House Of Fun - Madness - Divine Madness (Vinyl, LP)

On the refined rythm of Ain't no sunshine, Jah Lloyd performs an ample and energetic toast while the second side features a LP) version of the legendary trombonist Vin Gordon with the superb Rebel Rock. Great music. Muddy Ibe is legendary with his unique way of rendering his highlife. He lives on. The dada is full of music, inspiration, composition and admonition.

His genres include highlife, country, folks and world music. He had a unique voice that set him different from other highlife artists. He always talked about enemy pursuing him in his song. Igbo highlife artists who had disagreements would use music to sub each other back in the days. Captain Muddy Ibe was a great man. The musical instruments he employed always make his songs unique and every head nods to the rhythmic patterns of them. Captain Muddy Ibe is dead but his son Otigba Ibe has taken the wheel of microphone after him.

Honolulu, Hawaii. This soothing audio head massage is much needed in these stressful times. Probably not. This one is. We House Of Fun - Madness - Divine Madness (Vinyl to reference three different sources to get the best sound: reels, vinyl and cassette. Operating from his lifelong base of Honolulu, Hawaii, Lyman and the musicians he worked with released a large quantity of albums over a near year period that brought his particular mixture of Polynesian sounds and Afro-Cuban rhythms to a wide audience, all across the planet.

Thanks to the efforts of Roger Bong's Aloha Got Soul label, we can now enjoy all that it offers once again, though vinyl and digital reissues.

Given the contributions Lyman made to fantasy fueled sounds of exotica over the course of his lifetime, the album is drenched with subtle melodies that recall a litany of television shows, films and library music albums. If you need some time out, you'll find it here. Ersatz soundtracks for armchair safaris and shangri-las. At the end of this month, Aloha Got Soul, will reissue the late, lamented, vibraphone and marimba maestro Lyman's last solo commercial recording, the LP Island Vibes.

A seamlessly segued suite of nine pieces, it consists almost exclusively of stripped back serenades for sampled, soothing, gently crashing, surf and Lyman's trademark instruments. There are no strings, no percussion, no orchestration, just harmonic hymns and lullabies hammered out by his virtuoso four felt mallets on metal and House Of Fun - Madness - Divine Madness (Vinyl tongues. The odd steel sheet is shaken to mimic the thunder of LP) storms, or the roar of the torrent of a secluded waterfall.

The even odder horn sounds, like that of an approaching pleasure cruiser, homing into view, heading for harbour, toward honeymoon hideaways, fantasy islands, and blue lagoons. When Martin Denny held a residency as hotel band leader in Honolulu — where he employed Lyman on vibes — the calls and cries of the local wildlife were incorporated, integral to their evening performances.

A welcomed sonic transport to paradise, much needed in a post- pandemic world. At eight years old, Arthur Lyman's music was already being played in public spaces via a toy marimba performance on the radio. While Lyman laughed about the experience, he would continue performing and ultimately debuted professionally at 14 with a jazz group. His skills earned him a place as a vibraphonist alongside exotica pioneer Martin Denny, although Lyman would leave the Denny's group soon after to pursue a solo career.

Posted by Jillem on Tuesday, September 28, Labels: Arthur Lyman - Island Vibes Rotterdam, The Netherlands. Niew Hip Stilen Simply fantastic For me, these guys were the best post-punk band from Rotterdam, maybe from Holland, way ahead of their time.

It consists of multimedia works produced in conjunction with video art and dance theater between and The first track is "No 2," which has a deep repetitive hammer beat. In addition, there are nine other tracks, ranging from minimal music variants to odd-shaped electro, that are full of creativity.

The members were involved in out-of-the-way improvisational groups such as the Jozef Kip Quartet and the local post-punk scene. Highly recommended! Quite curious for me what is avantgarde jazz rock in collaboration with House Of Fun - Madness - Divine Madness (Vinyl, and it was quite amazing indeed.

Suitable to call their electronic creation is percussive and psychedelic, not danceable nor pop at all. Rutger's flexible, human heartwarming really saxophone play completely sticks to the rhythm section "percussively".

The combination of saxophones and synthesizers should be thought as the main dish in this album, let me say. Rutger's flexibility for managing saxophone can be heard via the sound texture, that sometimes sounds eccentric, sometimes sensual, sometimes primeval, and sometimes novel.

Maarten's inorganic whispering voices are funky spice for the production. And the rhythm section including percussive synthesizer punches is pretty precise and strict, never beaten by other instruments.

Every other track, with the exception of B4, is an instrumental. The first twenty five or so seconds of A3 feature the Zappa-on-crack totally unnatural syncopation of the techiest djent or avant-prog, using just a saxophone and what sounds like a Yamaha RX11 before the vocalist comes in and things get endearingly stupid. A guitar shows up on B1, and an electric bass shows up on B2, the latter of which is loaded with sound effects from a pinball game.

I got curious and did some digging, and it turns out it's a table called Pinball Champ '82 from an Italian company called Zaccaria. B3's a nine minute long track featuring a drum machine, an acoustic bass, and a piano. It's got mild smokey dark jazz vibes, but it's way, way too long and too repetitive. And that closer is segmented as follows: multiple unaccompanied overdubbed saxophones playing an almost liturgical theme, unaccompanied spoken word in Italian, the only time that language is spoken on the CDdrums and saxophone, then the overdubbed saxes again.

It's very, very odd. Not like New wave's completely wrong. Avant-prog is closer, but a bit misleading. This gets really really proggy only two or three times, the rest being I dunno, the music in the lobby of the Dutch embassy in Morocco run entirely by street jazzbos and robot butlers?

The "please hold" music they'd have in the Jetsons universe as it was being invaded in turns by a minimal synth lovin' Peter Brotzmann and David Byrne's learning disabled brother-in-law?

I dunno. It's worth a listen, though. I can't imagine you'll out and out love it, but I doubt you'll have an easy point of comparison either. Wonderful from our music maestro honourable himself. I am a Nigerian high life singer, songwriter and multi-instrumentalist.

I am known professionally as Honorable Vincent Ugabi. My music represents spirituality, life and soul and is inspired by the lives, parables, stories and historical details of my culture. My kind of music is the kind that bring life to the dead and hope to the hopeless. In the 's a fire destroyed a lot of the records I had recorded. Recently a group of record collectors helped me regain some access to these recordings when they shared the recordings they had made of my records.

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Melkein Kymmenen Vuotta - Mummi Kutoo - Mummi Kutoo (CD)

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Se vei minulta viisi vuotta vapaa-ajan, lomat ja jonkin verran palkatonta vapaatakin. Tilaisuus ei tulisi toistumaan. Aloitin diskografiaosasta, sitten tein biografiat ja viimeiseksi varsinaisen taustan. Olet tehnyt hyvin erilaisia kirjoja.

Aiheista joista itse haluaisin lukea. Se oli aika mielenkiintoinen. Kun oma tuotanto on niin monenkirjavaa, niin idolitkin ovat monenkirjavia. Aikaa sitten loppuunmyyty Love Records ilmestyy tarkistettuna laitoksena. Kirja ei ole radikaalisti muuttunut. Biografiaosuutta on ajantasaistettu. Uusintajulkaisu tehtiin nopeasti. Kunniavuodet, kaupallisesti kannattavat vuodet olivat lyhyt ajanjakso: — Loven musiikki oli minulle musiikillinen kasvattaja, erityisesti Loven rokkipuoli.

Kirja Love Recordsista tulee luonnollisena spin-offina. Tuotantohan on melko suuri ja huolella Melkein Kymmenen Vuotta - Mummi Kutoo - Mummi Kutoo (CD). Nyt ei ole Mummi Kutoota, mutta aika usein sekin on mukana.

Kategoria t : HaastattelutTapahtumatUutisetUutta ja retroa. Varsinkin rumpuihin on saatu vitaalista aggressiota. Luonnollisesti sukulaisuutta vaikkapa Interpoliin ei voi ohittaa mutta Beastmilkin post-punkissa on tunnistettava metallinen, Danzig-henkinen vivahde. Kategoria t : Kuukauden klassikkoMusasto suosittelee. Kristofferson ilmestyi alun perin vuonna Niin, Kris Kristofferson s. Kristoffersonin oma versio on tyyni ja hillitty — varsin cool.

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Trying To Get To You - Elvis* - Spring Tours 77 (CD)

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Frankie And Johnnie - The Earl Hines Trio - Fatha (Vinyl, LP, Album)

I am definitely not a person that you are going to see criticizing somebody emulating a great musician. Who is this? Man, he sure did change up his shit. Some bad shit.

The composition is Wayne, even to the point where when he hits the low note, he drops off. But then the solo is real Coltranesque. Even when he hits the upper register notes, he growls and makes them lighter the way Coltrane used to.

The entire compositional structure was Wayned out. But that was great. Man, Bergonzi sounds great. He has such a fat sound! Not as a finished product, but everything is a work in progress. How old is Nando Michelin?

I like that section. It was nice. He went with a theme and he sat on it through the chord changes. Good to hear Sonny get his due. I have no idea. Is that Bob Hurst? Wait a minute. LP have no idea who the saxophone player is. Nobody else can play that. Ucch, bass solos. Who wants to hear this besides bass solos? I mean, this is technical prowess. But… You know what I mean? Guards lead runners. I would have never guessed that. So bravo for him. Don Braden, 5 stars.

They had such a beautiful thing going, and then they ruined it with that waltz. I had my eyes closed… Oh, well.

Is Gil Goldstein the arranger on this. Bad-ass cat. One of my favorites. I prefer less notes on ballads. Joe is always doubling. And who can argue with Joe? Joe Lovano. The man. Beautiful song. It smacks of a marketing ploy.

He did one for Sinatra a couple of years ago. In that Diana Krall market, they like Diana Krall. But I think if the records were marketed as a continuation of the greatness that is Joe, rather than a record-by-record target concept, I think that it will serve Joe and the company better. It will be more beneficial. Lester Young. Go ahead, Sonny! But the vibrato was like that Chicago blues swinging kind of funky gritty… Yeah. My Dad was playing with Sonny inwhen I was I was like a true Louisiana boy, respectful of my elders.

I can curse. Wynton was Frankie And Johnnie - The Earl Hines Trio - Fatha (Vinyl the hell out of me. Never heard it. But you never escape your influences. So I have to guess. Hank Jones?

The drummer? Talk to me, Papa. Whoever it is, is talking. This is beautiful. I love restraint. But if I had to guess… Is it a jazz composer? Oh, giveaway. Seamus Blake. But it sounds great. But it immediately lost its timeless quality as soon as that shit started — to me. And that music lends itself to that. For what?

Well, it threw me in another place. It may not throw other people, but it definitely threw me in another place. Oh, well. Go ahead, Seamus! I like Seamus. Band sounds great. No, 4 stars for Seamus. The digital delay gets a one-point deduction. That was Dave Kikoski? Ed Howard on bass? No kidding.

That took some practice. Took a lot of practice to get that together. To me, this is just playing out. The saxophone player has practiced a lot, and he has all this technique at his disposal.

But what his band is playing is not affecting his outcome at all. I know him. I mean, if you listen to Cecil play or you listen to Horace Tapscott or David Ware, they have a different thing to it. Even a sonic thing. It just kind of meanders. For me. Well, I should qualify it. Come on, man. You remember me in the old days. I spoke with complete absolutes. I want people to understand that this is my opinion. This is not dogmatic fact. Like, when Trane and them did this shit, it was like… You know the record that just came out, the Olatunji sessions?

When that shit starts, it fucks you up immediately. But… 5 stars. This is going to be a slopfest. This is a slopfest coming up, because the tempo is faster than the guys that are playing can play it. This is hard to identify. For instance, Don Byas when he was younger, was influenced by Coleman Hawkins, but by the time they got older and were playing together, it was hard to tell one guy from the other.

These are older guys. At slower tempos it would be easier LP tell. This is a great song. The version Bird did, Dizzy and Bird, where they had the little.

But they were playing in a style that Coleman Hawkins used to play and then gave up as he got older. It could have been Don Byas or it could have been Zoot Sims.

Al always had more of a… [This is Zoot. Like I said, it could be anybody. Go ahead, Zoot! Is this some of that Jazz at the Philharmonic shit? Feel free to take a breath, Oscar. Is he hitting the hi-hat and kick drum? Louis could swing his ass off. I got to play with him once. It was a pleasure.

