Hes about to rock the world of swing with the help of songwriters Bryan Adams, Take Thats Gary Barlow and hit maker to the stars, Eliot Kennedy.

The trio have written new songs for the phenomenal new British talent.

And with that combination it can only mean one thing a new collection of standards for the 21st century, including forthcoming debut single, Kissing A Dream and follow-ups The Gift Of Love and In The Mood.

Grammy award winning producer Eliot has given him the Nelson Riddle and Quincy Jones treatment, including a surging brass arrangement of Lets Get Lost made famous by American jazz trumpeter Chet Baker.

His live shows include crowd pleasers like Sway, Fly Me To The Moon, Thats Life, Summer Wind, Come Fly With Me, Mack The Knife, Beyond The Sea and From Russia With Love.

But Pauls repertoire appeals to a new generation of music fans. A new era.

He includes brave new jazz swing arrangements of modern pop classics like Thin Lizzies Dancing In The Moonlight.

His velvet voice, movie star looks and engaging showmanship have made him a smash hit already with big name fans including Manchester United boss Sir Alex Ferguson. Striker Wayne Rooney even booked Paul to sing at his Italian wedding.

Paul, a master of the microphone technique, says he is thrilled to have on board the legendary hits making team of Adams, Barlow and Kennedy, the production genius behind hits by Celine Dion, Bryan Adams, Donny Osmond, The Spice Girls, Take That and Boyzone.

Theres a huge demand for big band music when it's done right. But with Bryan, Gary and Eliot writing for me, we're looking to move things on to the next stage with some unbelievable new tracks that will appeal to fans of all ages, says Paul.

And for those who love pure swing classics, well - I'll never stop singing the American and British songbook

The Hastings Eating and Drinking House, Lytham, are lucky enough to have Paul perform each month and you can next see him there on Thursday 9 September to book call 01253 732400.

So start spreading the news. Theres a new big band singer in town called Paul Pashley and hes heading for the top!.
http://www.prfire.co.uk/press-r....19.html

Celebrity fans aren’t usually associated with Rugby League, but global superstar Gary Barlow bucked that trend earlier in the week, partying into the night with Warrington players as they celebrated their Challenge Cup victory over Leeds Rhinos.

The Wolves face St Helens in the opening play-off game of Super League 2010 at the GPW Recruitment Stadium on Friday in what is being predicted as one of the closest matches in recent play-off history, and having a little patience - rumours are circulating that Barlow will instigate the team talk - could prove the difference between the sides.

St Helens' ambitions of ending their run of three straight losses in the Grand Final have been dealt a blow with the news that key stand-off Leon Pryce will miss the play-offs because of a neck injury. The England international will be sidelined for a further three months as he goes under the surgeon’s knife to fix the troublesome neck problem.

Kyle Eastmond is also missing for the home side with a hip problem, but prop Maurie Fa'asavalu returns from five months out with a damaged shoulder and second-row Sia Soliola suffered no reaction to his troublesome knee injury last weekend which means he takes his place in the squad.

Saints coach Mick Potter believes his side already have the edge over their rivals by pippin them to second place in the league, which has guaranteed home advantage. “It's a good thing to have the crowd right behind you, it's definitely an advantage,” Potter told the BBC.

"You don't want to be that losing team in the first week of the semis because it does make it hard. You've got to win every week. You want to leapfrog to that game within a Grand Final if you can.

"That's not to say it can't be done the other way but it just makes it more difficult. You never know what sort of injuries you're likely to suffer."

The Wolves look set to welcome back Adrian Morley, Lance Todd Trophy winner Lee Briers, centre Matt King and second-row duo Louis Anderson and Ben Westwood, all who were rested for last weekend’s match against Harlequins. Warrington fans will be delighted that their star men are back for good.

Past results between the sides put St Helens in the driving seat; they won 28-18 at Knowsley Road in March before winning 26-24 at the Halliwell Jones in July. But Warrington skipper Morley is relishing the challenge of facing the Saints, especially after the way they dismantled Leeds in the Challenge Cup final.

"We were a bit scratchy last week which is understandable considering the week previous but we are in a reasonable position now to mount a serious challenge for Old Trafford,” Morley told the club’s official website.

