David Guetta, Sia & Fetty Wap


David Guetta (born November 7th, 1967 in Paris) is a French DJ.
He was the pioneer of French house with "Up & Away," a garage-style track with vocals by Robert Owens released in 1994 – really made a name for himself in the mid-90s as one of the key catalysts of Parisian nightlife by promoting evenings at such renowned Paris hot spots as Folies Pigalle, Queen, Bataclan, Palace and Les Bains, where he invited DJ legends like Little Louie Vega, David Morales, DJ Pierre and Roger Sanchez to join him on the turntables. In 2001, however, he went back to his first love: making music.
Launched by the single "Just A Little More Love," an electro-funk-house cocktail featuring Chris Willis of the band Nashville on vocals, David Guetta’s first album was released by Virgin in June 2002 and went on to sell 250,000 copies. This resounding success carried through in the album's second, even more devastating single, "Love Don't Let Me Go," a track reminiscent of Moroder's techno-disco style crossed with Depeche Mode's new-wave sound.
Like fellow Frenchman Laurent Garnier, David started off his career in the gay clubs around Paris. Les Halles district in the mid-80s, going on to make a name for himself in acid-house and hip-hop. His first album heralded the beginning of a new DJ career – this time on a global level. Named after the parties he hosts on Ibiza, the fabled isle of techno, David's "F*** ME I'M FAMOUS: IBIZA DJ MIX", which featured his remix of David Bowie's "Heroes," went gold: no small feat for a compilation CD. For the last three years, David has been invited to mix throughout Europe on a regular basis and, more and more often, in the United States, Australia, Japan, Singapore and Israel as well. He is also resident DJ at The Cross in London, Barcelona ‘s Discoteca and the Lausanne club Mad.
Propelled by the rock guitars of the single Money, David’s second album, GUETTA BLASTER, is even gutsier. David and Joachim Garraud (the first album’s co-composer and co-producer) applied themselves to creating real songs modeled on electro-pop classics of the 80s by such masters as Depeche Mode, Yazoo, Dead Or Alive, and New Order, to name the most prominent influences. All the tracks on this second album are original compositions. The gospel sounds of Chris Willis and the stylings of guest vocalists JD Davis (lead singer of Sinema), James Perry (alias Jimmy Polo, renowned singer/producer on the Chicago scene) and Britain’s Stereo MCs give the tracks a unique luster, while the production skills of Guetta and Garraud lift the album to new – and always spectacular – heights.
From GUETTA BLASTER’s opening salvos, "Money and Stay," we get beats that are cranked up a notch beyond the hard-dance formula of "Just A Little More Love." Without an ounce of hesitation, the album launches itself at the experimental roots of house music and cold-wave, displaying an unexpected stylistic versatility, then oscillates between powerful mixtures of hot & cold and black & white. The result is 100% addictive.
"Used To Be The One," with vocals by Willis, owes a debt to both Yazoo’s Don't Go and garage music. Similarly, the counterpoint of Time evokes Eurythmics’ Sweet Dreams, blending the best of English pop and dance culture – something David has mastered like no one else. Open Your Eyes, a track tailor-made for the Stereo MCs, is built on a rubbery break beat and an acid sequence, with a rap that brings their classic Connected to mind. The abrasive AC/DC, clearly a future hit on the underground/rave circuit, is like the missing link between Jeff Mills and Ministry of Sound.
Two velvet-smooth cuts neatly crown the album: "In Love With Myself," a track that could hold its own against Moroder & Oakey’s Electric Dreams any day, is followed by "Higher," on which Chris Willis pays homage to the style of phrasing and embellishment popularized by Stevie Wonder, an approach that has proliferated in both R&B and garage/house music à la New Jersey duo Blaze. GUETTA BLASTER drives its point home with the metronomic Movement Girl, featuring James Perry, and the killer Get Up, on which macho riffs, the hysterical falsetto of Chris Willis and screaming guitars swirl around a punchy beat.
On GUETTA BLASTER, David Guetta has not only successfully avoided the pitfalls of second albums – he has truly launched himself into a new dimension.
The song "Just A Little More Love" appeared in the film The Football Factory, was sung in the Gospel version at the 2006 Victoria's Secret Fashion Show.