Thank you. Medium-up, but not like that. The tempo is now almost half of what it was. Almost a half-time faster. Believe me. But Louis, man, the motherfucker could play.

He kept adapting. I never heard Lockjaw play a tempo like that. You got me good. Not discovery in terms of guesswork. You give a person a certain amount of information, and make sure that information is communicated. From that point, they begin to make decisions about that information. All you really need is the spirit of adventure, applied to the music that is being presented to you.

Widely known as the paterfamilias of a musical dynasty, Ellis Louis Marsalis, Jr. Early tangents began to surface while the New Orleans native attended Dillard University between andmoonlighting as a journeyman tenor saxophonist on local gigs with blues singers like Big Joe Turner and playing piano behind Big Maybelle and other singers at an Uptown boite called the Dew Drop Inn.

Other possibilities arose during these years as he worked on and recorded original music with a peer group that included drummer Edward Blackwell and clarinetist Alvin Batiste, and later with saxophonist Nat Perrillat and drummer-composer James Black.

After earning his Music Education degree from Dillard, Marsalis enlisted in the Marine Corps stationed in Southern California, he spent off-hours in woodshedding with Blackwell and Ornette Colemanwas discharged, and returned to New Orleans where, in quick succession, he married Dolores Ferdinand, and fathered his famous sons Branford, inand Wynton, in I figured I might as well try to use my degree.

From until his retirement, Marsalis dual-tracked as a performer-educator. He took a position as band director at a high school in a small Louisiana town, serving until From to he taught and designed a curriculum at the New Orleans Center for Creative Arts NOCCAa multi-disciplinary arts magnet high school that students attended on elective from their home school.

He returned in to create the jazz program at the University of New Orleans, remaining there until his retirement. The rules of the music department were modeled to be a kind of mini-conservatory, focusing on the things band directors are expected to do, with an abundance of courses in theory and almost no practical. So there was virtually no sound, formal training ground that emanated from a specific black tradition where you could learn to play jazz on the instrument.

Jazz was always second-class. Furthermore, dozens of universities offer degrees in jazz performance. Marsalis is one of a national cohort of pioneer improviser-educators others include Donald Byrd, Jimmy Heath, William Fielder, and New Orleans colleagues Alvin Batiste and Kidd Jordan who revolutionized the way jazz is taught, and his curricular first principles are seminal in the recent intellectual history of jazz education.

I heard a story about Thomas Edison. His assistant said they had done experiments. None of the lightbulbs worked. Like a painter in medieval Europe who required apprentices to mix paints and prepare canvases before allowing them to wield a brush, or a master bata drummer breaking down the beats for an initiate, Marsalis taught with artisanal focus, forcing students to learn the skills of their trade before they can think about expressing their personalities through the medium.

New students learn two songs a semester. You apply those component parts to each piece, drilling on intervals, on individual notes, on the correct scales.

Then, if your personality is suited to it, you work on the concept of improvisation. I would write out 12 measures of chords that, when played, turned Album) to be a blues.

They got the sound of the notes in their ear, and got their fingers used to the positions. They got a tangible manifestation of the form of blues in one chorus. The chord symbols represented vertically sounds they would deal with in a linear manner. Ear training is crucial. Marsalis insists students internalize the fundamental building blocks so that transcription and memorization of classic repertoire will become a more organic process. Preserves tend to taste the same; you can get them whenever you want.

But the apple on the tree will be there only so long. In the same way, a solo only exists in the moment. The students who really pursue this have to learn that the concept of a solo is not unlike a novel or short story, with a beginning, a developmental section, a peak, and ultimately a climax or ending.

The more references you can draw on, the more possibilities you have. He was for real. Ellis puts you in situations that you have to work your way out of. He always told me that to try to get to something great, you have to be willing to take chances, to make a fool of yourself. He even teaches you to take care of the business aspects. He covered all the aspects of what it takes to be a professional musician.

Later I understood how hip that was. My pops was just having a dialogue with the students, to the degree of almost demystifying education. He points the finger and forces you to think for yourself. He twists standard American colloquialisms so that they make more sense to him.

Once he told a student to listen to a piece of music. What he was getting at is that you should study the music for your own sake, not just because he tells you to. He always gets you to question what you know. He gave you the opportunity to figure out your own thing.

For a teacher to give students that much rope demands not only self-confidence, but tremendous faith in human nature. An unflinchingly realistic man devoid of illusions, Marsalis is explicitly not religious.

To trace the source of such fundamental trust is therefore an intriguing endeavor. Bach — on its own terms, not change the music or put it on a lower level so you can feel comfortable in your relationship to it. If you practice and learn what you have to — and have the ability — you can play it. Long before we even had Jazz at Lincoln Center, when I was 19 and 20, I did workshops and went in the schools, because I saw my father doing it.

The way to conduct a workshop, to present material, to pick tunes to play, to use analogies to make something clear, the importance of teaching form, the central position of the rhythm section in the band — all these concepts come from him. For all the inherent optimism implied by his lifelong struggle to communicate jazz values, Ellis Marsalis is not exactly sanguine about the present state of things. Listen to the saxophone players in the conservatories that have good jazz departments.

All of them can play! But more and more, I think that the study of jazz, across the board, can help a musician or lay person better understand America, because the music reflects the whole of the citizenry so completely. In some ways, jazz is a form of glue that keeps American culture centered. We live in a world where people do not necessarily even have to have a skill to become rich and famous as a pop artist.

So a disciplined approach to anything is something this country very much needs. He goes into this candy store and proceeds to be a year-old kid. No longer teaching in any capacity, Marsalis is focusing on his retirement, making decisions about his future involvement in education.

He works most Fridays at the prestigious Snug Harbor club in a trio with youngest son, drummer Jason, and leaves town for occasional jobs. He was always interested in addressing and eradicating his weaknesses.

TP: Some nuts and bolts questions. Are you still teaching, or are you now retired from any institutional affiliation? Because the program can be very difficult. I usually play every Friday night at a local club called Snug Harbor.

And I go out occasionally. This summer we have a couple of grandchildren who are staying with us, going to some summer camps. TP: When did you begin to teach? How long have you been teaching? What were the circumstances? So I started to teach in Because I went in to be like a music teacher, and they never had a band in there at the school.

What happened, I ended up with two or three science classes and some general music classes, with one period to develop a band. So I left there, and I started teaching in a small Louisiana town, Browbridge. I was band director there for a couple of years.

TP: Let me see if my chronology for you is correct. TP: In one of my earlier conversations with you, you spoke about how you learned, about your formative process, that you started playing clarinet when you were 11, started playing tenor saxophone in high school, did a lot of rhythm-and-blues gigs, and you were studying the piano, and that when you got out of high school you decided to be a music major, that Dizzy Gillespie turned you on, a bunch of things turned you on.

Of course, studying piano at that time either meant that you were learning from a mentor in the church that you went to, or you were learning from someone who was either in your family or was a friend of the family that would teach you the tradition of the music according to earlier styles, or you studied with a piano teacher who basically was teaching formal approaches to European music.

I studied with her maybe about a year or so, and then I started at the university. Her name was Jean Coston Maloney. There was no music curriculum. There was none at all. There was the marching band and the concert band. And the band director, who had really been great, left the year before I got there, and went off to Southern University to direct bands there. So what we did was sort of limp along. We just did it ourselves. TP: I see. TP: Were there any teachers in New Orleans who were equivalent to the great black high school teachers of segregation days — such as Walter Dyett or Samuel Browne or the woman at Cass Tech in Detroit — in inspiring musicians of your generation?

In fact, the guy who wrote the book, Al Kennedy, had in his first printing of it a chronology of all of the people that she influenced. It was one of those pullouts. I mean, it may make it and it may not. She was a trombone player, and I think she had spent some time playing with the Sweethearts of Rhythm during their later days.

But he died young. He was younger than me. He was still in high school when I was doing my? He was also one of the students of Yvonne Bush. TP: But in the process of learning the vocabulary of jazz and the tools that you would need to be effective, how did it operate before you went to college? Was it totally informal, like you and Alvin Batiste would get together and take down solos from records? I know a lot of people from your generation were very homegrown, but then, other people had substantial formal instruction.

Some here, a piece over there, a little bit here, a little bit there. That is, if you are a tenor saxophone player, you play the tenor saxophone, but you may have studied the chronology of saxophone players who played your instrument, so you get a pretty good understanding of who came before you.

Usually, all of the piano players at some point end up playing in a rhythm section. And the accompaniment role, in some cases, if you happen to be in a group with a singer. And there was nobody there to tell me that, so I just learned it as well as I could. TP: You made a comment in my second radio session with you that accompaniment is the most difficult thing to teach. You see? Most of the metaphors that I used when I was teaching was through athletics. I would tell the students various things, especially when Jordan was still playing.

I would try to get them to focus on learning melodies to a song, make sure you know what that melody is. If there are words to that song, at least learn the first verse to it, so that you see how those words connect with that melody.

The harmony is a part of that. Learn that harmony the way that the guy wrote it, so when you hear the alterations from other people, you have a reference point. Know the rhythm so that you understand what category the piece falls in. It may be a Rhumba or a Congo or a Bossa-Nova, or it may be a ballad, or it may be up-tempo. I used to use Michael Jordan. Music teachers rarely teach like that. The reason that music teachers rarely teach like that is because you have too many people involved, and they only hired one music teacher, and that music teacher is expected to teach a band well enough to go out on a halftime football show.

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Then I started wondering about further connections. Is there a Renaissance period throughout music and art and politics? What I found out is that there is. People are sometimes surprised when they hear my quintet record, and it sounds like what they would call a New Yorker. But apart from his considerable chops and conceptual range, the quality that will make Mayfield a force to be reckoned with for the foreseeable future is a fierce individualism that allows him to imprint his iconoclastic tonal personality on deep-set cultural traditions in a way that sustains and invigorates them.

I challenge the concepts that Wynton puts out there by trying to redefine the concept of what jazz is and what it can be. Can we have a dialogue about it? During the s, you had this global understanding, especially amongst African-Americans, that they were all interested to check each other out. But they were engaging in a dialogue. That dialogue does not exist right now. Mayfield is determined to back up his brash talk with musical principles that speak louder than words.

The music is not about that. Then I learned the power of Miles Davis, that bringing scraps to your band ignites them to figure out more. Jazz is about the process of trying to be better. Well, when I first lived in New York is when I first got my eyes open to visual art. I could never appreciate art before that. In fact, it was absurd to me that people would spend their money on these pieces of visual things. Then I started wondering if there was any connection between the periods of the arts.

Is there a Renaissance period throughout music and art, throughout politics? And what I found out is that there is. So what I wound up doing was I went to the museum at home.

But I went to the museum at home, I started going over there just looking at art that was around. I started doing this research, and they were giving me all these materials. People were coming out… We started this interesting dialogue. I think a lot of the people who were in the visual arts started looking at music in a different sense, because they figured their way of how they could relate to it…. TP: Who are you talking about now? Because you really have to want to do something like this, rather than have somebody hire you to do it.

I did it at first for no money; it was just something we were doing. And it was really a lot of fun. I was learning a lot. There was this club that opened uptown called the Home Front, which was open for four weeks and then closed down.

This is the New York experience. But I was actually prepared to move up to New York. Wynton extended a favor to me to say I could stay with him as long as I wanted. You talk about each song, bring the paintings out, which is hop, and you talk about the paintings relating to the music and vice-versa. I had been studying it. Studying music that had been inspired by the same themes. Like, Bearden and Ellington all used trains as themes. The train is a very specific theme.

Everybody used the train. So I started thinking about realities, of things like that. Then they gave me this commission.

I mean, they gave me every book Gordon Parks ever wrote, I got the films, I got everything. So I literally went through all his stuff, all his books. It killed me. It almost was an impossible task to come up with a suite for a man who had been married three times and was the first significant African-American photographer, a filmmaker, writer, director… It started to become a hard task.

And I started hearing his music. When I got through the book, I realized which pieces I would choose. TP: It has a very melancholy quality. But serious and a sense of warmth. His music and his art is combining. And these pictures did that to me. When I looked at them, they looked like pictures I might possibly have painted, or taken pictures of, or things I would have concocted myself. When I wrote the songs, being from New Orleans, I know those things deep down, because New Orleans has that type of stuff ingrained in the culture.

