical a single-song disk would create more cost than a single could allow. Bloom had a graphic artist friend, TubbyPaws (UK) create a cover, and Hiragana Song was ready.

“We also chose digital downloading so it could go easily around the world. Once downloaded from iTunes, a CD can be made on one’s own computer, to be enjoyed anywhere,” said Fisher. “It seemed like a perfect choice for everyone, no matter where they might be geographically. No shipping, no handling fees for the listener. Just download, dance, and learn.”

There is a website for the Hiragana Song, with details about the writers and Alyssa Collins. It has some rave reviews already posted, and no doubt more will come along once the song is ready via iTunes. It is of note that co-producer Art Munson, a legendary guitarist for hundreds of household-name musicians, added unique flavors and touches that Fisher felt took the track to an entire new level above the normal dance track.

“A lot of people who are legendary are not still creating legendary performances today — Art Munson definitely is creating at that level, and it shows on this record. The freshness that Adam A. Johnson brought to the direction of the tone and tracks kept the song exactly in energy and form as to the vision. And Alyssa just plain sold it on every level, and kept it a serious song, never hamming it up to a novelty level. I am so happy to work with all of them!”

“When Danny first brought me the idea, it took him a year of bugging me until I finally finished the melody and produce the record. Now I’m really, really glad he did, because the feeling of getting a gem is really the reason you work at it, that’s the reward,” grins Fisher.

Hiragana song may be accessed on iTunes by linking to:
http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewAlbum?i=202040888&id=202040881&s=143441

A sample of the song, more factoids about the creation of and participants in the Hiragana Song can be found at:
www.goodnightkiss.com/hiragana.html

Other press links:
Ottawa Sun, Showbiz, 29 January 2007
“Going global as easy as Japanese ABCs for teen”
http://www.ottawasun.com/Showbiz/Music/2007/01/29/3473532-sun.html

Le Droit, Front page Arts, 27 January 2007
“D’Ottawa à iTunes… en japonais”
Available as .pdf

CBC Radio Canada, 20 January 2007:
“La voix de Alyssa Collins, 16 ans est diffusée sur i-tune, depuis décember 2006. Elle nous raconte son histoire.”
http://www.radio-canada.ca/regions/ottawa/Radio/divines.shtml (look under “Entrevues” on the right side for the audio link)

Express Ottawa, Front page,13 January 2007:
“Une Ottavienne diffusée en japonais sur i-Tunes”
http://www.expressottawa.ca/article-65015-Une-Ottavienne-diffusee-en-japonais-sur-iTunes.html

There will obviously more coming from Alyssa and her Hiragana Song.

# # # #

A good deal of Terry Christopher’s audience at Center Stage on the night of Wednesday, November 15th were his peers in the independent New York City music scene, many of whom Mr. Christopher has creatively conspired with in the past. Their support was, no doubt, a reciprocation of the artist’s strong affinity for community cohesion within the indy music scene. The rest of the audience were a motley crew of all ages and races, and they were clearly aficionados of a wide variety of musical styles. It’s no mystery why. Terry Christopher’s music may derive from a wide variety of influences, including pop, rock, R&B, and dance–but the end result has a broad-reaching mass appeal. Make that “mass appeal with an edge.”

This night was the CD Release Party for “Journey of a Wordsmith”, Terry Christopher’s long-gestating sophomore album. The performance venue Center Stage (at 48 West 21st Street, btwn 5th and 6th Aves) is essentially a big black box. But Christopher’s colorful persona, set against this unadorned background, was like the equivalent of being bewitched by a Picasso painting hung on a plain black wall. In other words, with talent like this, who needs frills?

Speaking of talent, Christopher was backed by two friends and fellow musicians, Morry Campbell and Roger Kuhn. Morry Campbell proves himself to be one of the most skilled guitarists in the Big Apple, and Roger Kuhn brings his unique voice to the show for background vocals. Another of Christopher’s colleagues, activist/filmmaker/music guru Wolfgang Busch, did the sound for the night.

For the show’s opener, “Elevation”, Terry’s blue-eyed soulful voice, with touches of Kuhn’s distinctively deep tones, formed an intriguing contrast. Right away, Terry Christopher also showed that he is a singer who cares as much about his visual presentation as he does about the music. For “Elevation”, Christopher chose to take a “pop-rock-dance” track and strip it down, making it more organic.

Next up was an environmental awareness song, “This Will Not Be the Way”. In this era of increased awareness of global warming, this illuminating track could not be more timely. “This Will Not Be the Way” would make a perfect opening or closing track (sorry Melissa!) for the movie “An Inconvenient Truth”. And, for this number, Terry shows that he can really belt! “Tell Me Tell Me” packs a pounding pop punch, while “Torch” and “Slither” musically represent different shades of desire. “Torch” recreates the hunger and urgency that reminds one of the hurts-so-good torment of the 1986 Gene Loves Jezebel hit “Desire”, while “Slither” musically recreates the mirage of serpentine movements to evoke the feeling of lust. “Slither” also featured some exceptional guitar work by Campbell.

The moving “Tears in the Dirt” was Christopher’s “token ballad”. Actually, the song will remind the listener of the very popular “power ballad” genre of the ’80’s, although there was indeed a timeless quality about its presentation and lyrics:

“I ask myself too often, what is this all worth,
Is it necessary for love to have this much pain and hurt;
And I feel alone in this, that you are doin’ fine,
You seem oblivious this harvest is dying on the vine;
And I ask myself again why I allow us this way,
Do I hang for the company, avoid loneliness each day;
But you get all the treasure while I do all the work,
Maybe you like seeing my tears in the dirt…”

After that, Terry Christopher took a breather and let pal Morry Campbell perform one of Campbell’s own songs, the gem “Long Long Way Home”, a song on my Top 10 Greatest Songs list for 2006. Terry stated that this song actually made him cry when he had first heard it. He requested to the audience, “Close your eyes and listen to this!” Indeed, so many different meanings can be interpreted. What is the “long long way” of the title? Actual mileage? Emotional distance? Time? Hmmm…

Terry returned for “Breathless”, a real crowd-pleaser. Then, Christopher dabbled in the blues for a song called, appropriately enough, “Green Bottle Blues”. Christopher originally debuted the track last year at a showcase at the now closed CBGB; the song was inspired by his chance meeting with a lonely old drunk on a train who was holding two bottles of Heineken. Then came “Brothers in Arms, Sister Soldiers”, one of Christopher’s most emblematic tracks, and an instant classic anthem for LGBT equality. Christopher was rejoined by Roger Kuhn for the finale, “One True Friend”.

In his live music, Terry Christopher doesn’t falter on a single note. His performances are ingratiating to his audience without being pretentious, polished without being prefab, and heartfelt without being overly earnest (Too much earnestness is always a fatal flaw with acoustic performances!) On November 15th, Terry Christopher proved that “Journey of a Wordsmith” is a journey worth taking!