I just want to enjoy my life And show this world how to care And nothing brings more joy to my life Than knowing a girl will be there Are ya happy girl? (huh? ) Knowing that you right near broke my heart in a piece or two (huh? ) Knowing that I would have walked across the ocean for you Saying youre young and confused Well thats a lame excuse Thats why the only one to blame is you for Last night Cant believe what I was hearing Telling me to have a nice life So tonight I dont think Ill spare your feelings Youre on your own Im-a do for me whats right In your eyes a see a second chance Maybe I should take another glance But for now Ill wash my hands Cause I love ya baby, love ya baby Pharrell say dont do it the same But I say aint playing my games But for you my soul still remains Cause I love ya baby, love ya baby Are ya happy girl? (huh? ) Knowing that you right near broke my heart in a piece or two (huh? ) Knowing that I would have walked across the ocean for you Saying youre young and confused Well thats a lame excuse Thats why the only one to blame is you for Last night Cant believe what I was hearing Telling me to have a nice life So tonight I dont think Ill spare your feelings Youre on your own Im-a do for me whats right I hope youre thinking (tell me girl, when I was your man) I hope it senses (if you dont understand, then you dont understand) Were gonna stop dreaming (the way I feel) About you Last night Cant believe what I was hearing Telling me to have a nice life So tonight I dont think Ill spare your feelings Youre on your own Im-a do for me whats right Last night (just-a last night) Cant believe what I was hearing (just cant believe it baby) Telling me to have a nice life (oh) So tonight (yea) I dont think Ill spare your feelings Youre on your own Im-a do for me whats right (got something I wanna tell ya girl) I hope youre thinking (tell me girl, when I was your man) I hope it senses (if you dont understand, then you dont understand) Were gonna stop dreaming (the way I feel) About you (let me tell you one more time) I hope youre thinking (tell me girl, when I was your man) (my baby) I hope it senses (if you dont understand, then you dont understand) (yea yea yea yea) Were gonna stop dreaming (the way I feel) About you Oh baby Yea yea yea yea See I aint gonna be the one Aint gonna play these games with you But I still love you Tell me girl when I was your man Aint nothing gonna take that away No no no no, no no-no See I remember In december We were walking holding hands And I was your man Cant we just get back to that? Baby?

We'll do it all Everything On our own We don't need Anything Or anyone If I lay here If I just lay here Would you lie with me and just forget the world? I don't quite know How to say How I feel Those three words Are said too much They're not enough If I lay here If I just lay here Would you lie with me and just forget the world? Forget what we're told Before we get too old To show me a garden that's bursting into life Let's waste time Chasing cars Around our heads I need your grace To remind me To find my own If I lay here If I just lay here Would you lie with me and just forget the world? Forget what we're told Before we get too old To show me a garden that's bursting into life All that I am All that I ever was Is here in your perfect eyes, They're all I can see I don't know where Confused about how as well Just know that these things will never change for us at all If I lay here If I just lay here Would you lie with me and just forget the world?

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08.09.2006 - Markus Schulz - Ibiza '06 After a long, hot summer rocking the White Isle with his Global DJ Broadcast international radio show and gigs at the likes of Amnesia, Markus Schulz presents an aural snapshot of the season in this double CD, Ibiza 06. Essential listening for anyone who partied in the world’s favourite playground, and for those who wish they were there, it’s a summery slice of Balearic action in keeping with the prog-trance vibe that’s been permeating the island. “It’s my interpretation of this summer’s progressive trance, what’s done it on the island for me,” says Markus. “The feeling that I get when I hear these tunes is indescribable! I love to play Amnesia, in fact it’s one of my favourite clubs in the whole world - the experience when you’re in that DJ booth, with that crowd – there’s nothing else like it.” From the opening chords of track one, Ohmna’s People Get Lost - a deep Balearic guitar track - the mix weaves in and out through the sort of tunes you’d expect from the head of the Coldharbour imprint. Since setting the label up through Armada, Markus has spotted and championed a number of new talents, many of whom have gone on to enjoy global success themselves. Among them are Benya, whose first track was picked up by Markus, and latest offering, Mimas, features here. Andy Moor is also present with his Orkidea collaboration, YearZero, as are LA’s Ambrosial. “What I want to do is champion the next generation of producers – the guys that make these tracks are young kids who are just coming up, and are the most immensely talented people I’ve met. They’ve grown up on computers, using them to make music, and some of the stuff they’re producing is incredible,” says Markus. When the sun sets on the madness of another Ibiza season, Markus will be back in the studio working on his second artist album, but knows that whenever he wants to be transported back he can just crank up Ibiza 06. “These tunes will always make me think of this summer, and how I can’t wait to be flying into Ibiza again - seeing the white beaches and the blue sea from the plane and knowing what comes next is going to be amazing…”

