 Artist: Candye Kane: mp3 download Genre(s): Blues R&B: Soul Jazz Candye Kane's discography:  Guitar D And Feathered Year: 2007 Tracks: 13  White Trash Girl Year: 2005 Tracks: 14  Whole Lotta Love Year: 2003 Tracks: 13  The Toughest Girl Alive Year: 2000 Tracks: 13  Diva la Grande Year: 1997 Tracks: 14  Knockout Year: 1995 Tracks: 11  Home Cookin' Year: 1994 Tracks: 14  Best Music Year: Tracks: 36 A erstwhile stripper and men's room cartridge fashion model wHO likewise did the fooling X-rated video fritter back in the '80s, Candye Kane would be the blues version of the Andrea True Connection, only for unmatched vitally crucial fact: this woman tin can can very sing! An updated adaptation of Bessie Smith with a severe sense of humor and a gleefully omnisexual image, Candye Kane and her backup dance band the Swingin' Armadillos aren't simply a novelty work, simply a smart, voguish, and always-entertaining commingle of sexual urge, showbiz, and sway. Los Angeles-native Kane started her musical career with 1994's spotty Home plate Cookin', but truly hit her pace with 1995's KO and, specially, 1997's fantabulous Diva la Grande. The transitory swing revitalization light-emitting diode to a major-label deal for 1998's Swango, simply that cocktail-influenced swing disk didn't give her jump blues brassiness its due, and when Sire gave Kane her walk document, she colonised in the far more hospitable surroundings of Rounder, which released the much improved The Toughest Girl Alive in 2000. Three days subsequently, Kane released Whole Lotta Love, an album made usable via Germany's Ruf Records. 2005's White Trash Girl, produced by WC Handy Award candidate Mark "Kaz" Kazanoff, included collaborations with Gary Primich, Preston Hubbard and Riley Osborn. |
Wednesday 3 September 2008
Mp3 music: Candye Kane
Sunday 24 August 2008
Mp3 music: Merseybeats
 Artist: Merseybeats: mp3 download Genre(s): Other Merseybeats's discography:  The Gallery Of British Beat Vol.10 Year: 2000 Tracks: 20 The Merseybeats were one of the better quartets to go on out of the British Invasion without ever fashioning a snatch on the charts in the United States -- along with the Roulettes, the Chants, and the Undertakers, they represent an undeservedly confused chapter in early-'60s British rock & seethe. Although they enjoyed a small less than a year of grave chart success, the Merseybeats were ineffectual to pull together the various facets of their sound into a cohesive, coherent whole in the manner of the Beatles or the Hollies, and into something long-lasting, in part because of a lack of original songwriting ability in their ranks. The group's roots go back to the early '60s in Liverpool, and a stria originally known as "the Mavericks," comprised of Tony Crane (lead guitar, vocals), Billy Kinsley (bass, vocals), David Elias (round guitar, vocals), and Frank Sloane (drums). They were doing well just before long base the identify to be a scuff on their winner, making people consider that they were a country & western band. They briefly used the identify "the Pacifics," and then became the Merseybeats -- apparently their timing was such that they grabbed the make, antecedently a local music extension, ahead of anyone else in a urban center simmering all over with musical activity. By the goal of 1962, the Merseybeats lineup had coagulated around Crane and Kinsley, with Aaron Williams connexion on rhythm guitar in place of Elias and John Banks succeeding Sloane. The group made their transcription debut around this metre as part of the Oriole label's Liverpool showcase, This Is Merseybeat. With the help of the manager of the Cavern Club, they were formally gestural to Fontana Records in mid-1963, and made their debut in August of that year with a individual of "It's Love That Really Counts" b/w "Fortune Teller" -- the A-side, a Bacharach/David tune, was a strong firearm of British Invasion pop/rock in the charles Herbert Best Beatles/Hollies/Searchers mode, with memorable guitar meat hooks and a memorable chorus, and it reached number 24 on the U.K. charts. They were later gestural up by the Beatles' fabled manager, Brian Epstein, simply the fit