This programme was a spin off from Tiswas show just for adults after 10pm!

This is the episode where Jack Halford returns to the team. With guest stars June Watson & Roger Lloyd Pack (Trigger from Only Fools & Horses)

Soulja Boy. Clean version is different.

Leo Reisman & His Orch. - Jalousie (Jacob Gade), Tango Tzigane, Columbia 1925 ___________________________________ JACOB GADE (1879--1963) was a Danish violinist and composer, mostly of orchestral popular music. He is remembered in the world for the "Tango Jalousie", premiered September 14, 1925. The tango was an international hit, was featured in over 100 films, and the royalties allowed Gade to devote himself to composition fulltime for the rest of his life. The royalties now fund a foundation for young musicians.

Another Brick in the Wall" is the title of three songs set to variations of the same basic theme, on Pink Floyd's 1979 concept album, The Wall, subtitled "Part I", "Part II", and "Part III", respectively, all of which were written by Pink Floyd's bassist and then lead songwriter, Roger Waters. It's one of the band's most well known songs and also their biggest hit, peaking at #1 on the American singles charts and also the UK charts. In addition, the second part was #375 on Rolling Stone's 500 Greatest Songs of All Time list.[1] "Part II", best known for the line "We don't need no education", was released as a single, and provided the band's only number-one hit in the UK, the US, West Germany and many other countries. In the UK, it was their first single since 1968's "Point Me at the Sky". It is a protest song against rigid schooling in general and boarding schools in particular, which has led to the song being banned in several countries.[2] For "Part II", Pink Floyd needed a school choir, and producer Bob Ezrin asked sound engineer Nick Griffiths to find one. Griffiths approached music teacher Alun Renshaw of Islington Green School,[3] around the corner from their Britannia Row Studios. The choir were not allowed to hear the rest of the song after singing the chorus, and were let down, as they wanted to hear Gilmour's solo[citation needed]. The chorus was overdubbed 12 times to give the impression that the choir was larger. Though the school received a lump sum payment of £1000, there was no contractual arrangement for royalties from record sales. Under 1996 UK copyright law, they became eligible for royalties from broadcasts, and after royalties agent Peter Rowan traced choir members through the website Friends Reunited and other means, they claimed their payments. Contrary to press reports, this did not involve suing Pink Floyd. Music industry professionals estimated that each student would be owed around £500.[4] "Part II" gave Pink Floyd a Grammy nomination for Best Performance by a Rock Duo or Group and lost to Bob Seger's "Against the Wind". In 1980, the song was adopted as a protest anthem by black students during the "Elsie's River" uprising in South Africa, protesting against the racial propaganda and bias in the official curriculum. On May 2, it was banned by the government. La canzone, sebbene non una delle migliori del gruppo, è la più famosa. Si trova nel primo LP di "The Wall", alla traccia 4. Teoricamente la canzone farebbe un tutt'uno con la precedente The happiest days of our lives. In esse viene mostrata la condizione scolastica del protagonista Pink, tra insegnanti crudeli e delusioni sempre maggiori, che non fanno altro che aggiungere mattoni al muro. In Another brick in the wall pt. 2 gli scolari gridano un messaggio di ribellione contro questo sistema scolastico disumanizzante ("Hey! Professore!/ Lascia in pace i ragazzi!/ Dopotutto è solo/ un altro mattone nel muro). In Sud Africa fu censurata perché venne presa come inno di ribellione. Il Brano si chiude inoltre con uno dei migliori assoli di Gilmour. Si nota tristemente l'assenza totale delle tastiere di Wright, cacciato dal gruppo da Waters durante i lavori di registrazione del disco, per presunto uso di sostanze stupefacenti e diverbi con il leader. Durante la tournèe le rare parti di tastiere furono eseguite da un session man. (from/da Wikipedia)