Längst gilt Justin Timberlake als eigenständiger und von Boyband-Reminiszenzen geläuterter Sänger, der in der Lage ist, zeitgenössischem Pop-Geschehen locker den Takt vorzugeben - das gelingt ihm auch auf seiner zweiten Platte. Kritiken und Publikum waren gleichermassen begeistert von Timberlakes Debutalbum «Justified» (2002). Man war sich einig: so muss Pop-Musik tönen. Jetzt veröffentlicht Timberlake seine zweite Platte, die bezeichnenderweise «Zukunft» bereits im Titel trägt. Was Timberlake hier mit kongenialer Unterstützung seines musikalischen Partners Timbaland vorlegt, weist Pop-Musik den Weg in die Zukunft. «FutureSex/LoveSounds» ist ein klassisches Pop-Album mit Hit-Single, Disco-Song und Ballade, doch lässt es sich durch einen solchen Rahmen gerade nicht einengen, sondern definiert ihn durch eine ungehörte und richtungsweisende musikalische Konzeption permanent neu. Das Album geht auf intensive Tuchfühlung mit elektronischen und technoiden Sounds und zeigt, wie zeitgenössische Pop-Musik klingen muss. Eine absolut spannende Platte.

Though Frank Sinatra's reputation as celebrity, icon, bad boy, and possibly the greatest singer of American popular songs of the century are paramount to the general public, he has always been valued highly in the jazz community, especially among musicians. Though not a jazz singer per se, he was a child of the big-band era, incubated with an ability to swing in a relaxed, ingratiating way in all kinds of material. Whenever he had the chance, Sinatra would credit Billie Holiday as a primary influence on his vocal style -- even recording a tribute song called "Lady Day" in 1970 -- and he learned circular breathing at the feet of trombonist Tommy Dorsey. Particularly from the mid-1950s into the mid-1960s, Sinatra would use expert jazzmen prominently in his recording orchestras, as well as arrangers who cut their teeth in the big-band era. He was at his freest and loosest when paired with a great big band like that of Count Basie, where he would bend to the rhythm, embroider the melody, and stray from the tune to the point where non-jazz-oriented aficionados of singing would become disoriented. Indeed, the theory has been advanced that during the `60s, flinging himself head-on against the rock & roll tide of the time, Sinatra was actually able to revive the big-band era in terms of mass popularity, record sales, concert receipts, and media exposure -- although this time, the orientation was in favor of the singer rather than the band. Had he chosen to explore it more, Sinatra could have also been the most important bossa nova singer of his time; even so, the two albums he did make with Antonio Carlos Jobim display an uncanny emotional affinity for the idiom. Other than Brazilian music, though, Sinatra stayed away from developments in jazz beyond swing (unless one counts a quirk like his notorious "do-be-do-be-do" scatting at the close of "Strangers In the Night"). The son of an ex-boxer and a domineering, ambitious mother, Sinatra quit school early in order to begin his musical career, winning the Major Bowes Amateur Hour radio contest at 19 as a member of the Hoboken Four. Shortly after leaving Benny Goodman to form his own big band, Harry James hired Sinatra as a featured singer in 1939, and graciously relinquished him to Tommy Dorsey the following year. Backed by the vocal group the Pied Pipers, Sinatra's star rose to the point where in 1942, he broke out of the Dorsey ranks with four solo sides on his own. The wild, orgiastic reaction that Sinatra aroused during the war years announced the rise of the solo singer act in pop music, a development that would help send the big bands reeling. Though Sinatra was known mostly for his smooth, straightforward ballads during what are now known as the Columbia years (1943-52), occasionally his primary arranger Axel Stordahl and others like George Siravo would cook up a big-band chart for him. He also recorded "Sweet Lorraine" with the Metronome All-Stars (including Nat Cole and members of the Dorsey and Ellington bands) in 1946 and other intimately jazzy sides with the small combos of Page Cavanaugh, Phil Moore and Tony Mottola. Upon moving to the Capitol label in 1953, many of Sinatra's recordings took on a tougher, more swinging, jazz-driven edge, with first Nelson Riddle and then, more vehemently, Billy May contributing sophisticated extensions of big-band-era techniques. The apex of the Riddle recordings is Songs for Swingin' Lovers (1955-56), where Sinatra rides confidently along with the swing of the band; May's charts for Come Fly With Me (1957) and Come Swing With Me (1958) push the swing envelope even farther and harder. The move to Sinatra's own label Reprise in 1961 found the singer working with other jazz-grounded arrangers like Johnny Mandel, Neal Hefti and Quincy Jones, as well as May and Riddle. In addition to Sinatra and Swingin' Brass , Hefti wrote the charts for Sinatra's initial studio encounter with Basie, Sinatra/Basie, while Jones did the follow-up, It Might As Well Be Swing , and conducted the live album with Basie, Sinatra at the Sands . A bit late for the bossa nova boom, Sinatra started working with Jobim in 1967 and again in 1969 -- the latter session did not come out in its entirety until 1995 -- and 1967 also saw a one-time-only summit meeting with Duke Ellington's orchestra. Following a short "retirement" (1971-73), a darker-toned Sinatra usually worked live in tandem with a big band sometimes augmented by strings, playing the vintage and occasionally new arrangements whose creators the singer almost always credited by name. The Woody Herman band played the old charts on Sinatra's live album The Main Event, and for Sinatra's last ungimmicked studio album, L.A. Is My Lady , Quincy Jones assembled an all-star band full of famous jazzers like George Benson, Randy and Michael Brecker, and Lionel Hampton. Sinatra kept on singing into his late 70s, well after the point when his voice had lost its luster and elasticity. All that was left was his exquisite control over phrasing stemming largely from jazz influences -- and in many cases, that was enough. He retired in 1995 after experiencing memory lapses in performances; after years of rumors about his failing health, he died of a heart attack on May 14, 1998, his reputation as the master of American popular song unassailably intact. - Richard S. Ginell, All-Music Guide

