Oct 22

Joe & Dave Harris from RetroRewind on the set of ‘Here We Go Again’ the new single from Joey McIntyre.

Mmmm Joey in HD. I totally didnt catch a word Joe was saying. His eyes just made me melt. So jealous of the 32 Bravehearts who could attend the taping!!

Oct 22


It may not be a paranormal event, but it’s cool and unusual: Nine Inch Nails frontman Trent Reznor has teamed up with Fringe for a new promo spot, EW.com has learned. The spot, which debuts Thursday during Game 5 of the American League Championship Series, features a reworking of the Nine Inch Nails song “Zero-Sum” by Reznor, who recites lines of dialogue from Fringe’s William Bell (Leonard Nimoy) over the music. So, how did the freaky drama series secure the services of Reznor? After Fox’s marketing department showed the Fringe producers a version of the promo that used “Zero-Sum,” series exec producer Jeff Pinkner simply asked a nearby Reznor acquaintance—that’d be co-creator J.J. Abrams—if the NIN musician might be interested in a collaboration. One email later, Reznor was on the case. “We offered him compensation, and he said, ‘No, no, I just want to have fun and be part of something cool,’” says Pinkner, adding: “How often do you get the chance to work with somebody like that?”Reznor wound up revamping the song in his mobile studio while on tour, and he even came up with the idea of “embedding” one of the show’s glyphs in the music. (Hint: Examine the song’s sound waves on a computer.) Now for the big question: Might Reznor pop up in an episode of Fringe? “If he wants to come act on the show, that’s not tit for tat—that’s an open invitation, and we made that known to him,” says Pinkner. Any ideas on what he may play? “Well, his head would probably end up exploding,” deadpans Pinkner. “There’d be some uncomfortable biology in there one way or another.”

If you follow the above link, theres a video thats available to US residents ONLY.

AWESOME!!! Two of my favourite things in one place :D YaY!!!

Oct 19

Also, just wanted to update that Joe is recording a new video on Wednesday morning in Burbank, CA. He held a contest via twitter for the first 30 lucky ladies to send him an email that theyd be selected to attending taping. Word has it that the girls will be allowed to take cameras and video at the shooting. (So hoping some video gets leaked!)  Theyll also be welcomed to an exclusive Braveheart listening party and be the first to hear Joes new EP.

Though Mr McIntyre was evil. Told everyone the competition was open to all and hed fly people in. LIES! LOL. He was evil. Theres been a few to back out, but Joe said hell honour those next in line and let them know that they were runners up. Im sure the word will get out and a few more than 30 or so BHs will show up to the taping, but its nice hes having fans in the video. Making me think its either a live concert kind of setting or maybe as passerbys. *sigh* wish it was next week when we’re in the states. would so hop a plane and go…..

Oct 19

‘I Got It’ featuring Aubrey O’Day

Ive only listened to it once or twice. Its OKAY. Nothing great (Donnie decides to ‘rap’) and feels like there needs to be some more editing done to it (less autotuner, possibly?) and maybe something changed, cant quite put my finger on it. I think it has potentional but with Donnies name attached to it, the track may not go anywhere.

You can purchase the track here for $1.99 Proceeds go towards Danny Woods Breast Cancer Foundation, Remember Betty. Apparently within the week, this will also be available for download via iTunes

Oct 13

Unfortunately cant embed (Sad) but heres a link to the HD Version. Wooo.

Bodies (Live) on the X-Factor 10/10/2009

He looks so hawt. Want to touch the hiney.

Oct 10

^^ Download track from here! ^^

Donnies radio show is broadcasted on CherryTree Records

Oct 10


I dont really know.. sounds, intriguing but I dont know if I can wait until next year to hear something more from her. Plus theres annoying catch phrase of ‘boys call me when they feel freaky hot’ which has the feelings of the pussycat dolls ‘dontcha wish youre girlfriend was hot like me’

Well see. I could be wrong and waaaaaaaaaaaaaaaay off or right. who knows.

Oct 10

Im a synth whore, so this is a great article to see (especially with the iconic Gary Numan being the lead picture *swooon*) and one of the reasons why I so adore British pop from the late 70s and early 80s (and why I have had an obsession with Sheffield since I was about 18) Enjoy.


One nation under a Moog

As new BBC4 documentary Synth Britannia shows, the synthesizer first dehumanised then re-humanised British pop, fulfilled the DIY promise of punk, and changed how bands looked forever

Photo of Gary NUMAN

Numan nature: Are ‘Friends’ Electric sent synth-pop overground, changing the face of British pop Photograph: GAB Archive/Redferns

