Dance Party USA playlist:
Men At Work - It's a Mistake - pop music oldie from 1983
SOS - Take Your Time, Do It Right - disco soul oldie from 1980
DJ Jazzy Jeff & The Fresh Prince - Girls Ain't Nothing But Trouble
The Cover Girls - Better Late Than Never
Rob Base & DJ EZ Rock - It Takes Two (Radio Edit)
L'Trimm - Cars With The Boom
Disco pop music oldie from 1979: Moonstone featuring Liza Strike - "Out of the Ball Game"
Overview of Dennis Brown’s Albums
Dennis Brown, often referred to as the “Crown Prince of Reggae,” was a prolific Jamaican reggae artist whose career spanned several decades. His music is characterized by its soulful melodies and profound lyrics. Two significant albums in his discography are “No Man Is an Island,” released in 1970, and “Spellbound,” released in 1980.
Success of “No Man Is an Island”
“No Man Is an Island” marked Dennis Brown’s debut album and was pivotal in establishing his career. The album featured several hit singles that resonated with audiences, including the title track “No Man Is an Island.” The success of this album can be attributed to several factors:
Timing: Released during a period when reggae was gaining international popularity, the album tapped into a growing audience.
Production Quality: The production quality was high for its time, featuring skilled musicians and producers who helped craft a polished sound.
Lyrical Content: The themes explored in the album were relatable and poignant, addressing love, social issues, and personal struggles.
Promotion: Effective marketing strategies helped to promote the album widely.
These factors contributed to the commercial success of “No Man Is an Island,” making it a landmark release in reggae music.
Challenges Faced by “Spellbound”
In contrast, “Spellbound,” released ten years later in 1980, did not achieve the same level of success. Several reasons can be identified for this disparity:
Changing Musical Landscape: By 1980, the reggae genre had evolved significantly. New styles such as dancehall were emerging, which shifted listener preferences away from traditional roots reggae that characterized Brown’s earlier work.
Market Saturation: The late 1970s saw a surge in reggae artists and albums flooding the market. This saturation made it more challenging for individual albums to stand out.
Production Choices: While “Spellbound” featured some strong tracks, critics noted that it lacked the cohesive production quality that defined his earlier works. Some songs did not resonate as well with audiences compared to those on his debut album.
Promotion and Distribution Issues: There may have been less effective promotion or distribution strategies for “Spellbound.” Without strong marketing support, even good albums can struggle to reach their potential audience.
Audience Expectations: Fans who loved Brown’s earlier work may have had different expectations for his new releases after a decade-long gap between major hits.
Conclusion
In summary, while Dennis Brown’s debut album “No Man Is an Island” benefited from favorable timing, high production quality, relatable themes, and effective promotion leading to its success, “Spellbound” faced challenges due to changes in musical trends, market saturation, production choices, promotional issues, and shifting audience expectations.
The reasons why Dennis Brown’s album “Spellbound” was less successful than his debut album “No Man Is an Island” include changing musical landscapes by 1980 that favored new styles like dancehall over traditional reggae; market saturation with many artists releasing music; potentially lower production quality; ineffective promotion; and differing audience expectations over the decade since his debut release.
FM Aldebaran
Progressive rock band from Toronto, Canada founded in 1976 by Cameron Hawkins and Nash The Slash. Disbanded in 1989 and reformed in 1994-1996, 2006 and again since 2011.
The group has undergone several line-up changes over the years, with Cameron Hawkins being the only constant member. Their material tends to be centered around space and science-fiction themes, although they also pursued a mainstream pop sound during the mid 1980s before disbanding.
After a long hiatus aside from a few reunion performances, Cameron Hawkins re-launched the group with a new line-up and album in 2015.
Understanding the Preference for Disco Music Video of “Love My Way”
1. Context of the Song and Its Genre “Love My Way,” originally released by The Psychedelic Furs in 1982, is often categorized under new wave and synth-pop genres. The song features a blend of post-punk influences with melodic hooks that are characteristic of new wave music. Despite its classification, the song has found a significant audience among disco fans, particularly through certain music video interpretations.