Then I learned the power of Miles Davis, that when you bring your band scraps, it ignites them to figure out more. But they were sketches. More ideas. Like his pieces are. I want to give emotions. And it was really the first record. Which is funny to me, because I wrote the music for my last record after I wrote this music, and it came out first. By this time, I was on the road, touring with this band and Los Hombres Calientes.

Then you know what I said? Fuck it. We rehearsed three days before, every day, and… It was packed! Man, there are so many people trying to see Gordon Parks. It only seats There were a thousand people outside.

We went through each of the songs; it was supposed to take 30 minutes, but it took an 1 hour and And at the end of the night, Gordon Parks jumped up and started dancing with his daughter. Here are these guys who are supposed to be modern jazz musicians, and here we are, doing the most fundamental thing that we do, and he got up and danced.

It was a party. But the deep thing is, the people enjoyed the music. It had nothing to do with him. His three ex-wives. It was a great night. Then I realized that I was going to put that music out. And it takes a significant amount of work to get a world-renowned artist and Renaissance man like Gordon Parks to collaborate.

And if I felt moved by it, that would be the one. But this is the one that got him. This one reminded him of his wives. The Moon represented another night coming and another day passing. The guy was facing starvation, and I think he can find solitude in such simple things that we take for granted almost. I was so heartbroken when I did that. That was painful. TP: You seem like a very prolific composer. On the Los Hombres Calientes records, you do a lot of tunes in a lot of different idioms, you seem able to get to the essence of the idiom in some way….

I have very few records that stay with me that I can listen to. Actually, a lot of musicians I listen to who have modern-day record deals, very few of those records I like. TP: But your stuff is very modern.

But they started playing together. Terence made this record with Ivan Lins, the Brazilian singer. What is the connection with Brazilian music? Then I came home and decided I was LP to put together a band that dealt with all those connections.

He had just moved to New Orleans. We were just going to do a couple of gigs. It was going to be a thing where we got together maybe twice or three times a year. I wanted to be funny. From there, the project led me and it led Bill — it molded us. Then Jason left the band. Then I think we solidified the concept after Jason left. Jason was more into interpretative things. One is about essence, one is about interpretation. So I wanted to get a trumpet.

Then I fell in love with it. It was shocking. At some point, I decided… I think he had ambitions of me being a physicist or a mathematician or something like that….

But I fell in love with the trumpet. But being from New Orleans… Man, I remember being on my street and seeing second line bands pass down Frankie And Johnnie - The Earl Hines Trio - Fatha (Vinyl street outside. I was the youngest member of the Algiers Brass Band, which was a traditional brass band that played all the old tunes.

And I played with Danny Barker. I played with him a lot before he passed. I learned a lot of stuff with him. I think Danny Barker represents the true essence of what jazz is. I think one difference between jazz and any other idiom of music is that jazz is always modern. You talk about a cat like Danny Barker, man he was hip when he was old. And he would talk about…. This is the scope of a conversation in New Orleans.

You have a horn, son; this is what the valve is. He writes so well… A great writer like Hemingway and Faulkner, they can do something to you. It seems like you know them personally.

He had that Hemingwayesque approach of writing. We all go through them. That I got to know from musicians, appreciating them stories. TP: So do those stories correlate to the way you think about music and framing a solo and writing a phrase?

Some are clearly about anger, some are about love, some are about sex. Then they start making words to the songs! Because see, being in a brass band, hanging around these older musicians, I was quite cocky to be so young, because I was better than everybody. He had that total recall in music, so he could go through scores and memorize it. He was a monster. And that made me have to really decide, hearing Nicholas Payton for the first.

Adonis Rose. And the thing is, these cats were working. These cats had gigs. They were like 14 and 15, traveling and working… It was a different experience. New Orleans is a town of tradition.

And you deal with a lot of the Creole tradition. Tradition plays a big role. So I think it essentially made me work harder to define what I wanted to be doing. That was the biggest important thing I knew in high school. I knew I was not where I wanted to be, and I knew it was going to take a lot of work and it was almost an impossible task. But I made a decision that no matter what it took, I would do it, because I loved it so much. I really love music, and not just jazz. I love literature, I love visual arts, I love theater, I love dance — I love people communicating.

I never knew anything about period playing until I got to New York, because here cats talk about what type of jazz they play. I never heard that shit. You were happy to be playing. You are a trumpet player, much the same as Louis Armstrong was.

People start defining it after you do it. I had a hard time when I first got here because of that. Because everybody thought you fit in a bag. People want you to stay the same. Everybody is an artist. Everybody cooks. The cook plays trumpet. His grandson plays trumpet. So you go through this emotional thing. TP: Donald Harrison tried it. Terence tried it. But most of the people…. He was up here hanging for a second.

But what I realized is being here after two or two-and-a-half years, man, it wears on you. I felt proud every day I made another day in New York. They take over. You may be the bandleader, but whoever is playing the most music per song is the bandleader. So yeah, it changes, and depending on the night, it is what it is. Aaron Fletcher is from Tipino, Louisiana.

Jaz Sawyer is from the Bay Area. Jaz is like my soulmate. He is really… I would say if there are any new innovations, they really come from the drums. I just wish I could expose everybody to the band, because the band is so crazy. Neal Caine is a wild man! I learned from experience! Aaron is a nice guy. Aaron will cook for everybody, make breakfast. Like, Aaron is living in L. But I think he wanted to find a different… Everybody goes through that. I did New York and he wants to do L.

Then I was about fed up at that point! Does the guy have to do everything and be successful? You feel insignificant inferior next to a cat like this. Can you imagine coming up with a whole nother written language? His music is beautiful.

I wanted to do it for Leontyne Price, and it deals with the sentiments of September 11th. You play it. The studio was packed. Do you have a classical pianist on there?

But he has that kind of blues interpretation to it. You can hear that honky-tonk piano. You can also hear the influence of France — Debussy and Ravel. You can hear that shit all up in his stuff. And it still sounds like Negro music.

TP: Obviously, Gordon Parks is a holistic personality, with all his activities integrated with one another. Talk about your impressions of the ways in which his music and his photography are linked. He understands that completely, and he tries to transcend that with his art.

Because his photographs… But then the photographs become visual art. The guy is a master. His pieces are all different. Every piece is distinctly different. Each one of his pieces. That was absurd, man! Then he decides what music he wants. I was in an argument not too long ago with a guy who was saying the same thing about a musician like Miles Davis.

Art is a stand. When you look at his art, it transcends all that. Why is that? Actually, the concept he really deals with… This is what we mean by the concept of jazz being democracy, is that the concept outgrows the people who create it. It outgrows him. Sounds like it was a higher education for you. Jazz is about the dialogue.

And even in the jazz realm. A lot of what people call jazz, I would consider to be sad music. I like Abbey Lincoln. Because hey, when Roy walks in the room, everybody starts playing. Even me. I love Roy. I take my records very seriously. Some filmmaker….

Reading list: Ralph Ellison. Hemingway, the same thing. The eminent scholars over there are wonderful, and I engage in conversations with them. People disagree with me a lot. But for me, Ralph Ellison embodies that person I go back to as far as literature.

Picasso is that person in Art — and Bearden. But Picasso is really my guy. Alvin Ailey blew me away not too long ago with the new pieces that Judith Jameson is doing. And then we just started this jazz orchestra in New Orleans. But when I play quintet… One thing the band was saying the last time we were in New York is that we felt the audience was very stiff, and it was strange for us.

Even when I play quintet, I still play some of the…. TP: You said that the last time you played in New York, the guys in the band thought the audience was stiff. I guess in New Orleans people have jazz as part of the culture, as a cultural thing, and people react very differently to jazz.

It has a different meaning to people in New Orleans than it does to people everywhere else, and sometimes we get spoiled by that. But the thing about Los Hombres is… Of course, you could argue that the rhythms are danceable.

But Los Hombres is pretty much a jazz group. Is it as flexible and fluid and improvisational as your quintet music? I think the difference is that the quintet music is more interpretive. For instance, if Bill wants to play a certain rhythm, then Ricky has to play that same style of rhythm. But the interesting thing that happens is that the more you understand the rules, the more you can break them. Like, if you listen to our first record, which was light years behind where we are now, you hear less interpretation.

It would take a long time for people to really get that together. Meaning that a New Orleans musician… With some very rare exceptions. Jaz Sawyer is a very rare exception, but where is he living right now? New Orleans. He is the top cat, the top-number-one guy from Cuba playing the drums. What really influenced me was actually that when I heard this music, I always heard the connections, even when I was a kid.

It worked. It made sense to me. For instance, Wallace Roney, everything he does sounds like Wallace Roney. Donald Harrison! Nicholas Payton runs into that problem all the time.

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Snoop Dogg Rick Ross Beenie Man Money Savage Papoose Blewz Tru-Life Booba Blast Fat Joe P-Money Miri Ben-Ari The Beatnuts Baby Bash Alicia Keys - Maximum - 02 - Blessed Child Alicia Keys - Maximum - 05 - Album) Apart Alicia Keys - Maximum - 07 - Rescue Alicia Keys - Maximum - 08 - Getting Heard Alicia Keys - Maximum - 11 - Speaking Out Man Featuring Jimmy Cozier All Saints [All Saints] - 05 - Heaven All Saints [All Saints] - 06 - Alone All Saints [All Saints] - 08 - Trapped All Saints [All Saints] - 09 - Beg Aqua - 01 - Cartoon Heroes Aqua - 02 - Around The World Aqua - 03 - Freaky Friday Aqua - 05 - An Apple A Day Aqua - 06 - Halloween Aqua - 07 - Good Guys Aqua - 08 - Back From Mars Aqua - 09 - Aquarius Aqua - 10 - Cuba Lebre Aqua - 11 - Bumble Bee Aqua - 12 - Goodbye To The Circus Aqua - 13 - Barbie Girl Aqua - 14 - My Oh My Aqua - 16 - Doctor Jones Aqua - 17 - Good Morning Sunshine Aqua - 18 - Lollipop Candy Man Aqua - 19 - Roses Are Red Aqua - 20 - Didn't I Ashlee Simpson - Autobiography - 01 - Autobiography Ashlee Simpson - Autobiography - 03 - Shadow Ashlee Simpson - Autobiography - 04 - La La Ashlee Simpson - Autobiography - 06 - Better Off Ashlee Simpson - Autobiography - 08 - Surrender Ashlee Simpson - Autobiography - 09 - Unreachable Ashlee Simpson - Autobiography - 10 - Nothing New Ashlee Simpson - Autobiography - 12 - Undiscovered Avril Lavigne [Let Go] - 02 - Complicated Avril Lavigne [Let Go] - 05 - Mobile Avril Lavigne [Let Go] - 06 - Unwanted Avril Lavigne [Let Go] - 07 - Tommorow Avril Lavigne [Let Go] - 13 - Naked Bad Company - Honey Child Bad Company - Miles Bad Company - Anna Bad Company - Bad Company Bad Company - Bad Man Bad Company - Boys Cry Tough Bad Company - Burnin' Sky Bad Company - Can't Get Enough Bad Company - Evil Wind Bad Company - Heartbeat Bad Company - Little Miss Fortune Bad Company - Movin' On Bad Company - Oh Atlanta Bad Company - Ready For Love Bad Company - Rhythm Machine Bad Company - Rock Steady Bad Company - Seagull Bad Company - Shooting Star Bad Company - Superstar Woman Bad Company - Too Bad Bad Company - Whiskey Bottle Bad Company - Wild Fire Woman Bad Company - Dangerous Age - 11 - Excited Bad Company - 10 From 6 - 04 - Shooting Star Bad Company - 10 From 6 - 05 - Movin' On Bad Company - 10 From 6 - 06 - Bad Company Bad Company - 10 From 6 - 08 - Electric Land Bad Company - Gone Gone Gone Bee Gees - Greatest - 01 - Jive Talkin' Bee Gees - Greatest - 02 - Night Fever Bee Gees - Greatest - 03 - Tragedy Bee Gees - Greatest - 05 - Stayin' Alive Bee Gees - Massachuset Bee Gees - Words Belinda Carlisle-Fool For Love Belinda Carlisle - Circle in the Sand Billy Idol [Devil's Playground] - 04 - Sherri Billy Idol [Devil's Playground] - 06 - Scream Billy Idol [Devil's Playground] - 12 - Cherie Vitus Dance Blue [Guilty] - 01 - Stand Up Blue [Guilty] - 02 - Bubblin Blue [Guilty] - 03 - Rock The Night Blue [Guilty] - 04 - Breathe Easy Blue [Guilty] - 05 - Guilty Blue [Guilty] - 06 - When Summer's Gone Blue [Guilty] - 08 - Walk Away Blue [Guilty] - 10 - No Goodbyes Blue [Guilty] - 11 - One Love Blue [Guilty] - 12 - Riders Blue [Guilty] - 13 - Flexin' Blue [Guilty] - 15 - Right Here Waiting Blue [Guilty] - 17 - Get Down Blue [Guilty] - 18 - Without You Blue [Guilty] - 19 - All Rise Blue [Guilty] - 20 - Fly By Blue [Guilty] - 21 - Back To Me Bon Jovi - Hey God Bon Jovi - I Want You Bon Jovi - In These Arms Bon Jovi - Keep The Faith Bon Jovi - Lie To Me All I Want Is Everthing Always Hearts Breaking Even I'll Be There For You It That's What It Takes Its My Life Keep The Faith Never Say Goodbye Runaway Say It Isn't So Someday I'll Be Saturday Night Something To Believe In Thank You For Loving Me These Days This Ain't A Love Song Breaking Benjamin - Saturate - 02 - Medicate Breaking Benjamin - Saturate - 03 - Polyamorous Breaking Benjamin - Saturate - 04 - Skin After all, dirt is the earth that gives us life, and cleanliness after a point is just repression.

