Song of 2day
Song of 2day

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The Folk Implosion was an American indie rock/lo-fi band founded in the early 1990s by Lou Barlow and John Davis. It was initially a side-project started by Barlow to explore different territory than that being canvassed with his primary band at the time, Sebadoh. The name is a play on the Jon Spencer Blues Explosion.The band's status was relatively obscure prior to the Larry Clark film Kids, and its soundtrack, most of which contained original compositions by Barlow and Davis. One of the songs from the soundtrack, "Natural One", became a hit single. It peaked at No. 29 on the Billboard Hot 100, No. 4 on the Billboard Modern Rock Charts and No. 20 on the Mainstream Rock Charts.[1] The track peaked at No. 45 in the UK Singles Chart.[2] Though the band attempted to duplicate the success of that song, their subsequent albums and singles were nowhere near as successful as "Natural One". In 1995, the band contributed the song "Indierockinstrumental" to the AIDS benefit album, Red Hot + Bothered, produced by the Red Hot Organization.

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Γεννημένος στην Καστοριά το ’51, ο Παπαντίνας θα μεγαλώσει στη Νέα Υόρκη, όπου βρέθηκε με την οικογένειά του, για να επιστρέψει στην Ελλάδα και τη Θεσσαλονίκη το 1967, φέρνοντας από την Αμέρικα τον λεγόμενο «ροκ τρόπο ζωής» και κυρίως ένα δικό του κιθαριστικό παίξιμο, που τον έκανε αμέσως φίρμα.Το πρώτο γκρουπ που έπαιξε ήταν, μάλλον, οι Fratelli (Νοέμβριος 1968).Στους Fratelli έπαιζαν τότε ο Θόδωρος Παπαντίνας κιθάρα, ο Γιάννης Καντζός κιθάρα, ο Στέλιος Φωτιάδης μπάσο, ο Γιώργος Πεντζίκης όργανο, ο Λεωνίδας Σταματιάδης τύμπανα, ενώ ο Μίμης Αντωνόπουλος τραγουδούσε. Ένα φεγγάρι τραγούδησε και ο Νίκος Παπάζογλου...». Κι ενώ οι Fratelli γάζωναν, απ’ ό,τι φαίνεται, στο πάλκο, λίγα χρόνια αργότερα ένα άλλο συγκρότημα της πόλης, οι Μακεδονομάχοι, προχωρούσαν στο δικό τους... απελευθερωτικόν αγώνα.Από τους Fratelli, που διέλυσαν το καλοκαίρι του 1969, έγιναν τον Οκτώβριο του 1971 οι Μακεδονομάχοι, στους οποίους έπαιζαν ο Θόδωρος Παπαντίνας, ο Γιάννης Καντζός, ο Λεωνίδας Σταματιάδης, ο Μάκης Γιαπράκας μπάσο, ενώ τραγουδούσε μαζί τους για περίοδο τεσσάρων μηνών ο Νίκος Παπάζογλου.Κι ενώ για κάποιο διάστημα λίγοι έχουν νέα του, στα τέλη των seventies ο Θόδωρος Παπαντίνας σκάει μύτη με την Εταιρεία Καλλιτεχνών, ένα συγκρότημα το οποίο απάρτιζαν ο ίδιος στην κιθάρα, ο Παύλος Σιδηρόπουλος τραγούδι, ο Στίλπων Νέστωρ κιθάρα, ο Τόλης Μαστρόκαλος μπάσο και ο Γιώτης Μπάγκαλας ντραμς. Για όσο καιρό βρέθηκαν μαζί εμφανίστηκαν σε διάφορα κλαμπ της εποχής και... τέσσερα απ’ αυτά τα live songs (Skylab, 10/1979) ανθολογούνται στο άλμπουμ του Polytropon, για πρώτη φορά.Η punk εκδοχή τους στο “You really got me” είναι... Clash-ης, ασχέτως της πενιχρής ηχογράφησης, ενώ ως «έκπληξη» θα μπορούσε να χαρακτηριστεί το “As I went out one morning” του Bob Dylan.Με τους Bicycle,το επόμενο σχήμα, o Παπαντίνας θα βγάλει το άχτι του. Δεν έχει απλώς ένα γκρουπ, στο οποίο φαίνεται να κάνει κουμάντο, αλλά και τη δυνατότητα να γράψει για πρώτη φορά, στο στούντιο του Παπάζογλου, ένα δικό του άλμπουμ (καλοκαίρι ’81), υπό την έννοια ότι όλο το υλικό ήταν δικό του. Παπαντίνας, Νέστωρ κιθάρες, Ρούλης Πυρίλης τύμπανα, Βασίλης Παπαβασιλείου μπάσο και ακόμη οι Γιώργος Πεντζίκης πιάνο και Βαγγέλης Κουτσοτόλης σαξόφωνα πήραν μέρος στην ηχογράφηση, δίνοντας τον εαυτό τους. Τι να το κάνεις όμως. Το υλικό δεν έλεγε πολλά πράγματα – ένα-δυο κομμάτια ξεχώριζαν, όπως π.χ. το “Tomorrow morning” που θύμιζε Dire Straits – με αποτέλεσμα και το άλμπουμ, αλλά κυρίως ο Παπαντίνας να χαθούν από προσώπου γης. (Στο CD του Polytropon μεταφέρονται δύο κομμάτια από το LP). Ο ατίθασος, ανυπότακτος – έξω από οιαδήποτε λογική σχεδίου, πλάνου και συμμόρφωσης με κάποιου είδους τάξη – χαρακτήρας τού Παπαντίνα, «εμποδίζει» τον πράγματι άξιο κιθαρίστα να γράψει το «βιβλίο» που του άξιζε. Δεκαπέντε χρόνια μετά τους Bicycle, το χειμώνα του ’96, μπαίνει στο Magnanimus της Θεσσαλονίκης μαζί με τους Γιώργο Κωστόπουλο μπάσο και Χρήστο Κουτσούρη ντραμς, τους T 4 Trouble δηλαδή, για την παραγωγή ενός άλμπουμ, το οποίο ποτέ δεν εκδόθηκε (στο CD ακούγονται 7 κομμάτια). Το “Funky India” με τα αειθαλή riffs είναι χάρμα – κι αυτή η διαλυμμένη φωνή τού Παπαντίνα είναι εκείνο που του πάει. Για τις ανάγκες της ταινίας πια, τον Ιούλιο του ’07, ο Θόδωρος Παπαντίνας θα προσφέρει ένα από τα τελευταία του κομμάτια, που τυγχάνει να είναι ό,τι σημαντικότερον έχει ποτέ συνθέσει. Το “Mexican blanket” είναι θαυμάσιο τραγούδι. Θα το ερμήνευε, τρέχοντας, ακόμη και ο Johnny Cash...ο Θεόδωρος Παπαντίνας εφυγε από την ζωή στις 19/6/2016 σε ηλικία 64 χρονών.

