Concert will raise money for City of Hope cancer center
Miley Cyrus, the Jonas Brothers and "Camp Rock" co-star Demi Lovato will play a concert Sept. 14 to benefit cancer research and treatment center City of Hope.
The Disney Music Group stars will perform at Los Angeles' Gibson Amphitheatre, with tickets departure on cut-rate sale Saturday at 10 a.m. at all Ticketmaster locations and online at Ticketmaster.com and LiveNation.com. Ticketmaster.com will vendue off some of the tickets.
Cyrus' "Best of Both Worlds" duty tour raised $1 million for City of Hope concluding year, with Disney donating $1 from each ticket sale to the charity. Disney Music Group chairwoman Bob Cavallo was City of Hope's 2007 Spirit of Life honoree at the organization's annual music and amusement industry gala in Los Angeles.
City of Hope's Music and Entertainment Industry chapter has raised more than $69 meg since its formation 1973.
Tuesday 2 September 2008
Thursday 21 August 2008
Poet's turbulent marriage remembered in diary
LONDON �
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It was a legendarily turbulent trade union, fueled by adoration, criminal conversation and alcohol.
In the final hours of Dylan Thomas' life, his wife, Caitlin, according to lore, allegedly stormed in and demanded to know if the celebrated Welsh poet - who she described as the "flaming man" - was dead yet.
But wish most marriages, it appears there was a different side, and in a diary that is now for sales agreement, Caitlin Thomas wrote lamentably about her dead husband.
"Oh God, oh Dylan, it must be cold down there; it is cold enough on top, in November: the dirtiest month of the year that killed you on the ninth despicable day. If only I could need you a bowl of your bread, and milk, and sALT, that you always drank at night, to quick you up," the diary says, according to notes provided by a London rare book dealer wHO is marketing the collection.
The couple met in a London gin mill in 1936 and married a class later. Dylan Thomas died in New York on Nov. 9, 1953. Caitlin Thomas died in 1994.
Her writings, contained in a school exercise book, ar included in a collection of more than 40 letters, books, and manuscripts and offset editions. Rick Gekoski, the dealer world Health Organization is merchandising the materials, said Monday that it came from a New York collector and is priced at $480,000.
Also up for sale is a first-edition copy of Thomas' second book, "Twenty-five Poems."
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Monday 11 August 2008
Kid Rock lived up to his name at New Orleans Arena
Still doubtfulness music's ability to replace all barriers and boundaries? Consider the scene at a closely full New Orleans Arena on Friday night.
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During a set by Lynyrd Skynyrd, the penultimate Southern rock band, thousands cheered the Confederate flag displayed during "Sweet Home Alabama." Two hours later, those same fans waved their hands in the melodic phrase like they just didn't care as Kid Rock -- wHO owes rival debts to Johnny Cash and Grandmaster Flash -- and Joseph "Rev Run" Simmons lED an rapt sing-along on Run-DMC's rap classic "It's Tricky."
Friday's show launched the "Rock 'n Rebels" spell with Rock, Lynyrd Skynyrd, Rev Run and Back Door Slam. For this outing, Rock stripped away the strippers, fireworks and extended forays into authoritative rock cover songs. Instead he emphatic his 11-piece Twisted Brown Trucker band and ever-growing, ever maturing catalog. They held their own without the bells and whistles.
Rock's sense of humor preceded him to the stage. As the lights dimmed, Journey's "Don't Stop Believin'" blasted from the speakers -- only if to cut off just now as it did during the last episode of "The Sopranos." In an opening video, a bodyguard searched for Rock in a Waffle House -- the setting for a 2007 fight that lED to the singer's hold.
Clad all in white River save a black chapeau, an animated Rock bounded to the tip of a cross-shaped runway and threw himself into the task at hand. In the set's early exit, that consisted of shaping himself: He is a "Rock 'n Roll Jesus," as the title track of his latest album asserts. He is an "American Badass" and a "Lowlife." He is "Cocky."
With that, the ensemble dead switched gears for "All Summer Long," the harmony and acoustic guitar-laden summer anthem that borrows from Warren Zevon's "Werewolves of London" and Lynyrd Skynyrd's "Sweet Home Alabama." The song power have fit more comfortably elsewhere in the set.
