Saturday, May 23, 2009

Mika Biography

SOURCE:SING365.COM
I grew up listening to every thing from Joan Baez and Dylan, to Serge Gainsbourg and Flamenco,” says Mika, a 23-year-old singer, songwriter and producer whose sparkling debut album, Life in Cartoon Motion, has just been released. “My musical tastes have become more eclectic as I’ve got older, but I'm always going back to great artist songwriters, people who make great records to their own vision. Prince, Harry Nillson, Elton John, even Michael Jackson. These people make amazing pop records that couldn’t be performed by anybody else, and that’s what I always wanted to do.”

Fun, smart, musically adventurous and thematically provocative, the thirteen songs on Life, all of them written and produced by Mika, combine euphoric rushes of melody with darker unexpected elements. They range from bright daytime melodramas to night-time tales of love, loss, abandonment, hope and happiness. Each is a splendid blend of fresh imagination and deft pop craftsmanship. They are songs, Mika says, “about transitions,” about people in the process of becoming whoever they want to be. Sort of like Mika himself.

“Transitions are important, because that’s when everything gets destabilized, and that makes you question and re-evaluate everything,” he explains. “For songwriting, that’s an endless source of inspiration, because it makes you look at things. You can’t take anything for granted.”

A self-taught piano virtuoso, gymnastic vocalist and born entertainer, Mika has music in his bones. His four-octave voice, which he knows when to restrain and when to unleash, needs to be heard to be believed, and he uses it to powerful effect on Life. Whether praising the delights of the larger-framed woman on the funk-rocking “Big Girl (You Are Beautiful),” describing the journey of a married man who discovers that he’s attracted to men on the burlesque “Billy Brown,” or simply celebrating the joys of being alive on “Love Today,” he is unafraid to revel in the pleasure he takes in making music. “I wrote ‘Love Today’ when I was happy, really happy,” he recalls. “When you’re on a buzz, you assume that everyone in the world feels the way you do. So I put it in a song.” Motorola has licensed “Love Today” for online and mobile-phone spots in its RED campaign

The moods on Life in Cartoon Motion swing wildly – as do the rush of musical surprises that continually tumble forward. That sense of delirious unpredictability accounts, in part, for the album’s title. “Inevitably when you put certain subjects into a pop song, a cartoon-like quality arises,” Mika says. “It’s like how Homer Simpson can talk about anything from politics to Michael Jackson’s weirdness to homosexuality and get away with it because it’s a cartoon. That’s where the title comes from.”

Mika’s background, however, wasn’t always so playful. He was born in Beirut in the mid Eighties, and his family moved to Paris at the height of Lebanon’s brutal civil war. His father was subsequently taken hostage and held at the American embassy in Kuwait, and the family eventually settled in London. Mika found himself lost in the chasm of these wrenching and frightening events.

“It was the combination of moving as well as a horrible time I had at school in the first few years of living in London that led me to forget how to read and write, and stop talking for a little while,” he says. “I was pulled out of school for over six months; in order to sort myself out. This is when music really became important. It got me back on my feet.”
By the time he was nine, Mika knew that songwriting was what he wanted to do. “After I started singing, I started to get jobs everywhere,“ he says. “I did everything from recordings with the Royal Opera House to a chewing gum jingle. One reason I got so much work was that I was insanely cheap. My mother and I had no idea what I was supposed to get paid. Looking back on it, 45 quid for an Orbit chewing gum jingle could have been a little too cheap!”

When he was eleven, Mika catapulted onto the stage of a Richard Strauss opera, and the glamour of that environment instantly seduced him. “It was a magical world that you could live in,” he says. “A parallel universe for people that is illusory and enchanting.” When it came time for college, he enrolled at The Royal College of Music. An obsessive songwriter, he would crash parties, hijack the piano and start performing his tunes. One such occasion led to a development deal, which, unfortunately, only ended up crushing his spirit. “The executives would try and twist me into a direction that went totally against my nature,” he recalls. “Basically, they wanted me to follow whatever was popular.”

To fend off depression, Mika wrote "Grace Kelly," a hilariously bold operatic spoof set to a technicolor pop backdrop. “It was a fuck-off song to the people I was working with,” he explains. “That’s where the line ‘Shall I bend over/Shall I look older,/Just to be put on your shelf’ comes from. I was so angry. That company had every resource except a soul.” The infectious pomp and catchy chorus of “Grace Kelly” became a benchmark for the kind of music he wanted to make. “You can’t be afraid to stand out,” he says. “If no one was going to take a punt on it, then so be it. I would do it myself.” He found himself in Miami, recording demos with anyone who was interested, in any studio he could get for free. Eventually the right deal came along, and the result is this startlingly appealing album.