Moon & Stars Eros Ramazzotti Datum/Zeit: Mittwoch, 12.07.2006 20:30 Stil: POP Preise: 86.- Adresse: Moon & Stars Festival Piazza Grande 6600 Locarno Fon: 091 751 56 99 Mehr Info: www.ramazzotti.com www.moonandstarslocarno.ch

Moon & Stars Depeche Mode Datum/Zeit: Montag, 10.07.2006 20:30 Stil: POP, ROCK Details: Arrivano in Piazza Grande a Locarno i pionieri del synth-pop degli anni Ottanta. Lo stile dei Depeche Mode é fresco e pieno di vita, nonostante i tanti la band abbia incontrati dei seri problemi durante il lungo cammino. Una band che è riuscita a mantenere una ferrea presenza nelle chart, proponendo sempre un suono inconfondibile. Con Playing The Angel (2005) i Depeche Mode tentano di rinnovare i fasti di una carriera ormai venticinquennale. Biglietti esauriti a Zurigo e Ginevra! Preise: 90.- Adresse: Moon & Stars Festival Piazza Grande 6600 Locarno Fon: 091 751 56 99 Mehr Info: www.depechemode.com www.moonandstarslocarno.ch

Fühlen Sie sich wie ein Star und gewinnen Sie das VIP-Weekend «tapis rouge» vom 01.-02.07.06 an das Black Eyed Peas Konzert anlässlich des 40-jährigen Jubiläums des Montreux Jazz Festivals. Sie und Ihre Begleitung werden am Bahnhof in Montreux mit der Limousine abgeholt und ins Hotel gefahren, wo Sie eine Suite mit Blick auf den wunderschönen Lac Léman beziehen werden. Anschliessend erhalten Sie je ein Taschengeld von CHF 500.- mit welchem Sie sich in den chicen Boutiquen von Montreux für den Abend einkleiden können. Anschliessend laden die Quais mit den bunten Ständen zu einem Bummel ein und Sie essen etwas Leckeres aus dem vielfältigen Food-Angebot. Als VIP ans Black Eyed Peas-Konzert Nach der Shopping-Tour fährt Sie der Chauffeur zum Top-Coiffeur von Montreux, wo Sie für den Abend gestylt werden. Anschliessend geniessen Sie ein tolles Abendessen auf der Terrasse des Royal Plaza um gerüstet zu sein für das Black Eyed Peas-Konzert um ca. 21:00 Uhr. Im Hotel Royal Plaza können Sie sich dann von diesem wunderschönen Tag erholen und mit dem Gedanken erwachen: «War dies alles nur ein Traum...» Das volle Montreux-Programm Das gesamte Programm des Montreux Jazz Festival 2006 - von A wie Adam Green über Santana und The Strokes bis Z wie Zucchero - finden Sie im Bluewin Veranstaltungs-Kalender.

Date 22-06-2006 Playlist Cape Town - Proglifter (Banshee) Amnesia Brothers feat. Jennifer Rene - Louder (Armind) Envio - For You (Sunlounger remix) (ASOT) Black Pearl - Bounty Island (Dj Shah's San Antonio Harbour mix) Paulo Mojo - 1983 (Eric Prydz remix) Tom Cloud feat. Tiff Lacey - Secretly (dub) Mathias Lehtola feat. Gina J - Burning Bright (dub mix) (Captured music) Activa vs Matt Abbott - Liquefaction (Under Sun remix) (Somatic Sense) Freddie Mercury - Love Kills (Rank 1 dub) (EMI) A Force - Crystal Dawn (A Tribute to 99 mix) (Fundamental) Pirates of the Carribean - He's A Pirate (Tiesto mix) (EMI) Re:locate feat. Midor - Alcatraz (Fundamental) Jon O Bir - Ascendancy (Alex M.O.R.P.H. vs Woody van Eyden remix) Planet Funk - Chase the Sun (Sonicvibe presents Vadran remix) Alex Morph vs Rank 1 - Life less Ordinary TUNE OF THE WEEK: 4 Strings - Take me Away (Purple Haze remix) (Spinnin) Bart Claessen - When Morning Comes (Bart Claessen rework)(United) R.K. - Plastic Fantastic (Spinnin) Above & Beyond - Can't Sleep (Signum remix) (Anjunabeats) Alexey Selin - White Crystal (Deep Blue)