1980: "My Old Piano" (UK #5) Love is called My old piano I have a ball With my old piano My baby entertains The real life of my parties But still retains In all the dignity His international style Exudes an air of royalties His eighty eight key smile Is so pleasant to see Love is called My old piano I have a ball With my old piano My old keyboard Won't stand for a corner He demands the middle of the room Your heart disolves While he tips you so gracefully 'Till you're involved In a babygrand affair Love is called My old piano I have a ball With my old piano He entertains The real life of my parties But still retains In all the dignity His international style Exudes an air of royalties His eighty eight key smile Is so pleasant to see My old keyboard Won't stand for a corner He demands the middle of the room Your heart disolves While he tips you so gracefully 'Till you're involved In a babygrand affair Love is called My old piano I have a ball With my old piano

Click on more info.. This version of the Holiday Rap was recorded and produced by DVJ Martin Aston (MvdS) in 1986 at his private studio. This demo was used by Frits van Swoll as an example for the recording and remix made by Ben Liebrand. DVJ Martin Aston worked in Club Baccara in Hilversum, this club was the place to be in the 70's & 80's for release parties from BMG, Dureco, e.o. many (famous) artists like: Whitney Houston, Donna Summer, Mick Jagger, Marco Borsato, Baccara, Andre Hazes, Dolly Dots, Luv, Sabrina, George McGrea, Lee Towers, Rene Shuman, Hans Klok, Forrest, Lisa Boray, Rob & Ferdi Bolland, visited or performed in this Club founded in the early 70's, and situated in Hilversum the media centre of Holland. Martin Aston was the MC, host and resident DJ for 13 years (volle zalen:) in this Club and besides that repertoire manager for Alcas/Mood Media. Later Martin became Managing Director for the publishing department of Zomba Music. Zomba is now owned by BMG. DJ Sven asked Martin to realize his idea for making The Holiday Rap, Martin made the recording and he waited with mixing for months because he did not really, like the rap song with a heavy Dutch/English accent. That is also the reason according to Martin that it was not a number one in the UK. And in Germany for weeks no: 1 It says someting about the level of English in those days. DJ Sven was persistant and Martin completed and mixed the Demo on a Tascam multitrack taperecorder. A cassette was given to a local radio station, Frits van Swoll A & R for Dureco heard this recording and wanted to release it. Frits already worked with Ben Liebrand, (Fun Fun, Jonathan Richman) and he asked him to re-record the music. Ben Liebrands first mix was according to Frits van Swoll rejected, because it sounded to much like a hip hop record. So a second mix was made. And so this 1986 demo became THE example for the world wide One Hit Wonder. The video is added from the new version. Most people think that a lot of money is been made by this record. The royalties situation was very complicated. Madonna, Dureco, Two Pieters (publishing) and Ben Liebrand got the most. Sven and Miker earned the most with performances. Martin Aston was paid, only for his studio work, and did not get royalties. The verbal agreement with Sven was to co-produce it, which is difficult to prove. Today in the digital age things are changed because most people don't pay for downloads, so there are not much royalties to devide on (cd) sales, in Holland. Royalties come from Broadcast organisations, Idols, SMS, ringtones, live performances or sponsering and seems the business at the moment. The exiting times of launching a cd with a nice cover are almost over in Holland! For DVD there is still a market but this will soon change, a idea is to put a fee in the internet subscription, for downloads. By the way, also the second hit the Celebration rap was selected after a night testing with several hits in Club Baccara by Frits and Martin. Success or money says nothing about quality or taste also the X factor is very important. These tracks are now Dance Classics, the memory stays, have fun, Special thanks to Michel W., Sven, Lucien, Frits and Ben. Martin Aston still performs only on company events, now with The Dance Classics Video Roadshow and besides that he is ambassador for Omniqare, Smart care for people. A interactive internet platform to support seniors and people with an addiction. On top of that he is writing a book about The Music Scene in Holland during the past 30 years. From Wikipedia: MC Miker G & Deejay Sven were a hip hop duo from the Netherlands. The duo consisted of Lucien Witteveen (MC Miker G) and Sven van Veen (Deejay Sven). The 1980s saw the two launch "Holiday Rap", a remixed version, by Ben Liebrand, of Madonna's hit "Holiday", to international success. The Early Years Witteveen and Van Veen became acquainted in 1986 in a disco in Hilversum. Here the idea for a version of the Madonna hit developed. Their single "Holiday Rap" became an international success, occupying number one on the single charts in 34 countries and reaching the Top Ten in twelve further countries. It was named by MuchMusic as the worst video of 1987. Rise To Fame In Germany the song stayed at the top of the charts for five weeks in August and September. The follow-up single "Celebration Rap" (based on the Kool & the Gang hit "Celebration") did not repeat this success, but still made it into the Top Ten in approximately 30 countries. The two began a large-scale European tour in 1987. In February 2006, Deejay Sven appeared on five's Now That's Embarrassing: The 80s. His record was nominated just behind "Men in Makeup" and the Sinclair C5. He is currently a jobbing deejay in The Netherlands and co-host of the daily "Somertijd" show on Radio Veronica.