Disempowered groups should ideally be respected on their own terms without being forced to apply for admission to the ideological camps of those in power. The symbols of assembly and disassembly are thus constantly being reevaluated. In our culture, sexuality is considered dirty, and both are linked to the human body, whereas technology is often seen as both clean and sterile. Some people argue that sexuality is not dirty; others argue that dirtiness is not bad. This is why the interface between human and machine is often seen as either sex or masturbation.

Sexuality, like dirtiness and like technology, represents the power of the physical over the mental. In a culture that believes so strongly in free will, mere physicality itself can be deeply subversive and disassembling. The battle over the body is very clear in techno music. Much techno music is made for dancing and is therefore highly embodied. However, some kinds of techno hold back and remain tied to disembodiment.

Rave locates bliss in prepubescent childhood. Vangelis composed the music for Blade Runner. Many rhythms overlapping at high speeds produce a sound that cannot be adequately danced to.

There are of course different levels of swarming, and each is more terrifying than the last. A wolfpack is already frightening in its ability to split apart and dissolve into the darkness only to attack suddenly as single force. A swarm of rats is even worse, because the individual units are smaller and more numerous. Wolves, rats, insects, bacteria — each one is more insidious than the last. A swarm is a terrifying enemy because it has no vulnerable spots. A person can be killed with a single wound in the right place, but to destroy a swarm one has to annihilate every component: every wolf, every rat, every insect, every bacterium.

If one single unit remains there is the potential for regeneration. Technology, which had previously been highly organized and centralized, is increasingly swarming: the single-processor computer becomes the distributed network; broadcast television becomes the interactive world wide web; the telephone system, which was already quite distributed, becomes a buzzing horde of wireless cell-phones.

Computer chips multiply like vermin in toasters, cars, watches, and even clothing, while other technologies are being developed to allow these chips to communicate without being routed through a central computer. Rhythm is a biotechnology.

DNA molecules, organelles, and bacteria are the insects that compose the human hive. A virus is an insectile invasion, against which science deploys its own insectile warriors such as viral inoculations and microscopic cameras. This brings us back to the problem of agency. Even an organism like the human body is far more swarming than we like to think. In fact, we do not even control our thoughts and desires.

Human agency is thus a collage of lesser agencies: organ, cell, organelle, molecule, atom, particle, quark. Every element is a swarm of lesser elements. Agency does not abruptly stop at any one level; it simply diminishes with complexity. The mind and the body are two different ways of talking about the same thing.

Even a swarm of wasps is made up of individual units, but as the number of units approaches infinity and the size of each one approaches zero, the swarm transforms into a living liquid. This is a quantitative change that eventually becomes a qualitative one. Melting is not a form of transcendence.

As technology shrinks, it also multiplies. We are witnessing the hyperembodiment of technology, not its disappearance. Computers have grown smaller, but they have not becomes less visible.

In the s, when computers took up whole rooms, they were unknown to everyone but the military and scientists. Now that they can fit in the palm of your hand, they are everywhere. To do so would involve retaining agency in the old sense — for example, treating a wasp colony or indeed a person as a single unified agent. This is the old olympian view which postmodernism refutes by pointing out the differences between individual wasps. The same refutation holds in the case of a liquid: just as a wasp colony is composed of many distinct wasps with different life histories, a liquid is composed of a much larger number of individual molecules with different velocities.

To ignore the smaller units in favor of the large one brings us back to the olympian view. Liquid in the insectile view does not imply uniformity. Unlike its predecessor, which was a more traditional cyborg constructed out of hard steel and circuitry, the T- is pure liquid and can take on any form. A gas can be treated as single system or as a vast swarm of particles. Each view is useful under different circumstances. Real-life sex is often described as a melding, but physical bodies are eternally, perhaps tragically isolated inside their skins.

Virtual sex has no such limitations. As a child watching, I often wondered its brain could be located. A liquid mind is far more difficult to imagine than a liquid body, because of the problem of locating agency. Deleuze and Guattari use the concept of schizophrenia to tackle this issue. In their sense, a true schizophrenic is far more swarming than a person who merely has multiple personalities. Haraway writes that we are all already cyborgs.

He desires to be alien. But this is just the beginning. Virtual sex could potentially be a much, much wilder experience. Rupture and Coolness The danger of using all these ideas as mere symbols for disassembly is that disassembly itself can be turned into a chic commodity.

If Wired is trying to disassemble anything, it is only the idea that technology is nerdy. Thus the subversive artist in Wired is not really subversive at all; it is just a symbol to make the readers feel cool. The commodification of disassembly is an important issue in the science fiction genre of cyberpunk.

The future of cyberpunk is fascinating because it is thrillingly dystopian. Orwell and Lang may have been proto-cyberpunk, but their dystopias were genuinely dystopian, and their technologies were clearly evil. In contrast, cyberpunk romanticizes the rebellious potential of disassembling technologies in a way that is both liberating and potentially dangerous. In fact, cyberpunk has a history of latching onto the symbols of disassembly and using them for effect.

In some cases, this can be seen as part of the genuine disassembly of various social structures, but in other cases it is 72 Anonymous, "Heath Bunting: Wired or Tired? Cyberpunk is most interesting when it investigates how technology can actually be used to dismantle the structures of human civilization.

This is the sense in which Deleuze and Guattari have been explicitly referred to as cyberpunk thinkers. Most importantly, it is infamous for a kind of primitivism in which black people are used as symbols for fashionable disassembly. It would be one thing if this disassembly were directed at the racism of hegemonic white culture, since black people are indeed a source of rupture in the racist power structures of white America, and that is indeed cool.

But cyberpunk, written and read mostly by white folks, often uses black people as a symbol for coolness while steadfastly avoiding any genuinely disassembling politics of race. See bibliography for original publication. This is an unpublished draft, reprinted with permission of the author. We out shit for them Heaven, heart and soul. This is where we fight back. Tal writes: The virtual African American This is why the renowned science fiction author Samuel R.

Cyberpunk allows white people to enjoy the chic of disassembly without actually having to disassemble anything important. The CCRU does not hesitate to appropriate any symbol that may be helpful in the fight against the enemy values of traditional humanism.

These symbols include the black and the Chinese, even though the group itself is mostly white and middle class. In addition, according to Reynolds They are all incredibly nice! Very English, polite, enthusiastic. You imagine these deranged, Manson-like culty types or Gothic cyberdaemons and the reality is so different! Corrosive disassembly appears far more powerfully in their writings than in their actual personalities or politics.

Every movement contains both assembly and disassembly; the question is which structures are disassembled and which ones are left intact. As Tal and Delany show, although cyberpunk does radically disassemble some structures — such as the family, the state, and the body — it often leaves 78 Simon Reynolds, personal correspondence, Oct.

It is interesting to note how many insectile futurist movements appear as well-ordered groups of young men. The Italian Futurists were one such group: they wore uniform black suits to signify the unity of their intent, even as they preached fire and destruction. Of these groups, only the Italian Futurists were fascist. But the fact that every one of them is all male shows how disassembling movements may continue to uphold the power structures of the larger society, such as sexism.

On further reflection, it is clearly impossible to form a movement that goes against every single socially assembled structure.

Even the most well- intentioned movements simultaneously reinforce dominant power structures. The civil rights and feminist movements have often struggled with this; the former has been accused of sexism and the latter of racism. There is no escape from this problem, because it is the problem of agency.

As long as agency remains intact, it will be impossible to reach pure disassembly. The agent who tries to dissemble any given structure will always bring with it, internally, other structures. If cyberpunk is problematic because it disassembles the wrong structures, then it ought to be possible to apply insectile futurism more usefully to other structures more in need of disassembly.

For example, insectile futurism could be pointed at precisely the structures which cyberpunk tends to leave intact: race and gender. In its paranoid phase In its present form — Cyberpunk — white SF, or anyway its radical leading edge, is arguing that the planet, already turned Black, must embrace rather than resist this: that back-to-nature pastoralism is intrinsically reactionary, that only ways of technological interaction inherited from the jazz and now the rap avant garde can reintegrate humanity with the runaway machine age.

Using blackness as a symbol this way once again runs the risk of implying that black people are inherently disassembling, rather than that they disassemble specifically white structures. For afrofuturism this is a calculated risk — one that the potential to be far more radically liberating than the humanist civil rights approach. The work of Kodwo Eshun and Rammellzee are examples of more futurist afrofuturism. Reprinted from The Wire, Feb. The replicants are essentially indistinguishable from humans except that they are smarter and stronger than we are.

Nevertheless, they are treated as slaves. The movie makes a subtle and powerful argument on behalf of the genuine humanity of the replicants. In this sense, although there are no black characters, Blade Runner is a civil rights movie. Hence the endless arguments in the 18th C about the ability of slaves to read or write, the equivalent to 20th C arguments concerning the potential existence of artifical intelligence.

This is where afrofuturism breaks away from movements for civil or human rights, which are based on humanism. According to these arguments, a certain group of people needs to stop being excluded from the category of human.

This argument has also been applied separately to slaves, poor people, women, queers, the sick, the insane, children, the elderly, fetuses, and the comatose. In every case, it is a battle over where to draw the line between agents from tools, which according to humanism also defines who has rights.

Afrofuturism, in contrast, attempts to demolish the category of the human. The anti-slavery movement proclaimed: black people are human beings! The afrofuturist movement proclaims: there are no human beings. Instead of using the established values of humanism to prove the humanity of black folks, afrofuturism rejects those values outright.

It has left traditional identity politics, traditional cultural studies far behind. They went another way. Not like Black or white, not like Americans Perhaps for the same reason, cyberfeminism can offer a theoretical depth which afrofuturism sometimes lacks.

Symbolically, Haraway replaces the goddess with the cyborg. From another perspective, a cyborg world might be about lived social and bodily realities in which people are not afraid of their joint kinship with animals and machines, not afraid of permanently partial identities and contradictory standpoints. Postmodern strategies, like my cyborg myth, subvert myriad organic wholes for example, the poem, the primitive culture, the biological organism.

In short, the certainty of what counts as nature. In order to be of use to actual women or black people, they must have arguments to propose about 96 Haraway, However, for the purposes of this section, it is more important to consider those thinkers who go furthest towards the purely insectile outlook. On the other hand, in order to avoid being trapped in the white male hegemony of the present order, they position themselves as willing to disassemble literally everything.

Of course, the conflict between politics and radical disassembly that is, disassembly which goes below the human level is not unique to these two movements. At the same time, having an agenda prevents a movement from ever reaching pure disassembly. Punk and Funk Agenda in a movement is analogous to the agency in a person. In both cases, a distinction must be made between the use of disassembly in the service of assembly and the genuine reign of pure disassembly. Agency is the more difficult case, however, because it is also the basis of humanist morality.

It is one thing to argue that social movements should not be treated as solid agents — in other words, that the bottom line of a movement is its individual participants. It is very different and much more radical to claim that individuals should not be treated as solid agents — in other words, that the human unit is not the bottom line. According to humanism, a person is an indivisible unit — or what I call a punk: an entity that can disassemble without itself being disassembled.