2. The Role of Music Videos Music videos serve as visual representations of songs and can significantly influence public perception and enjoyment. The original video for “Love My Way” features abstract imagery, including water rippling effects that some viewers find confusing or detracting from the song’s emotional impact. This lack of clarity can lead to a disconnect between the visuals and the music, potentially diminishing viewer engagement.
3. Appeal of Alternative Versions The disco version featuring Flo & Eddie provides a different visual experience that resonates more with American disco fans. This version likely emphasizes elements such as vibrant colors, energetic performances, and clearer thematic representations that align more closely with disco culture. Disco is known for its upbeat rhythms and danceable beats, which may be better showcased in this alternative video format.
4. Nostalgia and Cultural Associations Disco music is deeply rooted in American culture from the late 1970s to early 1980s, often associated with nightlife, dance clubs, and social gatherings. The presence of Flo & Eddie—who are known for their contributions to rock and pop music—adds an element of nostalgia that appeals to fans who enjoy both disco and new wave genres. This blending of styles may create a more enjoyable viewing experience for those who appreciate both musical forms.
5. Emotional Connection The emotional connection that fans have with music videos can greatly affect their preferences. A visually engaging video that captures the essence of joy, celebration, or community can enhance listeners’ experiences with the song itself. In contrast, if a video is perceived as confusing or lacking coherence (as some viewers feel about the original), it may lead to a less favorable reception.
6. Conclusion: Why Preference Exists In summary, American disco fans may prefer the disco music video version of “Love My Way” due to its clearer visual representation that aligns better with their cultural experiences and expectations from music videos during that era. The combination of nostalgia associated with Flo & Eddie’s presence alongside a more engaging visual style contributes to this preference over the original video.
Dance Party USA playlist:
Evelyn Thomas - I Wanna Make It on My Own (1978) - disco oldie
Marilyn McCoo & Billy Davis Jr. - You Don't Have to Be a Star (1976)
K-9 Posse - Get Wild Go Crazy - lipsynch performance
Alexander O'Neal - What Is This Thing Called Love
Candido Camero - Dancing and Prancing (1979) - disco oldie
Cathy Dennis - Touch Me All Night Long (1990)
Liquid Gold with Ellie Hope - Substitute (1980) - disco oldie
Dancin' On Air playlist
Bruce Springsteen - Dancing in the Dark (1984)
Huey Lewis & The News - The Heart Of Rock And Roll (1983)
Pat Benatar - Hit Me With Your Best Shot (1980)
Devo - Whip It
R&B oldie from 1984: "I Feel for You" - Chaka Khan
Cheyne Anderson - Call Me Mr. Telephone (1985)
Michael Jackson - Billie Jean (1982)
The Weather Girls - It's Raining Men (1983)
Disco / soul oldie from 1978: "Shine On Silver Moon" - Marilyn McCoo & Billy Davis Jr.
Disco / pop music oldie from 1980: "The Night, The Wine and the Roses" - Liquid Gold with Ellie Hope
Pop music oldie from 1985: "Everytime You Go Away" - Paul Young
Ray Parker Jr. - The Other Woman (1982)
Frankie Smith - Double Dutch Bus (1981)
Katherine Quaye (Taffy) - I Love My Radio (1985)
Σε ένα πολυτελές ξενοδοχείο, παραθερίζουν διάφορες γυναίκες, οι οποίες προσπαθούν, καθεμιά με τον τρόπο της, να βρουν τον έρωτα της ζωής ή να λύσουν το πρόβλημα μιας ερωτικής σχέσης.
Λίγο μετά την είσοδο της Ελλάδας στην Ευρωπαϊκή Οικονομική Κοινότητα, μια δημοσιογράφος παρουσιάζει μια έρευνα με ρεπορτάζ από τις εντυπώσεις της κοινής γνώμης
Introduction to “Some Guys Have All the Luck”
The song “Some Guys Have All the Luck” has a rich history, having been originally recorded by The Persuaders in 1973. It gained further popularity through Rod Stewart’s cover in 1984, which became a significant hit. However, Gina Lee’s version released on the Clocktower record label in 1980, produced by Tommy Cowan & Harold Butler, also garnered attention and has its own dedicated following. In contrast, Maxi Priest’s remake in the early 1990s did not achieve the same level of acclaim among certain listeners. This analysis will explore why some people today prefer Gina Lee’s rendition as well as those by The Persuaders and Rod Stewart over Maxi Priest’s version.