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Γεννημένος στην Καστοριά το ’51, ο Παπαντίνας θα μεγαλώσει στη Νέα Υόρκη, όπου βρέθηκε με την οικογένειά του, για να επιστρέψει στην Ελλάδα και τη Θεσσαλονίκη το 1967, φέρνοντας από την Αμέρικα τον λεγόμενο «ροκ τρόπο ζωής» και κυρίως ένα δικό του κιθαριστικό παίξιμο, που τον έκανε αμέσως φίρμα.Το πρώτο γκρουπ που έπαιξε ήταν, μάλλον, οι Fratelli (Νοέμβριος 1968).Στους Fratelli έπαιζαν τότε ο Θόδωρος Παπαντίνας κιθάρα, ο Γιάννης Καντζός κιθάρα, ο Στέλιος Φωτιάδης μπάσο, ο Γιώργος Πεντζίκης όργανο, ο Λεωνίδας Σταματιάδης τύμπανα, ενώ ο Μίμης Αντωνόπουλος τραγουδούσε. Ένα φεγγάρι τραγούδησε και ο Νίκος Παπάζογλου...». Κι ενώ οι Fratelli γάζωναν, απ’ ό,τι φαίνεται, στο πάλκο, λίγα χρόνια αργότερα ένα άλλο συγκρότημα της πόλης, οι Μακεδονομάχοι, προχωρούσαν στο δικό τους... απελευθερωτικόν αγώνα.Από τους Fratelli, που διέλυσαν το καλοκαίρι του 1969, έγιναν τον Οκτώβριο του 1971 οι Μακεδονομάχοι, στους οποίους έπαιζαν ο Θόδωρος Παπαντίνας, ο Γιάννης Καντζός, ο Λεωνίδας Σταματιάδης, ο Μάκης Γιαπράκας μπάσο, ενώ τραγουδούσε μαζί τους για περίοδο τεσσάρων μηνών ο Νίκος Παπάζογλου.Κι ενώ για κάποιο διάστημα λίγοι έχουν νέα του, στα τέλη των seventies ο Θόδωρος Παπαντίνας σκάει μύτη με την Εταιρεία Καλλιτεχνών, ένα συγκρότημα το οποίο απάρτιζαν ο ίδιος στην κιθάρα, ο Παύλος Σιδηρόπουλος τραγούδι, ο Στίλπων Νέστωρ κιθάρα, ο Τόλης Μαστρόκαλος μπάσο και ο Γιώτης Μπάγκαλας ντραμς. Για όσο καιρό βρέθηκαν μαζί εμφανίστηκαν σε διάφορα κλαμπ της εποχής και... τέσσερα απ’ αυτά τα live songs (Skylab, 10/1979) ανθολογούνται στο άλμπουμ του Polytropon, για πρώτη φορά.Η punk εκδοχή τους στο “You really got me” είναι... Clash-ης, ασχέτως της πενιχρής ηχογράφησης, ενώ ως «έκπληξη» θα μπορούσε να χαρακτηριστεί το “As I went out one morning” του Bob Dylan.Με τους Bicycle,το επόμενο σχήμα, o Παπαντίνας θα βγάλει το άχτι του. Δεν έχει απλώς ένα γκρουπ, στο οποίο φαίνεται να κάνει κουμάντο, αλλά και τη δυνατότητα να γράψει για πρώτη φορά, στο στούντιο του Παπάζογλου, ένα δικό του άλμπουμ (καλοκαίρι ’81), υπό την έννοια ότι όλο το υλικό ήταν δικό του. Παπαντίνας, Νέστωρ κιθάρες, Ρούλης Πυρίλης τύμπανα, Βασίλης Παπαβασιλείου μπάσο και ακόμη οι Γιώργος Πεντζίκης πιάνο και Βαγγέλης Κουτσοτόλης σαξόφωνα πήραν μέρος στην ηχογράφηση, δίνοντας τον εαυτό τους. Τι να το κάνεις όμως. Το υλικό δεν έλεγε πολλά πράγματα – ένα-δυο κομμάτια ξεχώριζαν, όπως π.χ. το “Tomorrow morning” που θύμιζε Dire Straits – με αποτέλεσμα και το άλμπουμ, αλλά κυρίως ο Παπαντίνας να χαθούν από προσώπου γης. (Στο CD του Polytropon μεταφέρονται δύο κομμάτια από το LP). Ο ατίθασος, ανυπότακτος – έξω από οιαδήποτε λογική σχεδίου, πλάνου και συμμόρφωσης με κάποιου είδους τάξη – χαρακτήρας τού Παπαντίνα, «εμποδίζει» τον πράγματι άξιο κιθαρίστα να γράψει το «βιβλίο» που του άξιζε. Δεκαπέντε χρόνια μετά τους Bicycle, το χειμώνα του ’96, μπαίνει στο Magnanimus της Θεσσαλονίκης μαζί με τους Γιώργο Κωστόπουλο μπάσο και Χρήστο Κουτσούρη ντραμς, τους T 4 Trouble δηλαδή, για την παραγωγή ενός άλμπουμ, το οποίο ποτέ δεν εκδόθηκε (στο CD ακούγονται 7 κομμάτια). Το “Funky India” με τα αειθαλή riffs είναι χάρμα – κι αυτή η διαλυμμένη φωνή τού Παπαντίνα είναι εκείνο που του πάει. Για τις ανάγκες της ταινίας πια, τον Ιούλιο του ’07, ο Θόδωρος Παπαντίνας θα προσφέρει ένα από τα τελευταία του κομμάτια, που τυγχάνει να είναι ό,τι σημαντικότερον έχει ποτέ συνθέσει. Το “Mexican blanket” είναι θαυμάσιο τραγούδι. Θα το ερμήνευε, τρέχοντας, ακόμη και ο Johnny Cash...ο Θεόδωρος Παπαντίνας εφυγε από την ζωή στις 19/6/2016 σε ηλικία 64 χρονών.

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Nicholas Edward "Nick" Cave (born 22 September 1957) is an Australian musician, songwriter, author, screenwriter, composer and occasional film actor. He is best known as the frontman of Nick Cave and the Bad Seeds, established in 1983, a group known for its diverse output and ever-evolving line-up. Prior to this, he fronted the Birthday Party, one of the most extreme and confrontational post-punk bands of the early 1980s.[1] In 2006, he formed the garage rock band Grinderman, releasing its debut album the following year. Referred to as rock music's "Prince of Darkness", Cave's music is generally characterised by emotional intensity, a wide variety of influences, and lyrical obsessions with death, religion, love and violence.[3] NME described him as "the grand lord of gothic lushness".[4] Cave has also worked as a composer for films, often in collaboration with fellow Australian musician Warren Ellis. Their films together include The Proposition (2005, based on a screenplay by Cave), The Assassination of Jesse James by the Coward Robert Ford (2007), The Road (2009) and Lawless (2012). Cave is the subject and co-writer of the semi-fictional "day in the life" documentary 20,000 Days on Earth (2014). Upon Cave's induction into the ARIA Hall of Fame, ARIA Awards committee chairman Ed St John said: "Nick Cave has enjoyed—and continues to enjoy—one of the most extraordinary careers in the annals of popular music. He is an Australian artist like Sidney Nolan is an Australian artist—beyond comparison, beyond genre, beyond dispute." "In the Ghetto" (originally titled "The Vicious Circle") is a song written by Mac Davis and made famous by Elvis Presley, who had a major comeback hit with it in 1969. It was released in 1969 as a 45 rpm single with "Any Day Now" as the flip side."In the Ghetto" was recorded during Presley's session in the American Sound Studio in Memphis, Tennessee. It was Presley's first creative recording session since the '68 Comeback. Other hits recorded at this session were "Suspicious Minds", "Kentucky Rain", and "Don't Cry Daddy". The song was Presley's first Top 10 hit in the US in four years, peaking at number 3, and his first UK Top 10 hit in three years, peaking at No. 2. It hit No. 1 on Cashbox. It was a number-one hit in West Germany, Ireland, Norway, Australia and New Zealand. As a major international hit, Presley included it in his setlist during his return to live performances at the International Hotel in Las Vegas in 1969. It was a staple of his shows in the first two seasons, however in his third (August/September 1970), he included it only once [1], at the dinner show on 13 August, for the benefit of the MGM cameras who were filming Elvis: That's the Way It Is (1970). This version started without pause at the end of another hit from 1969 – "Don't Cry Daddy".