The show poorly early with "Amen," a gospel-tinged instruction of the times from "Rock 'n Roll Jesus." As Rock sang of natural disasters, images from Hurricane Katrina's aftermath flashed on video screens; the audience cheered. Rock instructed all in attendance to high-five someone they didn't know. What followed was the stone 'n roll equivalent of the peace offering in church; it was goofy, awkward, queer and bright, as neighborly a present moment as I've ever experienced at an arena show. At this point, Rock could do no wrong.
Such a bloom couldn't be sustained. A low-key "Cowboy" detoured into a extend of the "Dukes of Hazzard" theme, only to swing back into a fully amped up "Cowboy." Rock strummed an acoustic for a profane land cover and his have honky-tonk kiss-off "Half Your Age," refitted with an obscene variation told from drummer Stefanie Eulinberg's point of purview.
That Rock is a more than adequate knocker was seeming during Rev Run's 20 minute guest turn. He traded lines with Run on "You Be Illin" and channeled Steven Tyler in the rap-rock matrimony "Walk This Way." Rock also took a turn on the turntables and banged out fellow Detroit rocker Ted Nugent's "Cat Scratch Fever" on drums and guitar. "So Hott," a attrition, guitar-heavy clunker, followed by a screaming "Bawitdaba," made for an anticlimactic climax.
Rock returned to thank his pal Sidney Torres, locally renowned as the telegenic proprietor of SDT Waste & Debris, for playing host during Rock's Big Easy visit. Then he light-emitting diode the band through "New Orleans," with the Rebirth Brass Band providing counterpoint. "New Orleans" is a relatively obscure cut on "Rock 'n Roll Jesus"; much of the audience seemed unfamiliar with it. But Rock's affection for the city, and ongoing evolution as an creative person, were apparent.
The original Lynyrd Skynyrd is, for me, forever frozen in time as a band of boozing, brawling Southern long-hairs of the 1970s. So there is a unplug with the spiffed up contemporary version.
Among the cracking American rock bands, Skynyrd is besides one of rock's great tragedies. Days after the 1977 discharge of "Street Survivors," the album that solidified Skynyrd's standing as a commercial and originative powerhouse, the band's hired plane crashed in Mississippi en route to a show in Baton Rouge. Six members of the entourage, including vocalist and primary songwriter Ronnie Van Zant and guitarist Steve Gaines, died.
Through a twist of fate, kinetic energy and physics, guitarist Gary Rossington and keyboardist Billy Powell, among others, survived. In 1987, they revived the ring for what was ab initio billed as a one-off tribute tour, with Ronnie's younger comrade Johnny tattle songs that still endure on rock candy radio.
Two decades later on that tribute tour, Lynyrd Skynyrd 2.0 continues to do big business on the road. By now, Johnny has fronted Skynyrd much longer than Ronnie, only audiences still demand the classic songs from Ronnie's era.
And so Skynyrd's hour-and-15 minute lay out Friday consisted almost entirely of material that is more than three decades old. "He sounds the same as he did 30 long time ago," thick the guy wire next to me, wHO seemed non to cover as I tried to explain this wasn't the Van Zant who wrote and ab initio sang these songs.
Perhaps it doesn't matter. Drummer Michael Cartellone can push the material too aggressively -- he lacks the subtle swing of other Skynyrd drummers Bob Burns and Artimus Pyle. But otherwise Powell, Rossington and their current cohorts -- all athletics shoulder-length locks worthy of the seventies -- sit the old warhorses well.
Powell's pianissimo stamped the roadhouse boogie in "What's Your Name," "Gimme Three Steps" and "Call Me the Breeze." Guitarist Rickey Medlocke, a veteran of Southern rock brothers-in-arms Blackfoot, carried much of the guitar solo load. He traded vocal lines with Van Zant on "You Got That Right."
"Been there, done that, ain't never going back again," Van Zant said by way of introduction to "That Smell," an oft-misinterpreted warning around the evils of message abuse. Video images of American troops served as the background to "Simple Man." They ditched the medley deployed during the "Rowdy Frynyds" tour with Hank Williams Jr. net year and instead left many classics unplayed.
For the last "Freebird," Rossington stepped to the figurehead of the stage and traced the anthem's moaning slide guitar signature. A dozen name calling and photos from Skynyrd's past flashed on the screen behind him. The full ensemble slammed "Freebird" home, the Lynyrd Skynyrd that is saluting the Lynyrd Skynyrd that was.
