Artist: Tiga and Mateo Murphy
Genre(s):
Techno
Discography:
TGV (EP)
Year: 2002
Tracks: 3
The Bee Gees: 'We might return'
Friday, 27 June 2008
Tiga and Mateo Murphy
Artist: Tiga and Mateo Murphy
Genre(s):
Techno
Discography:
TGV (EP)
Year: 2002
Tracks: 3
The Bee Gees: 'We might return'
Saturday, 14 June 2008
Agricantus
Artist: Agricantus
Genre(s):
New Age
Discography:
Ethnosphere Vol. 2
Year: 2001
Tracks: 8
Faiddi
Year: 1999
Tracks: 10
Tuareg
Year: 1996
Tracks: 11
Gnanzo!
Year: 1993
Tracks: 10
Kaleidos
Year:
Tracks: 11
Ethnosphere Vol. 1
Year:
Tracks: 8
The Palermo, Italy-based worldbeat group Agricantus took their nominate from the Latin saying for "song of the wheat fields"; their rank includes Giuseppe Panzeca (vocals, mandolins, sitar, early stringed instruments), Tonj Acquaviva (keyboards, samples/programming, vocals, and a vast array of percussion section instruments) Rosie Wiederkehr (guitar, vocals, samples/programming), Mario Rivera (bass, keyboards, vocals, samples/programming), and Antonjo Corrado (guitar, keyboards). Agricantus' music combines a dizzying array of traditional humanity euphony forms from crossways the globe not but with each other, merely with club-ready electronic dance grooves, producing a compelling juxtaposition 'tween old and raw. Their first base U.S. handout was the 1999 compilation The Best of Agricantus.
Monday, 9 June 2008
Lohan's parents back in court over custody dispute
WESTBURY, N.Y. —
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The battling Lohans are back in court.
Nearly a year after they settled their divorce, Lindsay Lohan's estranged parents were in a Long Island courtroom Tuesday over custody issues.
Michael Lohan complained that his ex-wife, Dina, wasn't living up to a visitation agreement involving their two youngest children, Ali, 14, and Dakota, 11. The children live with their mother in Merrick; Michael now lives in Southampton.
While much of the discussion about the custody dispute took place in the judge's chambers, Michael Lohan's attorney, John DiMascio Jr., said it involved his client's complaints that he wasn't being allowed to visit the children.
Neither Lindsay Lohan, 21, nor her brother Michael, 19, are involved in the custody issue since they are no longer minors.
Their parents are no strangers to the media glare - Dina Lohan has her own reality TV show on E! and Michael Lohan writes a blog for OK! magazine.
But both claimed they intended to stop speaking to reporters while their court case proceeds.
"There won't be any more comments from Dina and I," Michael Lohan told reporters outside the Nassau County Family Court building.
Moments earlier, Dina Lohan's attorney made a similar declaration: "They would appreciate being allowed to participate in their children's lives without the press," said Eugene Russo.
Family Court Judge Stacy Bennett scheduled a follow-up court session July 14, but indicated she was pleased the two sides were attempting to reach a settlement.
"I am encouraged to hear that the parties and counsel are working at ways to repair the relationship between the children and the father," she said.