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Nicholas Edward "Nick" Cave (born 22 September 1957) is an Australian musician, songwriter, author, screenwriter, composer and occasional film actor. He is best known as the frontman of Nick Cave and the Bad Seeds, established in 1983, a group known for its diverse output and ever-evolving line-up. Prior to this, he fronted the Birthday Party, one of the most extreme and confrontational post-punk bands of the early 1980s.[1] In 2006, he formed the garage rock band Grinderman, releasing its debut album the following year. Referred to as rock music's "Prince of Darkness", Cave's music is generally characterised by emotional intensity, a wide variety of influences, and lyrical obsessions with death, religion, love and violence.[3] NME described him as "the grand lord of gothic lushness".[4] Cave has also worked as a composer for films, often in collaboration with fellow Australian musician Warren Ellis. Their films together include The Proposition (2005, based on a screenplay by Cave), The Assassination of Jesse James by the Coward Robert Ford (2007), The Road (2009) and Lawless (2012). Cave is the subject and co-writer of the semi-fictional "day in the life" documentary 20,000 Days on Earth (2014). Upon Cave's induction into the ARIA Hall of Fame, ARIA Awards committee chairman Ed St John said: "Nick Cave has enjoyed—and continues to enjoy—one of the most extraordinary careers in the annals of popular music. He is an Australian artist like Sidney Nolan is an Australian artist—beyond comparison, beyond genre, beyond dispute." "In the Ghetto" (originally titled "The Vicious Circle") is a song written by Mac Davis and made famous by Elvis Presley, who had a major comeback hit with it in 1969. It was released in 1969 as a 45 rpm single with "Any Day Now" as the flip side."In the Ghetto" was recorded during Presley's session in the American Sound Studio in Memphis, Tennessee. It was Presley's first creative recording session since the '68 Comeback. Other hits recorded at this session were "Suspicious Minds", "Kentucky Rain", and "Don't Cry Daddy". The song was Presley's first Top 10 hit in the US in four years, peaking at number 3, and his first UK Top 10 hit in three years, peaking at No. 2. It hit No. 1 on Cashbox. It was a number-one hit in West Germany, Ireland, Norway, Australia and New Zealand. As a major international hit, Presley included it in his setlist during his return to live performances at the International Hotel in Las Vegas in 1969. It was a staple of his shows in the first two seasons, however in his third (August/September 1970), he included it only once [1], at the dinner show on 13 August, for the benefit of the MGM cameras who were filming Elvis: That's the Way It Is (1970). This version started without pause at the end of another hit from 1969 – "Don't Cry Daddy".

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The Cars are an American rock band that emerged from the new wave scene in the late 1970s. The band originated in Boston, Massachusetts in 1976, with singer, rhythm guitarist and songwriter Ric Ocasek, singer and bassist Benjamin Orr, lead guitarist Elliot Easton, keyboardist Greg Hawkes and drummer David Robinson. The Cars were at the forefront in merging 1970s guitar-oriented rock with the new synthesizer-oriented pop that was then becoming popular and which would flourish in the early 1980s. Robert Palmer, music critic for The New York Times and Rolling Stone, described the Cars' musical style by saying: "they have taken some important but disparate contemporary trends—punk minimalism, the labyrinthine synthesizer and guitar textures of art rock, the '50s rockabilly revival and the melodious terseness of power pop—and mixed them into a personal and appealing blend."[1] The Cars were named "Best New Artist" in the 1978 Rolling Stone Readers' Poll and won "Video of the Year" for "You Might Think" at the first MTV Video Music Awards in 1984. Their debut album, The Cars, sold six million copies and appeared on the Billboard 200 album chart for 139 weeks. As of 2001, the Cars have sold over 23 million albums in the United States. The band broke up in 1988, and Ocasek had always discouraged talk of a reunion since then.[2] Orr died in 2000 from pancreatic cancer. In 2005, Easton and Hawkes joined with Todd Rundgren to form a spin-off band, the New Cars, which performed classic Cars and Rundgren songs alongside new material. The original surviving members reunited in 2010 to record a new album, Move Like This, which was released in May 2011, followed by a short tour.[3] In 2015, they were nominated for induction into the Rock and Roll Hall of Fame. "Just What I Needed" is a song by American rock band The Cars, released as their debut single from their self-titled debut album, released in 1978 on Elektra Records. After achieving exposure as a demo, the song became a successful single for The Cars, hitting the top 30 in America.[1] Appearing on numerous compilation albums, it has become one of the band's most popular songs. "Just What I Needed" was released as a single in 1978 prior to the release of The Cars, backed with "I'm in Touch with Your World". The song peaked at number 27 in the US and number 17 in the UK. It also reached #38 in New Zealand.[3] The single was the Cars' most successful of the songs on The Cars in America, with follow-up singles "My Best Friend's Girl" and "Good Times Roll" resulting in slightly worse chart positions. "Just What I Needed" appeared on multiple compilation albums, among them being Greatest Hits, Just What I Needed: The Cars Anthology, Shake It Up & Other Hits, Complete Greatest Hits, The Essentials, and Classic Tracks. It also appeared on the soundtracks for the films Over the Edge and 200 Cigarettes.

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Generation X (also known as Gen X) were an English punk rock band, formed on 21 November 1976 by Billy Idol, Tony James and John Towe.Generation X were one of the first punk bands to appear on the BBC Television music programme Top of the Pops.[7] Unlike other punk bands, Generation X ignored some of the 'rules' and 'ideals' adopted by UK punk rock bands, taking inspiration from British pop of the 1960s.[8] In 1977, they covered John Lennon's "Gimme Some Truth", and in 1979 they teamed up with Ian Hunter who produced their second album, Valley of the Dolls.[7] There were differences in the group's musical direction that they struggled to resolve.[7] They wanted to remain true to their punk roots while pursuing a heavier rock sound.[7] Internal disagreements came to a head in late 1979 during the recording of what was to have been the third Generation X album. This was released decades later as part of the Anthology boxed set under the title Sweet Revenge.In 1980, Andrews and Laff left the band (subsequently forming the post-punk band, Empire), to be replaced in Generation X by the Clash and Cowboys International's former drummer Terry Chimes, and former Chelsea guitarist James Stevenson.[6] Generation X made a last stand, re-recording some of the Sweet Revenge material, as well as several new songs. With this final release, Kiss Me Deadly (1981), the band abbreviated its name to Gen X.[6] Kiss Me Deadly included a version of "Dancing with Myself", first recorded as part of Sweet Revenge with Andrews and Laff, and which Idol would later include on his first EP as a solo artist to kick-start his own career with a hit. Idol went on to pursue a solo career in New York, where he became a substantial pop star.[9] James later formed Sigue Sigue Sputnik[7] and performed with bands including the Sisters of Mercy and, much later on, Carbon/Silicon. Stevenson later joined Gene Loves Jezebel, the Cult and, more latterly, the Alarm and the International Swingers.[6] Chimes rejoined the Clash.[6] On 20 September 1993, during Billy Idol's No Religion Tour, Generation X had a one-time reunion performance at the Astoria Theatre in London.