“The Wembley win gave us a lot of confidence. We're in a really good bill of health so there's no reason why we can't do something magical."

Could it be magic for both Morley and Barlow? All will be revealed on Friday where one set of supporters will be given a night they surely will never forget.
http://blogs.bettor.com/Super-L....-a26495

1. Gary Barlow was born on January 20, 1971 in Cheshire to parents Marjorie and Colin. He has one older brother, Ian.

2. In his autobiography, Gary reveals that his love of music started at an early age: "I was one of those kids that’s dancing forever in front of the TV looking at my reflection." He thanks Top Of The Pops for his early passion for music and claims it was a performance by '80s electronic band Depeche Mode that began his love affair with performing.

3. He is a self-taught pianist having bought his own keyboard at just 10-years-old and spending the next few years teaching himself to play his favourite songs.

4. During an interview with Jonathan Ross last year, Gary described Take That as "the gayest straight band in history".

5. After the heartbreaking split of Take That in 1996, Gary went on to have a successful solo career, including two number one singles and a number one debut album. In fact,
Gary’s first solo single, 'Forever Love', was originally written to be Take That’s next release but they split up before Gary showed it to the other boys.

6. Gary was on one of the tubes that was targeted in the July London bombings in 2007 and he recalls the events that unfolded in his autobiography, My Take.

7. Gazza married his long-term love, Dawn, in January 2000 having met on a Take That tour where she was a back-up dancer for the band. The couple have three children - Daniel, aged 10, Emily, aged 8 and Daisy, aged 1.

8. Barlow is a dedicated charity supporter and was the mastermind behind the successful sponsored climb up Mount Kilimanjaro that raised in excess of £6 million for Comic Relief. He walked alongside famous faces such as Cheryl Cole, Chris Moyles and Fearne Cotton despite injuring his back while training for the climb! Speaking of the challenge, Gary said: "The walk was steep, severe and heartbreaking."

9. Not only does Gary have millions in the bank and one of the best pop back catalogues in music history, he also owns a prestigious Blue Peter Gold Badge! Gazza was given the honour for his inspiring charity work.

10. Gary is a hugely talented songwriter. He wrote the majority of Take That’s hits as well as all of his own solo releases. Not only that, he has written songs for a whole variety of other performers including boy-band Blue, N-Dubz, Alesha Dixon and even Dame Shirley Bassey!
http://www.digitalspy.co.uk/showbiz....ow.html

Published on 17 Sep 2010

In these spiritually impoverished times, we should count ourselves blessed to have a truly inspirational figure in our midst.

A man who speaks of love and forgiveness, and whose lyrical pronouncements attract hordes of devoted followers from across the country.

I refer, of course, to Gary Barlow, the talented one from Take That, who has set aside his differences with the wayward Robbie Williams and this week reunited with him on stage for the first time since 1995.

Given that Williams waited until Take That were hugely popular again before realising he’d been horrible to his old mates, Barlow could have been forgiven for telling him where to stick his cringe-worthy dad rapping. Instead, the man who wrote A Million Love Songs and Never Forget agreed to sing a couplet that rhymes bus with Toys R Us. His generosity is humbling.

While Barlow’s talent for songwriting has long been acknowledged, not least by the folk who dish out the Ivor Novello awards, it’s only relatively recently that his impressive vocal abilities have been highlighted. He must rub his hands with glee every time a talent show seeks permission to use Patience, since listening to a wannabe struggling through the falsetto-sprinkled hit is like watching a kitten attempting to clamber up some stairs.

Barlow is in a position to humour his girning former sidekick now the tide has turned and he and the other three are riding high, with their feelgood man-band hits used to promote supermarket produce and soundtrack the weeping triumph of X Factor contestants.

Meanwhile, wedding guests up and down the land are obliged to maintain dead-eyed smiles during Williams’s most famous dirge. Sorry, Robbie – these days we’re loving Gary instead.
http://www.heraldscotland.com/comment....1055746

OMD, Alison Moyet and even Gary Barlow were there to help them overcome their 30-year stage fright.
In 1979, bassist Trevor Horn and keyboard supremo Geoff Downes were content to allow their band to become one-hit wonders with Video Killed the Radio Star and join Yes, before Downes formed Asia and Horn became a world-beating producer. They reunited in 2004 to perform the song at a Wembley Arena tribute to Horn’s talents but this was the first full airing of their debut album, The Age of Plastic.