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Meliah Rage
Artist: Meliah Rage
Genre(s):
Rock
Metal: Heavy
Discography:
Death Valley Dream
Year: 2007
Tracks: 12
Solitary Solitude
Year: 1989
Tracks: 9
Kill To Survive
Year: 1988
Tracks: 7
Comparable to Metallica, Anthrax, Megadeth, Exodus and early Testament, Meliah Rage is among the clobber metal/speed metal bands that came along in the mid-'80s. Meliah Rage isn't as long-familiar as those bands; still, the Boston-based kit has enjoyed a small, enthusiastic cult following since the Ronald Reagan days. Meliah Rage was formed by guitar player Anthony Nichols in 1985; that class, Nichols (world Health Organization briefly played with the Beantown punk rock banding Gang Green) linked forces with lead singer Mike Munro, guitarist Jim Koury, drummer Stu Dowie and bassist Jesse Johnson (not to be confused with the Midwestern singer/guitarist world Health Organization played with the Time and was share of Prince's Minneapolis funk stone conglomerate in the '80s). Meliah Rage (whose bring up was divine the Meliah Indian tribe's practice of taking opium before loss into struggle) had been creating a buzz on the Boston scenery for trio long time when, in 1988, they landed a plow with Epic Records, which released their debut record album, Kill to Survive, that class. Meliah Rage's first gear studio album was followed by Live Kill (a live EP) in 1989 and the band's irregular full-length studio apartment record album, Lonely Solitude, in 1990. Unfrequented Solitude turned out to be Meliah Rage's net Epic release; in 1992, they left field the Sony-owned label. It was too in 1992 that Meliah Rage went through some batting order changes. When Jesse Johnson and Stu Dowie left the banding, two newcomers were hired: bassist Keith Vogele and drummer Sully Erna, world Health Organization spent 18 months in Meliah Rage before going on to become the pencil lead singer of the well-known, Boston-based alternative metal band Godsmack. During Meliah Rage's Erna/Vogele point, the banding recorded a demo coroneted Unfinished Business and shopped it to versatile labels. But major labels seemed unreceptive to the demonstration; in 1992 and 1993, stain was king, and A&R mass were busy look for the next Nirvana or the succeeding Pearl Jam. Major labels seemed to feel that Meliah Rage wasn't alternative sufficiency, although punk-influenced thrash metal and pep pill metallic element bands induce by and large fared much wagerer in a postNevermind climate than pop-metal and hair metal bands. Around 1994, some Meliah Rage members pursued side projects, but none of them worked stunned -- and in 1995 (afterwards Vogele and Erna had left), yet another Meliah Rage lineup was formed. This time, Bob Mayo (formerly of Wargasm) was on bass and Dave Barcos was on drums. After 1996's Death Valley Dream, Meliah Rage bust up. But eight-spot old age by and by, Meliah Rage reunited with a modern 2004 batting order that united 3 original members -- Nichols, Koury and Johnson -- with drummer Barry Spillberg (some other ex-member of Wargasm) and new lead singer Paul Souza. Nichols had uttered interestingness in running with original lead singer Mike Munro once again, only Munro declined the offer in order to spend more time with his household -- and Souza over up getting the gig. With that new lineup in home, Meliah Rage recorded their low album in octet years, Hardly Human, which was released on Screaming Ferret Records in August 2004.
The Little Mermaid - Bailey Recovering After Stage Fall
Razorlight showcase new song at RockNess
Razorlight brought two-day Scottish festival (June 7-8) RockNess to a close with a storming headlining set last night.
The band played to a frenzied crowd, and treated them to a set full of their hits from their first two albums and one new track.
Frontman Johnny Borrell, introduced the as-yet untitled tune by dedicating it to the charity, Friends Of The Earth.
He said: "If you want to keep places like this for the future, then go on the Friends Of The Earth website and make yourself noticed."
The new song appeared to have a similar sound to Razorlight's huge-selling self-titled second album, which came out in 2006.
Earlier on the opening day of the festival, The View headlined the Clash Arena, also using the event to showcase new material.
The Dundonians played a total of seven new tracks, with '4 Rebeccas' receiving the loudest cheer from the thousands squeezed inside the tent.
However, the crowd reserved their loudest applause for the hits from the band's 2007 debut album 'Hats Off To The Buskers', with debut single 'Wasted Little DJs' sending the enthusiastic fans wild.
The View finished their headlining set with the crowd pleaser 'Superstar Tradesman'.
The festival, situated on the picturesque banks of Loch Ness, had begun on Saturday with the hotly-tipped Broken Records from Edinburgh, who played their own brand of Arcade Fire-esque rock to the early risers.
They were followed by Mystery Jets, who took the stage to the sound of an air raid siren. They powered through a set heavy on material from their new album 'Twenty One'. Carrying on with their new 1980s-influenced sound, they also covered 'Somewhere In My Heart' by Aztec Camera, a hit for the Scottish band in 1988, before launching into recent single 'Two Doors Down'.
Fatboy Slim brought day one of RockNess to a close in front of thousands of dance worshippers. The Brighton DJ played through his extensive back catalogue, which included 'Praise You' and 'Right Here, Right Now'. The crowd went crazy when 'Monster' by The Automatic was dropped into the set, the song being dedicated to Nessie, the Loch Ness Monster who is rumoured to live in the waters nearby.
On the second day, Razorlight drummer Andy Burrows warmed up for headline set by playing a secret acoustic gig in the campsite. Burrows played tracks from his recently released solo album, 'Colour Of My Dreams', to the lucky few who got entry to the gig.
Elsewhere, The Cribs were booed by some sections of the main stage crowd after having to restart set closer 'Wrong Way To Be' twice.