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Queen are a British rock band that formed in London in 1970. The classic line-up was Freddie Mercury (lead vocals, piano), Brian May (guitar, vocals), Roger Taylor (drums, vocals), and John Deacon (bass guitar). Queen's earliest works were influenced by progressive rock, hard rock and heavy metal, but the band gradually ventured into more conventional and radio-friendly works by incorporating further styles, such as arena rock and pop rock, into their music. Before forming Queen, Brian May and Roger Taylor had played together in a band named Smile. Freddie Mercury (then known by his birth name of Farrokh "Freddie" Bulsara) was a fan of Smile and encouraged them to experiment with more elaborate stage and recording techniques. Mercury joined the band in 1970, suggested "Queen" as a new band name, and adopted his familiar stage name. John Deacon was recruited prior to recording their eponymous debut album in 1973. Queen first charted in the UK with their second album, Queen II, in 1974, but it was the release of Sheer Heart Attack later that year and A Night at the Opera in 1975 which brought them international success. The latter featured "Bohemian Rhapsody", which stayed at number one in the UK for nine weeks and popularised the music video. Their 1977 album, News of the World, contained "We Will Rock You" and "We Are the Champions", which have become anthems at sporting events. By the early 1980s, Queen were one of the biggest stadium rock bands in the world. Their performance at 1985's Live Aid is ranked among the greatest in rock history by various music publications, with a 2005 industry poll ranking it the best. In 1991, Mercury died of bronchopneumonia, a complication of AIDS, and Deacon retired in 1997. Since then, May and Taylor have occasionally performed together, including with Paul Rodgers (2004–09) and with Adam Lambert (since 2011). In November 2014, Queen released a new album, Queen Forever, featuring vocals from the late Mercury. The band have released a total of 18 number one albums, 18 number one singles, and 10 number one DVDs. Estimates of their record sales generally range from 150 million to 300 million records, making them one of the world's best-selling music artists. Queen received the Outstanding Contribution to British Music Award from the British Phonographic Industry in 1990. They were inducted into the Rock and Roll Hall of Fame in 2001. "Crazy Little Thing Called Love" is a song by the rock band Queen. Written by Freddie Mercury in 1979, the track is featured on their 1980 album The Game, and also appears on the band's compilation album, Greatest Hits. The song peaked at number two in the UK Singles Chart in 1979, and became the group's first number-one single on the Billboard Hot 100 in the U.S. in 1980,[4] remaining there for four consecutive weeks; it would be the start of Queen's popularity in America.[5][6] It topped the Australian ARIA Charts for seven weeks.[7] Having composed "Crazy Little Thing Called Love" on guitar, Mercury played rhythm guitar while performing the song live, which was the first time he played guitar in concert with Queen.[8] Queen played the song live between 1979 and 1986, and a live performance of the song is recorded in the albums Queen Rock Montreal and Queen at Wembley.[9][10] Since its release, the song has been covered by a number of artists. The song was played live on 20 April 1992 during The Freddie Mercury Tribute Concert, performed by Robert Plant with Queen.[11] The style of the song was described by author Karl Coryat as rockabilly in his 1999 book titled The Bass Player Book. The song was written by Mercury as a tribute to Elvis Presley.

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Layne Thomas Staley (August 22, 1967 – April 5, 2002)[6][7][8] was an American musician who served as the lead singer and co-songwriter of the rock band Alice in Chains, which he founded with guitarist Jerry Cantrell in Seattle, Washington in 1987. Alice in Chains rose to international fame as part of the grunge movement of the early 1990s. The band became known for Staley's distinct vocal style, as well as the harmonized vocals between him and Cantrell.[9] Staley was also a member of the supergroups Mad Season and Class of '99. By mid-1996, Staley was out of the public spotlight, never to perform live again. Staley also struggled throughout his adult life with depression and a severe drug addiction, culminating with his death on April 5, 2002."Would?" is a song by Alice in Chains that was produced, engineered, and mixed by Rick Parashar. The song first appeared on the soundtrack to the 1992 movie Singles—in which the members of Alice in Chains make a cameo appearance—and later appeared on the band's album Dirt, also released in 1992. The song was included on the compilation albums Nothing Safe: Best of the Box (1999), Music Bank (1999), Greatest Hits (2001), and The Essential Alice in Chains (2006).The song, written by guitarist/co-vocalist Jerry Cantrell, concerns the late lead singer of Mother Love Bone, Andrew Wood, who died of a heroin overdose in 1990. In the liner notes of 1999's Music Bank box set collection, Jerry Cantrell said of the song: I was thinking a lot about Andrew Wood at the time. We always had a great time when we did hang out, much like Chris Cornell and I do. There was never really a serious moment or conversation, it was all fun. Andy was a hilarious guy, full of life and it was really sad to lose him. But I always hate people who judge the decisions others make. So it was also directed towards people who pass judgments.

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"Lithium" is a song by American rock band Nirvana. Written by frontman Kurt Cobain, the song is about a man who turns to religion amid thoughts of suicide. Nirvana first recorded "Lithium" in 1990 but then re-recorded the song the following year for the group's second album Nevermind (1991). Released as the third single from Nevermind in July 1992, "Lithium" peaked at number 64 on the US Billboard Hot 100 and number 11 on the UK Singles Chart. The accompanying music video, directed by Kevin Kerslake, is a montage of concert footage. "Lithium" is representative of the musical style Nirvana had developed during work on Nevermind, alternating between quiet and loud sections.[9] In the song, Cobain fingers chord shapes on his guitar but varies between playing single notes and double stops on the instrument, giving the track a loose feel.[10] Nirvana biographer Michael Azerrad described the song's title as a reference to Karl Marx's statement that religion is the "opiate of the masses."[11] Cobain said the song is about a man who, after the death of his girlfriend, turns to religion "as a last resort to keep himself alive. To keep him from suicide."[12] While Cobain said the narrative of "Lithium" was fictional, he said, "I did infuse some of my personal experiences, like breaking up with girlfriends and having bad relationships."[13] Cobain acknowledged that the song was possibly inspired in part by the time he spent living with his friend Jesse Reed and his born-again Christian parents. He explained to Azerrad, "I've always felt that some people should have religion in their lives [. . .] That's fine. If it's going to save someone, it's okay. And the person in ['Lithium'] needed it."

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A relatively unknown German post-punk band, Cyan Revue had three releases between 1984 and 1987. THE GIFT (1984) FOUR WOUNDS (1986) ARM (1987) Singer Tobias Grubens died in 1996.

