The heat the Sunday Drivers generate is palpable - and in the clip for "Endless Summer", it's been made literal. The tighter they lock in - and by the first chorus, you'll swear their instruments have been welded together - the hotter the subterranean light around them shines. By the end of the song, they're practically drowned in hot yellow illumination; they've made this electricity themselves, and they don't care how much it burns. The massive cogs, winches and levers that surround the band in their underground crawlspace function as a metaphor for the clockwork precision of their arrangements. (They're really cool-looking, too.) It also helps that the three Sunday Drivers look as statuesque as they do: they're human batteries, spitting out voltage from somewhere beyond appeal.

Tamia Hill (born Tamia Marylin Washington May 9, 1975), professionally known as Tamia, is a Canadian-American Grammy nominated R&B singer.

Tank (born Durrell Babbs on January 1, 1976) is an American R&B singer, songwriter, musician, and producer. Durrell Babbs was born in Milwaukee, Wisconsin and raised in Clinton, Maryland, a suburb of Washington, D.C. His stage name comes from his chiseled physique. A multi-sport athlete in high school, he had the opportunity to play college football. However, Tank decided to focus on music, and his talent eventually led him to an opportunity to sing background vocals for Ginuwine during one of Ginuwine's tours. In 2001, Tank realized his ambitions, seeing his debut album, Force of Nature, released to a national audience. This LP rendered the Top 10 R&B ballad, "Maybe I Deserve". The next year, Tank released his second album, One Man. The single of the same name had chart success as well. He also co-produced the smash hit single "One Minute Man" by Missy Elliott in 2002. Tank has also made a name for himself as a producer and writer, working with artists such as Dave Hollister, Marques Houston, Omarion, Jamie Foxx, Donell Jones, Monica among others. As an associate of production team The Underdogs, he has worked with many different artists over the years and was also a contributor to the score of the film adaptation of the musical Dreamgirls, in which he also had a cameo. Tank sold what was to be the lead single to his 3rd album, "I Luv Dem Girls", to Marques Houston who renamed it "Strip Club" (this song appears on Marques Houston's 3rd solo album "Veteran"). Tank has recently worked on Kelly Rowland's second album Ms. Kelly on the tracks "The Show" (a duet with Tank himself) and "Ghetto" featuring Snoop Dogg. "Ghetto" is also the album's second single. Tank released his 3rd solo album entitled "Sex, Love & Pain" on May 15, 2007. The first single of this album is "Please Don't Go". Tank has also formed a group with Ginuwine and Tyrese named TGT. Their first single will be a remix of "Please Don't Go", with an international tour entitled "The Shirts Off Tour" and search for a fourth member to follow. [1] Tank is the father to four children listed here in birth order: Jordan & Ryen Babbs, Zoey Babbs and Durrell Babbs Jr.

Ted Leo and the Pharmacists (sometimes written Ted Leo/Pharmacists, Ted Leo + Pharmacists, or TL/Rx) are an American rock band formed in 1999 in Washington, D.C. and currently recording for Touch and Go Records. They have released five full-length studio albums and have toured internationally. Though the group's lineup has fluctuated throughout their career, singer/guitarist Ted Leo has remained the band's main songwriter, creative force, and only constant member. The group's music combines elements of punk rock, indie rock, traditional rock, and occasionally folk music and dub reggae. Their most recent album, Living With the Living, was released in March 2007.

Tsunami Bomb was a fantastic unit: tight, incendiary, chaotic, catchy, influential. They'll be remembered for their explosive sound, their immediate songs, their ferocious live performances, and for the legion of young California punk groups whose own music they inspired. That said, the band's riotous, guitar-heavy albums did not always showcase singer Emily "Agent M" Whitehurst's spectacular, arena-ready voice. In concert, it was always clear; there, Whitehurst came on like a hybrid of Gwen Stefani and Johnny Rotten, with all the tunefulness of the former and the attitude of the latter. Emily Whitehurst has brought that edge to her latest project - The Action Design. You could call it a punk band - and you'd be correct - but the new group is indebted to Britpop and dance-rock traditions, too. Whitehurst sings it all with remarkable skill, power, good humor, and charisma. She's left of the dial by nature, a true insurgent; but she's got a voice that would fit in well at the very top of the charts.