This concept is necessary to understand insectile futurisms. The punk is the last thing left standing when the whole world has fallen into pure disassembly — the last agency in a world of techs. If the punk has become an increasingly important figure in recent culture, it is because the world seems to be disassembling before our eyes.

Our last hope — our last refuge — is our own agency. Surviving the Warzone Cyberpunk is concerned almost exclusively with punks. If a lover dies they may be offended that somebody invaded the territory of an ally. They do not work together with anyone well. One could not imagine them in a war. They have no domestic life and call upon no traditional wisdom to guide them through existence.

Imperfection in humanity inspires them to travel of fight. The desperation of punks makes morals or honor a meaningless luxury none of them can afford. They are addicts who prefer addiction to other concerns on principle. One can orchestrate an addiction and control it. Once cannot do so with lovers, governments, Nature and corporations. If they live in the future they are in all ways profound reactionaries. In any case, the punk represents survival. He or she usually he lives in a warzone, a place of constant danger and threat.

Despite or because of this violence directed against punks, they do not ultimately surrender. Their social identities and even their bodies may be penetrated, but their agency remains intact. The violence of the warzone forces the punk to turn inward, to a protected place of invulnerability. External disempowerment gives rise to an internal fighting spirit.

The constantly shifting warzone requires the punk to become completely self-dependent: a loner, a ranger, a ronin, a cowboy, an outlaw.

Crucially, the brain damage has no effect on his mind. Even Horatio Alger can be read as a mythological punk — an entrepreneur who pulls himself up by his own bootstraps in the warzone of the free market.

The techno audience is not that postmodern. Instead, the beats represent a certain kind of power. And the fact is, you love it. Similarly, cyberpunk is enjoyable reading mostly for those who do not actually live in warzones.

Although the punk is historically a deeply masculine figure, it is possible to imagine a female punk. In fact, in the last decade it has become increasingly fashionable to do so. A punk is always protected from the surrounding warzone by the boundary that separates internal from external.

The Hacking Mentality Ron Eglash is currently working on an anthology to be called Appropriating Technology, which will describe and analyze several different manifestations of hacking in explicitly political contexts. The communities range from the very marginalized, to people who are merely non-elite. In some cases there is clearly some vital center-margin cooperation that needs to be better appreciated; in other cases we are in need of a more critical analysis for a process too easily assumed to be Better Living Through Science.

Theoretical perspectives on the Appropriating Technology theme would also be appreciated. Typical users want computers to obey these use vectors completely, and are annoyed when they do not. New music gives the finger to the system. Hacking a piece of technology is not the same as hacking a social or political institution. Cyberpunks mostly use their hacking skills in the service of money and power, and cyberpunk as a genre has no radical politics.

Once again, disassembly is symbolized by the insectile. To a hacker, bugs represent hidden potential. When a bug becomes a feature, new territory is opened up for exploration.

A rhythm synthesizer is a new instrument precisely because it opens the door to whole new rhythmic territory that had previously been inaccessible. Its least interesting feature is its ability to reproduce the sound of real drums. The same Album) can be said about the digital sampler, which is used to record very short sounds for use in other contexts.

Once this use vector has been hacked, the sampler opens up a whole new space of creativity, pointing in a new direction: away from real drums and recognizable samples and towards inhuman rhythms and imaginary instruments.

These use vectors will once again set up a distinction between bugs and features. Thus the hacker passes though disassembly on the way to reassembly. A hacked tool is not the same tool its manufacturer intended, but it is still a tool. This is parallel to the problem discussed in the previous section with regard to political movements: disassembly is used in the service of eventual reassembly.

It is therefore a mistake to think that hackers are infinitely experimental with their technologies — that they treat them as genuine techs.

Even the most radically innovative and subversive use vector is still a use vector. As long as there is a user, the tool cannot be completely disassembled. In other words, agents imply tools and tools imply agents. If tools are to become techs, agents must also become techs. This can never happen with hackers, because hackers are fundamentally punks. The act of hacking presupposes that the hacker is an internally assembled agent. Ribofunk Mongrel Mermaids Ibid.

If postmodern technologies are both seductive and scary, it is because the surrender of agency is both seductive and scary. Our lives are based around maintaining coherent identities, and the mental unraveling associated with insanity is in fact a kind of death. At the same time, however, there are always those artists and thinkers who find themselves intrigued by the disassembly of the self.

Indeed, we all pass through moments of sanity and moments of insanity, so it is only a question of how to conceive of such liminal moments: are they bugs or are they potential features? This is the most difficult question posed by postmodern technologies, and no final answer is possible. This scares us but we also find ourselves drawn towards it. Sex can involve this kind of surrender, and often surrender in discussed in terms of sex.

The merging involved in sex can be either the most pleasurable or the most revolting experience, depending on whether it is consensual. The pleasure of consensual sex involves a certain loss of solidity — even a loss of identity — and this is precisely what makes rape such an evil. In the most paradoxical cases, with technology as with sex, pain and pleasure are indistinguishable.

At the same time, there is always this urge to destroy technology, the industrial world. In some cases — such as a car crash — the metaphor of rape is applicable. But in many other cases, it is a misreading of technology that is inspired by our own prejudices. Rape, after all, is an artifact of patriarchal culture. Technology, although it can be a tool of patriarchy, is not inherently bound up in patriarchal patterns of domination.

In fact, just as the violence of rape prevents it from being a true merging of beings, our most violent imagery of technology assumes that there will never be a true union of flesh and machine.

In other words, technology may invade the human but it will always remain intrinsically foreign. The human will always resist the foreign invasion and therefore the fusion will never be complete. From an earlier draft, used with permission of the author. Like the border between the punk and the warzone, it is a line of demarcation and struggle. Instead of two systems Album) together we have one.

The plane and the woman exist simultaneously in the same space. A fascistized mermaid is like two solids brought together so that their surfaces touch without genuine interpenetration. A genuinely cyborgized mermaid, on the other hand, is more like two liquids poured together: the result is complete integration — a single liquid. The two original liquids are still present, but their essences are dissolved. Therefore there is no resistance on either side — no violence — only complete surrender.

The true cyborg is a mongrel, an integration of systems so smoothly blended that they can no longer be distinguished from each other. Thus, according to Eshun, funk is the opposite of cool.

Racially, stylistically, sexually, Tricky is one slippery fellow. How did he get into such a state? Of course, survival and reproduction are not the only use vectors that can be assigned to the organism. The point is only that the organism has use vectors in the first place. The human being, the fundamental unit of moral responsibility and value, the subject, the ego, that which acts and experiences, is being replaced by a distributed, mongrelized pattern which cannot be essentially or ontologically distinguished from the rest of the universe.

See bibliography for additional resources. The Intransitive War Military imagery is increasingly popular in our cultural moment.

In fact, insectile futurism is full of the imagery of war, from cyberpunk to techno music. Perhaps this is because there has been no war on American territory in recent memory. The Italian Futurists, who also glorified militarism, were equally unfamiliar with real war.

However, the war glorified by postmodern culture is not the war that may erupt between nations, for that kind of war — although it is extremely violent — is also highly organized. When nations wage war, they implement their strictest forms of control. Insectile war is very different. The hypercapitalist world of cyberpunk, for example, is not a regimented battle between large established forces but rather an anarchical field of violence.

People do as they please. There are no police In a world where many corporations live and work together for diverse interests in the same place, it is not easy. By that time Bayan Butler had joined on guitar, but would be gone in Dandelion did hang on long enough to issue another album via Ruffhouse inDyslexiconbefore breaking up in It was from their second album, Fabuleyreleased in once again by Dischord Records.

Later that same year a combined album was released under the same name that included the debut LP, As Iswhich was the CD I picked up and played repeatedly over the ensuing years. Alas, it was not to be as Holy Rollers suffered the fate of so many such indie bands of the time, despite the growth in interest in guitar driven rock. They were a quartet fronted by Carrie Akre.

The Nymphs had been toiling for several years by the time they achieved their first signing with Geffen Records, showing the growing willingness of the majors to take a flyer on grunge acts. Their self-titled debut arrived inmixing LA glam metal with punk edginess for the grunge result. Their punk status was aided by a guest appearance by Iggy Pop on the LP. After the release of an EP in the band disbanded among acrimony between Lorre and the band. She re-formed The Nymphs with a new line-up in As radio, media, buyers, and labels realized the level of interest in this heavier, unadorned rock sound, it quickly seemed as if the world descended on Seattle to check out every obscure band rocking the bars and clubs of the city and surrounding region.

After six years of bands developing this brand of rock, it was having its coming of age. Not surprisingly, bands cropped up around the US, Canada, the UK, and Australia, inspired by the sound and success of Nirvana, and started grinding out their own forms of sludgy rock and catchy, raw, pop-punk with a blend of classic rock.

The women of L7 were back on the scene early in with the release of their third album, Bricks Are Heavy. It was in the same spirit of a wave of bands that would emerge around the grunge era, collectively referred to as Riot grrrl, that would bring both female participation and empowerment into the grunge and punk scenes.

The song had the perfect blend of grungy guitars, power, indelible hooks, and slacker insouciance. Though the song originated out of the pain of a failed relationship, Donita Sparks converted it into a rallying cry for the alternative world and for all those shunted aside after a decade of conservative rule in the US — reminding that if they pretend their dead, the oppressors win. The album included several more highlights of the grunge era. Bricks Are Heavy was a breathless, joyous, exhilarating thirty-seven minutes of powering rock and pop and was L7 at their peak.

L7 went on hiatus in after completing a tour, but reformed in with the core quartet of Gardner, Sparks, Finch, and Plakas. Through every song and in all their shows, videos, and media appearances, L7 embodied all the rebelliousness and attitude of the classic rock and punk genres.

One signal of the attention Seattle and grunge were receiving in was the Hollywood treatment in the form of, Singlesa Cameron Crowe film released in September. Dirt elevated Alice in Chains to its status in the big four as it achieved a top ten placing in the US album chart and had three singles reach the top forty in the UK. It was followed by their self-titled, third LP in which went to 1 in the US and included new bassist, Mike Inez, replacing Mike Starr who would pass away in due to an apparent overdose.

The rest of the band started to move on to solo work and guesting with others, and though they recorded a couple songs with Staley inthings were not looking encouraging for Alice in Chains returning. InLayne was found dead in his condo from an overdose, putting an end to his many years of addiction and seemingly putting a final period at the end of Alice in Chains tenure. Drugs continued to play a starring role in the story of both Alice in Chains and the grunge world.

However, the band made several appearances between and with guest vocalists before bringing on William DuVall as their new singer. They then released their fourth LP infollowed by others in and They remain one of the few grunge acts still going. As one of the earliest forebears of grunge, the attention poured onto their scene must have been especially rewarding for this group.

Sweet Oblivionreleased in Septemberwas their sixth album and the first to get any chart attention, even if it only got into the top It was a fantastic mix of sludgy, classic rock carried on a power-pop wave. As grunge waned over the next few years, Screaming Trees released one more LP inDustbefore breaking for Lanegan to focus on his solo career.

When they reconvened, facing of a lack of interest from labels the band decided to call it quits in September also saw the arrival of one of the last major acts of the grunge scene, Stone Temple Pilots, with the release of their debut LP, Core.

The album reached 3 in the US and 27 in the UK to make it one of the most successful rock albums of the period. Its heavy, raw guitar sound linked the band to the grunge genre that was now being popularly used to describe the Seattle scene and its related acts from around the country. Soon after the alt-rock label would become the more common usage to capture the greater variety of guitar rock that proliferated over the next several years.

A few strong hooks were thrown in to deliver a fantastic result, achieving the next in the line of growing, classic grunge tracks. Inthe LP Tiny Music… Songs from the Vatican Gift Shopalso charted and sold well, and they continued that string with additional albums in and Over each album they moved away from their heavier, grungier sound towards a bigger, broader, and more classic rock sound.

STP announced their break-up in as rumours of strife between Weiland and the band grew. InWeiland died from an overdose, putting an end to any consideration of STP returning to its classic line-up. Jeff Gutt was hired as the new singer in and STP continues on to this day, having released two LPs in and As they did on their first LP, the second was bathed in pink - very fitting for an LP titled, Dayglo. After Dayglo there were more changes to the line-up as Simpson returned briefly on bass to replace Tillman before Bruce Fairweather from Mother Love Bone joined.