Like Led Zeppelin’s reformation on a rather more intimate scale, this club show in aid of the Royal Hospital for Neuro-disability was the lot – no follow-up tour, and certainly no new album.
Some aspects of the evening had a wedding disco feel, from the dressy older crowd who had paid Ј100 or more for a ticket, to the incongruity of seeing Richard O’Brien doing The Time Warp again followed by Barlow belting out Hard to Handle.

Horn and Downes, in silver jackets similar to the ones they sported in their famous video, struggled manfully with feedback and seemed amused by their belated moment in the spotlight. Horn even attempted to rap on a cheeky cover of Check it Out, the new will.i.am and Nicki Minaj song that samples their hit.

Lesser known synth-heavy tracks such as Clean, Clean and The Plastic Age had aged well, though the futuristic predictions of the latter weren’t as accurate as their thoughts on videos. It will be another 30 years at least before Horn can sing about “shiny serving clones” with a straight face.
http://www.thisislondon.co.uk/music....rgot.do

Read more: http://www.mirror.co.uk/celebs....uvl4SZB

Then The Buggles – Horn and keyboardist Geoff Downes, joined by several musicians, notably guitarist Lol Creme of 10cc, emerged for a complete run-through of their 1980 album, The Age Of Plastic. Inevitably Video Killed The Radio Star got the biggest cheers, but the other songs were surprisingly good, with the sort of musicianship you'd expect from former members of Yes (Horn and Downes) and 10cc.

After side one of there was a break during which the band performed 10cc's 1973 No 1 Rubber Bullets, complete with Creme's outrageous falsetto, followed by I'm Not In Love. Alison Moyet acquitted herself well during Grace Jones' Slave To The Rhythm and Yazoo's Only You and Don't Go, Gary Barlow belted out a funk number and Richard O'Brien did a cameo.

After that, it was a return to The Buggles' pristine plastic pop and a hilarious version of will.i.am/Nicki Minaj's's current R&B-rap smash, the Video Killed….-sampling Check It Out, which proved that Horn's influence on modern pop can never be overestated.
http://news.scotsman.com/enterta....7587.jp

Apart from youthful good looks and a fiercely loyal female fan base, the British heart-throb pop star is linked to Osmond through writing a string of songs for the former 1970s American teen idol.

Barlow, 39, is the writing talent behind many a well-known band or solo artist's tracks and over the years has made a comfortable income from composing lyrics for the likes of Atomic Kitten, Blue, Will Young, Charlotte Church and Lily Allen.

This provides the meat and potatoes earnings for the man who is now sitting on a fortune worth £35m, according to The Sunday Times Rich List 2010, thanks to the revived fortunes of his former boy band Take That.

As the chief lyricist and lead singer for Take That during its first incarnation in the early 1990s, Cheshire-born Barlow significantly out-earned his band mates with a bigger share of the royalties on their estimated 25m record sales between 1990-1996.

During that early Take That period (which ended when the group broke up in 1996) Barlow is thought to have amassed about £15m.

Such riches encouraged him to live a lavish lifestyle, which by his own admission was influenced by rock legend Elton John. Barlow bought a large house in Cheshire and later Delamere Manor, which he described as 'my very own copy of Elton's house'. He described his spending as 'extreme' and said 'I would buy anything that Elton had; watches, rings, you name it'.

He also took to fine dining with gusto, which led to weight problems.

His Cheshire estate turned out to be a wise investment, however, since he sold it for £4.7m in 2005 at more than four times the price he paid for it in 1995. He now owns multi-million pound properties in London and the Cotswolds.

Life has not always been rosy for Barlow, whose solo career faltered after an initially promising start (he had two number one singles in 1996-1997 and a successful first album). Barlow's middle of the road style of music fell out of favour and his career was soon overshadowed by his edgier Take That rival Robbie Williams who was busily churning out hit after hit and raking in cash and fame in equal measure.

It was during the wilderness years that followed (he says he didn't sing for six years) that Barlow devoted his career to writing songs for others, much of the time in Los Angeles.