Steve Albini wrote an article about the unfair practices of the majors in which he does a case-study of a typical record deal. Be warned, Albini's article actually takes a few minutes to read, and it actually needs to be read to be understood. Here are the numbers from his article. long, Albini: "There's no need to skew the figures to make the scenario look bad, since real-life examples more than abound. income is bold and underlined [underlines removed], expenses are not. Advance: $ 250,000 Manager's cut: $ 37,500 Legal fees: $ 10,000 Recording Budget: $ 150,000 Producer's advance: $ 50,000 Studio fee: $ 52,500 Drum Amp, Mic and Phase "Doctors": $ 3,000 Recording tape: $ 8,000 Equipment rental: $ 5,000 Cartage and Transportation: $ 5,000 Lodgings while in studio: $ 10,000 Catering: $ 3,000 Mastering: $ 10,000 Tape copies, reference CDs, shipping tapes, misc. expenses: $ 2,000 Video budget: $ 30,000 Cameras: $ 8,000 Crew: $ 5,000 Processing and transfers: $ 3,000 Off-line: $ 2,000 On-line editing: $ 3,000 Catering: $ 1,000 Stage and construction: $ 3,000 Copies, couriers, transportation: $ 2,000 Director's fee: $ 3,000 Album Artwork: $ 5,000 Promotional photo shoot and duplication: $ 2,000 Band fund: $ 15,000 New fancy professional drum kit: $ 5,000 New fancy professional guitars [2]: $ 3,000 New fancy professional guitar amp rigs [2]: $ 4,000 New fancy potato-shaped bass guitar: $ 1,000 New fancy rack of lights bass amp: $ 1,000 Rehearsal space rental: $ 500 Big blowout party for their friends: $ 500 Tour expense [5 weeks]: $ 50,875 Bus: $ 25,000 Crew [3]: $ 7,500 Food and per diems: $ 7,875 Fuel: $ 3,000 Consumable supplies: $ 3,500 Wardrobe: $ 1,000 Promotion: $ 3,000 Tour gross income: $ 50,000 Agent's cut: $ 7,500 Manager's cut: $ 7,500 Merchandising advance: $ 20,000 Manager's cut: $ 3,000 Lawyer's fee: $ 1,000 Publishing advance: $ 20,000 Manager's cut: $ 3,000 Lawyer's fee: $ 1,000 Record sales: 250,000 @ $12 = $3,000,000 Gross retail revenue Royalty: [13% of 90% of retail]: $ 351,000 Less advance: $ 250,000 Producer's points: [3% less $50,000 advance]: $ 40,000 Promotional budget: $ 25,000 Recoupable buyout from previous label: $ 50,000 Net royalty: $ -14,000 Record company income: Record wholesale price: $6.50 x 250,000 = $1,625,000 gross income Artist Royalties: $ 351,000 Deficit from royalties: $ 14,000 Manufacturing, packaging and distribution: @ $2.20 per record: $ 550,000 Gross profit: $ 7l0,000 The Balance Sheet: This is how much each player got paid at the end of the game. Record company: $ 710,000 Producer: $ 90,000 Manager: $ 51,000 Studio: $ 52,500 Previous label: $ 50,000 Agent: $ 7,500 Lawyer: $ 12,000 Band member net income each: $ 4,031.25 The band is now 1/4 of the way through its contract, has made the music industry more than 3 million dollars richer, but is in the hole $14,000 on royalties. The band members have each earned about 1/3 as much as they would working at a 7-11, but they got to ride in a tour bus for a month. The next album will be about the same, except that the record company will insist they spend more time and money on it. Since the previous one never "recouped," the band will have no leverage, and will oblige. The next tour will be about the same, except the merchandising advance will have already been paid, and the band, strangely enough, won't have earned any royalties from their T-shirts yet. Maybe the T-shirt guys have figured out how to count money like record company guys. Some of your friends are probably already this fucked. "