These songs all reflect Mika’s distinctive touch – they are simultaneously theatrical and intimate, accessible and gleefully subversive. “’Why not?’ is one of my mottoes,” Mika says, laughing. “I always knew that the first album I ever made would have to be a completely ‘No apologies’ album. There’s a kind of youth to that as well. This is the kind of record that I knew I would only be able to make once in my life. It’s my coming-out-of school, leaving-university album -- that whole transition period from childhood to adulthood. That energy keeps it alive.”

And it is just the beginning of what Mika is capable of delivering musically. “Playing live is where it all comes together for me,” he says. “I often get stressed when recording -- it’s so full of decision making. You’re constantly deciding what should stay on the song forever. I love undoing all that in my live sets, and going places where I wouldn’t necessarily go on the record.”

Caesars Biography

source:sing365.com
Sweden’s Caesars take a confident step out of the garage on their new album, Paper Tigers a lively, layered rock album informed as much by Lennon/McCartney as the 13th Floor Elevators and Stooges.

Hailed by Rolling Stone as “garage aesthetes” for their smart, tuneful takes on ‘60s psychedelic and garage rock on earlier records, the Caesars broaden their musical and lyrical palate on Paper Tigers, entering adulthood without abandoning their sense of taste and irony.

Produced by the band’s Joakim Ă…hlund, the album covers a wide range of moods, from the pulsing, buzzy guitar and organ rock of “Not The Fall That Hurts” and “Soul Chaser”, to the warm ‘60s soul of “My Heart is Breaking Down” to the introspective, textured “Your Time Is Near”, to the mellotron-accented “Winter Song”. The album’s lead track, “Spirit,” is perhaps its most ambitious song.

“It starts out real mellow,” Ă…hlund notes, “but builds into a real tornado towards the end. Quite the little epic actually, at least to be a Caesars song.” “Jerk It Out”, recently selected to be Apple’s new iPod song, is also included here in newly remixed fashion.

Paper Tigers is the fourth proper Caesars album, following on the heels of 2003’s compilation 39 Minutes of Bliss (In An Otherwise Meaningless World). Recorded following a busy year of touring the world in support of that release, Paper Tigers bears the mark of a band tending to cracks in their respective domestic worlds. “Soul Chaser” with its refrain, “you bent your mind you spent your life and end ended up with what? / but you’ve gone way too far by now to turn around”, examines the realization that carefree has slipped into adulthood. “Paper Tigers,” the album’s soaring title track, articulates the yearning for redemption: “It’s in every single one of us / looking for a single cause / hoping for a second shot”.

Ă…hlund produced the sessions, which began in winter 2003. “We did it in a few different sessions over a period of time. But that was with many breaks for touring, Betty Ford clinics and stuff. First we were in a studio called Silence. It is located deep in the dark Swedish forests near the Norwegian border. We had five great days there, it was in the middle of the dark winter of 03-04 and all the trees were covered in snow. We cooked dinners, drank wine and recorded some 9 tracks out there.”

Later sessions moved back to Stockholm’s Decibel Studios, then Ă…hlund’s own, newly acquired studio, which made for a slower, if more creative environment. “It’s like a little clubhouse for our friends and us, we just hang out there and listen to records a lot too. We have a mellotron and all our old mics and amps and things. It just makes it real easy to just be able to record whenever you get the inspiration and to not have to worry about studio cost and stressing for time and stuff.”

Mixing was done in New York in the fall of 2004 with Michael H. Brauer (Coldplay, Bob Dylan, Aimee Mann, Rolling Stones) with some finishing touches by Ă…hlund back in Stockholm.

Rewind to 1995 and the genesis of the Caesars, or Caesars Palace as they were known at home in Sweden (but renamed for the U.S. so as to not encourage the legal wrath of the Vegas casino); lead singer Cesar Vidal and guitarist Jocke Ă…hlund, childhood schoolmates, fell into the band as a lark. Along with other friends David Lindqvist and Jens Ă–rjeheim (who was soon replaced by current drummer Nino Keller) and armed with only rudimentary playing skills, the Caesars produced a raw, ear-splitting series of 7”s and EPs for the fledgling Dolores label, for whom they still record.