was an awkward 1, undischarged to differences in musical sensitiveness -- the grouping was a moderately knockout stone & roll kit, but their singles tended very much more to the pop slope of rock candy & roll, and the A-sides never represented their real sound very well. In early 1964, the Merseybeats released a endorsement individual, "I Think of You" backed with the pop/rock standard "Mister Moonlight," which reached number quint in England. In both of these instances, the B-side was closer to the band's sound than the A-side and, in both instances, the band had latched onto the material offset -- but was eclipsed by equal versions by the Rolling Stones and the Beatles. Though it had arrive along a small previous, "It's Love That Really Counts" turned the group into a major pop/rock work, and the future looked good for them. But there were problems on the horizon, starting with the fact that neither of those singles had made even the slightest impact in the United States, which was where the tangible fortunes were to be made; and, much more in earnest, the decision by Billy Kinsley to leave the band in 1964 in order to form his possess grouping, the Kinsleys. In his place, they got John Gustafson on bass and vocals. erst of Liverpool's Big Three trinity, world Health Organization besides contributed some songwriting. In April of 1963, they released "Don't Turn Around" b/w "Truly Mystified," which -- despite a beautifully catchy, harmony-and-hook-laden A-side that was heavily influenced by the work of Roy Orbison, and an original B-side co-authored by Crane and Gustafson -- didn't do rather as well, peaking at number 13. A one-third single in July, "Wishin' and Hopin'" b/w "Milkman" (the latter some other Crane/Gustafson original), as well reached number 13. The lot released a pair of extended-play singles, including "I Think of You" and "Merseybeats on Stage," the latter capturing their real effectual in concert and included "Recollective Tall Sally" and "You Can't Judge a Book by Its Cover" in early 1964. They besides worked their room into two rock & roll featurettes, Swing UK and UK Swings Again -- one of their clips, "Don't Turn Around," was nicely arranged, the band miming to the single on a platform that, on the chorus of the deed, starts to revolve. The Merseybeats were successful enough to get an LP release, and the resulting self-titled album showcased their limitations as well as their virtues. Amid a few divine moments, mostly on the single-sides (such as "Milkman") picked up for the LP, there were some "originals" that were highly derived function of Bo Diddley and Little Richard, interspersed with some becoming Liverpool-style adaptations of American R&B ("Fetch It on Home to Me," "He Will Break Your Heart,") and a unusual option of show tunes, one ("Hullo Young Lovers") partially successful and the other not. Apart from a lack of originality in their effectual, the album pointed to the group's identical thin in-house songwriting -- they were nearly wholly qualified on Peter Lee Stirling, wHO had written their three biggest, single A-sides, for success. And to judge from the weak diversity on their album, unrivalled couldn't tell if the Merseybeats wanted to sound like the Beatles, the Fortunes, or the Pretty Things, and as a event gained identical few fans from the vent. Their flow 1964 single "Final Night I Made a Little Girl Cry" b/w "Transmit Me Back," scantily made the British Top 40, peaking at number 40, and it wasn't long later this that Gustafson left the band and was replaced by Kinsley, whose return to the lineup coincided with their last-place round of golf of success as the Merseybeats. By 1965, the Liverpool heavy synonymous with the term "Merseybeat" was considered commonplace, and the constitute that had helped attain the group some critical recognition was now weighing them dispirited. Following "I Love You, Yes I Do" b/w "Dependable, Good Lovin'," and "I Stand Accused" (by and by covered by Elvis Costello) backed with "All My Life," which peaked at numbers 22 and 38, severally, the group seemed to make run for its course for commercial success by early 1966. They were