nuevo trabajo de el grupo de reggaeton rakim y ken-y: The Royalties. este nuevo album incluye canciones como " ton ton" con nicky jam, enseñame, mis dias sin ti.... estee es un tema muy bonito. el videoclip es estupendo. aqui les dejo la lirica cantada con daddy yankee: [Letra]: Mis dias sin ti Disco: The Royaltie Yeah! Vamo Alla Esto Es Findy HaHa Ken-Y HaHa Y El Boss...Daddy Quizas Te Han Dicho Que Me Han Visto Llorando Que No Soy El Mismo De Ayer Y Que No Comprenden Porqueeeee Y Que Ando Loco Por Las Calles Buscandooo Aquel Amor Que Un Dia Se Me Fue Y Con El Se Llevo Mi Sedddd Eeeeeeeeeeeeehhhhhh Mis Dias Sin Ti Son Solo Griiiiiiiiiiiiiiiiises Son Un Puñal Que Me Mata Muy Adentro De Mii Mis Dias Sin Ti Son Una Pesadilla Que Me Recuerda Cada Dia Vida...Lo Que Un Dia Fuiiii (Vamos Alla) Hoy de nuevo Pensando En Ti Ya No Puedo Vivir Sin Ti Dia Y Noche Pensando En Ti Ya No Puedo..Yeah Recuerdo Tu Mirada Y Tu Sonrisa(Si) Cuando De Bata Te Ponia Mis Camisas(Yeah) Recuerdo Las Postales Que Me Dabas Y Con El Amor Que Las Dedicabas(Recuerda) Recuerdo Cuando Yo Te Hacia Mia Esas Palabras Al Oido Que Me Decias Parecia Que Estabamos En Otro Mundo En El Que Ahi No Heramos Dos Heramos Uno! (Si) Mis Dias Sin Ti Son Solo Griiiiiiiiiiiiiss Es Como Un Puñal Que Me Mata Muy Adentro De Mii Mis Dias Sin Ti Son Una Pesadilla Que Me Recuerda Cada Dia Vida...Lo Que Un Dia Fuiiii Y Se Me Aguan Los Ojos Cuando Yo Pienso En Ti Mi Corazon No Palpita Igual Si No Estas Aqui No Te Puedo Olvidar Tus Foto Me Hacen Recordar La Vida Es Injusta Y Solo Me Queda Soñar Hacerte Mia Como Antes Yo Lo Hacia Mis Semanas Son Grises Desde Aquel Dia No Se Si Te Dijieron Que Yo No Te Convenia Lo Unico Que Se Esque Te Amo Y Te Extraño Todavia Yeah Esto Es Findy Vamo Alla! Mis Dias Sin Ti Son Solo Griiiiiiiiiiiiiiiises Es Como Un Puñal Que Me Mata Muy Adentro De Mii Mis Dias Sin Ti Son Una Pesadilla Que Me Recuerda Cada Dia Vida...Lo Que Un Dia Fuiiii Mis Dias Sin Ti Son Grises Ha..Papi Ya Tu Sabes Esto Es Findy Con Los Exponentes Mas Fuertes De Este Genero HaHa Ken-y... Y El Boss..Daddy Yankee Yo Soy La Evolucion!

rakim y ken-y the royalty MEGAMIX intro se acaba come on te regalo amores cuerpo sensual presiento si tu me amaras nena ven conmigo te amare noche de dos tuve un sueño si tu me amaras vicio del pecado no tengo nada puedo reir enamorado por primera vez mis dias sin ti mix royalties luigy