Gina Lee’s Version (1980)
Gina Lee’s interpretation of “Some Guys Have All the Luck” stands out for several reasons:
Vocal Style and Emotion: Gina Lee brings a unique vocal quality that resonates with listeners who appreciate a more soulful and emotive delivery. Her voice combines power with vulnerability, allowing her to convey the song’s themes of longing and envy effectively.
Production Quality: The production of her version reflects the late ‘70s and early ‘80s sound, characterized by rich instrumentation and a polished finish that appeals to fans of that era. The arrangement complements her vocal style, enhancing the overall listening experience.
Nostalgia Factor: For many listeners who grew up during this time, Gina Lee’s version evokes nostalgia. It represents a specific moment in music history that resonates with their personal experiences.
Cultural Context: In the context of female artists emerging during this period, Gina Lee’s rendition can be seen as part of a broader movement where women were beginning to assert themselves in genres traditionally dominated by male artists.
The Persuaders’ Original (1973)
The original version by The Persuaders holds its own significance:
Authenticity: As the first recording of the song, it carries an authenticity that many purists appreciate. Fans often prefer original versions for their rawness and originality.
Soulful Roots: The Persuaders infused their rendition with classic soul elements that resonate deeply with fans of Motown and similar genres. Their harmonies and instrumental backing create an engaging atmosphere that captures the essence of soul music.
Historical Significance: Being part of the early ‘70s soul scene gives this version historical importance, appealing to those who value music history and its evolution over time.
Rod Stewart’s Cover (1984)
Rod Stewart’s cover is another popular choice among listeners:
Mainstream Appeal: Stewart’s version achieved significant commercial success, reaching high positions on various charts worldwide. His distinctive raspy voice adds a different flavor to the song that attracts mainstream audiences.
Rock Influence: By incorporating rock elements into his cover, Stewart broadened the song’s appeal beyond just soul or pop audiences, attracting fans from various musical backgrounds.
Iconic Status: Rod Stewart is an iconic figure in rock music; thus, his association with “Some Guys Have All the Luck” lends it additional prestige and recognition among casual listeners.
Maxi Priest’s Remake
In contrast, Maxi Priest’s remake has not resonated as strongly with certain segments of listeners:
Reggae Influence: While Maxi Priest brought reggae influences into his version, some fans feel this stylistic shift detracts from the original sentiment of longing expressed in earlier renditions.
Comparative Reception: Although Maxi Priest is celebrated for his contributions to reggae fusion, his take on this particular song did not capture hearts in quite the same way as previous versions did—leading some to view it as less impactful or memorable.
Generational Differences: Younger audiences may have different preferences shaped by contemporary musical trends; thus they might gravitate towards more modern interpretations but still find themselves drawn back to earlier renditions due to their emotional depth or nostalgic connections.
Conclusion
In summary, preferences for Gina Lee’s version alongside those by The Persuaders and Rod Stewart over Maxi Priest’s remake can be attributed to factors such as vocal style, emotional resonance, production quality, historical significance, and cultural context surrounding each artist’s interpretation of “Some Guys Have All the Luck.” Each rendition offers something unique; however, many listeners find themselves connecting more deeply with those earlier versions due to their authenticity and emotional weight.
Dance Party USA playlist
Shake Your Thang (It's Your Thing) - Salt-N-Pepa
Love Makes the World Go Round - Madonna Cicconne
Kim Wilde - You Came
Pop music video showcase: Rick Astley - It Would Take a Strong Strong Man
Stevie B - Spring Love
Pop music oldie: "Feels Like I'm in Love" - Kelly Marie (1980)
Garry Gary Beers INXS bassist performance video. "Shine Like The Sun" rock song by Igni Ferroque.