Following releases in and failed to build any momentum for the band amidst continued changes on bass and drums, making Love Battery for the most part a duo of Nine and Whitworth through its career. The band has appeared in various forms over the years, leaving them an open-ended project though there have been no indications there is new music on the horizon. Formed by high school friends transplanted from Juneau, Alaska, Charlie Campbell and Chris Brady, they added drummer Dave Triebwasser to complete the line-up.

Similar to The Posies, the band explored a sound somewhere between power pop and the thick morass of true grunge. Though that song stood out, there were many other catchy, grungy, fun moments throughout the rest of the album.

Sub Pop was indisputably essential to the establishment of the Seattle sound and the resulting grunge sensation. Pavitt left, leaving Poneman to make an unsuccessful attempt to grow the label internationally. Settling back into its Seattle roots, Sub Pop continues to this day. After Nirvana broke big over the winter ofthe ensuing year saw more albums from established grunge acts: Sonic Youth released the LP, DirtyBabes in Toyland issued, Fontanelleand Mudhoney put out, Piece of Cake.

Indicative of the broadening influence of grunge and the expanding boundaries of alt-rock, many new artists arrived such as Supersuckers, Sugar ex-Husker Du lead man, Bob Mould7 Year Bitch one of the progenitors of the Riot grrrl movementRocket from the Crypt, The Gits, Paw, The God Machine, and Wool, who continued to rep the Seattle scene.

Ingrunge continued to ride high though a backlash started to develop as its consistent sound started to wear out its welcome, not to mention that, as always, so few bands were keen to have the moniker attached to them. Regardless, many new acts arrived plying that sound while the bigger acts like Smashing Pumpkins and Pearl Jam continued to build their sizeable fanbases with the release of their second albums, Siamese Dream and Vs.

In SeptemberNirvana released its third album, In Utero. After Nevermind had blown the doors open on both their career and the Seattle sound, Nirvana entered the realm of superstars. Like many grunge artists, it was a level of success never imagined, or even desired.

As much as Kurt Cobain had striven to write great, pop-infused punk songs, the idea of being a popstar was not a comfortable fit. For their sensational and highly successful appearance on the popular MTV show, Unpluggedin November, they bypassed their hits to play a series of covers and their lesser-known tracks. In Uteroproduced by Steve Albini, was a more caustic, less melodious, and generally more difficult album to approach than Nevermind.

It was great, but the more casual fans of their music were probably going to struggle with it. Like so many others in the grunge world, Kurt Cobain and Courtney Love descended into a world of drug problems, which for Cobain exacerbated his depression and difficulties handling his popstar status. One week later he left rehab he was found dead of a self-inflicted gunshot wound in his Seattle home.

Bythe use of the term, grunge, was out of favour and acts were only referred by it if they came out of the Seattle scene. The many new bands still exploring contemporary updates on classic rock were termed, post-grunge, an unflattering adjective to describe the typically safer, formulaic, and over-produced sounds that resulted as labels took over the direction of the music to cash in on the enduring mainstream interest in rock music. Naturally, there was a variety from genuinely good bands pumping out solid music and those that offered a generic, derivative sound.

In the UK, the Britpop scene arose on the heels of grunge but derived more from the shoegaze scene, and while still carried forward by the emphasis on guitar-driven rock and pop, it was in a decidedly less grungy direction.

I have had the opportunity to see many grunge acts, most during their prime though that term has some irony since some of these artists now tour in larger halls today than they did back then, such as L7.

However, it was a worthwhile and aptly descriptive term since there needed to be a way to define these acts that had brought variants of hard rock, metal, and punk from the fringes into the top of the charts. For those of us not used to such attention on our artists, it was disorienting. Grunge changed the music landscape significantly both in its time and for the generations following.

It certainly changed my taste in music, influenced by my weekends at the Dance Cave it forever added the punk sound to my listening spectrum. Mighty Mighty Bosstones. Mindless Self Indulgence. Montgomery Gentry. Motion City Soundtrack. Movies Soundtracks. My Bloody Valentine. My Brightest Diamond. My Chemical Romance. My Morning Jacket. Natalie Imbruglia.

Natasha Bedingfield. Naughty By Nature. Ned's Atomic Dustbin. Neurotic Outsiders. New Blood Flood - Wargasm - Ugly (CD Minstrels. New Kids On The Block. New Young Pony Club. Nicole Scherzinger. Nitty Gritty Dirt Band. No Use For A Name. Noah And The Whale. Noel Gallagher's High Flying Birds. Of Monsters And Men. Off With Their Heads. Ol' Dirty Bastard. Olivia Newton-John. One Minute Silence.

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Sandra Schwarznaupt. Satellite Stories. Scarlett Johansson. Scouting for Girls. Secondhand Serenade. Secret And Whisper. Seventh Day Slumber. She Wants Revenge. Sidewalk Prophets. Silkk The Shocker. Simian Mobile Disco. Siouxie And The Banshees. Sixpence None The Richer. Sleep for Sleepers. Sleeping With Sirens. Sleepytime Gorilla Museum. Smashing Pumpkins. Something Corporate. Sons Of The Desert. Sophie Ellis-Bextor. Souls Of Mischief. South Park Mexican.

Sparks The Rescue. Squirrel Nut Zippers. Stabbing Westward. Stefanie Heinzmann. Stephanie Bentley. Steven Curtis Chapman.

Stevie Ray Vaughan. Stick To Your Guns. Stone Temple Pilots. Story Of The Year. Suicidal Tendencies. Sunny Day Real Estate. Sunshine Anderson. Swing Out Sisters. Keri Hilson. Tabasco Tom Rogerson. Take Me To The Pilot. Take My Breath Away. Take Off The Halter. Take The Earth Beneath Us. Taking Back Sunday. Taladplu Coolplay. Talia Billig Band. Tamara Schlesinger. Tan Frio El Verano. Tangible Fruit Squad. Tape Deck Mountain. Taylor Hodak Band.

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The Airplane Boys. The Alabama Gurlz. The Alan Parsons Project. The Alexander Effect. The Alexander Solution. The All-American Rejects. The Allen Sisters. The Almighty Grind. The Alpha Machine. The Alphabeticians. The Alternate Routes. The Amazing Crowns. The Amazing Rhythm Aces. The American Analog Set. The American Black Lung. The American Boychoir. The American Breed.

The American Culture EXperiments. The American Girls. The American Scene. The Ames Brothers. The Amity Affliction. The Amusement Crew. The Andrews Sisters. The Android Angel. The Android Complex. The Angelina Quartet. The Angels of Gabe. The Angry Samoans. The Animal Crackers. The Answering Machine. The Anti Nowhere League.

The Anyway Always. The Apathy Eulogy. The Apples In Stereo. The Appleseed Cast. The Appreciation Post. The Arrogant Worms. The Artful Dodger. The Artificial Sea. The Ascent of Everest. The Asteroids Galaxy Tour. The Aston Shuffle. The Atomic Bitchwax. The Atomic Fireballs. The Aurora Observatory. The Autumn Defense. The Autumn Offering. The Avett Brothers. The Awkward Stage. The Axis of Awesome. The B. Mass Choir. The Babysitters Circus.

The Backyardigans. The Bacon Brothers. The Bailen Brothers. The Bakerton Group. The Bambi Molesters. The Band Of Heathens.

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Grátr - Helrunar - Grátr (CD, Album)

Friday 9 July Saturday 10 July Sunday 11 July Monday 12 July Tuesday 13 July Wednesday 14 July Thursday 15 July Friday 16 July Saturday 17 July Sunday 18 July Monday 19 July Tuesday 20 July Wednesday 21 July Thursday 22 July Friday 23 July Saturday 24 July Sunday 25 July Monday 26 Grátr - Helrunar - Grátr (CD Tuesday 27 July Wednesday 28 July Thursday 29 July Friday 30 July Saturday 31 July Sunday 1 August Monday 2 August Tuesday 3 August Wednesday 4 August Thursday 5 August Friday 6 August Saturday 7 August Sunday 8 August Monday 9 August Tuesday 10 August Wednesday 11 August Thursday 12 August Friday 13 August Saturday 14 August Sunday 15 August Monday 16 August Tuesday 17 August Wednesday 18 August Thursday 19 Grátr - Helrunar - Grátr (CD Friday 20 August Saturday 21 August Sunday 22 August Monday 23 August Tuesday 24 August Wednesday 25 August Thursday 26 August Friday 27 August Saturday 28 August Sunday 29 August Grátr - Helrunar - Grátr (CD 30 August This album was the end of the first Somber Serenity chapter, because it was the last release with Daniel Vaross on vocals and guitar.

Our bass player left us also after the recording session, so we had to build up a new line-up. As we all know there are some other fine examples of dark metal in the scene like Bethlehem etc.

Why did you chose this definition for your music? I think you are working on a new opus at the moment. So what can you say about the coming songs? Are there any changes in your sound character or in lyrics?

Yes, you are right, we work on a new album at the moment. We have seven finished songs for our second album, and two further songs are nearly finished. Beside some songs in the typical Somber Serenity vein, we also include folkloristic elements and melodies in some of the new songs which are Album) by the use of percussion, mouthharp and flute.

While Daniel wrote all lyrics for our first CD, we have now three persons writing lyrics. Personal subjects are still very important to us, but we combine them now with pagan themes. Search Event Tickets. Event Calendar «. Latest Events View Full Calendar. Forgot your username? Create an account.

According to Germanic Saga, the blacksmith Wieland had his workshop in the cave. The cave is Europe's biggest cultural cave. Last year, the festival was only one day long. This time, it was enlarged to a two-day event with a warm-up one day before. The line-up was really something special. Besides true legends, also some very new bands were booked and some bands were coming from far away, meaning the flights were rather expensing, probably resulting in the rather high price for the festival 90 EUR plus camping and parking.

But the festival was really worth paying more than usually. On the Thursday before the festival, a warm-up Grátr - Helrunar - Grátr (CD taking place — the Trollmusic concert evening. Mogwai and Dweeb. Funeral Mist. Older Posts Home. Subscribe to: Posts Atom.

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I Engineer (DJ Scotty Remix)

Pick up simulators used on guitars with single-coil pick ups replicate the sound of guitars with humbucker pick ups, or vice versa. A de- fretter is a bass guitar effect that simulates the sound of a fretless bass.

The effect uses an envelope-controlled filter and voltage-controlled amplifier to "soften" a note's attack both in volume and timbre. Bitcrusher filters : Bitcrushers rely on conversion of the audio signal into a digital format ADC and the reduction of sound fidelity by utilising bit and sometimes sample rates low enough to cause significant colouration and filtering within the audible frequency range.

Rotating speakers are specially constructed amplifier or loudspeakers used to create special audio effects using the Doppler effect by rotating the speakers or a sound-directing duct. The rotating speaker creates a chorus-type effect. Named after its inventor, Donald Leslieit is particularly associated with the Hammond organ but is used with a variety of instruments as well as vocals.

The stompbox that simulates this effect is I Engineer (DJ Scotty Remix) Uni-Vibe pedal. The Kaoss Pad's touchpad can be used to control its internal effects engine, which can be applied to a line-in signal or to samples recorded from the line-in. Effects types include pitch shifting, distortionfiltering, wah-wahtremoloflangingdelayreverberationauto-panning, gating, phasingand ring modulation.

Bass effects I Engineer (DJ Scotty Remix) electronic effects units that are designed for use with the low pitches created by an electric bass or for an upright bass used with a bass amp or PA system. Two examples of bass effects are fuzz bass and bass chorus. Some bass amplifiers have built-in effects, such as overdrive or chorus. Upright bassists in jazz, folk, blues and similar genres may use a bass preamplifiera small electronic device that matches the impedance between the piezoelectric pickup and the amp or PA system.

Bass preamps also allow for the gain of the signal to be boosted or cut. Some models also offer equalization controls, a compressor, and a DI box connection. Boutique pedals are designed by smaller, independent companies and are typically produced in limited quantities. Some may even be hand-made, with hand-soldered connections. These pedals are mainly distributed online or through mail-order, or sold in a few music stores. Some boutique companies focus on re-creating classic or vintage effects.

Vex Effects. There is also a niche market for modifying or "modding" effects. Not all stompboxes and rackmounted electronic devices designed for musicians are effects.