The music for this video is from Dorsey Dixon, the songwriter of Babies In The Mill. Dorsey sings and accompanies himself on the guitar on this song as he did on all of his recordings on this CD. This cut of Babies In The Mill was released as one of 19 songs written by Dorsey Dixon on the CD: Babies In The Mill, Carolina Traditional, Industrial, Sacred Songs, 1997, HMG Hightone Records. Dorsey also recorded with his younger brother Howard Dixon, as the duo The Dixon Brothers. I knew Dorsey personally as a child, and oh if I knew then, what I know now!!!! This clip documents a dark part of the history of the United States as mostly seen through the lens of photographer Lewis W. Hine. American child labor was prolific in southern cotton mills and all kinds of other industries in other parts of the country. This video doccuments the period of approximately 1900-1920. Dorsey Dixon was a great songwriter who also happened to have been forced to work in a cotton mill as a young teen. He knew all of the 'ins and outs' of that time in history. Dixon wrote Babies In The Mill as a 'memory song' remembering his time as a child working in a cotton mill. Dixon also penned the Bluegrass standard 'Wreck On The Highway', cut by Roy Acuff. Babies In The Mill is one of Dixon's best songs, IMHO - even more to my liking than Wreck On The Highway. Dixon was a socio-religious activist, poet, textile worker, noted guitarist and songwriter who called both North and South Carolina home. The highlight of his career (per critics), was performing along with others on the bill, including Bob Dylan, Doc Watson and Maybelle Carter, at the Newport Folk Festival in 1963. Newport happened for Dorsey just five years prior to his death. Dixon's Newport live performance was released on vinyl by Vanguard Records (Old Time Music At Newport). Dorsey Dixon lived in my hometown, was a friend of my father's and performed often at my grandfather's church. He also played music with my father, who was a piano player, in our living room. Dorsey did not gain any significant royalties from 'Wreck On The Highway', even though Acuff's first release of Wreck On The Highway was a hit record. At that time Acuff had assigned himself 'the songwriting credit' and received all royalties generated by the cut. A live version of Roy Acuff's 'Wreck On The Highway' was included in the original 1972, widely aclaimed release, Nitty Gritty Dirt Band's 'Will The Circle Be Unbroken'. Unfortunately, the liner notes listed 'Dorothy Dixon' as the songwriter of Wreck On The Highway. This LP was released 4 years after Dorsey Dixon's death. Just to set the record straight, Wreck On The Highway (or as first recorded by Dorsey Dixon, 'I Didn't Hear Nobody Pray'), was written by Dorsey Dixon, not Roy Acuff as Acuff claimed for a number of years. Roy Acuff ripped it off from Dixon and later had to pay Dorsey a court ordered settlement, which according to my father, amounted to about $80 bucks! Talk about injustice! Dixon also penned another favorite, 'Intoxicated Rat'. I've been able to find most all of Dorsey & The Dixon Brother's music on CD. Just google Dorsey Dixon and The Dixon Brothers and you'll come up with hits of where to purchase the CD's. Dorsey would want to be remembered as first a Christian (being deeply religious) and lastly as an activist through his music. Rest In Peace dearest, sweet Dorsey and know that you will never be forgotton if I have anything to do with it ...

This is the Energy Crisis we face, see how its being exploited for Money!

For more, check out www.dl.tv! Will the recent copyright court ruling on royalty payments for songs played on the web kill Internet radio? Find out as we talk to Pandora founder, Tim Westergren, on how the changes effect his and many similar operations around the country. Original Air Date 04/19/2007

The Living Cartoon.. aka..the world famous quick change comedian Ennio Marchetto. A special Eurovision television broadcast of Hans Christian Andersen's bi-centenary at the Parken stadium in Copenhagen. In front of the Danish royalties and an audience of 40.000, Ennio performed specially created characters to celebrate the Danish writer; Andersen himself transforming into the ugly duckling/ Bjork; The little Mermaid into Celine Dion/Titanic; Elton as the emperor without clothes and the Snow Queen transforming into Freddie Mercury. Other guests included Olivia Newton-John, Metallica, Tina Turner, Isabel Allende, Renee Fleming, Jean Michel Jarre and sir Roger Moore. Presented by Connie Nielsen. http://www.enniomarchetto.com http://www.myspace.com/enniomarchetto This is a copy of a VHS tape, unfortunately the quality is not the best and slightly squeezed.