On New Year's Day 2007 he appeared at Big Beach Boutique 3, a concert held on the beach of Brighton, UK, put together by and headlined by Fatboy Slim.
His fourth album is "Pop Life" released in France on 23 April, 2007 with the leading single
"Love is gone."
24. August 2009. he released "One Love". He introduces this album with the hit singles "When Love Takes Over" feat. Kelly Rowland and "Sexy Bitch/Chick" feat. Akon. He wanted to make a new music stream named House Pop or Hip House. In this album he worked with well known vocalists, producers and DJs like Chris Willis, Estelle, Kid Cudi, Novel, Ne-Yo, Will I Am & Apl De Ap from The Black Eyed Peas, Lil' John, DJ Chuckie, Abel Ramos, Koen Groenveld, Afrojack, DJ Footloose, Joachim Garraud and others.

Sia Kate Isobelle Furler (born 18 December 1975) or simply Sia, is an Australian pop, downtempo, and jazz singer and songwriter. In 2000, her single, "Taken for Granted" was a top 10 hit in the United Kingdom. Her 2008 album, Some People Have Real Problems peaked in the top 30 on the Billboard 200. At the ARIA Music Awards of 2009, she won the award for 'Best Music DVD' and received six nominations at the ARIA Music Awards of 2010 and won 'Best Independent Release' and 'Best Pop Release' for We Are Born and 'Best Video' for the song "Clap Your Hands".
In 2000, the Adelaide born singer scored a bolt from the blue Top 10 hit with her debut single, Taken For Granted. Pairing her unique Australian drawl with the strident strings from Sergei Prokofiev's 'Romeo & Juliet', the track was championed by Trevor Nelson and had Sia performing live on Jo Whiley's Radio 1 show. Her debut album, Healing Is Difficult, arrived to similar cries of ´the next big R&B thing'. Then, to cap it all, she added her jazzy slurs to two tracks on Zero 7's Simple Things album and became the unmistakable voice of the year's coolest down-tempo soundtrack. All the pieces for a phenomenal career seemed to be in place.
And then nothing.
"I went a bit mental after that," she explains, before letting out a laugh that would stop traffic. "No seriously, I needed therapy and everything." She recovers her composure only long enough to explain that going from hero to zero left her confused and frustrated and that it was a really enjoyable time, those moments of feeling like a 'Coolio'! But sadly they've passed now.
Brandishing both wicked humour and brutal honesty, it's sometimes hard to know exactly when Sia's joking. What is certain is that, with fragile beauty, a collaboration with Beck, and swathes of sensual soul-searching, 'Healing Is Difficult's long overdue follow-up, ‘Colour The Small One, rekindles thoughts of an all conquering phenomenon and will surely make her a 'coolio' once again.
From the lilting pianos and claustrophobic beats of Breathe Me, to Sunday's enchanting harmonium and breathless chant, it's a mesmerising album, undercut by the hope and despair of a little girl lost. Guilt, and how to deal with it, is the recurring theme with Sia's vulnerable voice as a beacon guiding through the pain and fear. "I call it easy Listening," snorts Sia trying to keep a straight face. "That's what I've been telling everyone." A mix of horror and hilarity dawns on her face. "Do you think it's depressing? It's not too depressing is it? It's meant to be nice, easy, music. Songy and lush."
Whatever it is, it certainly isn't the album anyone was expecting. The muffled rhythm track and sensual cinematic strings of Don't Bring Me Down are a stratosphere away from Taken For Granted's dogmatic march. Colour The Small One would never be mistaken for R&B. "I hated that," she cringes at the thought of the jazzy beats and soulful grooves of her first album being tagged 'urban'. But that's not why this album's different. "I just wanted to make an album that was more song driven, and I've changed as a person. After the first album I lost it, and this album reflects how I was feeling. The vocals are small and needy, because that's how I felt." She looks momentarily troubled before adding, "Plus, I'd tried to have a pop career and it didn't work, so I thought I'd try something else." More strangulated giggling. "If this doesn't work I'll fuck off back to Australia."