But in 2005 following a documentary to commemorate 10 years since the Take That break up, the band decided to reform - possibly the most financially astute decision of his and his fellow band members' lives. Its first album Beautiful World sold more than any of the band's earlier records.

With the rebirth of Take That in 2006 (without Williams) Barlow and his three colleagues, who now share more of the writing credits, have seen their incomes skyrocket on the back of their massive come-back success.

The return of Barlow into the public eye led to the inevitable commission to write an autobiography. My Take was published in 2006 and earned him a bumper £1m advance.

Still well behind Williams in the wealth stakes (Robbie is worth £85m) Barlow's fortune is nevertheless set to burgeon by about £15m over the coming year thanks to the return of the prodigal Robbie, the recent release of the Shame single as a tribute to their patched-up friendship, the band's reunion album Progress and a lucrative international tour planned for 2011.

Barlow, who is married to dancer Dawn and has three children, enjoys his wealth but he is also charitable with it. He helped raise £6m for Comic Relief by organising a group of celebrities to climb Mount Kilimanjaro in 2009 and plans a similar trip to the North Pole for Sports Relief in 2012. His charitable work has even earned him a sought-after Gold Blue Peter badge.

Read more: http://www.thisismoney.co.uk/celebri....G4kgEcg

The talent show's supremo Simon Cowell was last night said to be putting the final touches to the shake-up after he invited fans to a brainstorming summit.

Twenty of them were amazed when Cowell arrived unannounced after they were mysteriously invited to the London HQ of his billionaire pal Sir Philip Green.

The fans - aged ten to 40 - were asked how the ITV1 show could be improved.

Sir Philip, 58, also gave his ideas.

Last night a source said of installing a fifth judge: "The idea is 90 per cent a done deal.

"Simon is still figuring out exactly how it will work.

"On one level it could mean that if one of the judges opted out of voting it could still go to deadlock if the others were split 2-2.

"But the danger is if they all had voting rights and chose to vote it would never go to deadlock.

"Simon has always thought a guest judge on live shows would bring some extra drama to proceedings. And he hopes they will shoot from the hip and put a rocket under the rest of the judges, who often bite their tongues."

Simon called the X Factor summit after last weekend's voting wrangle.

Cheryl Cole - mentor to the two singers who finished bottom after the public's vote - abstained rather than choose which one to oust.

With the other judges deciding 2-1 to keep Katie Waissel and send Treyc Cohen home, Cheryl then indicated she wanted to "deadlock" the score at 2-2.

Viewers' votes then determine who stays or goes.

But host Dermot O'Leary told Cheryl her abstention stood, so Katie - who had the least public votes - survived.

The show insisted yesterday it was all above board despite more than 2,000 complaints from viewers.

Last night there was frenzied speculation about who will join the judges.

Pussycat Doll Nicole Scherzinger, 32, has been a guest judge - and Sir Elton John, 63, has also been mooted.

One idea is that one of the guest stars performing on the Sunday night results show will be drafted in each week.

That could see Gary Barlow, 39, becoming the first fifth judge, as Take That take the stage next week.

Read more: http://www.thesun.co.uk/sol....wuWKCc3

ROBBIE’S LYING on the floor, Mark is on the phone, Howard is stretching his back and Jason is dozing. Gary, though, is pacing around the room, breaking off slabs of organic chocolate, looking over his shoulder and then shoving them into his mouth. He studies the wrapper intently. “This is dead-posh chocolate. I’m usually a Cadbury’s man.” He breaks off another big chunk, then hides what’s left of the bar under a magazine before thinking better of it and putting it back in his pocket.

We’re in the penthouse suite of a London hotel. The soap opera that is Take That is back. Fifteen years after Robbie Williams flounced out and five years since their revival as a four-piece, the band that was only ever meant to be a short-lived UK version of New Kids on the Block are about to release what their record company claims, in an avalanche of exclamation marks, is the album of the decade.

Barlow – who at 10 years of age, watching Depeche Mode singing Just Can’t Get Enough on Top of the Pops, decided it was a pop star’s life for him – is unusually stolid. He displays none of the theatrics or melodrama of his band-mates. For someone who has turned notions of love, loss and regret into some of the best pop music of the past 20 years, he can sound like a middle-management drone.