Paul Newman (Jan 26, 1925 - Sep 26, 2008)was an actor, film director, entrepreneur, humanitarian and auto racing enthusiast. He won numerous awards, including an Academy Award, two Golden Globe Awards, a Screen Actors Guild Award, a Cannes Film Festival Award, an Emmy award, and many honorary awards. He also won several national championships as a driver in Sports Car Club of America road racing and his race teams won several championships in open wheel IndyCar racing. He a co-founder of Newman's Own, a food company from which Newman donated all post-tax profits and royalties to charity. As of May 2007, these donations exceeded 220 million dollars. On Friday Sep 26, 2008 Newman died at his home in Westport, Connecticut, of complications arising from lung cancer.

SEA OF LOVE written by John Phillip Baptiste (aka Phil Phillips) and George Khoury. COMMENT FROM PHIL PHILLIP'S SON, DEC. 15, 2007 (This quickly got lost in the comments, so I put it here for all to read. --Bill) 'rietise' "daddy's great song ...thanks to everyone as a fan of my dad's and thanks for posting this . My dad is still living thank god he has just got inducted in the hall of fame in Baton Rouge, La last month . Although he was robbed out of most of the royalties of his song like a lot of artist back then , and career cut short cause of that his fans still are die hard for him and supports him all through out the world today ... Thanks for the love Everyone .... Isssi Baptiste Much more Phil Phillip's music can be heard on his official MySpace Page: http://www.myspace.com/thephilphillips --FROM WIKIPEDIA-- Phillips' 1959 recording of the song peaked at #1 on the Billboard R&B chart and #2 on the Billboard Hot 100. In the UK, Marty Wilde covered the song, and Phillips' version failed to chart there. It has been covered by a number of artists since then, most notably The Honeydrippers, whose version (from the album The Honeydrippers: Volume One) reached #3 on the Hot 100 chart in 1984, and by The Heptones. Tom Waits also covered the song for the soundtrack to the 1989 Harold Becker film Sea of Love starring Al Pacino and Ellen Barkin and included it on his 2006 collection Orphans: Brawlers, Bawlers & Bastards. It was the first and only Top 40 song for Phillips, who never recorded another hit. --LYRICS-- Come with me my love To the sea, the sea of love I want to tell you How much I love you Do you remember when we met That's the day I knew you were my pet I want to tell you How much I love you Come with me To the sea, of love Do you remember when we met That's the day I knew you were my pet I want to tell you How much I love you Come with me To the sea, of love Do you remember when we met That's the day I knew you were my pet I want to tell you How much I love you

Jorge Ben Jor is a Brazilian popular musician, born in Rio de Janeiro on March 22, 1942 (some sources say 1940). His characteristic style fuses samba, funk, and rock into samba-rock, with lyrics that blend humor and satire with often esoteric subject matter. Biography Born Jorge Duilio Lima Menezes, he initially took the stage name Jorge Ben after his mother's name (of Ethiopian [1] origin), but later changed it to Jorge Ben Jor (commonly written Benjor), allegedly in response to an incident where some of his royalties had accidentally gone to American guitarist George Benson. Jorge Ben obtained his first pandeiro (Brazil's most popular type of tambourine) when he was thirteen, and two years later, was singing in a church choir. He also took part as a pandeiro player in the blocos of Carnival, and from eighteen years of age, he began performing at parties and nightclubs with the guitar his mother gave him. It was at one of those clubs in which he performed that his musical career took off. In 1963, Jorge came on stage and sang "Mas Que Nada" (or "no way") to a small crowd that happened to include an executive from the recording company, Philips. One week later, Jorge Ben's first disc was launched. The hybrid rhythms that Jorge employed brought him some problems at the start of his career, when Brazilian music was split between the rockier sounds of the Jovem Guarda and traditional samba with its complex lyrics. But as that phase in Brazilian pop music history passed, and the entire world became captivated by bossa nova, Jorge rose to prominence.