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The Carpenters[1] were an American vocal and instrumental duo consisting of siblings Karen and Richard Carpenter. Producing a distinctively soft musical style, they became among the best-selling music artists of all time. During their 14-year career, the Carpenters recorded 11 albums, 31 singles, five television specials, and a short-lived television series. Their career ended in 1983 by Karen's death from heart failure brought on by complications of anorexia. Extensive news coverage surrounding the circumstances of her death increased public awareness of eating disorders.[2][3] The duo's brand of melodic pop produced a record-breaking run of hit recordings on the American Top 40 and Adult Contemporary charts, and they became leading sellers in the soft rock, easy listening and adult contemporary genres. The Carpenters had three No. 1 singles and five No. 2 singles on the Billboard Hot 100 and fifteen No. 1 hits on the Adult Contemporary chart. In addition, they had twelve top 10 singles. To date, the Carpenters' album and single sales total more than 100 million units. Richard Carpenter was the creative force behind the Carpenter sound.[5] An accomplished keyboard player, composer and arranger, music critic Daniel Levitin called Richard Carpenter "one of the most gifted arrangers to emerge in popular music."[6] In a period when contemporary music was dominated by heavy rock, their smooth harmonies were not in step with the trends of the day.[7] The sound the Carpenters were going for was rich and melodic, along the same vein as the harmonies found in their contemporaries The Beach Boys and the The Mamas & the Papas, but with greater fullness and orchestration.[8] Most of Richard's arrangements were classical in style, with frequent use of strings and occasional brass and woodwind instruments as well. Richard's work with Karen was heavily influenced by the music of Les Paul, whose overdubbing of the voice of partner Mary Ford allowed her to be used as both the lead and harmonizing vocals.[7] By use of multi-tracked recordings, Richard was able to use Karen and himself for the harmonies to back Karen's lead. The overdubbed background harmonies were distinctive to the Carpenters, but it was the soulful, engaging sound of Karen's lead voice that made them so recognizable. Karen did not possess a powerful singing voice, but when miked closely she conveyed a great deal of feeling. Tight miking required perfect pitch, which came easily to her. Richard Coles, a musician and broadcaster, commented: "No singer is so closely miked up so unforgivingly as Karen Carpenter. That is frightening for singers because the closer the microphone the more unforgiving it is in exposing the weaknesses in a singer's voice."[8] Karen's contralto voice was warm and distinctive. Though her vocal range spanned three octaves,[9] Richard arranged their music to take advantage of the rich quality of Karen's lower range.[10] Many of the Carpenters' songs are in the keys of D ("You", "There's a Kind of Hush (All Over the World)"), E flat ("Only Yesterday"), E ("Hurting Each Other", "Yesterday Once More"), F ("I'll Never Fall in Love Again"), and G ("And When He Smiles", "Reason to Believe", "For All We Know", "You'll Love Me"). On February 3, 1983, Karen visited her parents. The following morning, February 4, her mother found her lying unresponsive on the floor of a walk-in closet. After they spent 20 minutes in a waiting room, a doctor entered to tell Richard and his parents that Karen was dead. The autopsy stated that Karen's death was caused by emetine cardiotoxicity resulting from anorexia nervosa. Under the anatomical summary, the first item was heart failure, with anorexia as second. The third finding was cachexia, which is extremely low weight and weakness and general body decline associated with chronic disease. Emetine cardiotoxicity implied that Karen abused ipecac syrup, although there was no evidence to suggest that Karen abused it as her brother and family never found ipecac vials in her apartment, even after her death.[51] At her funeral, more than a thousand mourners turned up, among them her friends Dorothy Hamill, Olivia Newton-John, Petula Clark, Dionne Warwick and Herb Alpert. "Superstar" is a 1969 song written by Bonnie Bramlett and Leon Russell (with a songwriting credit also given to Delaney Bramlett[1]) that has been a hit for many artists in different genres and interpretations in the years since; the best-known version is by the Carpenters in 1971.In its first recorded incarnation, the song was called "Groupie (Superstar)," and was recorded and released as a B-side to the Delaney & Bonnie single "Comin' Home" in December 1969. Released by Atlantic Records, the full credit on the single was to Delaney & Bonnie and Friends Featuring Eric Clapton.

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The Like was an alternative rock band from Los Angeles, California. Its final lineup consisted of Z Berg (vocals and guitar), Tennessee Thomas (drums), Laena Geronimo (bass), and Annie Monroe (organ). The band released three extended plays (EPs) and two studio albums.The Like were formed in September 2001 by Z Berg (vocals/guitar), Charlotte Froom (bass/vocals) and Tennessee Thomas (drums) at the ages of 15, 15 and 16, respectively. All three are daughters of music industry veterans; Berg's father is former Geffen Records A&R exec/record producer Tony Berg, Froom's father is producer Mitchell Froom and Thomas' father is Pete Thomas, longtime drummer for Elvis Costello.[2] From childhood, Froom, Berg and Thomas were immersed in classic rock, and all three took piano lessons before teaching themselves their current instruments. They formed when the parents of childhood friends Thomas and Froom learned that Berg had been writing songs and showed interest in forming a band. Froom learned bass two weeks before joining, and the three began working together, getting fast results. Thomas's mother came up with the name in recognition of how often the girls used the word "like".[3] Over a period of three years, the band independently released three EPs (I Like The Like, ... and The Like, and Like It or Not), which they sold at shows and on their website. Their song "(So I'll Sit Here) Waiting" was featured on the soundtrack of the film Thirteen. They toured with Phantom Planet and Kings of Leon. In 2004, the Like signed to Geffen Records.The Like released their first album, Are You Thinking What I'm Thinking?, through Geffen on September 13, 2005. The album is a combination of reworked songs previously released on their independent EPs as well as new material. The reviews were generally positive.[4] Krissi Murison of the NME had praise for such songs as "June Gloom" and "(So I'll Sit Here) Waiting", but criticized the "over-polished approach" of producer Wendy Melvoin.[5] The band performed at the Coachella Valley Music and Arts Festival in April 2006 and at the Wireless Festival in Hyde Park, London in June 2006. In September 2006, the Like supported Muse on a short string of tour dates in the U.S., before heading to Europe to support UK band Razorlight.Berg and Thomas went to Brooklyn, New York to record the Like's second album. (Froom had recently left the band.)[6] They worked with producer Mark Ronson, as well as Alex Greenwald and various members of Sharon Jones & The Dap-Kings. Departing from the sound of Are You Thinking What I'm Thinking?, they were inspired by the music of classic girl groups, British invasion acts, and 1960s female songwriters.[7] Greenwald played the bass guitar on all tracks. On September 17, 2009, the band posted a message entitled "The Like 2.0" on their MySpace blog. The message announced a new lineup: founding members Berg and Thomas, plus new members Reni Lane and Laena Geronimo.[8] This lineup toured with Arctic Monkeys in September and October 2009.[9] Reni Lane has since left the band and been replaced by current band member Annie Monroe. Downtown Records released the album, entitled Release Me, on June 15, 2010. USA Today called it a "vast improvement" over Are You Thinking What I'm Thinking?[10] Los Angeles magazine noted that the band "has gone retro-fab, with Farfisa organ, jangly Brit-pop guitar, and hand claps."[11] Jon Pareles of The New York Times wrote, "The tough girl group is hardly a new concept—ask Blondie or the Donnas—but done right, like this, it's irresistible."[12] The band starred in a short film commissioned by designer Zac Posen as a way to promote his Target fashion collection. The film shows the band hanging out in a hotel room and then performing the single "Fair Game". The film was directed by Gia Coppola (granddaughter of Francis Ford Coppola).[13] The Like also appeared as themselves in an October 2010 episode of the TV series 90210,[14] and in issue 3 of the The Li'l Depressed Boy comic book.On May 25, 2011, the band posted the following message on its official Facebook page: "The Like have cancelled all their upcoming shows, and the band is currently on an indefinite hiatus. There is no further statement from the band at this time."[16] On October 20, 2013, without officially acknowledging the status of their hiatus, the band posted via Twitter that on the twenty-fifth they will be playing a show at the Liquid Room in Tokyo, Japan.