Ryan Jarman's guitar was not tuned properly for the song, forcing him to stop playing until the problem was fixed.
"Sorry we are not very professional, and we haven't played in a while", apologised Jarman.
In contrast festival favourites CSS played a warmly received late afternoon set in front of a packed tent.
The stage was adorned with balloons as the Brazilians played some new material from forthcoming album 'Donkey', as well as crowd favourites including, 'Off The Hook'.
The two-day festival also saw performances from Late Of The Pier, Underworld and Calvin Harris before Razorlight wrapped up proceedings.
The band played to a frenzied crowd, and treated them to a set full of their hits from their first two albums and one new track.
Frontman Johnny Borrell, introduced the as-yet untitled tune by dedicating it to the charity, Friends Of The Earth.
He said: "If you want to keep places like this for the future, then go on the Friends Of The Earth website and make yourself noticed."
The new song appeared to have a similar sound to Razorlight's huge-selling self-titled second album, which came out in 2006.
Earlier on the opening day of the festival, The View headlined the Clash Arena, also using the event to showcase new material.
The Dundonians played a total of seven new tracks, with '4 Rebeccas' receiving the loudest cheer from the thousands squeezed inside the tent.
However, the crowd reserved their loudest applause for the hits from the band's 2007 debut album 'Hats Off To The Buskers', with debut single 'Wasted Little DJs' sending the enthusiastic fans wild.
The View finished their headlining set with the crowd pleaser 'Superstar Tradesman'.
The festival, situated on the picturesque banks of Loch Ness, had begun on Saturday with the hotly-tipped Broken Records from Edinburgh, who played their own brand of Arcade Fire-esque rock to the early risers.
They were followed by Mystery Jets, who took the stage to the sound of an air raid siren. They powered through a set heavy on material from their new album 'Twenty One'. Carrying on with their new 1980s-influenced sound, they also covered 'Somewhere In My Heart' by Aztec Camera, a hit for the Scottish band in 1988, before launching into recent single 'Two Doors Down'.
Fatboy Slim brought day one of RockNess to a close in front of thousands of dance worshippers. The Brighton DJ played through his extensive back catalogue, which included 'Praise You' and 'Right Here, Right Now'. The crowd went crazy when 'Monster' by The Automatic was dropped into the set, the song being dedicated to Nessie, the Loch Ness Monster who is rumoured to live in the waters nearby.
On the second day, Razorlight drummer Andy Burrows warmed up for headline set by playing a secret acoustic gig in the campsite. Burrows played tracks from his recently released solo album, 'Colour Of My Dreams', to the lucky few who got entry to the gig.
Elsewhere, The Cribs were booed by some sections of the main stage crowd after having to restart set closer 'Wrong Way To Be' twice.
Ryan Jarman's guitar was not tuned properly for the song, forcing him to stop playing until the problem was fixed.
"Sorry we are not very professional, and we haven't played in a while", apologised Jarman.
In contrast festival favourites CSS played a warmly received late afternoon set in front of a packed tent.
The stage was adorned with balloons as the Brazilians played some new material from forthcoming album 'Donkey', as well as crowd favourites including, 'Off The Hook'.
The two-day festival also saw performances from Late Of The Pier, Underworld and Calvin Harris before Razorlight wrapped up proceedings.
Country singer George Jones getting stolen guitar back after 46 years
NASHVILLE, Tenn. - A guitar stolen from country star George Jones 46 years ago in Texas is being returned to him by a man who says he bought it and tried repeatedly to give it back.
The acoustic Martin-000 is being returned to him by Larry Berry of Chandler, Texas, who said he bought it for $10 from two boys in his Fort Worth, Texas, apartment complex in 1962.
Berry said Wednesday he's been trying to reach Jones since the 1960s to return it, and finally got through this year.
"George is stunned, really happy," said Susan Nadler, a spokeswoman for the singer.
She and Berry said Jones is to get the instrument back June 14 when he performs in Bossier City, La., and Berry attends the show and makes the presentation.
"It'll be a big relief," Berry, a retired oil man, said by telephone. "I've written letters for years and called recording studios trying to find him. You can't believe how hard it's been."
The guitar was stolen from a Fort Worth nightclub where Jones was performing in 1962. Berry said the two boys asked $25 for it, but he offered $10 and they accepted. He quoted the youths as telling him later that it had been stolen.
The guitar's strap had Jones' name on it with streaks of "White Lightning," one of his hit songs.