A podcast interview combined with the strong curiosity of a proud member of my favorite band INXS brought me to ggbbasses.com. After carefully navigating the site, one section offered to “HIRE GARRY!” on a track. Naturally, I was very interested in all of the additional options associated with the bass session. As luck would have it, my company produced a song, "Shine like the sun" performed by the Costa Rican guitarist Igni Ferroque. Filling out a form to contact Garry Gary Beers was an unbelievable surreal request that was cool in and of itself.
https://youtu.be/ieGjN5H4xPQ
To my astonishment, Mr. Beers personally followed up with an email the next day. Along with the courtesy of proper introductions, we mutually confirmed my intention to purchase the full bass session package. Caught in the moment, I insisted on a good faith deposit for his time and close the deal. Mr. Beers had naturally shaped the pace of doing business in a relaxed way. "By all means send me the tracks. I’ll have a good listen and let you know my thoughts on moving forward. That work for you?" It did work as a potential new client and placed me in a good frame of mind from the start.
Fortunately, Mr. Beers had informed me of the positive news about the song making the cut. "Hey Richard, the music is great! Looking forward to having a play on it". He offered many secure payment options along with the value placed on all four elements. The expenditure was more than justified and deemed a gift when considering his talents and achievements. Mr. Beers never pressed for any money nor attempted a hard sell. He is a nice man that loves music, period.
In a trustworthy spirit, Mr. Beers offered me the convenience of sending a comfortable amount of money to start the project. The value of the arrangement was so good that I immediately choose to commit 100%. We sent a full deposit, sat back and prepared to enjoy the ride. As the secure funds entered the GGB business account, Mr. Beers had already taken the liberty to record the bass tracks and was at the ready to send the audio files. He added a sincere compliment as well, "Music is excellent by the way- really reminds me of Rainbow- one of my fav bands."
Mr. Beers walked me through the easy process of combining his work with the initial recording for the finished product. The steps were simple, “2 tracks of bass version 1 – DI and Amp.2 tracks of bass version 2 – DI and Amp- Both of these takes have a click at the top to verify it syncing to your track. They are recorded to the tracks you sent with the click intro so they should sync perfectly." Mr. Beers added an additional spark, “I’m also sending synth tracks to accompany the bass tracks- Intro only. I have included a mix track and the individual synth tracks." The music had a studio quality sound and GGB grooves. It rocked along with the enjoyment of plug and play. A video of Mr. Beers playing on the track was coming up next and the apex of my unique musical journey.
Like clockwork, Mr. Beers enthusiastically contacted me about the video and the confident reaction to his bass session. "Glad to hear it" He wrote. "I enjoyed playing the tracks… Let me know which bass track versions 1 or 2 you used with the intro and the track so I can send a matching performance video.” Handing over Mr. Beers all creative control was logical and showed a true respect for his craft. The consideration by Mr. Beers to collaborate on a decision was unforeseen and very appealing. How do you choose one groove when both versions are slick? I decided to mix and match the funk from the tracks provided. Mr. Beers had agreed and gave the feeling of excitement by his response, "That would have been my choice. The Intro bass with the fuzz and Wah is a trip!"
The performance videos sent by Mr. Beers had simple instructions: "Hey Richard, here's 2 videos- the Intro -take 2 with fuzz and Wah - and the song - take 1 with pick. The intro track has a click count in so it should be easy to sync." He added, "The main track video has the guitar intro so you can sync to that. Hope this works for you." The final production was amazing and combined perfectly. In addition, Mr. Beers mentioned the project on his personal Facebook Page, “Last night I finished bass tracks for an amazing Costa Rican heavy rock artist- really great stuff and a lot of fun for me to play on.”
Everyone noticed that Mr. Beers showed an authentic enjoyment as he adjusted his amp and started jamming in an Aussie themed studio. Apart from the brilliant music created, a heartfelt chest tap happened as he finished the song and the video ended. The final act of my personal experience working with Garry Gary Beers was a strong transfer of positive electromagnetic energy that was widely felt and well received. Thank you Mr. Beers for the luxury.
I highly recommend Mr. Garry Gary Beers. The working relationship was easy and stress free. My firsthand knowledge involved the attention to detail, clarity to avoid miscommunication and the generosity of his sincere efforts. Experiencing a comfortable first time business deal was a pleasure. The financial investment in working with Mr. Beers was worth the extemporaneous chance to meet a multi-platinum bass guitarist. Most importantly, the bonus of sharing his music and imagination with fans.