Blues-rock trio Back Door Slam made the most of their five-song, 30 minute opening set. I first encountered the youth ensemble from the Isle of Man at their American debut, a gig at a Sixth Street Irish public house in March 2007 during the South By Southwest Music Conference in Austin. They have been on the road ever since, grinding kO'd the sort of backbreaking campaign topper undertaken by hungry young musicians scarce in their 20s.
Plopped mastered at the front of the massive Skynyrd/Rock leg with a bare-bones brake drum kit, Back Door Slam looked like a high school school band at a talent contest. Guitarist/vocalist Davy Knowles and his bandmates have much to memorise about playing the big rooms and the big stages. Bassist Adam Jones moved small other than his men, and Knowles -- in jeans, a T-shirt and tennis shoes -- stuck close to his mike. They are the antithesis of bolt down pomp and circumstance, a throwback to a time when musicians showed up, plugged in and wailed.
And pule they did. Knowles boasts a backbone in his voice that is well beyond his years, and the brilliant scream of his guitar cut through the din of the vast scene of action. Songs from Back Door Slam's 2007 debut, "Roll Away," served as launching pads for solos of the Guy/Clapton/Vaughan variety. He made wise use of a wah-wah pedal as he graven hearty booster cable lines, the sort that stand on their have and talk to a deep committal to, and natural feel for, the music and its history.
Armed with such musicianship, flash is not necessary.
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Wednesday 2 July 2008
Field Mob
Artist: Field Mob
Genre(s):
Rap: Hip-Hop
Discography:
Light Poles and Pine Trees
Year: 2006
Tracks: 15
From Tha Roota to Tha Toota
Year: 2002
Tracks: 15
613: Ashy to Classy
Year: 2000
Tracks: 13
While hip-hop prides itself on being the soundtrack to the streets, Field Mob have done their topper to represent the rural area. Boondox (aka Smoke) and Kalage (aka Shawn Jay) hail from Albany, GA, a small town outside Atlanta that is best-known as the birthplace of soulfulness fable Ray Charles. The couple chose the diagnose Field Mob to represent the Field, a small area of Albany where they grew up. The deuce met in high schoolhouse later on Boondox saw Kalage freestyling in the schooltime court. Boondox challenged him to a battle the future day, and they decided to become partners after. The duet landed a deal with a small main record book label and recorded their first individual, which caught the attention of MCA. MCA quickly signed them to a deal, and in 2000, they released their number one record album, 613: Ashy to Classy. Despite their geezerhood and lack of get, 613: Ashy to Classy was a polished try that featured cagy lyrics and self-coloured yield. The same can be said for From tha Roota to tha Toota, the 2002 followup that showed the Georgia natives collaborating with Trick Daddy and moving closer to the OutKast-esque yield work they hinted at on their debut. The couple of youngsters has shown that they can contend with the best hip-hop has to provide, and they've through it spell eating away their land roots with superbia. Light Poles and Pine Trees, their first-class honours degree album for Geffen, was released in 2006.
Dj_Quest
Monday 30 June 2008
Download new Primal Scream track for free
Ahead of the release of their new album 'Beautiful Future', Primal Scream have made a brand new track available to download for free.
'Urban Guerilla', a cover of a Hawkwind track, is not on the album but provides a taster of the record's krautrock-pop feel.
To download the track, head to Myfreedownload.co.uk.
'Urban Guerilla', a cover of a Hawkwind track, is not on the album but provides a taster of the record's krautrock-pop feel.
To download the track, head to Myfreedownload.co.uk.
Tokiko-Kato
Artist: Tokiko-Kato
Genre(s):
Pop
Discography:
SennoKazeninatte
Year:
Tracks: 1
Mythic unveils 'Ironclad'
Sunday 29 June 2008
Sudha Ragunathan
Artist: Sudha Ragunathan
Genre(s):
Ethnic
Discography:
Ganesha Krithis
Year: 1996
Tracks: 14
The Dance Of Shiva
Year:
Tracks: 12
An fascinating and exciting vocalist, Sudha Ragunathan's process has been powerfully championed by Dr. Winston Banchacharam's Nanuet, NY-based Amutham label. She well-read from the acclaimed songstress M.L. Vasanthakumari. In June 1988 she was awarded the rubric Amutha Isai Vani (a Tamil acknowledgement of the nectar-sweet theology of her voice) by the Ikankai Thamil Sangam organisation in the U.S.A. in recognition of her achievements for Tamil song. She is visualised with this prize on Tamil Melodies from Amutha Isai Vani Sudha Ragunathan (Amutham WS 001). Her voice is a joy, and on the effectiveness of her Amutham output signal an exploration of her recordings on AVM and EMI India is warranted.