Berry said he gave it to his father for about seven months, then kept it himself the rest of the years while trying to track down the singer.
"It's in excellent shape," he said.
Finally, Berry enlisted the help of Tom Perryman of Tyler, Texas, a veteran broadcaster who helped him reach Jones in Nashville in February.
"He'll be very happy to get it back," Nadler said. "It was one of his first guitars."
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Edward Albee looks for the real Louise Nevelson in off-Broadway play
NEW YORK - Outlandish eyelashes. Bandanna headgear. Colourful gypsylike outfits. And, oh yes, creator of those extraordinary abstract-expressionistic boxes made out of discarded wood.
A bare-bones description of sculptor Louise Nevelson perhaps. But what was she really like?
That question becomes the subject of "Edward Albee's Occupant," the playwright's fanciful, fascinating meditation on not only Nevelson, but on the cult of celebrity and the impossibility of ever really knowing if you are getting the truth about a famous person or not.
Albee's play, receiving what's being called a world-premiere production at off-Broadway's Signature Theatre Company, is not strictly a one-woman show, despite the star wattage of Mercedes Ruehl as Nevelson. The evening takes the form of an interview, with an unnamed, enthusiastic questioner, played by Larry Bryggman, asking the woman about her life - after she is dead.
The two have a contentious question-and-answer relationship in this lively production, which has been directed by Pam MacKinnon. He's obviously a fan, and knows more about the minutiae of Nevelson's life than she does. Contradictions abound. He asks, "Do facts mean anything to you?" "They can be useful," she replies.
A few of the more basic ones: The woman was born in the Ukraine; pogroms forced her Jewish family to flee; grew up in Rockland, Maine, where her father proved financially successful; married (unhappily) into a wealthy New York family; had one son; struggled mightily for success before finally making it in the art world.
But Albee is after more than just facts here. He celebrates Nevelson in all her persona, real and embellished. "I'm a lot of people, honey, and I shift all the time," she tells the interviewer, alluding to her different public and private faces. To pull off this expansive personality, you need an actress who can fill the stage - and Ruehl does.
From the distraught wife in Albee's "The Goat" to the lusty heroine of Tennessee Williams' "The Rose Tattoo," Ruehl has excelled on Broadway at portraying big emotions and larger-than-life ladies. Nevelson fills the bill.
Dressed by designer Jane Greenwood in re-creations of the sculptor's outrageous garb, Albee's version of the sculptor is never at a loss for words, and defyingly nonconformist. "You don't fit in - so you make everything fit to you," she says at one point during the play.
Yet Albee celebrates the woman as a serious artist, too. His Nevelson is fiercely defiant in the face of rejection, an artistic wilderness that lasted some two decades. Yet she always believed in her worth as a sculptor. She did not seek fame, she says, only recognition for what she has done.
Bryggman offers yeoman support in a deliberately non-showy role. He is the perfect companion for a woman who perhaps was her own best creation.
"Occupant" originally was seen in 2002 at the Signature with Anne Bancroft in the title role. When Bancroft got sick, the play never officially opened. Ruehl and company have given Albee's vision of Nevelson a marvellous second chance.
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Circus Dawn
Artist: Circus Dawn
Genre(s):
Metal
Rock
Discography:
Between the Lines of Gray
Year: 2007
Tracks: 12
Avant Garde
Year: 2004
Tracks: 14
Glitter Band
Artist: Glitter Band
Genre(s):
Other
Discography:
Angel Face
Year: 1993
Tracks: 10
Named for their associations with glam god Gary Glitter, the Glitter Band originally came together in 1972, next Glitter's possess find with the hit "Tilt and Roll." With his first major concert turn looming, Glitter and producer conspirator Mike Leander required a full-time backup band, one which would -- though they could never have dreamed it at the time -- at long last become nigh as successful, and sure enough as well-known, as Gary Glitter himself. Although the band was not physically submit on any of Glitter's possess hits (according to the vocalist, Mike Leander alone played every instrument himself), the Glitter Band non only when attended Glitter on each of his tours and telecasting appearances, they also racked up seven hits of their possess, six of them as well making the Top Ten. Even more impressively, piece the band's original sound was indeed firmly cut in the fashion of their namesake, by the end of their career, the grouping had developed into a altogether original and dead fascinating act in their possess right.