This is REAL music in my opinion, unlike 80% of the cheap commercial garbage that passes off as music nowadays. Meaningful, melodious and soulful music made not with money or fame in mind, but for the music and the emotion itself. If you like this clip consider buying the Sarah Mclachlan "Vh1 Storytellers" DVD (it's available from Amazon). This clip will probably be deleted pretty fast, and that's the way it should be (Sarah is one of the few artists who I'd hate to see "robbed" of her royalties, because she is one of the few who actually deserve them). Enjoy! LYRICS: Listen as the wind blows from across the great divide, Voices trapped in yearning, memories trapped in time, The night is my companion and solitude my guide, Would I spend forever here and not be satisfied, And I would be the one to hold you down, kiss you so hard, I'll take your breath away and after I'd wipe away the tears, Just close your eyes dear Through this world I've stumbled so many times betrayed, Trying to find an honest word, to find the truth enslaved, Oh you speak to me in riddles and you speak to me in rhymes My body aches to breathe your breath, your words keep me alive, And I would be the one to hold you down, kiss you so hard, I'll take your breath away and after I'd wipe away the tears, Just close your eyes dear Into this night I wander, it's morning that I dread, Another day of knowing of the path I fear to tread, Oh into the sea of waking dreams I follow without pride, Nothing stands between us here and I won't be denied, And I would be the one to hold you down, kiss you so hard, I'll take your breath away and after I'd wipe away the tears, Just close your eyes dear...

This is REAL music in my opinion, unlike 80% of the cheap commercial garbage that passes off as music nowadays. Meaningful, melodious and soulful music made not with money or fame in mind, but for the music and the emotion itself. If you like this clip consider buying the Sarah Mclachlan "Vh1 Storytellers" DVD (it's available from Amazon). This clip will probably be deleted pretty fast, and that's the way it should be (Sarah is one of the few artists who I'd hate to see "robbed" of her royalties, because she is one of the few who actually deserve them). Enjoy! LYRICS: Spend all your time waiting for that second chance for a break that would make it okay there's always one reason to feel not good enough and it's hard at the end of the day I need some distraction oh beautiful release memory seeps from my veins let me be empty and weightless and maybe I'll find some peace tonight in the arms of an angel fly away from here from this dark cold hotel room and the endlessness that you fear you are pulled from the wreckage of your silent reverie you're in the arms of the angel may you find some comfort here so tired of the straight line and everywhere you turn there's vultures and thieves at your back and the storm keeps on twisting you keep on building the lie that you make up for all that you lack it don't make no difference escaping one last time it's easier to believe in this sweet madness oh this glorious sadness that brings me to my knees in the arms of an angel fly away from here from this dark cold hotel room and the endlessness that you fear you are pulled from the wreckage of your silent reverie you're in the arms of the angel may you find some comfort here you're in the arms of the angel may you find some comfort here

This is REAL music in my opinion, unlike 80% of the cheap commercial garbage that passes off as music nowadays. Meaningful, melodious and soulful music made not with money or fame in mind, but for the music and the emotion itself. If you like this clip consider buying the Sarah Mclachlan "Vh1 Storytellers" DVD (it's available from Amazon). This clip will probably be deleted pretty fast, and that's the way it should be (Sarah is one of the few artists who I'd hate to see "robbed" of her royalties, because she is one of the few who actually deserve them). Enjoy! LYRICS: Make me a witness take me out out of darkness out of doubt I won't weigh you down with good intention won't make fire out of clay or other inventions will we burn in heaven like we do down here will the change come while we're waiting everyone is waiting and when we're done soul searching as we carried the weight and died for the cause is misery made beautiful right before our eyes will mercy be revealed or blind us where we stand will we burn in heaven like we do down here will the change come while we're waiting everyone is waiting

This is REAL music in my opinion, unlike 80% of the cheap commercial garbage that passes off as music nowadays. Meaningful, melodious and soulful music made not with money or fame in mind, but for the music and the emotion itself. If you like this clip consider buying the Sarah Mclachlan "Vh1 Storytellers" DVD (it's available from Amazon). This clip will probably be deleted pretty fast, and that's the way it should be (Sarah is one of the few artists who I'd hate to see "robbed" of her royalties, because she is one of the few who actually deserve them). Enjoy! LYRICS: Your love is better than ice cream. Better than anything else that I've tried and your love is better than ice cream everyone here know how to fight and it's a long way down it's a long way down it's a long way down to the place where we started from. Your love is better than chocolate better than anything else that I've tried and oh love is better than chocolate. Everyone here knows how to cry and it's a long way down it's a long way down it's a long way down to the place where we started from.