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Babes in Toyland is an American punk rock band formed in Minneapolis, Minnesota in 1987. The band was formed by Oregon native Kat Bjelland (lead vocals and guitar), with Lori Barbero (drums) and Michelle Leon (bass), who was later replaced by Maureen Herman in 1992. Between 1989 and 1995, Babes in Toyland released three studio albums; Spanking Machine (1990), the commercially successful Fontanelle (1992), and Nemesisters (1995), before becoming inactive in 1997 and eventually disbanding in 2001. While the band was inspirational to some performers in the riot grrrl movement in the Pacific Northwest, Babes in Toyland never associated themselves with the movement. In August 2014, Babes In Toyland announced that they would be reuniting. Babes in Toyland formed in 1987, after frontwoman Kat Bjelland met drummer Lori Barbero at a friend's barbecue. Originally from Woodburn, Oregon and a former resident of San Francisco, Bjelland had moved to Minneapolis to form a band.[2] Over the following months, Bjelland convinced Barbero to play drums and formed Babes in Toyland in winter 1987. In its initial formation in 1987, in addition to Bjelland and Barbero, the band included Kris Holetz on bass and singer Cindy Russell.[3] It has been widely believed that, following the departures of Holetz and Russell, the band briefly recruited Bjelland's friend - and former bandmate of the band Pagan Babies - Courtney Love on bass. However, it is known that Love had lied to the press on multiple occasions about her involvement with the band. Love, who later went on to form the successful band Hole, only stood in Minneapolis a number of weeks before leaving as she was not in the band, but rather a roommate of Barbero's. She then stole money from the band and left Minneapolis. Bjelland, in an interview, once stated: “Courtney practiced with Babes in Toyland only once, and it sucked. After that, it was like ‘Bye, Courtney.’” "Bruise Violet" is the second single by Babes in Toyland from their album, Fontanelle In an interview, Bjelland was asked if the song "Bruise Violet" was written about Courtney Love, since one of Hole's hits was entitled "Violet". Her response was no, firstly because "Violet" was released two years later (though Hole had been playing the song regularly since 1991), and secondly that Violet was a muse that both she and Love wrote about. It was released on purple 7" vinyl[1] and features early or not produced versions of the song.