rescued by the interest of the members of the Who, whose members knew Crane and Kinsley, and got them under the management of Chris Stamp and Kit Lambert. In mid-1966, Crane and Kinsley became the Merseys and scored a huge hit with "Sorrow" later that yr, reaching number four-spot in England. They'd soundless never charted a record in America, however, and their following single, a fine rendering of the Who song "So Sad About Us," never charted. The duette called it quits later the outlet of their exclusive "Endearing" b/w "Loretta Drifting." Kinsley went on to form Rockin' Horse, while Crane by and by re-fomed the one-time striation -- after a way -- as Tony Crane & the Merseybeats during the '70s and '80s, with Bob Packham on bass and vocals, Alan Cosgrove on drums and vocals, and Colin Drummond on keyboards and vocals. The original group was lovingly remembered and he band did well embracing its possess past; in the lag, David Bowie covered "Sorrow" on Pin Ups in 1973, an reference point of the tarriance appeal of their c. H. Best lick. By the '90s, Kinsley was operative with them again as the Merseybeats, built about that same nucleus batting order except for Dave Goldberg on keyboards. In 2000, Crane's word Adrian united on keyboards and guitar, and Lou Rosenthal took over on drums. |
Download Osamu Kitajima mp3
Thursday 14 August 2008
Download Bow Wow Wow
 Artist: Bow Wow Wow: mp3 download Genre(s): Other Pop Discography:  Wild in the U.S.A. Year: 1999 Tracks: 20  See Jungle,See Jungle Year: 1998 Tracks: 13 Bow Wow Wow was a quartette organised by U.K. managing director Malcolm McLaren (charles II Herbert Best known as the mastermind behind the Sex Pistols) at the start of the '80s. McLaren matched the trio of musicians wHO had established Adam Ant's Ants -- Matthew Ashman (b. 1962) on guitar, Leigh Gorman (b. 1961) on bass, and David Barbarossa (b. 1961) on drums -- with teenaged isaac Bashevis Singer Annabella Lwin (b. Oct. 31, 1965), retaining the originally group's African-derived drum sound. In 1983, Lwin quit the mathematical group for a solo life history, and the left trey changed their make to the Chiefs of Relief. Both Lwin and the Chiefs issued their possess albums. In 1995, Ashman passed away due to diabetes. Headed by Lwin and Gorman, a reformed Bow Wow Wow resurfaced in 1998 with Wild in the U.S.A., which featured both remixes and concert performances from the reunion term of enlistment; guitarist Dave Calhoun and drummer Eshan Khadaroo filled the other slots. |
Wednesday 6 August 2008
Jamie Muir, Michael Giles, David Cunningham
Artist: Jamie Muir, Michael Giles, David Cunningham
Genre(s):
Other
Discography:
Ghost Dance
Year: 1995
Tracks: 15
Friday 27 June 2008
Coldplay � Viva La Vida or Death And All His Friends
A mouthful of a title inspired by a surrealist Mexican painter; bold cover artwork depicting the spirit of revolution; the recruitment of Brian Eno - esteemed stadium band fixer and Rock's premier out-of-the-box thinker - on knob-dwindling duties; and much talk about new directions, artistic insurrection and experimental makeover. All the signs are there. Have Coldplay finally thrown commercial caution to the wind, ditched their increasingly bland stadium-sized mid-tempo rock, and opted to make a really bold and baffling artistic statement as the world waits with baited breath. Well not exactly.
Akin to the album's artwork, Chris Martin and Co have taken their usual canvas and partially spray painted over it, without ever threatening to disguise what lies at the foundation. Indeed, throughout 'Viva La Vida' (we're not referring to the ridiculously long title from hence forth) you do wonder if Coldplay have simply changed everything around them but their sound. Enrolling Eno and recording in a bakery might be one thing, but we still get echoing, rather uninventive guitar sounds, piano ballads which build to falsetto vocals, and a constant mid-tempo flow right throughout. The 'new Coldplay' is, in truth, rather like the 'old Coldplay' and, not unlike a family who have moved from one country to another, the surroundings may have changed but the workings within remain the same.