The synth-pop era really kicked off in June 1979, when Tubeway Army’s Are ‘Friends’ Electric? hit No 1. The sound and visuals owed a substantial debt to David Bowie’s Berlin trilogy and his stranded alien in The Man Who Fell To Earth. Chuck in some Europe Between The Wars atmospherics and you had the recipe for Visage’s Fade To Grey and The Damned Don’t Cry; Japan’s Nightporter and Ghosts; Ultravox’s Vienna And bringing up the rear were the pioneers, the chaps who’d coined the whole mittel Europa/Mensch-Maschine shtick in the first place: Kraftwerk, No 1 in February 1982 with their 1978 tune The Model. But synthesizers in popular music actually go back much further than the mandroid melancholy of Gary Numan. All the way back to the psychedelic 60s, when American groups like Silver Apples and The United States Of America ditched guitars for oscillators. In 1969, George Harrison put out a whole album of Moog doodles called Electronic Sound. German cosmic rockers Tangerine Dream gradually streamlined their Pink Floyd-wannabe grandeur into a minimal, darkly pulsing, all-electronic sound. Floyd themselves forayed into full-blown synth-rock with Dark Side Of The Moon’s On The Run, whose brain-searing wibbles anticipated acid house. Other proggers like ELP’s Keith Emerson and Yes’ Rick Wakeman performed behind massive banks of electronic keyboards, but tended to use their synths as glorified organs, hamming it up with Bach-style variations and arpeggiated folderol. Far more unearthly electro tones could be heard on the telly via science-fiction series like Doctor Who and The Tomorrow People or at the cinema, courtesy of dystopian movies like A Clockwork Orange, The Andromeda Strain and Logan’s Run. Black music also had its share of visionaries besotted with the synth’s cornucopia of otherworldly tone colours, from fusioneers Weather Report and Herbie Hancock to funkateers Stevie Wonder and Funkadelic.

The British groups who took over the charts were catchy and concise

Photo of KRAFTWERK Kraftwerk Photograph: GAB Archive/Redferns

Black or white, these precocious knob-twiddlers all had a freakadelic, proggy mindset: they dug synths for the “far out, man” noises they generated, so they let rip long, noodling solos or oozed out abstract dronescapes. None stood a chance of troubling the hit parade. In some ways the crucial word in synth-pop isn’t “synth” but “pop”. The British groups who took over the charts at the dawn of the 80s were catchy and concise. Here they followed the lead of Kraftwerk, who were not only the first group to make a whole conceptual package/weltanschauung out of the electronic age, but were sublime tunesmiths. It’s righteous that Kraftwerk’s long-awaited remastered catalogue is getting reissued at almost the same time as the long-awaited remastered catalogue of the Beatles, because Hütter & Co rival the Fab Four for both their transformative impact on pop and their melodic genius.

Equally inspiring to the synth-pop artists was Kraftwerk’s formality: their grey suits and short hair stood out at a time of jeans and beards and straggly locks, heralding a European future for pop, a decisive break with America and rock’n'roll. Perhaps even more of a portent here was Giorgio Moroder’s Eurodisco, whose clockwork-precise sequencers and icily erotic electronics forged the connection between synthesizers and the dancefloor, as opposed to the early association of Tangerine Dream/Klaus Schulze-type music with getting stoned and supine on your sofa. Released in 1977, Donna Summer’s Moroder-produced I Feel Love and Kraftwerk’s Trans-Europe Express divided pop time in two as profoundly as Anarchy In The UK. The 80s begin there.

Bands seized on the cheapo synth as the real coming of do-it-yourself

Conveniently, these singles arrived at a time when synths got vastly more affordable, portable, and user-friendly. As the BBC4 doc Synth Britannia reveals, what once cost as much as a small house (and therefore stayed the preserve of prog superstars) became something you could buy for a few hundred quid, or cheaper still if you mail-ordered a build-your-own-synth kit and were prepared to spend weeks assembling the bugger. Groups who’d been inspired by punk’s confrontational rhetoric and sartorial provocations but who found the actual sonic substance of punk rock to be too ye olde rock’n'roll seized on the cheapo synth as the real coming of do-it-yourself.

Synth-pop went through two distinct phases. The first was all about dehumanisation chic. That didn’t mean the music was emotionless (the standard accusation of the synthphobic rocker), but that the emotions were bleak: isolation, urban anomie, feeling cold and hollow inside, paranoia. In the post-punk underground, that meant Cabaret Voltaire and Throbbing Gristle, both of whom ironically used a fair bit of guitar but treated it heavily with electronic effects. On the pop overground it meant John Foxx and Gary Numan. Gaz also used guitar prominently on his early hits under the name Tubeway Army. The secret of his success was that his music, for all its majestic canopies of glacial synth, rocked. Even when he dropped the guitar along with the name Tubeway Army and went fully electronic on Cars, he kept his flesh-and-blood drummer.

The second phase of synth-pop reacted against the first. Electronic sounds now suggested jaunty optimism and the gregariousness of the dancefloor, they evoked a bright, clean future just round the corner rather than JG Ballard’s desolate 70s cityscapes. And the subject matter for songs mostly reverted to traditional pop territory: love and romance, escapism and aspiration. The prime movers behind synth-pop’s rehumanisation were appropriately enough the Human League (just check their song titles: Open Your Heart, Love Action, These Are The Things That Dreams Are Made Of).