The Glittermen, as the grouping was originally known, was reinforced around an idea which Glitter and Leander had first experimented with during the mid-'60s, a sprawl jazz band whose levelheaded and visuals were based upon a unique (for British acts) congress of Racial Equality of two drummers and deuce saxophonists. Their selection of bandleader, also, reached plump for to that in the first place eRA -- baritone horn adolphe Sax player John Rossall had antecedently played with Leander's possess eponymous Show Band and alongside Glitter in the subsequent Boston International.
The conclusion to plunge the Glitter Band as a recording act in their own right was made in late 1973. Written by John Rossall and Gerry Shepherd, their debut single, "Holy man Face," was an obvious close relation of the parent Glitter sound, a pounding, stomping number which raced to phone number four in Britain in March, 1974, merely it was emphatically demoniac of a appeal all of its possess. It was followed by "Simply for You" and "Let's Get Together Again," both of which unbroken the grouping in the Top Ten, patch their debut album, Hey, reached phone number 13 and that despite being comprised of slight more than than reprises of the hits.
Grounds that the Glitter Band were capable of meeting greater challenges than the Glitter sound unremarkably offered was delivered in early 1975 by their one-fourth single, the diffused john Rock lay "So long My Love." An absolute departure, "Good day My Love" climbed to number deuce, piece the group's abilities as songwriters received some other encourage when labelmates Hello scored a European dispatch with a overlay of the Glitter Band's own "Game's Up." (How-do-you-do besides scored with another Heygeological era staple, a cover of the Exciters' "Tell Him.")
Buoyed by the massive success of "Cheerio My Love," the Glitter Band selected another mild rock 'n' roll musician for their adjacent single, "The Tears I Cried," following through over the side by side 12 months with the likewise styled "Love life in the Sun" and "People Like You, People Like Me." Two further albums, Rock'n'Roll Dudes and Listen to the Band, were equally brave, with the group's aspiration today so pronounced that they even brushed away the first signs that their before indomitability was crack: the chart failure of the singles "Alone Again" and "Don't Make Promises."
In 1976, with Gary Glitter having announced his retirement, the Glitter Band cut their last sonic golf links with the old sound. With John Rossall having depart for a solo calling, the unexpended members signed with CBS and, shortening their name to the G Band, adjust to work on on their most ambitious ingathering nevertheless, Genus Paris Match. An absolutely un-Glitter-like determine, it was characterized by a genuinely barefaced cover of the Rolling Stones' "Sympathy for the Devil." Unfortunately, though the banding had stirred on, their fans hadn't -- so, as one waggle later put it, in changing their call, they had unbroken the "G," simply the fans treasured the "litter." In late 1977, the radical transferred to Epic for one last single, a cover up of the Bee Gees' "Gotta Get a Message to You," but by 1978, the banding had all merely sundered. 1979 saw Shepherd and Phipps radio link with former Sparks/Jet keyboard instrumentalist Peter Oxendale for the album Put Your Money Where Your Mouth Is, credited to Shepherd/Oxendale and released in the U.S. only.
The Glitter Band regrouped under their previous name in 1980, close to the same fourth dimension as Gary Glitter himself moved back into focus. In 1981, the group released a new single, "Until the Next Time," maintaining a regular flow of further releases through and through the adjacent five-spot years. A modern album, recorded bouncy at the London Marquee Club, appeared in 1985, while a succession of hits collections (several featuring freshly re-recorded material) unbroken their cite awake on the record shelves.
There are two Glitter Band's in cognitive operation, unrivaled featuring Shepherd, the early -- Glitz Blitz/Glitter Band, fronted by Phipps.
Bailey Rae's husband is found dead
History Associates Gets Groovy
Historians Explore Memories and Myth for The Museum at Bethel Woods
ROCKVILLE, Md., June 4 -- For more than two years, History
Associates historians have been working to develop exhibits for a new
museum located at the site of the August 1969 Woodstock music festival.
Opening this week, The Museum at Bethel Woods examines the meaning and
significance of the festival as a defining moment for the turbulent decade
that helped shape modern America.
History Associates helped develop the museum storyline, wrote label
text, and collected hundreds of historical images. They also wrestled with
the challenging task of trying to document an event that has become an
iconic part of America's cultural landscape -- an event where memories and
myth have become inescapably interwoven.
James H. Lide, vice president of History Associates, described the
challenge: "Over the years, what actually happened at Woodstock has become
obscured as memories have faded and stories get retold countless times. Our
historians sought out a variety of original sources ranging from
contemporary news articles to materials from local residents, and even
State of New York Health Department memorandums." The museum offers
visitors the chance to learn both about the reality of the festival and its
symbolic importance to a generation.