That's not to say that Coldplay aren't now working off a broader sonic palette. There's a creepy darkness and shades of funk on 'Cemetries of London' (which incidentally borrows parts of its melody from 'House of the Rising Sun'); a hip-hop beat powers 'Lost!'; and African-sounding guitars intersperse 'Strawberry Swing'. Some will point out that this was the direction the band that recorded 'A Rush of Blood To The Head' seemed most likely to push towards, and they'd have a point. Their last record, 'X&Y', was a hiccup, absent of the creative ambition shown on 'A Rush of Blood To The Head'. In many ways 'Viva La Vida' sees them moving forward in much the way that its predecessor marked a step forward from 'Parachutes'. Songs such as 'Politik', from their second album, wouldn't sound out of place here.
In this regard, Brian Eno's arrival has served to lift them out of an artistic rut. Rather than change or reinvent their sound, he's encouraged them to step back and think differently about the execution of the Coldplay brand. While 'X&Y' contained some fine songs, they were woefully over-cooked and followed a blindingly predictable structure.
On 'Viva La Vida', such verse-chorus-falsetto structure has largely been booted out in favour of something looser, freer, more unpredictable, and yes, more imaginative. Instead of turning right as expected, Martin's gang regularly shift left, but without ever moving too far off the map. Opener 'Life In Technicolor' is a case in point.
Here, an Eno sound-tapestry bleeds to an electro-induced track, not unlike Sigur Ros, before chiming guitars, piano, a tight bass line and pounding drums build to a stadium chorus of 'Whoh-Whoa'. Just as it peaks, two minutes in, the track ends without vocals, content in its instrumental form. In the past, Coldplay wouldn't have been able to resist the temptation of completing such a stadium-viable and musically memorable anthem with a rousing vocal track. On this album however, they're more disciplined, focussed and subtle, or as subtle as Coldplay can be.
While there's no obvious huge single on 'Viva La Vida' there's plenty that's eager to please. Chris Martin's melodies still shine and worm their way into your head, none more so than the bounce of '42', a track which begins, in standard Coldplay fashion, with Martin sombrely singing nonsense about "there must be something more" over a lone piano. This before it morphs Radiohead-like into much more upbeat territory before suddenly crashing back to type.
'Lovers In Japan/ Reign of Love' follows, completing a middle section which sees the four-piece at their best. 'Lovers In Japan' begins like a baggy-era James track, but at its heart, this is vintage Coldplay, Martin again pulling all the strings, his bouncy piano track bedding an infectious melody as the rest of the band follow his lead. 'Reign of Love' is also all about Martin; a simple yet beautiful piano piece with a tender vocal. It serves as the best collaborative effort here between song-writer and producer. While Martin provides a beautifully lovelorn track, Eno rains little sound glitches and background sounds down on the track to give it a delicate, ethereal quality, bringing to mind the work of Sigur Ros. Its overall sound paints a picture of floating in space amongst stars. Quite beautiful.
'Yes/ Chinese Sleep Chant' doubles-up tracks once again, with 'Yes' seeing Martin sound vaguely menacing and singing in a different octave, while on 'Chinese Sleep Chant', his vocal is totally hidden beneath a layer of guitars.
Title track 'Viva La Vida' is destined to become a live favourite, with its string section driving the song early on with a stab-rhythm, before circling around the song. The most mundane song here, it's clearly one for the masses. Single 'Violet Hill' follows, while the sun-drenched, chilled out vibe of 'Strawberry Swing' is hard not to immerse yourself within.
The album closes with 'Death and All His Friends/ The Escapist', the former again turning back upon the usual Martin at the piano set-up before the track opens out in a manner which will again see it excel when played out in front of tens of thousands of people.
If you've never got/liked Coldplay from their inception, you still won't. 'Viva La Vida' isn't going to magically change your mind or suddenly offer you something you haven't heard before. Though it fixes all the problems apparent on 'X&Y' and is head and shoulders above both that record and Coldplay's legion of intimidators, it still shows Coldplay to be deficient in two key areas likely to forever hold them back from the realms of true greatness.