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ΓΕΝΙΑ ΤΟΥ ΧΑΟΥΣ [ΑΝΤΙΚΟΥΛΤΟΥΡΑ] - ΑΘΗΝΑ - 1982 Το 1982, τρεις φίλοι από την Αγ. Παρασκευή της Αθήνας, ο Νίκος Βοσδογάνης κιθάρα, φωνή και στίχους, ο ξάδερφός του Νίκος Βοσδογάνης μπάσο και ο Θοδωρής Ηλιακόπουλος τύμπανα και στίχους, δημιουργούν ένα συγκρότημα με όνομα "Αντι-κουλτούρα". Οι πρώτες πρόβες γίνονται στο σπίτι του Θοδωρή και η πρώτη τους εμφάνιση σε ένα γυμνάσιο της περιοχής τους, στις 18 Απριλίου της ίδιας χρονιάς. Το '83 έρχεται ο 'Αρης Λαμπρίδης στη φωνή και η μπάντα μετονομάζεται σε "Chaos Generation". Λίγο αργότερα αποχωρεί ο κιθαρίστας Νίκος και στη θέση του έρχεται ο Κώστας Χατζόπουλος. Στις εφτά Απριλίου του '83 κάνουν ένα live μαζί με τους "Ex Humans" στο club "Σοφίτα" στην Πλάκα. Λίγο αργότερα ξαναλλάζουν το όνομά τους σε "Γενιά Του Χάους" και ο στίχος τους πολιτικοποιείται. Το '83 κυκλοφόρησαν μαζί με τους φίλους τους "Αδιέξοδο", την split κασέτα σε παραγωγή της "Art Nouveau" με τίτλο "Το Αδιέξοδο Και Η Γενιά Του Χάους Σας Εύχονται Καλή 'Ορεξη", η οποία περιείχε έξι κομμάτια τους. Το '84 αποχωρεί και ο άλλος Νίκος και τη θέση του στο μπάσο παίρνει ο 'Ακης Αμπράζης, που μόλις είχε έρθει από την Καρδίτσα. Επίσης φεύγει ο 'Αρης Λαμπρίδης και στη θέση του έρχεται ο Δημήτρης Δρακόπουλος. Το '84 συμμετέχουν στη συλλογή "Διατάραξη Κοινής Ησυχίας" με τα κομμάτια "Μπασταρδοκρατία" και "Επιθανάτιος Ρόγχος". Το '85 κυκλοφόρησε χέρι με χέρι μια split κασέτα με τους "Αδιέξοδο", από το live τους τον Ιανουάριο στο Αγρίνιο, στο "Σινεμά 'Ανεσις", με τίτλο "Η Γενιά Του Χάους Και Το Αδιέξοδο Σας Εύχονται Καλό Πάσχα". Αρχές του '86 αποχωρεί ο Δρακόπουλος. Το Μάιο ηχογραφούν μια demo κασέτα με εικοσιένα κομμάτια και το καλοκαίρι βγαίνει ο πρώτος τους δίσκος με τίτλο "Γενιά Του Χάους", από τη "Δικαίωμα Διάβασης", η οποία έγινε αργότερα "Di-di Music". Την ίδια χρονιά στις δεκατέσσερις του Νοέμβρη δίνουν μια επεισοδιακή συναυλία με τους Ολανδούς "Shrubs" και "The Ex". Το φθινόπωρο του '86 αποχωρεί ο Αμπράζης και έρχονται οι Δημήτρης Παππάς κιθάρα και φωνή και Αλέξης Αλιφέρης μπάσο. Εμπλουτισμένοι με φρέσκιες επιρροές από τα νέα τους μέλη, πειραματίζονται πλέον με πιο μεταλλικό ήχο. Χειμώνα του '87 μπαίνουν στο στούντιο για να ηχογραφήσουν το νέο υλικό τους, για το δεύτερό τους δίσκο, με τη σύνθεσή τους να είναι Θοδωρής Ηλιακόπουλος τύμπανα και φωνή, Κώστας Χατζόπουλος κιθάρα και φωνή, Δημήτρης Παππάς κιθάρα και φωνητικά και Αλέξης Αλιφέρης μπάσο. Οι ηχογραφήσεις τελείωσαν το Φεβρουάριο του '89, και την άνοιξη κυκλοφόρησε ο δίσκος από τη "Di-di Music" με τίτλο "Ρέκβιεμ" και περιείχε έντεκα κομμάτια τους. Την ίδια χρονιά η μπάντα διαλύεται. Σε όλη την πορεία τους έδωσαν πολλά live κυρίως σε Αθήνα, αλλά και σε Αγρίνιο, Μέγαρα, Γιάννενα, Θεσσαλονίκη, Λαμία και Βόλο. Με το συγκρότημα εμφανίστηκαν σε κάποια live τους και οι Γιάννης Βεναρδής ("Αδιέξοδο") τύμπανα, Γιώργος Πιπίνης ("Moist Device") μπάσο, Γιώργος Δρακόπουλος ("Moist Device") πλήκτρα και Γιώργος Κιούσης τύμπανα. Το '96 επανακυκλοφορούν οι δύο τους δίσκοι μαζί με τρία επιπλέον ακυκλοφόρητα κομμάτια τους, από τη "Wipe Out Records" σε ένα cd και έναν περιορισμένο αριθμό διπλού βινυλίου. Το '09 συναντήθηκαν ο Θοδωρής Ηλιακόπουλος, ο Κώστας Χατζόπουλος και ο 'Ακης Αμπράζης, μαζί με τον Μπάμπη Πετσίνη (ex "Sleepin Pillow") στα τύμπανα και έδωσαν στο "Gagarin 205", το τελευταίο τους live. 'Ολη η συναυλία βγήκε σε lp από την "Labyrinth Of Thoughts" σε συνεργασία με τις "B-Otherside" και "Wipe Out Records", περιέχοντας δεκαεφτά κομμάτια, πέντε εκ των οποίων ακυκλοφόρητα, και ένα dvd με τα εικοσιεννιά τραγούδια της συναυλίας. Το '14 επανακυκλοφόρησε από τα label "B-Otherside" και "Scarecrow" σε χίλια αντίτυπα, η πρώτη τους split κασέτα με τους "Αδιέξοδο", "Καλή 'Ορεξη" σε βινύλιο. Στην πλευρά των "Γενιά Του Χάους" προστέθηκαν τρία ακόμα κομμάτια, τα "Πόλεμος Για Ποιους" και "'Αγνωστος Στρατιώτης" από live τους στα Γιάννενα το Μάρτιο του '85 και το "Ξύπνα Εργάτη", ηχογραφημένο το '86. Μετά τη διάλυσή τους το '89, ο Ηλιακόπουλος συνέχισε να γράφει μουσική και από το '99 ασχολήθηκε με την ηλεκτρονική μουσική με το όνομα "Anoptron". O Λαμπρίδης έπαιξε τύμπανα στους "Anti-Troppau Council". Ο Αμπράζης στη Γαλλία που βρέθηκε το '86, έπαιξε στους "Parkinson Square", σπούδασε στις Η.Π.Α. και όταν γύρισε στην Ελλάδα ασχολήθηκε με τη μουσική διδασκαλία. Ο κιθαρίστας Νίκος Βοσδογάνης έπαιξε στους "Shades", "Παραλλήρημα", "Φετιχ", "Magic De Spell", "Γνωστοί 'Αγνωστοι" και "Ε-75". Γεννημένος το '67, ο Νίκος έφυγε από τη ζωή στις δώδεκα Ιουλίου του 2009. ΘΟΔΩΡΗΣ ΗΛΙΑΚΟΠΟΥΛΟΣ [ΦΩΝΗ/ΤΥΜΠΑΝΑ] ΔΗΜΗΤΡΗΣ ΠΑΠΠΑΣ [ΚΙΘΑΡΑ] ΑΛΕΞΗΣ ΑΛΙΦΕΡΗΣ [ΜΠΑΣΟ] http://www.myspace.com/geniatouchaous 1.ΚΑΛΗ ΟΡΕΞΗ/Β'ΠΛΕΥΡΑ:ΑΔΙΕΞΟΔΟ [1983 - TAPE] φωτο1 2.ΚΑΛΟ ΠΑΣΧΑ/Α'ΠΛΕΥΡΑ:ΑΔΙΕΞΟΔΟ [1985 - TAPE] φωτο2 3.ΓΕΝΙΑ ΤΟΥ ΧΑΟΥΣ [1986 - DEMO TAPE] φωτο3 4.ΓΕΝΙΑ ΤΟΥ ΧΑΟΥΣ [1986 - LP] φωτο4 5.ΡΕΚΒΙΕΜ [1989 - TAPE,LP] φωτο5 φωτο6 6.ΓΕΝΙΑ ΤΟΥ ΧΑΟΥΣ/ΡΕΚΒΙΕΜ [1996 - 2 LP,CD] φωτο7 φωτο8 7.ΓΕΝΙΑ ΤΟΥ ΧΑΟΥΣ [2012 - CD+DVD] φωτο9 8.ΓΕΝΙΑ ΤΟΥ ΧΑΟΥΣ/Α'ΠΛΕΥΡΑ: ΑΔΙΕΞΟΔΟ [2014 - SPLIT LP] φωτο10 1.ΔΙΑΤΑΡΑΞΗ ΚΟΙΝΗΣ ΗΣΥΧΙΑΣ [1984 - LP] φωτο11 2.FINAL SIGNAL-SUBWAY TO DEATH [1986 - TAPE] φωτο12 3.GREEK PUNKS NOT DEAD II [... - TAPE] φωτο13 4.ΩΔΗ ΣΤΟ ΧΑΟΣ [1996 - TAPE] φωτο14 5.UNDERGROUND '97 [1997 - CD] φωτο15 6.UNDERGROUND '98 [1998 - CD] φωτο16 7.ΚΟΛΑΣΗ ΚΟΛΑΣΗ [... - TAPE] φωτο17 8.ΣΠΑΝΙΑ ΥΠΟΓΕΙΑ ΕΛΛΗΝΙΚΑ ΣΧΗΜΑΤΑ [2004 - MP3 CD] φωτο18 9.ΠΑΝΔΑΙΜΟΝΙΟ #13 ΘΕΑΤΡΙΝΟΙ ΤΗΣ ΦΘΟΡΑΣ[2007 - CD] φωτο19 10.ΗΧΟΙ ΤΗΣ ΕΞΕΓΕΡΣΗΣ [2008 - CD] φωτο20 11.ΔΙΑΤΑΡΑΞΗ ΚΟΙΝΗΣ ΗΣΥΧΙΑΣ [2013 - LP] φωτο21

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Baba Zula is a Turkish alternative musical group, founded in Istanbul in 1996. With a wide variety of influences and a wide range of instruments, they create a unique psychedelic sound. Founded in 1996, the band features founding members Levent Akman and Murat Ertel as well as Coşar Kamçı, who replaced original member Emre Onel in 2005. BaBa Zula added live drawing artist Ceren Oykut into the mix in 2004. She left the band in 2010. Her presence onstage had added an important visual aspect to BaBa Zula's live performances. Akman, Ertel, and Onel originally formed Baba Zula as a side project of now disbanded Anatolian rock group Zen. In 2005 Baba Zula was exposed to a wider international audience when they were featured in a documentary, Crossing the Bridge by Fatih Akin, which took an in-depth look at Istanbul's contemporary and avant-garde music scene. Described as "Turkey’s most beloved alternative music purveyors" Baba Zula create a unique psychedelic sound, combining Traditional Turkish instruments, electronica, reggae and dub. The core of their sound is the saz, a Turkish bouzouki-like stringed instrument with a bright, high-pitched sound. Baba Zula have performed at festivals such as the Roskilde Festival (Denmark), Sofia Film Festival (Bulgaria), Klinkende Munt Festival (Belgium), Arezzo Wave Festival (Italy), Images of Middle East (multi-city Denmark tour), Cologne Triennale (Germany), Printemps de Bourges (France), Şimdi/Now Festival (Germany), Era Nowe Horyzonty (Wrocław, Poland), the Boost Festival (Netherlands) and the Venice Biennial.