This is REAL music in my opinion, unlike 80% of the cheap commercial garbage that passes off as music nowadays. Meaningful, melodious and soulful music made not with money or fame in mind, but for the music and the emotion itself. If you like this clip consider buying the Sarah Mclachlan "Vh1 Storytellers" DVD (it's available from Amazon). This clip will probably be deleted pretty fast, and that's the way it should be (Sarah is one of the few artists who I'd hate to see "robbed" of her royalties, because she is one of the few who actually deserve them). Enjoy! LYRICS: Adia I do believe I failed you Adia I know I let you down don't you know I tried so hard to love you in my way it's easy let it go... Adia I'm empty since you left me trying to find a way to carry on I search myself and everyone to see where we went wrong 'cause there's no one left to finger there's no one here to blame there's no one left to talk to honey and there ain't no one to buy our innocence 'cause we are born innocent believe me Adia, we are still innocent it's easy, we all falter does it matter? Adia I thought we could make it but I know I can't change the way you feel I leave you with your misery a friend who won't betray I pull you from your tower I take away your pain and show you all the beauty you possess if you'd only let yourself believe that we are born innocent believe me Adia, we are still innocent it's easy, we all falter, does it matter? believe me Adia, we are still innocent 'cause we are born innocent Adia we are still it's easy, we all falter ... but does it matter?

http://www.videomaker.com Jennifer shows you how to make sound effects free of royalties and copyright problems.

Penn and Teller attack the belief and study of creatures like Bigfoot and the Loch Ness monster, as motivated by money as it creates tourism and royalties from film and video distribution.

Led Zeppelin - Bring It on Home Copyright - 1969 Atlantic Records In 1969, English rock band Led Zeppelin recorded a version of the song for their album Led Zeppelin II. The intro and outro were deliberate homages to the Sonny Boy Williamson song, while the rest of the track was an original Jimmy Page/Robert Plant composition. However, Dixon was not given a song writing credit for the track, leading to Arc Music, the publishing arm of Chess Records, bringing a lawsuit against Led Zeppelin for copyright infringement and winning an out-of-court settlement in the 1970s. Dixon himself did not benefit until he sued Arc Music to recover his royalties and copyrights. Plant's harmonica part was recorded in Vancouver. The band went on tour with the master tapes from Led Zeppelin II and now and then stopped into a studio to record parts. Led Zeppelin frequently performed this song live at Led Zeppelin concerts, first appearing as an encore on the band's 1970 U.K. tour. When played live, the song exhibited sharp interplay between Jimmy Page's guitar, John Bonham's drums and John Paul Jones' bass. This can be seen on the Led Zeppelin DVD, which features a performance at the Royal Albert Hall in 1970. Another version dating from 1972 is included on the live release How the West Was Won which listed the song as a medley on the cover. "Bring it on Home" was credited to Dixon, while the middle section, newly named "Bring it on Back," was credited to Bonham/Jones/Page/Plant. From 1973, the song was dropped from the band's live set list. However, the middle section riff was retained and served as the introduction to "Black Dog" on the band's 1973 tour of the United States, as documented on the concert film The Song Remains the Same. "Bring It on Home" was played at the reunion of surviving Led Zeppelin members staged at Jason Bonham's wedding reception in May 1990. Lyrics: Baby, baby... I'm gonna bring it on home to you. I've got my ticket, I've got that load. Got up, gone higher, all aboard. Take my seat, right way back. ooh yeah. Watch this train roll down the track. I'm gonna bring it on home, Bring it on home to you. Watch out, watch out... Try to tell you baby, what you tryin' to do? Tryin' to love me baby, love some other man too. Bring it on home... Went a little walk downtown, messed and got back late. Found a note there waiting, it said, "Daddy, I just can't wait." Bring it on home... Bring it back home to me baby... Tell you, pretty baby, you love to mess me `round. I'm gonna give you lovin', baby, gonna move you out o' town. Bring it on home... Sweetest little baby, daddy ever saw. I'm gonna give you lovin' baby, I'm gonna give you more. Bring it on home... Bring it on home, Bring it on home to you...