History Associates worked alongside a group of designers, filmmakers,
interactive developers, and the museum's in-house team to create one of the
country's most intriguing new institutions. Designed by Gallagher &
Associates, the museum uses interactive exhibits, multimedia presentations
with never-before-seen footage, personal stories, and artifacts to provide
an unparalleled look at one of the culminating events of a decade.
The Museum at Bethel Woods is an integral part of the larger Bethel
Woods Center for the Arts, a $100 million outdoor complex dedicated to
bringing diverse performing arts and educational programs to the region.
For more information on The Museum at Bethel Woods, please visit
http://www.BethelWoodsCenter.org.
Employing a staff of nearly fifty historians and archivists, History
Associates provides professional historical research, writing, exhibit
content, archives, and records management services to clients throughout
the United States and around the world. History Associates serves clients
from its headquarters in Rockville, Maryland, with an office in Brea,
California. History Associates strives to be The Best Company in
History(R). For more information, call (301) 279-9697 or visit
http://www.historyassociates.com.
Contact: Jason Gart
E-mail: jgart@historyassociates.com
Telephone: (301) 279-9697
See Also
ROCKVILLE, Md., June 4 -- For more than two years, History
Associates historians have been working to develop exhibits for a new
museum located at the site of the August 1969 Woodstock music festival.
Opening this week, The Museum at Bethel Woods examines the meaning and
significance of the festival as a defining moment for the turbulent decade
that helped shape modern America.
History Associates helped develop the museum storyline, wrote label
text, and collected hundreds of historical images. They also wrestled with
the challenging task of trying to document an event that has become an
iconic part of America's cultural landscape -- an event where memories and
myth have become inescapably interwoven.
James H. Lide, vice president of History Associates, described the
challenge: "Over the years, what actually happened at Woodstock has become
obscured as memories have faded and stories get retold countless times. Our
historians sought out a variety of original sources ranging from
contemporary news articles to materials from local residents, and even
State of New York Health Department memorandums." The museum offers
visitors the chance to learn both about the reality of the festival and its
symbolic importance to a generation.
History Associates worked alongside a group of designers, filmmakers,
interactive developers, and the museum's in-house team to create one of the
country's most intriguing new institutions. Designed by Gallagher &
Associates, the museum uses interactive exhibits, multimedia presentations
with never-before-seen footage, personal stories, and artifacts to provide
an unparalleled look at one of the culminating events of a decade.
The Museum at Bethel Woods is an integral part of the larger Bethel
Woods Center for the Arts, a $100 million outdoor complex dedicated to
bringing diverse performing arts and educational programs to the region.
For more information on The Museum at Bethel Woods, please visit
http://www.BethelWoodsCenter.org.
Employing a staff of nearly fifty historians and archivists, History
Associates provides professional historical research, writing, exhibit
content, archives, and records management services to clients throughout
the United States and around the world. History Associates serves clients
from its headquarters in Rockville, Maryland, with an office in Brea,
California. History Associates strives to be The Best Company in
History(R). For more information, call (301) 279-9697 or visit
http://www.historyassociates.com.
Contact: Jason Gart
E-mail: jgart@historyassociates.com
Telephone: (301) 279-9697
See Also
No drug charges for Amy
Police have confirmed that Amy Winehouse will not be charged following an investigation into video footage that showed the singer allegedly taking drugs.
A spokesman for the 24-year-old this afternoon confirmed: "She was questioned by police last week and released on unconditional bail. They have now concluded their inquiries and no charges will be brought."
Winehouse was arrested last week during a pre-arranged interview over the release of footage in January that appeared to show the singer smoking crack cocaine. The footage was originally published online by the Sun newspaper.
The singer was arrested earlier this month over allegations of assault but was released with a caution. She is contesting charges in Norway following her arrest there last year for possession of cannabis, claiming she did not realise she had signed a confession form as it was written in Norwegian.
The singer's husband, Blake Fielder-Civil, is due to stand trial for perverting the course of justice and inflicting grievous bodily harm.
Confirming that Winehouse will not face drug charges following her most recent arrest, her spokesman said: "Amy's bail date to return to Limehouse police station has been cancelled, bringing this matter to an end.
"Amy is pleased to be able to move on and concentrate on music and particularly looks forward to seeing her fans again at eagerly awaited festival performances this summer."
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