Chris Martin's lyrics are again typically vague and muddled, saying absolutely nothing. Martin has long had difficulty here and the problem remains. Elsewhere, while Martin has contributed a fine tally of lush melodies, and Eno has managed to get the rhythm section of Guy Berryman and Will Champion operating considerably above their game, guitarist Jonny Buckland hasn't seized the initiative. As a lead guitarist he rarely if ever leads from the front and his lack of imagination here prevents Coldplay from darting forward.
'Viva La Vida' does not mark the dawn of a radical new Coldplay. They do what they do and, for the most part, they're doing it as good as they've ever done here. Their fourth album is brimming with some fine songs. It won't blow your mind, though you won't necessarily be reaching for the eject button either.
Steve Cummins
Akin to the album's artwork, Chris Martin and Co have taken their usual canvas and partially spray painted over it, without ever threatening to disguise what lies at the foundation. Indeed, throughout 'Viva La Vida' (we're not referring to the ridiculously long title from hence forth) you do wonder if Coldplay have simply changed everything around them but their sound. Enrolling Eno and recording in a bakery might be one thing, but we still get echoing, rather uninventive guitar sounds, piano ballads which build to falsetto vocals, and a constant mid-tempo flow right throughout. The 'new Coldplay' is, in truth, rather like the 'old Coldplay' and, not unlike a family who have moved from one country to another, the surroundings may have changed but the workings within remain the same.
That's not to say that Coldplay aren't now working off a broader sonic palette. There's a creepy darkness and shades of funk on 'Cemetries of London' (which incidentally borrows parts of its melody from 'House of the Rising Sun'); a hip-hop beat powers 'Lost!'; and African-sounding guitars intersperse 'Strawberry Swing'. Some will point out that this was the direction the band that recorded 'A Rush of Blood To The Head' seemed most likely to push towards, and they'd have a point. Their last record, 'X&Y', was a hiccup, absent of the creative ambition shown on 'A Rush of Blood To The Head'. In many ways 'Viva La Vida' sees them moving forward in much the way that its predecessor marked a step forward from 'Parachutes'. Songs such as 'Politik', from their second album, wouldn't sound out of place here.
In this regard, Brian Eno's arrival has served to lift them out of an artistic rut. Rather than change or reinvent their sound, he's encouraged them to step back and think differently about the execution of the Coldplay brand. While 'X&Y' contained some fine songs, they were woefully over-cooked and followed a blindingly predictable structure.
On 'Viva La Vida', such verse-chorus-falsetto structure has largely been booted out in favour of something looser, freer, more unpredictable, and yes, more imaginative. Instead of turning right as expected, Martin's gang regularly shift left, but without ever moving too far off the map. Opener 'Life In Technicolor' is a case in point.
Here, an Eno sound-tapestry bleeds to an electro-induced track, not unlike Sigur Ros, before chiming guitars, piano, a tight bass line and pounding drums build to a stadium chorus of 'Whoh-Whoa'. Just as it peaks, two minutes in, the track ends without vocals, content in its instrumental form. In the past, Coldplay wouldn't have been able to resist the temptation of completing such a stadium-viable and musically memorable anthem with a rousing vocal track. On this album however, they're more disciplined, focussed and subtle, or as subtle as Coldplay can be.
While there's no obvious huge single on 'Viva La Vida' there's plenty that's eager to please. Chris Martin's melodies still shine and worm their way into your head, none more so than the bounce of '42', a track which begins, in standard Coldplay fashion, with Martin sombrely singing nonsense about "there must be something more" over a lone piano. This before it morphs Radiohead-like into much more upbeat territory before suddenly crashing back to type.