“It probably comes across that way because music is all I can do. I can’t ever work a till at Sainsbury’s, so I’ve always been the ‘we have to understand how the music business works’ one in the band, because there’s nothing else out there for me,” he says. “You should see me when I arrive for work. When I get out of the car to go into the studio I really have to tell myself, ‘Don’t run! Don’t run!’ because I’m that excited. I can’t wait to get into that building. I love being able to go in and make music and produce and write songs. I love that feeling of what I’m doing now in the studio is going to make a difference to the charts.”

He pulls his chair up closer and says: “I can’t even begin to get across how exciting doing this album as the five of us was. There was so much energy. We were all dying to make this record; we had waited all this time to do this, to have Rob back again.”

The album, Progress , is a grown-up electro-pop affair with none of the lighter-in-the-air power ballads of old. It’s bleepy and synthy – not too far removed from anything by The Killers and Scissor Sisters. It’s like a boy band having a knee-trembler with Krautrock up a back alley.

“Normally I write on a piano; this was written on a laptop,” he says. “Nobody knew we were all working together again. We only announced in July that Robbie would be on the album, but by that stage we had spent six months sitting around a laptop in a studio. And we were a new band, literally a new band: we changed our name and everything, and the plan was to release this under our new name, The English. We figured there’s been Take That Part 1, and there’s been Robbie solo, and then there’s been Take That Part 2, so let’s just drop all that and call ourselves The English.

“Having a new name meant we weren’t going, ‘Oh, that doesn’t sound like That That, the fans won’t go for that,’ during the recording. That’s why it’s such a different sound for us. Being The English let us be something else musically. This was supposed to be our side project, our cool-music album. We did a bit of research about renaming ourselves and asked around, and all we got back from people was, ‘What? We’ve waited all this time for the five of you to get back together and you’re going to call yourselves something else?’ so we sort of gave up on the idea and went back to being Take That. But reluctantly so.”

Before all that, there was a group therapy session. When Williams walked away, or was sacked, in 1995, there was a lot of name-calling and finger-pointing in the press; it soon escalated into an all-out war between Barlow and Williams. “A lot of bad stuff happened, really bad stuff, and I hadn’t actually set eyes on Robbie for more than 10 years when we found ourselves in Los Angeles two years ago, mixing the Circus album,” he says. “He lives in Los Angeles, so we just, in a sort of impromptu way, invited him down to say hello, and I remember him walking into the room and I could barely look at him. On the surface it was all matey-matey stuff, but for me it was like meeting someone I’d never met before. To be honest I found it hard, and I sort of sat back and let the others talk to him. I think Robbie thought I was sat there steaming with anger. I wasn’t. I had dealt with all that stuff – well, okay, not all of it. But I had dealt with him saying all those things in public about me.”

On the way out Williams invited them all up to his house the following night. “That’s when it all happened,” says Barlow. “He took the lead and said to me, ‘Look, I’ve got things I’ve got to get off my chest with you,’ and I said, ‘That’s good, because so do I.’ For the next hour or so we apologised for what had been said and agreed that the whole thing was really insignificant. We ended up laughing about it. But we both needed the apologies – and we both got them. It was absolutely group therapy, and that allowed us to get back together again. But I had resented him at the time for leaving the band, because I knew it would split us up.”

When the band split it was taken as a given that Barlow, the only songwriter in the band, and a gifted one at that, would be the George Michael figure, strolling into a glittering solo career, and that the other four would be Andrew Ridgeleys. “It really didn’t turn out like that, did it?” he says, smiling grimly and reaching for the chocolate again. While Williams went on to become one of the most successful British solo artists of all time, Barlow, “the musical genius behind Take That”, was ignominiously dropped by his label and put out to pasture.

“I was depressed, very depressed,” he says. “The weight was the most noticeable thing. That was the worst bit. I was getting a bit immobile, actually; it was that bad. I had problems even walking. My wife encouraged me to see a doctor. He said that I was in the obese category – and I wasn’t just slightly obese, I was well into the obese category. He sent me to a dietician, who enrolled me in a gym, and it was so depressing being at the bottom of this mountain that you’ve got to climb. I didn’t seek help. I did it the old-fashioned way: I ate less and went to the gym. It came off slowly, and if there’s one thing I know it’s that I’ll never go back there again. There was a lot of pain, and everywhere I seemed to go I’d be tormented by that bloody song,” he says, referring to Williams’s Angels.