Saturday 28 June 2008
Paul James Berry
Artist: Paul James Berry
Genre(s):
Other
Discography:
Nations
Year: 2004
Tracks: 11
The Police map NYC end to reunion tour
Jessica Simpson's New Single
Jessica Simpson premiered her new single on US talk show The View on Wednesday.
'Come On Over' is Jessica's first country-crossover track, from her forthcoming country album 'Do You Know' which is due out later this year.
Jess told The View hosts that she and boyfriend Tony Romo are still happy together despite rumours in the press about her father Joe interfering.
"We're still together..." she said. "I don't know about wedding bells... but I'm still with him, so that's a good sign."
Watch Jess perform 'Come On Over' below!
See Also
Les Paul and Mary Ford
Artist: Les Paul and Mary Ford
Genre(s):
Country
Vocal
Discography:
Les Paul and Mary Ford
Year: 1958
Tracks: 35
The story
Year:
Tracks: 12
Melissa Etheridge
Artist: Melissa Etheridge
Genre(s):
Rock
Discography:
The Awakening
Year: 2007
Tracks: 16
Skin
Year: 2001
Tracks: 10
Live... and Alone
Year: 2001
Tracks: 22
Breakdown: Limited Edition
Year: 1999
Tracks: 14
Your Little secret (Bonus)
Year: 1995
Tracks: 4
Your Little Secret
Year: 1995
Tracks: 10
Yes I Am
Year: 1993
Tracks: 10
Never Enough
Year: 1992
Tracks: 10
Melissa Etheridge
Year: 1990
Tracks: 10
Brave and Crazy
Year: 1990
Tracks: 10
Sings Janis Joplin
Year:
Tracks: 10
No Souvenirs: Live In The U.S.A.
Year:
Tracks: 11
Melissa Etheridge became one of the virtually democratic recording artists of the '90s due to her mixture of confessional lyrics, pop-based folk-rock, and scratchy, Janis Joplin/Rod Stewart-esque vocals. But the road to stardom was not all politic sailing for Etheridge as she debated behind the scenes whether or not to let on to the populace that she was gay other on in her life history. Born May 29, 1961, in Leavenworth, KS, Etheridge first gear picked up the guitar at the age of eighter and began writing her possess songs shortly thenceforth. Playing in local bands throughout her teens, Etheridge then accompanied the celebrated Berklee College of Music in Boston, MA. The energetic singer/songwriter and guitarist dropped out afterward a year before making her way to Los Angeles in the early '80s to give a shot at a career in music. Etheridge's music at this point was more or less more than bluesy than her subsequently notable folk-pop style, as a demo of original compositions caught the attention of Bill Leopold, world Health Organization signed on as Etheridge's manager. Soon after, steady gigs began coming her way, including a five-night-a-week residency at the Executive Suite in Long Beach, which light-emitting diode to a bid war betwixt such major phonograph recording labels as A&M, Capitol, EMI, and Warner Bros., only it was Island Records that Etheridge distinct to go with.
Etheridge's first recorded work appeared on the disregarded soundtrack to the Nick Nolte prison picture Weeds before her self-titled debut was issued in 1988. The album cursorily drew comparisons to such heavyweights as Bruce Springsteen and John Mellencamp, as it spawned the murder individual "Bring Me Some Water" and earned amber certificate. In the heat of the album's success, Etheridge performed at the Grammy Awards the following year and contributed vocals to Don Henley's The End of the Innocence. Etheridge managed to avoid the fearful sophomore slump with 1989's Brave and Crazy, which followed the same musical convention as its predecessor and proven to be some other gold-certified success. It would be almost 3 days earlier Etheridge's next studio album appeared, however, and 1992 signaled the arriver of Never Enough, an record album that proven to be more musically varied.
Just it was Etheridge's fourth release that would rise to be her massive commercial-grade breakthrough. Tired of rumors and questions regarding her sexuality, Etheridge decided to put the conjecture to lie once and for all, titling the album Yes I Am. Ex-Police producer Hugh Padgham guided the record album, which spawned two major MTV/radio hits with "I'm the Only One" and "Come to My Window" (the latter of which featured a video with movie actress Juliette Lewis); the record album would sell a astonishing 6 billion copies in the U.S. during a single-year geological period and earned a 1995 Grammy Award for Best Female Rock Vocalist. But subsequent releases failed to pair the success of Yes I Am, including 1995's Your Little Secret, 1999's Breakdown, and 2001's Tegument, the latter of which dealt with her separation from Julie Cypher. (Cypher had birthed the couple's 2 children via artificial insemination; CSN&Y's David Crosby was the father.)
