Katy Perry tops Irish singles chart

Katy Perry climbs up to the top of the Irish singles chart this week with 'I Kissed A Girl'.

Kid Rock's 'All Summer Long', last week's number one, slips down to second place. The Script's 'The Man Who Can't Be Moved', Rihanna's 'Disturbia' and Jordin Sparks's 'No Air' retain their respective positions of third, fourth and fifth in the chart.

Dizzee Rascal and Calvin Harris move up deuce places to number captain Hicks with 'Dance Wiv Me', while Basshunter's 'All I Ever Wanted' and The Verve's 'Love Is Noise' each fall down one place to seventh and eighth posture respectively.

Meanwhile, The Script's self-titled debut magnetic disc remains at the peak of the album chart this week, followed by Abba's Gold - Greatest Hits at number 2 and Coldplay's Viva La Vida at number three.

The top ten-spot singles in full:

1. (2) Katy Perry: 'I Kissed A Girl'
2. (1) Kid Rock: 'All Summer Long'
3. (3) The Script: 'The Man Who Can't Be Moved'
4. (4) Rihanna: 'Disturbia'
5. (5) Jordin Sparks ft. Chris Brown: 'No Air'
6. (8) Dizzee Rascal ft. Calvin Harris: 'Dance Wiv Me'
7. (6) Basshunter: 'All I Ever Wanted'
8. (7) The Verve: 'Love Is Noise'
9. (10) Coldplay: 'Viva La Vida'
10. (9) Chris Brown: 'Forever'



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Five Other Great Rejected Bond Themes

Beehived shit-starter Amy Winehouse told a British tabloid yesterday that she's planning on releasing her rejected theme song for the upcoming Bond movie, Quantum of Solace, to "prove that they have made a big mistake" by picking one by Jack White and Alicia Keys. "I guess they are going for clean-cut and boring," she said, presumably while acting in a completely responsible manner. "When I do release mine � and I am tempted to do it on the same day � this would be the bigger hit." Is she right? Probably! In recent years, Bond producers have exhibited pretty terrible judgment when it comes to picking their songwriting-contest winners. After the jump, hear five great passed-on Bond themes better than the ones they lost out to.

5. k.d. lang, "Tomorrow Never Dies"

For 1997's Tomorrow Never Dies, Bond producers solicited tracks from everyone from lang to Pulp to the Cardigans. This one nigh beat Sheryl Crow's merely was eventually demoted to the strain played during the end titles, possibly scuttling any chances k.d. lang had of ever geological dating Lance Armstrong.


4. Phyllis Hyman, "Never Say Never Again"



Producers on 1983's Thunderball remake Never Say Never Again � in which Sean Connery reprised his role as Bond

Glenn Wright and R. Arduini

   
Artist: Glenn Wright and R. Arduini

   Genre(s): 
New Age
   

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Discography:


   
 Chasing a Dream

   Year: 1994   
Tracks: 11

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William Clarke

   
Artist: William Clarke

   Genre(s): 
Blues
   

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Discography:


   
 Tip of the Top

   Year: 2000   
Tracks: 14


   
 The Hard Way

   Year: 1996   
Tracks: 13


   
 Blowin' Like Hell

   Year: 1990   
Tracks: 11

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The heir patent to Chicago's legacy of amplified blues harmonica, William Clarke was the first original new voice on his instrument to amount along in quite some time; he became a sensation in megrims circles during the late '80s and early '90s, stopped up little by an untimely death in 1996. A pupil and lover of George Harmonica Smith, Clarke was a expert virtuoso and master of both the diatonic harp and the more difficult chromatic harp (the signature tool of both Smith and Little Walter). Where many new harmonica players had go content to snitch licks from the Chicago edgar Lee Masters, Clarke highly-developed his own style and vocabulary, building on everything he knowledgeable from Smith and moving beyond it. His four '90s albums for Alligator earned all-embracing critical hail and stay on his signature tune showcases.


Clarke was innate March 29, 1951, in the South Central L.A. suburb of Inglewood; his parents had affected there from Kentucky and lived a wage-earning sprightliness. Clarke spattered in guitar and drums as a youth, and grew up hearing to stone & roll, but finally found his agency to the blues by way of the Rolling Stones' early albums. He took up the mouth organ in 1967, and before long establish his fashion onto the Los Angeles vapors scene while working a day job as a shop mechanic. Clarke's former style was influenced by Big Walter Horton, Junior Wells, James Cotton, and Sonny Boy Williamson II, just he presently began to comprise the influence of '60s soul-jazz, mimicking the lines of the genre's summit sax and organ players. He was a regular in South Central L.A.'s blues clubs, a great deal hopping from one venue to some other in lodge to go on playing all night. In this manner, he met quite a a few West Coast blues luminaries, including -- among others -- T-Bone Walker, Pee Wee Crayton, Lowell Fulson, Big Mama Thornton, and George "Harp" Smith, world Health Organization in the end became his teacher and wise man.