“We knew this guy named Isse, and he ran a record label down in Gothenburg in Sweden,” recalls Ă…hlund. “So when he heard the stuff – he heard our first demo, and he just put that out right away as our first seven inch single. We had like 20 fans here in Sweden. But we got a good review in Maximum Rock’n’Roll for that single, which I’ve still kept. It says something like ‘This is good stuff if you like to annoy your neighbors.’”

The roots of the band’s current style were evident in those first recordings, according to Jocke: “We listened a lot to garage rock and psychedelia like the 13th Floor Elevators and Billy Childish and the Sonics and stuff like that, but also Sonic Youth and Pavement. In the beginning our sound was a little different from today. A lot rawer, but still with some great melodies somewhere underneath all those fuzzed out guitars. We didn’t have the organ at that stage, and since I’d just started to learn to play the guitar, I couldn’t play and sing at the same time, so there are none of those beautiful Beach Boys harmonies that we got to use later. But it’s still good stuff, and it’s not light years apart from what we’re doing now, just an earlier, more primitive version of what later became the Caesars' sound.”

Their first album, 1998’s Youth Is Wasted On The Young saw that early rawness tempered with just enough studio know how to result in a catchy, wickedly fun romp of an album. It was licensed in the U.S. by indie Minty Fresh Records, who christened the band the “12 Caesars”, to further confuse matters. “We wanted to call ourselves The Caesarians,” Ă…hlund remembers. “But they thought that was too vulgar or something. But we got stuck with the Twelve Caesars and now we’re just the Caesars and it’s all very confusing for all the 200 people who may have bought the first record!”

The album did well in Sweden, however, as did the 2000 follow up Cherry Kicks, which received no Stateside release. 2002’s Love For The Streets brought the band relative stardom at home, selling Gold and securing the band a Swedish Grammy award for "Album of the year", as well as cementing their status as on of the country’s most influential and popular bands. It was on the back of this success that Virgin Records released 39 Minutes of Bliss internationally (and through Astralwerks in the US). The release introduced the band all over the world causing them to tour the UK, Europe, US and Japan over the course of 2003.

The track “Jerk It Out” was a ubiquitous minor hit, appearing on the radio and in more than a handful of TV shows, films and now the iPod ad. Comments Ahlund on the song’s fuzzy meaning, “It means to just let out some steam, freak out, let yourself go, get crazy etc. All that stuff. Don’t feel ashamed of your different and weird sides ‘cause they’re what makes you beautiful.”

As for the band’s hopes for this album, they are relatively simple. “I really wish that people would put the record on when they are having a house party with their friends and just scream and shout and dance to it. Let you freak flag fly!”, exclaims Ahlund. “Or that they put it on when they’re all alone and sad and when they broke up with their girlfriend. Or put it on in your car stereo and shout along with the lyrics. I wish people would put it on in their headphones and walk around on town feeling tough and cool listening to it. Or that it makes them want to kick their boyfriend out…or call him and make up. You know pretty much what I do with the records that I love best…”

Tuesday, May 19, 2009

I Am Ghost Biography

I Am Ghost-photosource:sing365.com
Steven Juliano - Vocals/Bloody Screams
Kerith Marcantonio - Violins/Vocals
Brian Thomas - Bass/Piano/Vocals
Gabriel Iraheta - Guitar
Timoteo Rosales - Guitar
Ryan Seaman - Drums

After playing just four local shows, few would have predicted they would quickly sell 20,000 copies across the country through the power of the internet, and be the darlings of the Warped Tour and Alternative Press by the following summer. Now comes Lovers Requiem, a full-length debut so ambitious and assured that it seems the work of a much more established band. From the baroque Latin chorus that opens the CD, to the punishing guitar overdrive of first video/single Our Friend Lazarus Sleeps, Lovers Requiem will take fans of the EPs haunting melodicism to new symphonic heights. And fans of My Chemical Romance, HIM and AFI will discover a great new dark voice, the power and majesty that is I Am Ghost.

The All-American Rejects Biography

Source: http://www.allamericanrejects.com/rejects.htm The All-American Rejects-photo
Tyson Ritter (vocals/bass)
Nick Wheeler (guitars/keyboards/programming)
Mike Kennerty (guitar)
Chris Gaylor (drums)

The All-American Rejects are a Stillwater, Oklahoma based band whose incomparable sound fuses modern power pop music with drum loops, rock guitar and infectious melodies and harmonies.