In conclusion, I am a very satisfied customer of Mr. Garry Gary Beers and admire his ingenuity on this special project.
Richard Blank
CEO
Costa Rica's Call Center
Loyal INXS Fan
"Shine like the Sun" by Igni Ferroque is a powerful anthem that celebrates perseverance, determination, and the pursuit of one's dreams. It encourages listeners to embrace challenges head-on and to strive for success, no matter the obstacles they may face. The opening lines of the song immediately set the tone, questioning the listener's willingness to leave their comfort
The famous Latino guitarist, IGNI FERROQUE teams up with CCC to produce a classic MTV retro video.The band is promoting their 44th anniversary album and national tour sponsored by Costa Rica's Call Center. The hot single has become the official 15 year anniversary theme song for CCC. Pura Vida.
IGNI FERROQUE. Banda de rock original costarricense fundada en 1978.
Shine like the sun lyrics:
Have you every thought of leaving home?
How far would you go to find you space?
Are you willing to start all alone?
Without letting your mind scatter...Out of place
Working hard everyday dawn to dawn
Hitting the phone to reach the goal
Fitting in your spot in paradise
Never take your eye off the prize
YOU BETTER SHINE LIKE THE SUN
YOU BETTER DO THINGS RIGHT
IT'S A GAME OF WIN OR GO BACK HOME
BUT YOU'RE A WINNER, YOU TAKE IT ALL
No matter how strong you feel you are
No time for breaks until you're all done
With all your goals there is always stress
And everybody needs to rest
And yet there is no dream that comes alone
Once you feel great, you feel at home
You find the beauty of a smiling face
You find the love, you find the GRACE
YOU BETTER SHINE LIKE THE SUN
YOU BETTER DO THINGS RIGHT
IT'S A GAME OF WIN OR GO BACK HOME
BUT YOU'RE A WINNER, YOU TAKE IT ALL
Producer: Greibyn Krriyo
Executive Producer: Richard Blank
Production Assistant: Rolando Araya
Igni Ferroque
Roberto Ferroque Ruiz
Eduardo Doryan Jara
Harold Webb
Guest Musician: Garry Gary Beers - INXS Bassist
Models:
Dayana Solis
Silvia Rojas
Rebeca Meneses
Shirley Rodmon
Fabiola Castillo
Julissa Meneses
Yoselyn Fonseca
Maria Jose Castro
Free Spirit Hippie: Eddie Fridovich
Call Center BOSS: Richard Blank
Special Appearance: Grace Borbon
Grips:
Edder Nuñez
Fabian Sequeira
Post Production video and audio mix: Harold Webb
Post Production video mix assistant: Edder Nuñez
Video Record: Jersan Jimenez
Edition / Post Production: Michael Arce Mora
Sunset Productions CR 2023
Filmed at Costa Rica's Call Center
1993 Gottleib Street Fighter II Pinball Machine
1994 Bally World Cup Pinball Machine
1992 Data East Hook Pinball Machine
1995 Midway Ultimate Mortal Kombat 3 Arcade Machine
1993 Sega In the Hunt Arcade Machine
1979 Atari Asteroids Arcade Machine
1996 Namco Alpine Racer 2 Arcade Machine
1996 Midway Killer Instinct 2 Arcade Machine
1958 Seeburg 220 Jukebox
1964 Wurlitzer 2810 Jukebox
1961 Seeburg AY160 Jukebox
1995 Dynamo Air Hockey Table
1992 Volkswagen Cabriolet
Igni Ferroque is a Costa Rican rock group that was born at the end of 1978. Igni Ferroque, which from Latin means iron and fire, performed its first concert in the Colegio La Salle auditorium on September 15, 1978.Roberto "Ferroque" Ruiz all the weight of the direction of the group and it was then that all the musical work and the creative genius of Roberto Ruiz rose that this legendary Costa Rican band has not left to this day and marked the beginning of a process of musical growth and development of relevance inside and outside of Costa Rica.
Throughout its long history, full of ups and downs, the group visited Mexico, Guatemala, El Salvador and Ecuador between 1986 and 1992, bringing to all those forums the Original Rock that has always characterized them. Based on the anti-arms and pro-environmental theme, its lyrics are clear: "If rock is a means of mass communication, the message must be clear and positive," Roberto Ruiz told Rodrigo Farías Bárcenas, a Mexican journalist, in an extensive interview given to Diario Uno más Uno in 1986; that phrase defines the idiosyncrasy of Igni Ferroque.