Suddenly pop was packed with duos who divided labour neatly between the composer-operator, and the singer-lyricist

Marc Almond with Dave Ball of Soft Cell in 1982 Marc Almond with Dave Ball of Soft Cell in 1982 Photograph: Eugene Adebari / Rex Features/Eugene Adebari / Rex Features

Soft Cell were also crucial with their songs of torrid passion and seedy glamour. Their lineup – male diva Marc Almond, keyboard wiz Dave Ball – set the template for the first half of the 80s. The new compact synths resembled an orchestra in a box; you didn’t need to have a whole band of instrumentalists. Suddenly pop was packed with duos who divided labour neatly between the composer-operator, and the singer-lyricist: Eurythmics, Yazoo, Tears For Fears, Blancmange, Pet Shop Boys. The shape of a synth-pop outfit was subversive, or at least enough to make rockists uneasy: the rock band’s gang-like structure replaced by same-sex “couples” plus the occasional female diva plus male boffin partnership.

Yazoo were a classic example of this fire-and-ice combo: Alison Moyet’s proto-Joss Stone soulfulness matched with Vince Clarke’s pristine perkiness. Clarke had been the brains behind Depeche Mode, or so everybody thought. Yet he went on to commit a spree of cultural crimes under aliases like the Assembly and Erasure, while it was Depeche who unexpectedly grew into major artists, leaving behind dinky ditties like Just Can’t Get Enough for the musically sophisticated, politically engaged/enraged Construction Time Again and Some Great Reward. The anti-monetarist smash Everything Counts caught the melancholy of that moment after the re-election of Thatcher, while Master And Servant combined an S&M-inspired personal-is-political allegory about power. (”It’s a lot like life”, so “forget all about equality”) with a pop translation of Einstürzende Neubauten/Test Dept-style metal-bashing. Best of all was the haunting Blasphemous Rumours, a jibe at the Almighty which suggested “God’s got a sick sense of humour.”

One running theme in Synth Britannia, voiced repeatedly by Daniel Miller, the founder of Depeche’s record label, Mute, is the notion of electronic music being essentially un-British. But that would seem to beg the question of why the UK became the world’s leading nation for synth-pop, and later the major force in electronic dance music all through the 90s. The truth is that the real kingdom of synthphobia was the United States. But this also meant that American misfits could express their deviance by spurning standard high school fare like Mötley Crüe for “faggy” English electropop. Depeche’s cult following in the States expanded as they turned out to be surprisingly kick-ass live performers on the arena circuit, peaking with a 1988 show at the Pasadena Rose Bowl that drew 70,000. They were bigger still in Europe, almost Beatles-level in Germany, where to this day there are Depeche raves that play Mode music all night long.

A curious thing that comes through watching Synth Britannia is how the futuristic-ness of this music is largely irrecoverable to us, precisely because we live in the future that the synth-pop era helped to bring about. Electronic tonalities are omnipresent to the point of banality, thanks to 90s techno rave and noughties R&B, videogames and ringtones. “Electro” in the early-90s meant cutting-edge, the future-now; nowadays “electro” refers to the kind of sounds that lit up hipster bars in east London through this past decade and then went mainstream this year with La Roux and Lady Gaga, which is to say synthetic pop that doesn’t use the full capacity of the latest digital technology, and is therefore almost as quaint as if it were made using a harpsichord.

With the future-shock aspect depleted, what comes through now is the pop in synth-pop: OMD’s pretty tunes, the aching plaintiveness of Numan and the Human League. Oddly, what’s made this music last are the same things that made the Beatles and Motown immortal: melody and emotion

Oct 9

Okay I LOVE Donnie, just like everyone else. Hell if it wasnt for him, a writers strike and pretty ugly divorce we wouldnt have had the reunion.  So I’m VERY grateful towards him. (I dont want this to come across as being so, either) The guys are on and off twitter – Mr Jordan Knight, Im looking at YOU!!! – but Donnie is ALWAYS on.. lol. Its great hes around sharing his down time with us, but the constant stream of my fellow BHs replies to him is making MY twitter experience unusable. :(

Without the Filter

The moment Donnie tweets, twitter & tweetdeck pretty much goes insane, 8 – 10 replies at once and I only follow about 300 or so blockheads. Nothing wrong with it, we all want to get our voice HEARD. Fair play.  But when you actually USE twitter for what its for – sharing of small bits of tasty information with like minded people – that stuff gets lost in our replies to DDub. Sans short of getting a side account (which I dont want to do) I was losing my mind.

Make sure when you use the filter option its on - otherwise ALL youll see IS @donniewahlberg replies

Then I remember that tweetdeck in all its awesomeness now lets you filter your columns. I threw in @donniewahlbergs name into the filter and wow.

I can still use twitter as I like and still see DDub but not his replies!

Its now a whole new tweeting experience! I dont miss out on anything and yet still get to see Donnies tweets.  Its great! Its really simple to put the filter on and off, so you dont always have to ignore the replies, which is handy for slower times of the day…

Hopefully this wasnt too long winded (I have a tendency to do that) and was of some help to those of us a little less loving of the Donnielove.