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Working Mothers

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August Lazarev
August Lazarev

Don't Stop The Dance (Dub Mix)



Rihanna returns to the dance floor for the chorus, dancing and singing with her friends. Her fellow club-goers clap along with the sample from "Wanna Be Startin' Somethin'". VH1's Christopher Rosa ranked the video 18th on his list of Rihanna's 20 sexiest videos: "This dance-by-numbers song gets a facelift with its brisk, energetic video featuring R as the undisputed queen of the clubs".[65]




Don't Stop the Dance (Dub Mix)



But getting serious about U.K. dance music is not a time-efficient undertaking for those still moved to use their ears, life, or line of credit for anything else. Not only is there too damn much of it, there\u2019s no way to keep track, especially in the U.S., which is not its native land no matter where the mixing board is located. Having stopped following Billboard\u2019s dance charts after too many American divas failed to justify their cult status in the early \u201880s, I was doubly skeptical when the bloodless electrodisco purveyed by such flimsy U.K. legends as 808 State and A Guy Called Gerald turned the dance 12-inch into the young British aesthete\u2019s songform of choice during that nation\u2019s acid house boom of 1989. Nor am I especially encouraged that not all disco discs, as they used to be called, are as candidly functional as \u201CGet Up and Boogie\u201D or \u201CAcid Tracks.\u201D Although people do still move their bodies to acid house\u2019s grandchildren and second cousins thrice removed, I can\u2019t be the first to call the current slosh of ambient/jazzbo/jungle pseudogenres \u201Cpostdance.\u201D Yet the fad hasn\u2019t just hung in there\u2014it has thrived, at least on its own terms, which (as Sarah Thornton establishes in her fact-filled treatise Club Cultures) are inchoate on principle, to discourage squares. The October 2 Melody Maker and NME, for instance, each featured top 10s in what is now usually called drum-and-bass to avoid the racial indecorousness of \u201Cjungle.\u201D Not a single record appeared on both lists. Nor was there one duplication between the 10 new releases reviewed in Melody Maker and the 15 in NME. What\u2019s a dabbler to do?


They call it drum-and-bass because it foregrounds electronic simulations of those instruments in a groove that owes more of its densely frenetic stop-and-go-go to Jamaican dancehall than to European techno. It\u2019s a groove music, but not an automatic groove music\u2014there are more body rhythms in it, especially if your body has been acculturated in the right interactive human space. Perhaps because mine hasn\u2019t been, I find it content-free when it\u2019s pure and kitschy when it reaches, with a weakness for soundtrack sweep and the plusher strains of soul jazz. Spring Heel Jack\u2014Betty Boo producer and Spiritualized guitarist John Coxon plus contemporary-classical buff cum hardcore raver Ashley Wales\u2014inhabits and stretches the borders of this sound. Its first album is evoked all too well by the title There Are Strings. And in fact, synthesized violins underlie some of 68 Million Shades . . . as well. But they\u2019re subsumed in what I take for a witting synthesis of contemporary-classical guys my life has never accommodated and another of Wales\u2019s passions, On the Corner-era Miles Davis. Just what the world needed\u2014prog jungle.


La canción fue representada en el Good Girl Gone Bad tour. Comienza con Rihanna "pinchando" un disco con el codo, logrando una mezcla entre Don't Stop the Music y la canción Music de Madonna, quedando así "Please, don't stop the music makes the people come together". La mezcla termina, dando lugar así al comienzo de la canción Push Up On Me. También pudimos observar la presentación de esta canción en los NRJ Music Awards 2007 donde comienza con un remix de Pon de Replay y luego sale Rihanna muy entusiasmada cantanto la canción y baja por unas escaleras, la canción en ese momento también fue un éxito total. Esta ha sido una de sus presentaciones más populares. También canto la canción en el programa de tv de Ellen DeGeneres y en su gira The Last Girl On Earth Tour en esta última se inició con un intro interludio de Pon de Replay muy parecido a la apertura de su Good Girl Gone Bad Live; al terminar este intro se escucha una sirena y comienza esta canción con un cubo gigante hecho de la clásica "R" de la intérprete; en el escenario, poco después da paso a Breakin Dishes con extractos de Don't Stop the Music y The Glamorous Life, que es un cover de los años 80. 041b061a72


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