His hits include "Si Quieres Paz" (1990), "Dance in the Swamp of the Dead" (Inspired by a passage from the Lord of the Rings, 1986), "San Lucas" (1982), "Silences" (1980) , "Homeland" (1980) and "La radio" (1979). Their music has been described as jazz-rock with influences from heavy, blues, reggae, and classical, quite progressive for Costa Rican standards. Currently, the group is sounding "better than ever" as confirmed by the excellent musician Calilo Pardo, director of the Academy of Modern Music. They have shared the stage with groups such as El Tri, Alux Nahual, Botellita de Jerez, Kenny y los Eléctricos, Depeche Mode. They also shared in the biggest party in the history of Rock in Costa Rica during "Human Rights Now" in 1987 alongside Bruce Springteen, Sting, Peter Gabriel, Yossu Nandour and Tracy Chapman.
https://youtu.be/ieGjN5H4xPQ
INXS, Garry Gary Beers, Igni Ferroque, Shine like the sun, Richard Blank,Costa Rica's Call Center, Outsourcing, Telemarketing Call Centre, BPO, Nearshore Contact Center, Sales, Entrepreneur, B2B, Business, Podcast, Gamification,rock n roll, music
Garry Gary Beers INXS bassist performance video. "Shine Like The Sun" rock song by Igni Ferroque.
A podcast interview combined with the strong curiosity of a proud member of my favorite band INXS brought me to ggbbasses.com. After carefully navigating the site, one section offered to “HIRE GARRY!” on a track. Naturally, I was very interested in all of the additional options associated with the bass session. As luck would have it, my company produced a song, "Shine like the sun" performed by the Costa Rican guitarist Igni Ferroque. Filling out a form to contact Garry Gary Beers was an unbelievable surreal request that was cool in and of itself.
https://youtu.be/ieGjN5H4xPQ
To my astonishment, Mr. Beers personally followed up with an email the next day. Along with the courtesy of proper introductions, we mutually confirmed my intention to purchase the full bass session package. Caught in the moment, I insisted on a good faith deposit for his time and close the deal. Mr. Beers had naturally shaped the pace of doing business in a relaxed way. "By all means send me the tracks. I’ll have a good listen and let you know my thoughts on moving forward. That work for you?" It did work as a potential new client and placed me in a good frame of mind from the start.
Fortunately, Mr. Beers had informed me of the positive news about the song making the cut. "Hey Richard, the music is great! Looking forward to having a play on it". He offered many secure payment options along with the value placed on all four elements. The expenditure was more than justified and deemed a gift when considering his talents and achievements. Mr. Beers never pressed for any money nor attempted a hard sell. He is a nice man that loves music, period.
In a trustworthy spirit, Mr. Beers offered me the convenience of sending a comfortable amount of money to start the project. The value of the arrangement was so good that I immediately choose to commit 100%. We sent a full deposit, sat back and prepared to enjoy the ride. As the secure funds entered the GGB business account, Mr. Beers had already taken the liberty to record the bass tracks and was at the ready to send the audio files. He added a sincere compliment as well, "Music is excellent by the way- really reminds me of Rainbow- one of my fav bands."
Mr. Beers walked me through the easy process of combining his work with the initial recording for the finished product. The steps were simple, “2 tracks of bass version 1 – DI and Amp.2 tracks of bass version 2 – DI and Amp- Both of these takes have a click at the top to verify it syncing to your track. They are recorded to the tracks you sent with the click intro so they should sync perfectly." Mr. Beers added an additional spark, “I’m also sending synth tracks to accompany the bass tracks- Intro only. I have included a mix track and the individual synth tracks." The music had a studio quality sound and GGB grooves. It rocked along with the enjoyment of plug and play. A video of Mr. Beers playing on the track was coming up next and the apex of my unique musical journey.