'Lovers In Japan/ Reign of Love' follows, completing a middle section which sees the four-piece at their best. 'Lovers In Japan' begins like a baggy-era James track, but at its heart, this is vintage Coldplay, Martin again pulling all the strings, his bouncy piano track bedding an infectious melody as the rest of the band follow his lead. 'Reign of Love' is also all about Martin; a simple yet beautiful piano piece with a tender vocal. It serves as the best collaborative effort here between song-writer and producer. While Martin provides a beautifully lovelorn track, Eno rains little sound glitches and background sounds down on the track to give it a delicate, ethereal quality, bringing to mind the work of Sigur Ros. Its overall sound paints a picture of floating in space amongst stars. Quite beautiful.
'Yes/ Chinese Sleep Chant' doubles-up tracks once again, with 'Yes' seeing Martin sound vaguely menacing and singing in a different octave, while on 'Chinese Sleep Chant', his vocal is totally hidden beneath a layer of guitars.
Title track 'Viva La Vida' is destined to become a live favourite, with its string section driving the song early on with a stab-rhythm, before circling around the song. The most mundane song here, it's clearly one for the masses. Single 'Violet Hill' follows, while the sun-drenched, chilled out vibe of 'Strawberry Swing' is hard not to immerse yourself within.
The album closes with 'Death and All His Friends/ The Escapist', the former again turning back upon the usual Martin at the piano set-up before the track opens out in a manner which will again see it excel when played out in front of tens of thousands of people.
If you've never got/liked Coldplay from their inception, you still won't. 'Viva La Vida' isn't going to magically change your mind or suddenly offer you something you haven't heard before. Though it fixes all the problems apparent on 'X&Y' and is head and shoulders above both that record and Coldplay's legion of intimidators, it still shows Coldplay to be deficient in two key areas likely to forever hold them back from the realms of true greatness.
Chris Martin's lyrics are again typically vague and muddled, saying absolutely nothing. Martin has long had difficulty here and the problem remains. Elsewhere, while Martin has contributed a fine tally of lush melodies, and Eno has managed to get the rhythm section of Guy Berryman and Will Champion operating considerably above their game, guitarist Jonny Buckland hasn't seized the initiative. As a lead guitarist he rarely if ever leads from the front and his lack of imagination here prevents Coldplay from darting forward.
'Viva La Vida' does not mark the dawn of a radical new Coldplay. They do what they do and, for the most part, they're doing it as good as they've ever done here. Their fourth album is brimming with some fine songs. It won't blow your mind, though you won't necessarily be reaching for the eject button either.
Steve Cummins
Thursday 19 June 2008
Futureheads Leaving Label Made Us Stronger
British rocker FUTUREHEADS are urging other bands to follow in their footsteps and start their own label - claiming going it alone is making them more successful.
The band were dropped by 679 Records in 2006, prompting them to release their third album, This is Not the World in 2008 through their own label Nul Records.
And bandmember Dave Hyde claims they are bigger and better under their own management.
He tells CMU Music, "We've set-up our own and I think we've done a better job at it, we've never had so much radio play since we've just started this so things are far better than they've ever been".
See Also
Thursday 12 June 2008
Revision3 imports Gary Vaynerchuk's 'Wine Library TV'
Revision3 has made another high-profile acquisition by adding wine expert Gary Vaynerchuk to the fold starting June 23. Vaynerchuck's popular Wine Library TV, which Revision3 says brings in more than 60,000 viewers every day, stars the blue-streak-talking Jersey boy as he sniffs, swishes and spits his way through a bottle or three per episode. Vaynerchuk loves the Jets as much as he loves a good '82 Bordeaux -- he sometimes wears a wristband of the one while rotating a glass of the other. This unsnobby charm mixes well with his insistence that viewers trust their own palate rather than what the experts say, an approach that has won "GaryVee" plenty of fans and followers -- he's got more than 9,000 on Twitter alone.
In the episode below, Gary gives a second chance to a Kosher Cabernet that he panned last year.
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