Into A Sound, The Action Design's debut EP, is an explosion of sound and color, and a perfect middle ground between uncompromising punk, experimental pop, and commercial-radio rock. Echoes of Green Day and Glassjaw are apparent in the band's music, but there's also much here that's reminiscent of mid-Nineties female-fronted bands like Sleeper, Echobelly, and Elastica. And that's not just because of Whitehurst's singing; bassist (and fellow Tsunami Bomb alum) Matt MacKenzie's clever parts also suggest familiarity with oddball pop and British punk. They've been joined by two other adventurous California musicians: drummer Jake Krohn of The Rum Diary and guitarist Jaycen McKissick of the confrontational Pipedown. Since combining forces a little less than two years ago, they've been lauded in the Alternative Press, cheered on the 2007 Warped Tour, and followed with interest by punk and alt-pop fans alike. In 2008, they've been on the road constantly, touring all over the United States; they'll be catching up with the Warped Tour again in June, and finding time in between shows to complete their first full-length

The ambitious "Connect/Disconnect" will surely be a highlight of that set. It's sharply-written and energetically-performed pop-punk - but the band pauses the six-string assault for a sweetly-sung piano-and-drums bridge worthy of Metric. Emily Whitehurst's breathy whisper proves just as powerful as her soaring lead on the choruses. DJay Brawner's straightforward and eminently-watchable clip for "Connect/Disconnect" focuses on Whitehurst: against a white background, her bandmates beside her, she delivers the song to the camera. She looks terrific, too - red lipstick, red streaks dyed into her black hair, black clothing, and a mirror-necklace in the shape of an elephant that keeps flipping from the reflecting side to its solid-pink back. Brawner doesn't always shoot her in close-up, preferring to keep his distance from the frontwoman - that way, he's able to include her in combination shots with other members of her band. She hurls herself at the microphone, rattling her black microphone cable as she gyrates..

Even during the punk seventies and new-wave eighties, The B-52s always seemed to defy temporality, drawing inspiration from the past as well as the imagined future. It wasn't merely because of their good looks and over-the-top image that the group were naturals for MTV - they've always understood the power of iconography, oddball visual humor and camp, and deftly-deployed cultural artifacts. The B-52s managed to stay cutting-edge, in part, because they refused to conform to any particular style. Now, sixteen years after the release of Good Stuff, their last studio set, the band is back with an album of all-new material. Need we even mention that The B-52s sound as joyous - and as timeless - as ever? Produced by Steve Osborne - best known for his recent work with New Order - Funplex is pure B-52s, sonically updated but instantly recognizable. Keith Strickland's guitar riffs and synthesizers are bright and colorful, Kate Pierson and Cindy Wilson harmonize as only they can, and Fred Schneider continues to be one of the funniest men in rock. Actually, we think he's never been as witty or as scathing as he is on Funplex; the longer he observes our culture, the sharper he gets. On "Funplex", he imagines himself as a berserk mall shopper, burdened with bags and a mad desire to purchase; "what the hell will I do with this stuff?", he asks, in that world-famous deadpan delivery. Meanwhile, Pierson and Wilson contribute another crisply-sung, irresistible chorus, sounding at once overjoyed and over-stimulated. Osborne outfits the band with a sound that fits their outsized personalities: glossy, electronic, explosive, at turns witty and wry. B-52s records have always been instant parties; here a shindig with its satirical undercurrent made manifest. The promotional clip for "Funplex" looks something like the record sounds: The B-52s are set loose in a neon-bright virtual reality shopping mall. Gabbing on cellphones and captured on security cameras, the band ascends a gigantic elevator to the intergalactic shopping center. Everybody's fiddling with text messengers and eating super-sized meals; Styrofoam cup in hand, Fred Schneider blows through the crowd on a Segway. Ascending to the stars, he finds instead a phantasmagoria of logos. Throughout the clip, Kate Pierson and Cindy Wilson look like they're about break out laughing - and their good humor and enthusiasm in the face of consumer overkill is infectious. The whole thing culminates in a wild "in-store" performance; "misery at the Funplex!", Schneider shouts, as the crowd goes crazy. It's worth noting that the group still looks terrific - they're entirely convincing as mall-rockers. Those who remember the landmark videos for "Rock Lobster" and "Planet Claire" won't be surprised to discover that the B-52s have done it again: they've made oddball social commentary irresistibly entertaining..