Strobe tuner and regular electronic tuner pedals indicate whether a guitar string is too sharp or flat. These pedal-style tuners usually have an output so that the signal can be plugged into a guitar amp to produce sound.

Rackmount power conditioner devices deliver a voltage of the proper level and characteristics to enable equipment to function properly e. A rackmounted wireless receiver unit is used to enable a guitarist or bassist to move around on stage without being connected to a cable.

Guitar amplifiers and electronic keyboards I Engineer (DJ Scotty Remix) have switch pedals for turning built-in reverb and distortion effects on and off; the pedals contain only a switch, with the circuitry for the effect being housed in the amplifier chassis. From Wikipedia, the free encyclopedia.

Redirected from Guitar effects. Electronic device that alters audio. For other uses, see Audio effect. Distortion effect. Electric guitar played first "clean" no effectsthen with distortion pedal. Chorus effect. Chorus effect on guitar, coming from an Electro-Harmonix Small Clone.

Flanging effect. A short synthesizer sample followed by two flanging versions. Phaser effect. Unprocessed organ followed by different phasing effects. Ring modulation effect. Tremolo effect. A low-frequency oscillator modulating a tremolo synthesizer. Vibrato effect. A low-frequency oscillator modulating a vibrato synthesizer.

Delay effect. Reverberation effect. Main article: Bass effects. The Museum of Making. Retrieved 13 September Trip Atlas. Archived from the original on I Engineer (DJ Scotty Remix) December Retrieved 18 September Alfred Music.

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New York: Rolling Stone. Retrieved 5 July Black country bluesmen made raw, heavily amplified boogie records of their own, especially in Memphis, where guitarists like Joe Hill Louis, Willie Johnson with the early Howlin' Wolf band and Pat Hare with Little Junior Parker played driving rhythms and scorching, distorted solos that might be counted the distant ancestors of heavy metal.

Continuum Encyclopedia of Popular Music of the World. Performance and Production. Continuum International. Louisiana Rocks! Gretna, Louisiana : Pelican Publishing Company. Chuck Berry: The Biography. Retrieved 25 January Rhythm and Noise: An Aesthetics of Rock. JHU Press. Hal Leonard Corporation.

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Paul Morton Mills Lilly Preyan. Retrieved Vernon Coleman Archived from the original I Engineer (DJ Scotty Remix) Archived from the original on March 6, Retrieved March 5, HipHop DX. Pitchfork Media. Retrieved March 12, Retrieved January 30, Rolling Stone. All I Engineer (DJ Scotty Remix) Network. April 14, Retrieved April 14, Tobias Zywietz. Retrieved March 23, Official Charts Company. Retrieved March 16, Retrieved July 22, Artists templates. Lil Wayne. Albums discography Singles discography Awards and nominations Videography.

Discography Awards and nominations Videography. Drake vs. Christina Milian. Gudda Gudda. Sqad Up Young Money Entertainment. Nicki Minaj. Discography Videography Awards and nominations Live performances Songs. Pink Friday. Retrieved August 11, Entertainment Weekly.

Archived from the original on April 26, The Guardian. Archived from the original on March 4, Archived from the original on December 14, Archived from the original on May 13, Rolling Stone. Archived from the original on January 12, Retrieved February 13, Stylus Magazine. Archived from the original on February 16, USA Today. November 15, Archived from the original on October 27, May 13, Album credits from".

Retrieved December 23, Hung Medien. Retrieved March 27, Official Charts Company. Retrieved September 23, Recording Industry Association of America. Lil Jon. Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version.

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Nadie Nadie

Episodios Le gusta a. Filtrar Tabla. Borrar todos los filtros. Episodio en Nadie sabe nada, con Buenafuente y Berto. Es necesario identificarte o registrarte. Cerrar Nadie Nadie. I can't see anybody. There's nobody in the bathroom. The bathroom is vacant. Have you tried it yet?

Nadie Nadie what's Nadie Nadie. Word of the Day. SpanishDict is the world's most popular Spanish-English dictionary, translation, and learning website.

Pronouns and Adjectives - Review Formal Commands Using Nadie Nadie Pronouns with Commands Nadie Nadie Review I Informal Commands - vosotros Indirect Commands Future Past Participle Present Perfect Past Perfect Pluperfect Future Perfect Conditional Imperfect Subjunctive I Imperfect Subjunctive II Imperfect Subjunctive III Rules of Accentuation.

Notes: The written lesson is below. Links to quizzes, tests, etc. You have already learned how to make simple affirmative statements. She speaks English. He is a professor. When the answer to a question is negative, two negative words are required. Nadie habla. Nobody speaks. Retrieved 15 May ISSN Retrieved 14 December BBC Sport. Season 1.

Release year: Post Mortem 44m. Condolences 45m. On Behalf of the Family 44m. A Wake 47m. Baptism by Fire 47m. Rigor Mortis 44m.

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Someone Someone - Various - Sixties Mix 3 (Vinyl, LP)

An excerpt from the Byrds' cover of " Mr. Tambourine Man ", highlighting the band's harmony singing and Jim McGuinn 's jangly, twelve-string Rickenbacker guitar playing. I'll Feel a Whole Lot Better. He changed his first name to Roger induring his involvement with Subudan international spiritual movement. The Byrds: Timeless Flight Revisited 2nd ed. Rogan House. ISBN X. Tambourine Man album review". Rovi Corp.

Retrieved Tambourine Man CD booklet. Townsquare Media. Top Pop Albums Record Research Inc. ISBN London: Omnibus Press. Top Pop Singles Jawbone Press. Roger McGuinn Home Page. Archived from the original on Backbeat Books. Main Index. NovemberVolume 46, Issue 11, Pages Techno Trance. The idea is simple yet very powerful. Download album for just. Mp3 Juices. Use the alphabetical navigation bar above to find songs starting with the indicated letter. Total Nonfarm Payrolls: All Employees.

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Audio Electronics Review and Measurements Index. Rolling Stone. The Wall Street Journal. Archived from the original on July 2, Retrieved July 5, The New York Observer. Ear Candy Mag. The Journal on the Art of Record Production 7. ISSN Archived from the original on April 15, Retrieved July 24, Paste Magazine. Archived from the original on January 8, Retrieved May 28, The New York Review of Books. Capitol Records.

Retrieved November 21, The Arts Fuse. Retrieved May 29, Archived from the original on September 25, Retrieved August 25, Pop Chronicles. University of North Texas Libraries. New York. Retrieved May 24, Los Angeles Times West Magazine. Don't mind if I do…". Archived from the original on November 9, Retrieved August 13, Freaky Trigger. Retrieved July 1, The Daily Telegraph. Open Access History and American Studies. Sound on Sound.

The Wire. November 29, Arizona: AZ Central. Retrieved November 19, Rock Cellar Magazine. Archived from the original on July 14, Retrieved July 2, The Guardian. Retrieved June 28, Retrieved July 17, The Apollonian Shimmer of the Beach Boys". LA Weekly. Archived from the original on December 4, Someone Someone - Various - Sixties Mix 3 (Vinyl Retrieved January 14, Archived from the original on May 10, The Los Angeles Times.

Mojo Magazine. June Bantam Books. ISBN Musician Record Mirror. December 10, Mike Love". The History of Rock. January 29, Retrieved June 27, The Baltimore Sun. Retrieved April 23, In Womack, Someone Someone - Various - Sixties Mix 3 (Vinyl ed. The Cambridge Companion to the Beatles. Hit Parader. Randy Newman's American Dreams. ECW Press. In Coleman, Ray ed. Pet Sounds. Da Capo Press. Archived from the original on December 24, Retrieved September 12, Archived from the original on June Someone Someone - Various - Sixties Mix 3 (Vinyl, Retrieved November 15, But what does it mean?

Barney Hoskyns on all the lonely madmen The Independent. Icon Fetch. Retrieved July 31, The New York Times. Phoenix New Times Music. Retrieved July 29, Archived from the original on March 14, October 21, Archived from the original on February 29, Retrieved December 12, Stylus Magazine.

September 2, Archived from the original on December 1, Retrieved July 30, The Irish Times. Retrieved August 7, Retrieved August 29, December 8, New Music Box. Archived from the original on December 21, Faith No More Followers.

July 17, Retrieved June 25, IPC Media. June 2, Retrieved February 2, Badman, Keith Backbeat Books. Carlin, Peter Ames Carter, Dale The Undergrounding of Brian Wilson, —". In Lambert, Philip ed. University of Michigan Press. Dillon, Mark Fifty Sides of the Beach Boys. Toronto, Ont. Doggett, Peter In Abbott, Kingsley ed. Helter Skelter. London: The Bodley Head. Flory, Andrew Gaines, Steven New York: Da Capo Press.

Granata, Charles L. Chicago Review Press. Hall, Mitchell K. May 9, Harrison, Daniel Understanding Rock: Essays in Musical Analysis. Oxford University Press. Henderson, Richard Van Dyke Parks' Song Cycle. Hepworth, David Henry Holt and Company. Up until then it had been as though London existed in a beautiful space where you could do anything you wanted. In Marchwhile awaiting the consequences of the police raid, Jagger, Richards and Jones took a short trip to Moroccoaccompanied by Marianne FaithfullJones' girlfriend Anita Pallenberg and other friends.

During this trip the stormy relations between Jones and Pallenberg deteriorated to the point that she left Morocco with Richards. He'd never forgive me for that and I don't blame him, but hell, shit happens. The tour included the band's first performances in Poland, Greece, and Italy. On 10 Maythe day Jagger, Richards and Fraser were arraigned in connection with the Redlands charges, Jones' house was raided by police. He was arrested and charged with possession of cannabis.

Jagger and Richards were tried at the end of June. Jagger received a three-month prison sentence for the possession of four amphetamine tablets; Richards was found guilty of allowing cannabis to be smoked on his property and sentenced to a year in prison. It began with the sound of prison doors closing, and the accompanying music video included allusions to the trial of Oscar Wilde.

It drew unfavourable reviews and was widely regarded as a poor imitation of the Beatles' Sgt. Pepper's Lonely Hearts Club Band. The band parted ways with Oldham during the sessions.

The split was publicly amicable, [] but in Jagger said: "The reason Andrew left was because he thought that we weren't concentrating and that we were being childish. It was not a great moment really—and I would have thought it wasn't a great moment for Andrew either.

There were a lot of distractions and you always need someone to focus you at that point, that was Andrew's job. Its psychedelic sound was complemented by the cover art, which featured a 3D photo by Michael Cooperwho had also photographed the cover of Sgt. Bill Wyman wrote and sang a track on the album: " In Another Land ", also released as a single, the first on which Jagger did not sing lead.

The band spent the first few months of working on material for their next album. Those sessions resulted in the song " Jumpin' Jack Flash ", released as a single in May. The subsequent album, Beggars Banquetan eclectic mix of country and blues-inspired tunes, marked the band's return to their roots. It was also the beginning of their collaboration with producer Jimmy Miller. It featured the lead single " Street Fighting Man " which addressed the political upheavals of May and " Sympathy for the Devil ".

The Rolling Stones Rock and Roll Circuswhich originally began as an idea about "the new shape of the rock-and-roll concert tour", was filmed at the end of The footage was shelved for 28 years but was finally released officially in[] with a DVD version released in October By the time of Beggars Banquet ' s release, Brian Jones was only sporadically contributing to the band. Jagger said that Jones was "not psychologically suited to this way of life".

Richards reported that in a June meeting with Jagger, Watts and himself at Jones' house, Jones admitted that he was unable to "go on the road again", and left the band saying, "I've left, and if I want to I can come back. The Rolling Stones were scheduled to play at a free concert for Blackhill Enterprises in London's Hyde Parktwo days after Jones' death; they decided to go ahead with the show as a tribute to him. They released thousands of butterflies in memory of Jones [] before opening their set with "I'm Yours and I'm Hers", a Johnny Winter number.

Jones and Taylor are both featured on the album. The Hells Angels biker gang provided security. A fan, Meredith Hunterwas stabbed and beaten to death by the Angels after they realised he was armed. Critic Lester Bangs declared it the best ever live album. At the end of the decade the band appeared on the BBC 's review of the sixties music scene Pop Go the Sixtiesperforming "Gimme Shelter", which was broadcast live on 31 December To get back at the label and fulfil their final contractual obligation, the band came up with the track " Schoolboy Blues "—deliberately making it as crude as they could in hopes of forcing Decca to keep it "in the vaults".