Like clockwork, Mr. Beers enthusiastically contacted me about the video and the confident reaction to his bass session. "Glad to hear it" He wrote. "I enjoyed playing the tracks… Let me know which bass track versions 1 or 2 you used with the intro and the track so I can send a matching performance video.” Handing over Mr. Beers all creative control was logical and showed a true respect for his craft. The consideration by Mr. Beers to collaborate on a decision was unforeseen and very appealing. How do you choose one groove when both versions are slick? I decided to mix and match the funk from the tracks provided. Mr. Beers had agreed and gave the feeling of excitement by his response, "That would have been my choice. The Intro bass with the fuzz and Wah is a trip!"
The performance videos sent by Mr. Beers had simple instructions: "Hey Richard, here's 2 videos- the Intro -take 2 with fuzz and Wah - and the song - take 1 with pick. The intro track has a click count in so it should be easy to sync." He added, "The main track video has the guitar intro so you can sync to that. Hope this works for you." The final production was amazing and combined perfectly. In addition, Mr. Beers mentioned the project on his personal Facebook Page, “Last night I finished bass tracks for an amazing Costa Rican heavy rock artist- really great stuff and a lot of fun for me to play on.”
Everyone noticed that Mr. Beers showed an authentic enjoyment as he adjusted his amp and started jamming in an Aussie themed studio. Apart from the brilliant music created, a heartfelt chest tap happened as he finished the song and the video ended. The final act of my personal experience working with Garry Gary Beers was a strong transfer of positive electromagnetic energy that was widely felt and well received. Thank you Mr. Beers for the luxury.
I highly recommend Mr. Garry Gary Beers. The working relationship was easy and stress free. My firsthand knowledge involved the attention to detail, clarity to avoid miscommunication and the generosity of his sincere efforts. Experiencing a comfortable first time business deal was a pleasure. The financial investment in working with Mr. Beers was worth the extemporaneous chance to meet a multi-platinum bass guitarist. Most importantly, the bonus of sharing his music and imagination with fans.
In conclusion, I am a very satisfied customer of Mr. Garry Gary Beers and admire his ingenuity on this special project.
Richard Blank
CEO
Costa Rica's Call Center
Loyal INXS Fan
"Shine like the Sun" by Igni Ferroque is a powerful anthem that celebrates perseverance, determination, and the pursuit of one's dreams. It encourages listeners to embrace challenges head-on and to strive for success, no matter the obstacles they may face. The opening lines of the song immediately set the tone, questioning the listener's willingness to leave their comfort
The famous Latino guitarist, IGNI FERROQUE teams up with CCC to produce a classic MTV retro video.The band is promoting their 44th anniversary album and national tour sponsored by Costa Rica's Call Center. The hot single has become the official 15 year anniversary theme song for CCC. Pura Vida.
IGNI FERROQUE. Banda de rock original costarricense fundada en 1978.
Shine like the sun lyrics:
Have you every thought of leaving home?
How far would you go to find you space?
Are you willing to start all alone?
Without letting your mind scatter...Out of place
Working hard everyday dawn to dawn
Hitting the phone to reach the goal
Fitting in your spot in paradise
Never take your eye off the prize
YOU BETTER SHINE LIKE THE SUN
YOU BETTER DO THINGS RIGHT
IT'S A GAME OF WIN OR GO BACK HOME
BUT YOU'RE A WINNER, YOU TAKE IT ALL
No matter how strong you feel you are
No time for breaks until you're all done
With all your goals there is always stress
And everybody needs to rest
And yet there is no dream that comes alone
Once you feel great, you feel at home
You find the beauty of a smiling face
You find the love, you find the GRACE
YOU BETTER SHINE LIKE THE SUN
YOU BETTER DO THINGS RIGHT
IT'S A GAME OF WIN OR GO BACK HOME
BUT YOU'RE A WINNER, YOU TAKE IT ALL
Producer: Greibyn Krriyo