The duo that is known as The All-American Rejects is Tyson Ritter (vocals, bass) and Nick Wheeler (guitars, drums, keyboards, & programming). The band released their first independent album in the spring of 2000 securing spins on Oklahoma radio creating a massive local fan base. The songs compiling the album attracted opportunities for the duo such as mass local radio and press exposure, licensing on MTV’s Undressed, and opening bill for The Flaming Lips and Caroline’s Spine.

In the summer of 2001, The All-American Rejects released the E.P. Same Girl, New Songs and set out to tour the Midwest. By the end of the tour, the band had signed a recording contract with Doghouse Records (The Get Up Kids, River City High).

The All-American Rejects recorded their international debut album with producer Tim O’Heir (Superdrag, SamIAm, Sebadoh) in Brooklyn, NY. During this time, the band also filmed a music video for their first single "Swing, Swing". Their self-titled debut will hit stores October 15th [2002].

y4u2002@yahoo.com wrote:

Just to let you know the band is no longer made up of four guys. Tyson and Nick are the only ones left. The others left for their oun reasons. So now just the two of them jam and their doin a hell of a good job. The make backup tapes with the drums and stuff and the play the guitar, bass and keyboard live.

Lostprophets Biography

Source: http://lostprophets.com Lostprophets-photo
Ian Watkins - Vocals
Mike Lewis - Guitar
Lee Gaze - Guitar
Stuart Richardson - Bass
Mike Chiplin - Drums
Jamie Oliver - Programming / Decks
Lost prophets were formed in late 1997 by a collective of friends, sick of not hearing what they wanted in the modern alternative music scene. They all were from varied musical backgrounds.

The first demo in that same year of 1997 gained a perfect review in U.K. The second demo recorded the following year, in 1998 and had different sound and was never released.

Various extra members have come and gone, but the key five have always remained.
The band is now made up of six members. Over the past two years their sound has progressed and focused into what you are hearing today. Since the group came to be, 3 demos have been recorded.
The third demo was recorded throughout 1999.

Until now, the band has remained on a low, perfecting their sound, and working on other calls in life. The band took a break for a couple of months, to complete their studies and travel.

Saturday, May 16, 2009

The Kooks Biography


source:sing365.com
The first thing to learn about The Kooks (named, need we mention, after the track of the same name on ‘Hunky Dory’) is that, as their name suggests, they like to take a chance. But let’s get nineteen year old singer Luke Pritchard to explain: "Bands tend to do one thing and then stick to it" he says, constructing a roll-up beneath a tangle of Syd Barrett-esque curls. “With The Kooks we plan to do the opposite. When there’s so much music to explore, why limit yourself?”

Brighton’s The Kooks are that rarest of pop entities: a scuzzy, fresh-faced group to fully restore your faith in the holy grail of English singer-songwriting stretching from Supergrass via (early) Blur to The Kinks and beyond. Their songs are crammed full of incidents on buses, bedroom mishaps -more of which laterand stinging teenage putdowns which will strike a chord with anyone who’s ever found themselves fumbling for clues on the sofa, but they’re also blessed with a cheerful irreverence most record companies would prefer was preserved in amber rather than rampaging across the nation’s venues. It doesn’t end there. Pin-sharp and scarily young (guitarist Hugh usurps Jared Followill as the youngest man in rock, having just turned seventeen), they also possess record collections which date back to the dawn of time.

In the course of an hour The Kooks (Luke: vocals,guitar; Hugh Harris; lead guitar, Max Rafferty; bass, Paul Garred; drums) will happily rave about everyone from The Police to The Everley Brothers to Funkadelic to the component parts of medieval folk. Probe further and it turns out the first song they played together was The Strokes’ ‘Reptilia’.

Conducting his own research program into the likes Of Neil Young, Nick Drake and Chuck Berry, Luke recruited louche bassist Max Rafferty (first gig: Jacques Loussier) and under the tutor-duping disguise of a ‘school project’ set about becoming The Kooks. Snapped up by Virgin following an incendiary four-song debut at the Brighton Free Butt, they have since found themselves heckled in Stoke, playing to horrifying ghouls (an ill-fated Hallowe’en bash in Liverpool) and mobbed on a national tour with The Thrills, all the while fine-tuning their youthful assault in a dis-used bread factory. “We all write songs and all love loads of different music so we argue a lot about how and what to play" continues Luke. “That’s what rehearsing is about for us. But because of the way Max and Hugh play there’s a soul and reggae feel to what we do which is vital. We’re a groove rock’n’roll band who want to make people dance..”