“It was really hard for me, but I think people get it wrong. They think that it was because Robbie was so successful and I wasn’t. But that wasn’t it; it was because my life had been ripped away from me. Music is all I can do. Music is it for me. The thought of, Christ, is this it for me? was hard, very hard. I was just thinking, I’ve worked all these years and now it’s all been taken away from me. That was the depressing thing.”

He stares out of the window for an eternity. “If you think about someone who does what we do, we spend our whole life going, ‘Is that any good? Do you like it?’ We’re constantly giving up ideas and wanting them to be accepted and loved by everyone. And if you lose your confidence you’re putting yourself down at the very first step. But the confidence is back now. I’d like to say we know what we are doing, but we don’t. You can’t in this business. You just go in and guess: ‘Is it great? I think it’s great.’ It’s never as planned as it looks. But the excitement now for us is that the new stuff is progressive and different. There’s even talk of us playing Glastonbury!”

He looks over at his bandmates. “I remember meeting them all for the first time, 20 years ago,” he says. “I’m not the same person now, and they certainly aren’t. So much has happened individually and collectively. What was that you said earlier? It’s like a soap opera. It certainly feels that way. But this episode is different: it has a kind of magic about it.”

Faster, higher, stronger

Billed as the biggest tour in UK and Irish history, Take That’s live shows for next year have already smashed box-office records (a million tickets were sold on the first day of availability).

“We have our own circuit now when we play live,” says Barlow. “We don’t go and do festivals in Belgium, because they’re not for us. We’d rather put on our own event where we know how much people are paying for car parks and Diet Cokes. I hate the idea of doing some festival and they’re ripping off all the fans and the band doesn’t even know about it.

“The new show will have the theatricality of the Circus tour, and we’ll split it up each night so that you’ll have us as the old five-piece, then you’ll have Robbie doing some solo stuff, then us as a four-piece, then us as the new-five piece. We’re just trying to integrate all of that into one show now.”
http://www.irishtimes.com/newspap....12.html

ОООО, Барла еще больше заобожала
а может вместе споём, а?

*THANKS FOR THAT NIGHT, SUN *

Called 'The Art of the Song', the project asked for some of the UK's best songwriters and composers to donate hand written lyrics from their greatest hits to be auctioned off at Bonhams in aid of Teenage Cancer Trust.

Sir Paul McCartney, Paul Weller, Jim Kerr, Sir Tim Rice, Julian Lennon and Annie Lennox are just some of the famous songwriters that have penned original lyrics from their most famous hits exclusively for the campaign. As well as raising money for Teenage Cancer Trust the project hopes to create a lasting legacy of the music and song lyrics of our generation.

Those keen to purchase the pieces will have the chance to bid on lyrics including Sting's - Message in a Bottle, Duran Duran's - Girls on Film and Sir Tim Rice's ' 'Don't Cry for me Argentina'. Chris Rea has donated his original lyrics written for 'Road to Hell' famously penned on the M25.

Teenage Cancer Trust funds specialist teenage cancer units in NHS hospitals that are designed to give teenagers the very best chance of a positive outcome. There are currently 17 of these units across the country, including three in Yorkshire. The charity plans to build a further 16 so that all young people needing hospital treatment for cancer across the UK have access to the dedicated, specialist support they provide.

Teenage Cancer Trust has a strong music heritage. The charity's annual concerts have become one of the most eagerly anticipated events in the British music calendar. Now into their tenth year, the concerts were the brainchild of Teenage Cancer Trust Patron and The Who front man Roger Daltrey CBE. Each year, the shows have featured some of the world's biggest bands and artists.

The auction will take place at Bonhams Knightsbridge on December 15th 2010 with items available to view from the PRS for Music site www.m-magazine.co.uk now!

For further information on the auction or to register interest please visit www.bonhams.com/entertainment
http://www.music-news.com/shownew....D=37694