Executive Producer: Richard Blank
Production Assistant: Rolando Araya
Igni Ferroque
Roberto Ferroque Ruiz
Eduardo Doryan Jara
Harold Webb
Guest Musician: Garry Gary Beers - INXS Bassist
Models:
Dayana Solis
Silvia Rojas
Rebeca Meneses
Shirley Rodmon
Fabiola Castillo
Julissa Meneses
Yoselyn Fonseca
Maria Jose Castro
Free Spirit Hippie: Eddie Fridovich
Call Center BOSS: Richard Blank
Special Appearance: Grace Borbon
Grips:
Edder Nuñez
Fabian Sequeira
Post Production video and audio mix: Harold Webb
Post Production video mix assistant: Edder Nuñez
Video Record: Jersan Jimenez
Edition / Post Production: Michael Arce Mora
Sunset Productions CR 2023
Filmed at Costa Rica's Call Center
1993 Gottleib Street Fighter II Pinball Machine
1994 Bally World Cup Pinball Machine
1992 Data East Hook Pinball Machine
1995 Midway Ultimate Mortal Kombat 3 Arcade Machine
1993 Sega In the Hunt Arcade Machine
1979 Atari Asteroids Arcade Machine
1996 Namco Alpine Racer 2 Arcade Machine
1996 Midway Killer Instinct 2 Arcade Machine
1958 Seeburg 220 Jukebox
1964 Wurlitzer 2810 Jukebox
1961 Seeburg AY160 Jukebox
1995 Dynamo Air Hockey Table
1992 Volkswagen Cabriolet
Igni Ferroque is a Costa Rican rock group that was born at the end of 1978. Igni Ferroque, which from Latin means iron and fire, performed its first concert in the Colegio La Salle auditorium on September 15, 1978.Roberto "Ferroque" Ruiz all the weight of the direction of the group and it was then that all the musical work and the creative genius of Roberto Ruiz rose that this legendary Costa Rican band has not left to this day and marked the beginning of a process of musical growth and development of relevance inside and outside of Costa Rica.
Throughout its long history, full of ups and downs, the group visited Mexico, Guatemala, El Salvador and Ecuador between 1986 and 1992, bringing to all those forums the Original Rock that has always characterized them. Based on the anti-arms and pro-environmental theme, its lyrics are clear: "If rock is a means of mass communication, the message must be clear and positive," Roberto Ruiz told Rodrigo Farías Bárcenas, a Mexican journalist, in an extensive interview given to Diario Uno más Uno in 1986; that phrase defines the idiosyncrasy of Igni Ferroque.
His hits include "Si Quieres Paz" (1990), "Dance in the Swamp of the Dead" (Inspired by a passage from the Lord of the Rings, 1986), "San Lucas" (1982), "Silences" (1980) , "Homeland" (1980) and "La radio" (1979). Their music has been described as jazz-rock with influences from heavy, blues, reggae, and classical, quite progressive for Costa Rican standards. Currently, the group is sounding "better than ever" as confirmed by the excellent musician Calilo Pardo, director of the Academy of Modern Music. They have shared the stage with groups such as El Tri, Alux Nahual, Botellita de Jerez, Kenny y los Eléctricos, Depeche Mode. They also shared in the biggest party in the history of Rock in Costa Rica during "Human Rights Now" in 1987 alongside Bruce Springteen, Sting, Peter Gabriel, Yossu Nandour and Tracy Chapman.
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4. und letzter Teil der Tetralogie „Der Ring des Nibelungen“ von Richard Wagner (mit Manfred Jung, Gwyneth Jones, Dirigent Pierre Boulez) - 4ª e última parte da tetralogia “O Anel do Nibelungo” de Wagner
La Rueda de la Fortuna Canal 13. A supervisor at Costa Rica's Call Center wins 3,000,000 colones!
La Rueda de la Fortuna todos los sábados a las 5:30 p.m. por su Canal 13, y es que el Sistema Nacional de Radio y Televisión (Sinart) y la Junta de Protección Social (JPS),
Don Franklin Ricardo Chinchilla Valverde
Currently a Supervisor at Costa Rica's Call Center
Costa Rican Police
Soldado Primera Clase (1980-1984)
Served under President Luis Alberto Monge
Top grades with the USA Army Special Forces course taught under Commander Luitenant Michael Club in 1984.
WON 3,000,000 colones!
Canal 13 Nuestro Canal es una Televisora Estatal parte del Sistema Nacional de Radio y Televisión de Costa Rica.
A supervisor at Costa Rica's Call Center wins 3,000,000 colones! La Rueda de la Fortuna Canal 13.
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