Amid contractual disputes with Klein, they formed their own record company, Rolling Stones Records. Sticky Fingersreleased in Marchthe band's first album on their own label, featured an elaborate cover designed by Andy Warhol. When unzipped, it revealed the subject's underwear, imprinted with a saying—"This Is Not Etc. Sticky Fingers ' cover was the first to feature the logo of Rolling Stones Recordswhich effectively became the band's logo.

It consisted of a pair of lips with a lapping tongue. Designer John Pasche created the logo following a suggestion by Jagger to copy the out stuck tongue of the Hindu goddess Kali. Without using the Stones' name, it instantly conjures them, or at least Jagger, as well as a certain lasciviousness that is the Stones' own It quickly and deservedly became the most famous logo in the history of popular music. The tongue and lips design was part of a package that VH1 named the "No.

The album is noted for its "loose, ramshackle ambience" [] and marked Mick Taylor's first full release with the band. Following the release of Sticky Fingersthe Rolling Stones left England after receiving advice from their financial manager Prince Rupert Loewenstein. He recommended they go into tax exile before the start of the next financial year. The band had learned, despite being assured that their taxes were taken care of, they had not been paid for seven years and the UK government was owed a relative fortune.

Using the Rolling Stones Mobile Studio, they held recording sessions in the basement. They completed the new tracks, along with material dating as far back asat Sunset Studios in Los Angeles. The resulting double album, Exile on Main St. The band's double compilation, Hot Rocks —was released in ; it reached No. Members of the band set up a complex financial structure in to reduce the amount of their taxes.

The band have been tax exiles ever since, meaning they can no longer use Britain as their main residence. Due to the arrangements with the holding company, the band has reportedly paid a tax of just 1. In November the band began recording sessions in Kingston, Jamaicafor the album Goats Head Soup ; it was released in and reached No. Another legal battle over drugs, dating back to their stay in France, interrupted the making of Goats Head Soup. Authorities had issued a warrant for Richards' arrest and the other band members had to return briefly to France for questioning.

A European tour followed in September and Octoberwhich bypassed France, coming after Richards' arrest in England on drug charges. Near the end ofTaylor began to lose patience after years of feeling like a "junior citizen in the band of jaded veterans". In addition, drug use was starting to affect Taylor's and Richards' productivity, and Taylor felt some of his own creative contributions were going unrecognised.

I wasn't really composing songs or writing at that time. I was just beginning to write, and that influenced my decision There are some people who can just ride along from crest to crest; they can ride along somebody else's success. And there are some people for whom that's not enough. It really wasn't enough for me.

The Stones needed a new guitarist, and the recording sessions for the next album, Black and Blue No. Johnson and Shuggie Otis. Both Beck and Irish blues rock guitarist Rory Gallagher later claimed they had played without realising they were being auditioned.

American session players Wayne Perkins and Harvey Mandel also tried out, Someone Someone - Various - Sixties Mix 3 (Vinyl Richards and Jagger preferred for the band to remain purely British.

When Ronnie Wood auditioned, everyone agreed he was the right choice. He had declined Jagger's earlier offer to join the Stones, because of his commitment to the Facessaying "that's what's really important to me". Wood officially joined the Rolling Stones in for their upcoming Tour of the Americas, which was a contributing factor in the disbandment of the Faces.

Unlike the other band members, however, Wood was a salaried employee, which remained the case until the early s, when he finally joined the Stones' business partnership. The Tour of the Americas kicked off in New York City with the band performing on a flatbed trailer being pulled down Broadway.

The tour featured stage props including a giant phallus and a rope on which Jagger swung out over the audience. In August the Stones played Knebworth in England in front of ,—their largest audience to date, and finished their set at 7am.

Richards' addiction to heroin delayed his arrival in Toronto; the other members had already arrived. On 24 Februarywhen Richards and his family flew in from London, they were temporarily detained by Canada Customs after Richards was found in possession of a burnt spoon and hash residue. Three days later, the Royal Canadian Mounted Policearmed with an arrest warrant for Anita Pallenberg, discovered 22 grams 0.

The Crown prosecutor later conceded that Richards had procured the drugs after his arrival. The band's shows were not advertised to the public. Instead, the El Mocambo had been booked for the entire week by April Wine for a recording session.

Contest winners who selected tickets for Friday or Saturday night were surprised to find the Rolling Stones playing. On 4 March, Richards' partner Anita Pallenberg pleaded guilty to drug possession and incurred a fine in connection with the original airport incident. Ultimately, he received a suspended sentence and was ordered to play two free concerts for the CNIB in Oshawa ; [] both shows featured the Rolling Stones and the New Barbariansa group that Wood had put together to promote his latest solo album, which Richards also joined.

This episode strengthened Richards' resolve to stop using heroin. Pallenberg was unable to curb her heroin addiction as Richards struggled to get clean. His marriage to Bianca Jagger ended inalthough they had long been estranged. Although the Rolling Stones remained popular through the early s, music critics had begun to grow dismissive of the band's output, and record sales failed to meet expectations.

The group's fortunes changed inafter the band released Some Girlswhich included the hit single " Miss You ", the country ballad " Far Away Eyes ", " Beast of Burden " and " Shattered ". In part as a response to punk, many songs, particularly " Respectable ", were fast, basic, guitar-driven rock and roll, [] and the album's success re-established the Rolling Stones' immense popularity among young people.

LP) the success of Some Girlsthe band released their next album, Emotional Rescuein mid Richards wanted to tour in the summer or autumn of to promote the new album. Much to his disappointment, Jagger declined. In earlythe group reconvened and decided to tour the US that year, leaving little time to write and record a new album, as well as rehearse for the tour. That year's resulting album, Tattoo Youfeatured a number of outtakes, including lead single " Start Me Up ", which reached No.

The Rolling Stones reached No. Their American Tour was their biggest, longest and most colourful production to date. It was the highest-grossing tour of that year. In mid, to commemorate their 20th anniversary, the Rolling Stones took their American stage show to Europe.

The European Tour was their first in six years and used a similar format to the American tour. The band were joined by former Allman Brothers Band keyboardist Chuck Leavellwho continues to perform and record with them. Before leaving Atlantic, the Rolling Stones released Undercover in late To Richards' annoyance, Jagger signed a solo deal with CBS Records and spent much of writing songs for his first album.

He also declared his growing lack of interest in the Rolling Stones. Much of the material on 's Dirty Work was generated by Richards, with more contributions from Wood than on previous Rolling Stones albums. It was recorded in Paris, and Jagger was often absent from the studio, leaving Richards to keep the recording sessions moving forward. Two days later they were presented with a Grammy Lifetime Achievement Award. Dirty Work was released in March to mixed reviews, reaching No.

Recordings from the tour include the concert album Flashpointwhich reached No. After years of deliberation he decided to leave the band, although his departure was not made official until January A few years later he formed Bill Wyman's Rhythm Kings and began recording and touring again.

Watts released two jazz albums; Wood recorded his fifth solo album, the first in 11 years, called Slide On This ; Wyman released his fourth solo album; Richards released his second solo album in lateMain Offenderand did a small tour including big concerts in Spain and Argentina.

They issued another hits compilation in entitled Jump Backwhich reached No. Jones continues to perform with the band as their touring and session bassist. The album met with strong reviews and sales, going double platinum in the US. Reviewers took note and credited the album's "traditionalist" sounds to the Rolling Stones' new producer Don Was.

The Rolling Stones were the first major recording artists to broadcast a concert over the Internet; a minute video was broadcast on 18 November using the Mbone at 10 frames per second. The broadcast, engineered by Thinking Pictures and financed by Sun Microsystemswas one of the first demonstrations of streaming video ; while it was not a true webcastit introduced many to the technology. The Rolling Stones ended the s with the album Bridges to Babylonreleased in to mixed reviews.

The subsequent Bridges to Babylon Tourwhich crossed Europe, North America and other destinations, proved the band remained a strong live attraction.

Once again, a live album was culled from the tour, No Securityonly this time all but two songs " Live With Me " and "The Last Time" were previously unreleased on live albums. The album reached No. In lateMick Jagger released his fourth solo album, Goddess in the Doorway. It met with mixed reviews, [] reaching No. The collection contained four new songs recorded with the core band of Jagger, Richards, Watts, Wood, Leavell and Jones.

The album has sold more than Someone Someone - Various - Sixties Mix 3 (Vinyl million copies worldwide. It included shows in small theatres. An estimatedpeople attended the concert. The same month, the band licensed the exclusive rights to sell the new four-DVD boxed set, Four Flicksrecorded on their recent world tour, to the US Best Buy chain of stores.

The band's first new album in almost eight years, A Bigger Bangwas released on 6 September to strong reviews, including a glowing write-up in Rolling Stone magazine. On 18 February the band played a free concert to over one million people at the Copacabana beach in Rio de Janeiro—one of the largest rock concerts of all time.

During the break Keith Richards was hospitalised in New Zealand for cranial surgery after a fall from a tree on Fijiwhere he had been on holiday. The incident led to a six-week delay in launching the European leg of the tour. Mick Jagger's throat problems forced the cancellation of two of the 21 shows scheduled for July—September By Novemberthe Bigger Bang tour had been declared the highest-grossing tour of all time. The Rolling Stones in Concert in At the Beacon Theatre show, music executive Ahmet Ertegun fell and later died from his injuries.

The band toured Europe throughout June—August On 10 Junethe band performed their first gig at a festival in 30 years, at the Isle of Wight Festivalto a crowd of 65, and were joined onstage by Amy Winehouse.

New music released by the band while under this contract was to be issued through Universal's Polydor label. During the autumn, Jagger and Richards worked with producer Don Was to add new vocals and guitar parts to ten unfinished songs from the Exile on Main St.

Jagger and Mick Taylor also recorded a session together in London where Taylor added lead guitar to what would be the expanded album's single, " Plundered My Soul ". The track, part of the group's re-issue of Exile on Main St. He became known as the lead guitarist, singer and songwriter of the rock band Dire Straits. All files are hosted on a premium Google Drive account, so the links should be good forever.

Club Killers [MAR] 3. New Music Releases. Oh Well Classic Rock Bands of Nova Scotia, Canada This site is dedicated to those rock groups that have played our schools, universities, arenas, community halls, legions, clubs and bars, and were a large part of our lives as we were growing up in the s, 60s, 70s, 80s and 90s. Not a very long song either, but with a lot of resemblance to "Something for nothing". Archived Programs Bootlegs. As it turns out, the answer to that question has been shaped by careful data collection and even a few algorithms.

Jim Kroll. July 13, Revelations Sleep, Awake, Obey! See all tags. Sadly, today I am announcing we are no longer in business. In the times since, it has grown to include monthly bootleg downloads, a forum, and an information site about trading.

The album features songs from different concerts, most of them were recorded between andby the time the band was heavily in drugs but they were still able to deliver kick ass performances every night.

The rock and blues musicians in this rock concert photos gallery portray my favorite artists doing what they enjoy most - performing on stage for knowledgeable music fans like you and I.

Under My Thumb 3. Black Sabbath - Soundboard Bootlegs. Hailing from Jacksonville, FL! Moonshiner Thanks for watching! Have a nice day! Email me if interested.

Fast Forward - Reggie Workman - Cerebral Caverns (CD, Album), Brandy (2) Featuring Jah Rule* & Eve (2) - What About Us? (Vinyl), Funk K Tone - Once In Time (Vinyl), The Tribe (Original Mix) - Various - Big Room Miami (File, MP3), Aerosmith - Kings And Queens (Vinyl), Paul Is Dead - Retro Stefson - Montaña (CD, Album), Naftile, Shpil Es Nokh Amol - Various - Yiddish, Hebrew & Klezmer - Anthology Of Jewish Music (C, Gettaway - Missy "Misdemeanor" Elliott* - Supa Dupa Fly (Cassette), Russian Roulette - Bazooka (6) / 4 Skips vs. Floorbreaker (2) - Russian Roulette / Spike (Vinyl), I Cant See Me Without You, Bonus Track 3 - Teej (5) - Salad Gang (CD, Album), Tema Solado, The Elves And The Shoemaker - The Story Princess - Six Fairy Tales (Vinyl, LP), Too Much, Too Little, Too Late - Jellyfish (2) - Spilt Milk (CD, Album)