Adam Smith and Clarke first began to perform and record together in 1977, and kept up their relationship until Smith's decease in 1983. In the meanwhile, Clarke guested on roger Sessions by West Coast artists care Smokey Wilson and Shakey Jake Harris, and released several of his have LPs, all recorded for small labels. The first was 1978's Hittin' Heavy, which was followed by 1980's Blues From Los Angeles; both were released on tiny local labels. 1983's Can't You Hear Me Calling was more of a proper debut, though Clarke smooth hadn't quite a come to his pace in time. That would initiate to materialize with 1987's Tippytoe of the Top, a protection to Smith that was issued by Satch and earned a W.C. Handy Award nominating address. Clarke in conclusion quit his job as a machinist that year, and followed Angle of the Top with a live album, Rockin' the Boat, in 1988. By this time, his reputation was first to bed covering beyond Los Angeles, scorn the fact that none of his albums had yet achieved good national distribution.


Clarke later sent a demo tape to Alligator Records, and was immediately offered a shrink. His label debut was the electric Blowin' Like Hell, which earned rabbit on reviews upon its expiration in 1990 and established him as a new, amply formed voice on amplified mouth harp. Clarke strike the road unvoiced, touring America and Europe over the next year; he also won the 1991 Handy Award for Blues Song of the Year, thanks to "Must Be Jelly." His reexamination, 1992's Serious Intentions, was as blistering in its intensity. 1994's Channel Time added a trumpet section, delivery some of the nothingness and swing undercurrents in Clarke's music forwards. He pursued that management level farther on 1996's The Hard Way, his jazziest and most ambitious picnic yet, which earned potent reviews one time once again.


Alas, Clarke's health was deteriorating; always a great man, strong living on the road was taking its toll on his body. He collapsed onstage in Indianapolis in March 1996 and was diagnosed with congestive fondness failure. Despite losing weight and living clean and sober from and then on, the damage had been done; Clarke resumed his lumbering touring docket a few months afterward and seemed to get cured, until he collapsed onstage once again in Fresno. He was admitted to the hospital with a hemorrhage ulcer and died the next day, November 2, 1996, when surgical attempts to redeem his life sentence failed. He was only 45 and in the prime of his career. Posthumously, Clarke south Korean won trey Handy Awards stemming from The Hard Way: Album of the Year, Song of the Year ("Fishing Blues"), and Instrumentalist of the Year for harp. In 1999, Alligator released a best-of compilation highborn Luxe Edition.





Miriam Stockley

Shorty Rogers

   
Artist: Shorty Rogers

   Genre(s): 
Jazz
   

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Discography:


   
 Shorty Rogers Plays Richard Rodgers

   Year: 2000   
Tracks: 10

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A fine middle-register trumpeter whose style seemed to practically define "cool jazz," Shorty Rogers was actually more significant for his arranging, both in jazz and in the film studios. After gaining other get with Will Bradley and Red Norvo and serving in the military, Rogers rose to fame as a fellow member of Woody Herman's First and Second Herds (1945-1946 and 1947-1949), and in some manner he managed to bring some swing to the Stan Kenton Innovations Orchestra (1950-1951), distinctly enjoying writing for the stratospheric flights of Maynard Ferguson. After that association ran its track, Rogers settled in Los Angeles where he light-emitting diode his Giants (which ranged from a fivesome to a nonet and a large band) on a series of rewarding West Coast jazz-styled recordings and wrote for the studios, serving greatly to take jazz into the movies; his heaps for The Wild One and The Man With the Golden Arm are in particular memorable. After 1962, Rogers stuck nearly solely to composition for television and films, merely in 1982 he began a return in jazz. Rogers reorganized and headed the Lighthouse All-Stars and, although his possess playing was non quite as hard as previously, he remained a welcome comportment both in clubs and recordings.

The Love Guru

Unfunny juvenilia that makes one appreciate the subtlety and nuances of Judd Apatow's films. Full story.

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Mike Marshall and Darol Anger

   
Artist: Mike Marshall and Darol Anger

   Genre(s): 
Vocal
   

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Discography:


   
 Chiaroscuro

   Year: 1985   
Tracks: 10

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