strange happenings on my torch 9850.....randomly tried to download stuff off my spotify account, even started to play some songs, then froze up my phone completely....had definitely downloaded all my starred music, then informed me that there was no disk space left, so then i couldn't access spotify at all!! asked my son (18, geek) and he told me to uninstall spotify, be patient and wait for blackberry to debug and introduce spotify for non cdma phones properly......i am impatient and i want spotify NOW....as a premium user it is so annoying not to be able to access it.....is there anybody out there that can tell me why this has all happened? also, is there any progresss on being able to get spotify on this phone before i throw it out the window :@/

It's working really flawlessly regarding music quality. Streaming and syncing music are working fine as well. It is featuring an offline mode as well, so you can avoid being billed accidently by your network provider

How To Download Free Music To Blackberry Torch

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They should make available for 3g though i wanna listent to spotify on my phone everwhere i dont get why its working with the old blackberrys but not with the new ones!? I think they should bring out an update so people like us with new blackberrys can listent to spotify everywhere!!!

The same can't be said for the loudspeaker, though. Where it functions brilliantly for calls or ringtones, we found that when it came to playing music out loud, it wasn't ideal. In fact, it was rubbish.

"We've played that song hundreds of times through an iPhone and a home stereo but only when listening to it on the BlackBerry Bold 9900 did we notice some of the strings and layers we'd never clocked before. Whether it's the way the music is processed or recorded or whether it's just down to the equaliser is anybody's guess but it sounded amazing and we were sold. We loved it!"

Not that this will be a deal breaker for you, unless you're a 16 year old planning on playing your music loud on the bus to annoy pensioners. But to us, it was definitely a disappointment. Through headphones, it all sounded so much better.

Usually when it comes to TV commercials, the natural reaction is to just zone out or maybe head to the kitchen to grab a snack, but on occasion, we'll be drawn into a commercial because of the music. Often, it leaves you with a few questions: how much is the product? Where can I get it? and who is the artist behind that song?

In August of last year, Blackberry released the Blackberry Torch; with it, they released a few commercials with some catchy songs like the one below.

But RIM fights back well. The desktop software syncs music brilliantly and even the Mac version enables users to not only sync songs, but also iTunes playlists, photo albums and movies. We were expecting to run into all kinds of problems and niggles with this, but were very pleasantly surprised.

Blackberry devices are often thought of as business devices, but the BlackBerry Torch 9800 has a lot of multimedia and social networking features. it has support for Facebook, twitter, MySpace and instant messaging. There is a new user interface for browsing and playing music and movies. In addition there is a dedicated YouTube app and Podcasts app. there is also a new and improved web browser that supports multi-touch gestures.

Like previous generations of BlackBerry smartphones, the Torch still offers many of the tools that business customers love including the platform's popular messaging tools. But it's not all work and no play: The Torch also offers more social networking and messaging capabilities with integrated access to BlackBerry Messenger (BBM), Facebook, Twitter, MySpace, and various instant messaging applications. The Torch also comes with Wi-Fi Music Sync, a feature that lets you view and sync your iTunes or Windows Media Player music libraries with the phone wirelessly or via USB.

A year before her death in 2019, Jackie Shane decided it was finally time to tell her life story. The trailblazing transgender soul singer was a mystery ever since vanishing from the spotlight in 1971 after dominating the Toronto music scene throughout the 1960s. For decades following her retirement, the Nashville-born artist lived in obscurity until a 2017 retrospective album, which earned a Grammy nod, catapulted her back into public attention.

Hewlett Packard Buys Melodeo

Hewlett Packard has acquired Melodeo, the parent company of music streaming service nuTsie, for an estimated $30 to $35 million. The service allows users to stream their iTunes library using the Web and smart phone devices including the Google Android, BlackBerry and iPhone, without downloading the files. (6/25)

"This is the best record I've ever done. I feel that good about it," she says. Ahead of Bailar's April 5 release, Sheila E. spoke with GRAMMY.com about creating music in a new idiom, the importance of collaboration, and finding space in music.