Sia's vocal talents extend all the way back to her earliest memory. But unlike most singers, she isn't exactly the product of her childhood influences. Born in Adelaide, she was raised on the hippiest street in Australia. "Everyone was a musician or worked for Circus Oz." Her parents played in a rockabilly band called The Soda Jerks, and her dad, "a real nut nut", briefly played guitar in uncle Colin's band Men At Work- yes, they of 'I Come From A Land Down Under' fame- but "they kicked him out for being too in yer face." Early appearances singing Shangri-Las songs aside, Sia's musical leanings didn't get serious until she joined jazz-funk bar band Crisp at 17. "We thought we were really cutting edge," she sniggers with a roll of her eyes, "but we were trying way too hard."
In fact, Sia credits the biggest influence on both her and Colour The Small One as touring with Zero 7. "That's when I actually started listening to music," she says with a grimace of embarrassment. "All the other music I'd listened to in my life had been incidental; in clubs, cars, lifts. I only owned 2 CDs: The Jackson 5 anthology and Jeff Buckley's Grace. While we were on tour, the Zero 7 guys were always talking about artists I'd never heard of, so I bought a Discman and started listening to their James Taylor, Nick Drake, Harry Neilson, Randy Newman and Django Bates CDs. And it all just really blew me away."
Colour The Small One's lyrical roots, however, run much deeper. After three years fronting Crisp, Sia packed her bags and headed off with an open ended ticket on a round the World trip. After enjoying colourful times in some unusual places, she agreed to meet up in London with the man she describes as her 'first true love'. A week before she arrived, he was run down and killed by a black cab on Kensington High Street.
"Nearly everything on the first album was about that," she says, her chirpy facade slipping. "I was pretty fucked up after Dan died. I couldn't really feel anything. I could intellectualise a lot of stuff; that I had a purpose, that I was loved, but I couldn't actually feel anything. The last album was very deflective. This one's very exposing. I think that's the difference between the two albums, the first was intellectualising, this one is feeling." Catching herself being uncharacteristically serious, she quickly deflects with a half chuckle of, "and I'd quit drinking. That was probably what it was."
Bully, the track she wrote with Beck has similarly serious roots. "There was this kid at school who I used to be really cruel to, and I've felt bad about it ever since. It got to the point where I was having nightmares about it. So I wanted to write a sorry song." Thankfully, the collaboration itself had happier origins. "The last date of the Zero 7 tour was a festival at the Universal Amphitheatre in LA and Beck was on the same bill. Next thing he's ringing Zero 7's management asking if I'd like to duet with him." Understandably she said yes, and found herself on stage singing 'You're The One That I Want' from Grease. "I suggested it as a joke; but we changed the major to a minor, made it really slow and turned it into a bit of a country stalker anthem."
The Beck and Zero 7 connections- Sia's already recorded two more tracks to their next album - give the biggest clues to ‘Untitled’ and the giggling Australian's current intentions. "I don't want to be a superstar, doing all that wibbly-wobbly stuff. It's too emotionally stressful; photo shoots always make me want to have plastic surgery. I just wanted to write an album that was me: a small, weird, needy freak. It's a slow burner, but it's honest."
Colour The Small One was released in the UK on 12th January 2004.
And then, she came back with her new album Some People Have Real Problems, released on 8 January 2008. A little bit different from her previous albums, the new album received good reviews, although some critics and fans didn't really like the new "a little bit more pop" direction.
The first single Day Too Soon was released on 12 November 2007 in the UK and was followed by The Girl You Lost to Cocaine on the 21st April 2008 and later followed by Soon We'll Be Found which was released on 13 October 2008. Soon We'll Be Found got the best reviews because of its music video. In the music video, Sia sings while signing the lyrics in American Sign Language.
Sia worked with Christina Aguilera on her new album Bionic and the new collaboration has produced four tracks including the soulful ballad "You Lost Me". The album was released June 8, 2010.

Willie Maxwell II (born June 7, 1991), better known by his stage name Fetty Wap, is an American hip hop recording artist from Paterson, New Jersey. He began taking interest in music in 2013. Initially starting off as only a rapper, he later decided to start singing as well because he "wanted to do something different". He was nicknamed "Fetty" (slang for money) as he was known for making money. "Wap" was added to the end of the name to perform under in tribute to Gucci Mane's alias, GuWop. When he was a child, Maxwell developed glaucoma in both eyes. He revealed in a 2015 interview that doctors were unable to save his left eye and instead fitted him with an ocular prosthesis.