Canadian Idol Top 25: Mark Day

Mark Day, 19
Portugal Cove, Nfld. 

One of the things the judges on the Idol shows are always wary of is a male competitor singing a song that�s been written for a woman to sing.

Then again taking the risk of not only singing the song, but altering it so that it works for you can be quite impressive. That was the case for Mark Day, 19, of Portugal Cove, Nfld.

This small-town guy with a big voice decided to take on Celine Dion�s It�s All Coming Back To Me Now, as well as the Power of Love, for his audition with the Canadian Idol judges.

�Everyone always says not to sing songs like these ballads because it�s hard to get that range � but my range for a guy is really big and loud and strong,� Day tells Metro. �When I sing it doesn�t sound like a copycat or an imitation, it sounds like a guy singing the original and (the judges) really liked it. So I�ve never had anyone say that I sound like a copycat.�  

The thing about Day is that he can be the guy next door; the one people at home can think, �I know that guy, he�s in my English class.� And he knows how to work his magic.

�I�m the next Canadian Idol because I�m relatable,� says Day. �I�m a big boy from a small town, in a big city on a big stage. I have a good voice. I don�t want to sound cocky or contrived, but I know I can sing and I know I can perform.�


 

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Further Seems Forever

   
Artist: Further Seems Forever

   Genre(s): 
Other
   Rock: Punk-Rock
   Indie
   Blues
   

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Discography:


   
 Hide Nothing

   Year: 2004   
Tracks: 10


   
 The Moon Is Down

   Year: 2003   
Tracks: 10


   
 How To Start A Fire-Advance

   Year: 2003   
Tracks: 10


   
 How To Start A Fire

   Year: 2003   
Tracks: 10


   
 Further Seems Forever

   Year:    
Tracks: 3

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The genesis of this Pompano Beach, FL, band started from trey groups: Strongarm, Shai Hulud, and the Vacant Andys. Originally light-emitting diode by vocalizer Chris Carrabba, Further Seems Forever was rounded out by guitarists Josh Colbert and Nick Dominguez, bassist Chad Neptune and drummer Steve Kleisath, first recording the song "Vengence Factor" for a Deep Elm Emo Diaries compilation. In July 1999, the group released a split EP with Recess Theory titled From the twenty-seventh State. The band, known for its power pop only also for its Christian emocore tinges, released its debut full-length, Sun Myung Moon Is Down, on Tooth & Nail in March 2001. The group by and by changed singers when Carrabba went on to pursue his solo material full-time as Dashboard Confessional.


Further Seems Forever continued on with sometime Affinity frontman Jason Gleason at the helm. He brought an intensity level to the music in a different form than Carrabba's previously more vulnerable vocals, and he was first-class honours degree introduced to fans through tracks the set contributed to the Rock Music: A Tribute to Weezer and Kindling Goes Pop compilations. Guitarist Derick Cordoba replaced Dominguez for February 2003's How to Start a Fire. It was a potent travail proving that Further Seems Forever was more than precisely its former singer (Dashboard Confessional had gone on to be an emo sensation). As circumstances would accept it, though, Gleason exited the group as work on a third record album was beginning. Undeterred, the rest of Further Seems Forever got in striking with vocalizer Jon Bunch, whose possess stria, Sense Field, had recently dissolved. Bunch soon signed on for mic duties, and Enshroud Nothing appeared in August 2004.


Fall of 2004 was exhausted on spell with Sparta and Copeland earlier the group headed indorse out with the Starting Line in the first part of 2005. Further Seems Forever went on a brief hiatus that November, which eventually lED to a formal proclamation that they were vocation it quits in early 2006. A leave hitch happened in natural spring of that year, following the March button of Hope This Finds You Well, a life history retrospective that included fan favorites, rarities, and B-sides. 567 Records then issued the CD/DVD The Final Curtain in early April 2007, which included unreleased material and footage of Further Seems Forever's last show on June 17, 2006 in Atlanta.

With subtle moves, Jaheim masters the oh-so-fine art of mood swings

It’s a good thing R&B artists like Jaheim still exist.
While a sea of sex-obsessed imposters rely on cliches and simplistic come-ons to boost their sales, the 30-year-old singer has managed to retain his urban sensibilities, and still bring a sense of shy charm and old school-class to the genre.
And his husky baritone, alternately cool and blazing, is second to none.



During last night’s 75-minute set at the Berklee Performance Center, the ghetto heartthrob moved timidly, with the stiffness of someone recovering from a back injury, but sang with the voice of a latter-day Teddy Pendergrass.
It is this duality that makes him so entrancing.
The New Jersey native emerged to an impatient crowd and led off with “Voice of R&B” off his fourth and most recent album, “The Makings of a Man,” backed by four singers and a five-piece band. From there, he worked over his musical catalogue, including “Put That Woman First,” the classic stylings of “She Ain’t You,” and the tale of a reformed thug, “I’ve Changed.”
He sported three different suits, threw sweaty towels into the audience, brought out a bucket of roses for adoring female fans and drank hot tea between songs. He rarely addressed the crowd, but wasn’t quite aloof, either. Instead, he seemed to understand that working the masses can be done subtly, with a variety of moods: lively during “Fabulous,” romantic during “Looking for Love” and contemplative during “Have You Ever,” with slight dance movements drawing screams from the three-quarter capacity crowd.
Ladies rightfully swooned over the well-muscled, tattooed singer - never moreso than when he tore his shirt off during the night’s final song, “Just In Case” - but his complex appeal extends far beyond the surface.
Mostly, it’s in his ability to spin a street tale one moment, then embody quiet elegance on an abbreviated, but powerful cover of “A House Is Not A Home,” originally recorded by Dionne Warwick and later sung by the late Luther Vandross, and seem perfectly at home in both places.
An opening set from Boston’s own Lovely Hoffman suggested that the young singer has some work to do - mainly staying on key and not pulling the mike away at key moments - but has the energy and vocal chops to make the toil worth it.