2002 adage the outlet of Etheridge's autobiography, The Truth Is: My Life in Love and Music, and 2004's Lucky was her jubilation of a newfangled love story. Later that same twelvemonth Etheridge revealed that she'd been diagnosed with chest cancer. But early sensing allowed for recovery, and she gave strong point to many of those smitten by the disease with a powerful operation of Janis Joplin's "Slice of My Heart" at the 47th Annual Grammys, held in February 2005. That September Etheridge released Superlative Hits: The Road Less Traveled, a digest of calling highlights and newfangled material. It featured a cover up of Tom Petty's "Refugee" as advantageously as "Piece of My Heart" and a unexampled vocal dedicated to breast malignant neoplastic disease survivors. In 2007 Etheridge released her number one studio album of new real in three long time, The Awakening, on Island.
Trevor Rabin
Sainkho Namtchylak
Artist: Sainkho Namtchylak
Genre(s):
world & folk
New Age
Jazz
Discography:
Who Stole The Sky
Year: 2004
Tracks: 10
Letters
Year: 2004
Tracks: 7
Mars Song
Year: 1996
Tracks: 5
With her shaven head and seven-octave range, Sainkho Namtchylak would stand out on whatsoever level. Add her especial desegregate of Tuvan throat-singing and avant-garde temporary expedient, and she becomes an unforgettable figure. The daughter of a couple of schoolteachers, she grew up in an obscure village on the Tuvan/Mongolian edge, uncovered to the local partial tone vocalizing -- something that was generally reserved for the males; in fact, females were actively discouraged from scholarship it (even forthwith, the best-known practitioners persist male, artists like Huun-Huur-Tu and Yat-Kha). However, she conditioned much of her traditional repertory from her nanna, and went on to report music at the local college, only she was denied professional qualifications. Quietly she studied the overtone telling, as intimately as the shamanic traditions of the realm, before leaving for study further in Moscow (Tuva was, at that time, portion of the U.S.S.R.). Her degree completed, she returned to Tuva where she became a member of Sayani, the Tuvan state of matter folk ensemble, before abandoning it to return to Moscow and connexion the experimental Tri-O, where her vocal talents and signified of melodic and harmonic chance could wander freely. That first brought her to the West in 1990, although her first recorded exposure came with the Crammed Discs compilation Out of Tuva. Once Communism had collapsed, she moved to Vienna, making it her foundation, although she traveled widely, working in any number of shifting groups and transcription a number of discs that revolved about disembarrass improvisation -- not dissimilar Yoko Ono -- as well as performing about the globe. It was emphatically fringe music, although Namtchylak conventional herself identical hard as a fixture on that fringe. In 1997 she was the victim of an attack that left her in a coma for respective weeks. Initially she idea it was some inspired payback for her originative hubris, and seemed to step back when she recorded 1998's Nude Spirit, which had modern age leanings. However, by 2000 she seemed to have subdue that obstruct, releasing Stepmother City, her near approachable work to escort, where she seemed to truly find her stride, intermixture traditional Tuvan instruments and tattle with turntables and personal effects, placing her in a creative empyrean betwixt Yoko and Björk, simply with the je ne sais quoi of Mongolia as part of the steal. A display case at the WOMEX Festival in Berlin brought her to the attention of many, and in 2001 a U.S. circuit was plotted.
Mystical Fire
Factory 81
Artist: Factory 81
Genre(s):
Metal
Rock
Discography:
Midwest Demos
Year: 2004
Tracks: 6
Mankind
Year: 2001
Tracks: 11
Upon their formation in 1997, the members of Factory 81 wanted to create a heavy of stomp-paced metal in their hometown of Detroit, MI. Individually consisting of Andy Cyrulnik (drums), Kevin Lewis (bass), Bill Schultz (guitar), and Nathan Wallace (vocals), the quaternary furthered its thickness with an undertone of "new schooltime" hard-core that was inspired by the likes of Earth Crisis, Hatebreed, and Strife. This hybrid finally resulted in the 1999 release of Factory 81's number one album, World, through Medea Records. The following class, the album was re-released with a bonus live track and technologically enhanced with antecedently unavailable execution cuts.
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