There was music that I had written for an R&B album that I didn't release, and I said we can take some of this and flip it into salsa. This is another side of me that I'm excited about sharing with the people.

I'd love to hear a little bit about your relationship with Tito Puente and any important musical lessons he taught you, especially now that you're coming out with an album that's very much influenced by his work.

He was such an influence. He was amazing. He did so much for us as a family, musically, as well as being our friend and growing up listening to him. He and my dad met when they were 18, and having him around the house when I was growing up, I didn't even know he was.

Many times in my shows, people end up crying. It's emotional, and music brings joy. It lifts you up. It brings you to a place of happiness and love, and we just want you to have a good time. But the joy that I get to be able to do this, it heals me too. And I just thought it was important.

*You also worked with Prince on your debut album, 1984's The Glamorous Life. You'd been working so much as a musician up to that point already that it's interesting to think of it as your debut. How did you work on that project together?*

He started doing all these albums, and then he becomes the Prince that we all know. He changed every record, which was amazing musically. At the time [we recorded Glamorous Life], he was at Sunset Sound [recording studio and] he had all the rooms going at the same time. We just went in and started recording.

You have musical directed the Obama's Festival Latina, the Recording Academy's Tribute to Prince, and of course, you were his musical director for many years. Does that work require a special set of musical muscles?

Some of the songs they already had, some of the other songs I suggested. Almost everything that they were going to play, I knew and I had a lot of the original music. I had a lot of the samples; I had Prince's vocals. There were things that I had that could help in some of the arrangements, and a lot of the arrangements I used from my show.

It's not about playing all over the place and playing something that doesn't belong. You have to figure out those spaces and, to me, the most important part of music is space. That space is what allows a song to breathe.

I would use different things even in the studios; I didn't use all of the right mics all the time. I would bite on an apple and sample it and put that sound on top of the snare. I just experimented. I started on pots and pans, and I used keys, and I used a spray bottle can that blows out air to clean your computer as a high hat. Everything can be musical.

When that first started happening and things were being said that were really rude and bad, I would go back to my parents. They would just say, "You just keep doing what you're doing. They're jealous or they're mad because you're there, or they've never seen anyone like you. You have a gift and you just go ahead. You learn the music, know what you have to do, so when you walk in with confidence, it's not an issue." A lot of the time, those musicians were not prepared, and I was, and they hated me even more because I knew everything.

While the GRAMMYs might not yet have awarded Rob Zombie, Jukebox the Ghost, or And You Will Know Us by the Trail of the Dead, it has embraced the odd musical spooktacular in several forms. In 1988, for example, it gave Halloween obsessive Frank Zappa Best Rock Instrumental Performance for Jazz from Hell. A year later, it handed Robert Cray Band Best Contemporary Blues Recording for Don't Be Afraid of the Dark. And it's also dished out goodies (of the statuette, rather than the sweet, variety) to the likes of Mavis Staples' "See That My Grave Is Clean," Chick Corea's "Three Ghouls," and Mastodon's "A Sultan's Curse."

The Charlie Daniels Band certainly proved their storytelling credentials in 1979 when they put their own Southern country-fied spin on the old "deal with the devil" fable. Backed by some fast and furious fiddles, "The Devil Went Down to Georgia" tells the tale of a young musician named Johnny who bumps into Beelzebub himself during a jam session in the Peach State. Experiencing a downturn in soul-stealing, the latter then bets he can win a fiddle-off, offering an instrument in gold form against Johnny's spiritual essence. Luckily, the less demonic party proves he's the "best that's ever been" in a compelling tale GRAMMY voters declared worthy of a prize, Best Country Vocal Performance By A Duo Or Group.

He also extended his love and gratitude to his fiance, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams. 0852c4b9a8

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