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PJ Harvey has always been an artist who's created and delivered her work honestly and on her own terms, consistently driven by a desire to challenge herself, which in turn makes immersion in her art both rich and immensely rewarding. The strength of her soon-to-be nine album strong discography hinges on Harvey's ability to tap and harness her emotions in song – from her earlier material like the searing "Rub 'Till It Bleeds," to the softly strummed "The Desperate Kingdom of Love" (from 2004's Uh Huh Her, an LP on which she played all the instruments), to the often brittle brilliance of 2011's Let England Shake (for which she won her second Mercury Music Prize—the only artist to do so). At the top of last year, 3000 lucky ticket holders descended into the bowels of London's Somerset House to watch Harvey and her collaborators – namely producer Flood and John Parish – through a one way pane of glass. In collaboration with Artangel, the project was titled, Recording in Progress, and took place over a period of five weeks. Also frequently in the purpose-built studio documenting the entire process, photojournalist and filmmaker Seamus Murphy. Harvey first approached Murphy several years ago after seeing his 2008 exhibition A Darkness Visible, which chronicled his experiences in Afghanistan. This then lead to Murphy directing 12 short films for Let England Shake. We now know that the fruits of these "Recording in Progress" sessions have been collated for her opus, The Hope Six Demolition Project (out this April) – a clutch of songs directly inspired by Harvey and Murphy's travels to Kosovo, Afghanistan, and Washington, D.C., all of which took place over a four year period. "When I’m writing a song I visualise the entire scene," explains Harvey. "I can see the colors, I can tell the time of day, I can sense the mood, I can see the light changing, the shadows moving, everything in that picture. Gathering information from secondary sources felt too far removed for what I was trying to write about. I wanted to smell the air, feel the soil and meet the people of the countries I was fascinated with." Many of the songs from The Hope Six… were given their first public airing back in October at London's Royal Festival Hall, performed against the arresting backdrop of Murphy's photos. And it's not the first time these particular travels have provided grist for her art: she poured her experiences not only into this new LP, but also her first poetry book, 2015's The Hollow of the Hand, her words here again complemented by Murphy's images. YouTube recordings from the Royal Festival Hall performance aside, on January 21st Harvey debuted "The Wheel," a bluesy maelstrom of brass, ferociously pounded drums, and insistent handclaps. She's echoed and responded to by an incantatory choir, her refrains of "and watch them fade out," as the song hurtles towards its close, are hypnotic and unsettling too.

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M.I.A. is a British singer known for albums such as Arular and Kaya and hit singles such as "Paper Planes" and "O...Saya." IN THESE GROUPS FAMOUS BABY BUMPS FAMOUS PEOPLE BORN IN UNITED KINGDOM FAMOUS PEOPLE BORN IN LONDON, ENGLAND MUSICIANS WHO TOPPED THE CHARTS Show All Groups Synopsis M.I.A. was born to Sri Lankan parents in London, England, in 1975. She got her start in the arts as a graphic artist and filmmaker before transitioning into music and releasing her first single, "Galang," in 2003. With each subsequent release, M.I.A. further climbed the charts with her danceable yet message-driven music, and in 2009 a song she co-wrote for the film Slumdog Millionaire was nominated for an Oscar. With her fingers in many pies, M.I.A. started her own record label, N.E.E.T., and when not releasing mixtapes and remixes stays busy with her philanthropic work. Early Years M.I.A. was born Mathangi Arulpragasam in London in 1975. Her parents are of Sri Lankan Tamil descent, and when she was six months old, her family moved back to Sri Lanka. Her father led a Tamil independence movement and was always on the move avoiding the Sri Lankan government, finally moving to India and then back to London in 1986. M.I.A. graduated from art school in the late 1990s and found success as a graphic artist and filmmaker. She moved into the musical realm after filming a documentary of the band Elastica's 2001 tour (having previously done some album artwork for the band). Elastica's lead singer, Justine Frischmann, lent M.I.A. a Roland MC-505 sequencer/drum machine, and she used it to record a demo tape. The demo tape included the single "Galang," which in turn helped her gain a following online before she ever had a record contract. Soon, though, the contract followed, with British label XL Recordings signing her and officially releasing "Galang" (2003), which reached No. 8 on the U.S. dance charts. "Sunshowers" (2004) was the next release, although it failed to chart in the United States. The Major Releases and Hollywood A year after "Sunshowers" came out, M.I.A. released Arular (the name her father adopted when he and his family moved back to Sri Lanka), an album she recorded and produced in her London bedroom. Using demos recorded a few years earlier, M.I.A. addressed global conflicts and oppression, gaining the record attention not only with the listening audience (the record reached No. 3 on the U.S dance charts) but with critics as well. Her second album, Kala, named for her mother, came out in 2007 and was recorded in various locales around the globe. "Paper Planes" became a surprise hit single in the summer of 2008, eventually reaching the top 10 and hitting No. 1 on the U.S. dance charts. "Boyz" also charted solidly, reaching No. 3 on the dance charts. The album itself hit No. 18 and was named the best album of the year by Rolling Stone and Blender. During this time, M.I.A. began working with the heavy hitters in the music industry, such as Timbaland and Jay-Z, and acclaimed Hollywood directors, such as Spike Jonze and Danny Boyle. M.I.A. filmed a documentary with Jonze and co-wrote a song ("O…Saya") for Boyle's Oscar-winning film Slumdog Millionaire, in the process earning an Oscar nomination for Best Song Written for a Film. The song was also notable in that it appeared on the first record to be released on M.I.A.'s own label, N.E.E.T. Another M.I.A. song that took on a new life was "Paper Planes," which was sampled on T.I. and Jay-Z's "Swagger Like Us" and was featured in the trailer for the film Pineapple Express. That song led M.I.A. into an infamous performance with the duo (plus Kanye West) at the 2008 Grammy Awards while nine months pregnant. Beyond the Hits Always one to promote multidimensional projects in the arts, M.I.A. signed bands such as Baltimore musician Blaqstarr and indie rock band Sleigh Bells to N.E.E.T., while also signing visual artist Jaime Martinez. Not leaving herself out, N.E.E.T. released Maya (styled /\/\/\Y/\) in 2010. The album entered the U.K. albums chart at No. 21 and reached No. 9 on the Billboard 200, debuting in the top 10 in Finland, Norway, Greece and Canada. The album also topped Billboard's Dance/Electronic Albums chart. When M.I.A. isn't releasing studio albums, she keeps busy with remixes, mixtapes and online releases, all of which help keep her in the musical spotlight and highlight her cutting-edge nature. In May 2012, M.I.A. signed on with Jay-Z's management company Roc Nation, and in April 2013 she came out with her next album, Matangi. M.I.A. is noted for her philanthropic and activist work across a spectrum of causes, and she has been recognized for her work as a music video director, graphic designer and fashion designer.

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