First proof comes with The Kooks incredible debut single ‘Eddie’s Gun’. A grinding speed rocker beginning with Luke screeching “Did you see the way she looked at me?” amid an almighty shower of drumming, it ends with a four instrument pile-up and is as deeply impressive as a debut single gets. Second track ‘Sofa Song’ is -whisper it- even better.

To these ears they’re the finest, most ecstatic celebration of youthful misdemanours since Supergrass’s ‘Caught By The Fuzz’ or -pass grandad’s ear-trumpet- The Who’s ‘Pictures Of Lily’. After all, as Max candidly points out, ‘Eddie’s Gun’ is about “erectile dysfunction”. The mind boggles at what the album (scheduled for 2006) will be like. “I want the album to include all types of music, no genres excluded” continues Luke, another long afternoon of rehearsals ahead.

“From Bobby Womack to The Clash!” beams Max.

“We don’t want to hide from taking risks,”adds Luke.

“I liked the fact The Coral’s first album dared to be different. That’s what groups are there to do. We want to challenge what’s expected of us. But right now we’re about making great pop music. So many bands are scared of pop and they shouldn’t be. When it’s good, there’s nothing better. And we mean to have fun with it !”

The Kooks: hung up on romancing.

Silverchair Biography

source:sing365.com
Silverchair is Australia’s most successful contemporary rock band. The group has had more top twenty hits during the last decade than any other local artist and they have sold over six million albums worldwide.

The members of Silverchair were all born in 1979 in the Newcastle surf suburb of Merewether. Singer/guitarist Daniel Johns and drummer Ben Gillies started making music together at primary school and schoolmate Chris Joannou later joined on bass. In the group’s early days they were called Innocent Criminals and their repertoire consisted mainly of Led Zeppelin, Deep Purple and Black Sabbath songs they had learned from their Dads’ old record collections.

The trio played many shows around the Hunter Valley region in their early teens. They got their big break in mid-1994 when they won a national demo competition called “Pick Me” which was conducted by SBS TV show “Nomad” and youth radio station Triple J. The group’s entry was a song called “Tomorrow” which quickly landed them a recording contract.

The band changed its name to Silverchair and in August 1994 they released “Tomorrow”. The song eventually spent six weeks at #1 on the Australian singles charts and in 1995 it became the most played song of the year on U.S. modern rock radio.

Silverchair’s debut album “frogstomp”, recorded in just nine days in early 1995, was a raw sounding slab of edgy alternative rock. A #1 hit in Australia and New Zealand the disc went on to become the first Australian album since INXS to hit the U.S. top 10, selling more than 2.5 million copies throughout the world. As “frogstomp” and “Tomorrow” propelled silverchair to music superstardom through 1996 the group juggled memorable performances on the roof of Radio City Music Hall and tours with Red Hot Chili Peppers alongside full time schooling commitments back home in Newcastle.

The trio also found time that year to record their sophomore album “Freak Show” which was released early in 1997. A more adventurous piece of work than “frogstomp” this disc yielded three top ten singles in Australia - “Freak”, “Abuse Me” and “Cemetery”. “Freak Show” went gold in the United States and global sales eventually exceeded 1.5 million copies in spite of the fact that the band had to juggle world tours while trying to finish their final year of high school.

After finally graduating from school the band were able to spend much more time creating their critically lauded breakthrough, “Neon Ballroom” which was released in March 1999. The group’s songwriter, Daniel Johns had been battling personal demons as he attempted to adjust to Silverchair’s sudden success and he poured these experiences into his new batch of songs. Determined to shake the constant musical comparisons which had previously dogged his band Johns created a truly original sounding album. Fusing heavy rock with orchestral flourishes and synthetic touches with powerfully emotional lyrics, “Neon Ballroom” was universally acclaimed as a huge creative leap for Johns and his bandmates.

Silverchair toured extensively in support of the album propelling it to even stronger worldwide sales than they had achieved with “Freak Show”. In Europe and South America it became the group’s most successful album to date due to the Comet Award winning “Ana’s Song” - a track about Daniel Johns’ battles with an eating disorder. Elsewhere, distinctive tracks like “Emotion Sickness” and the aching “Miss You Love” established once and for all that this young group is not just a fad; they are genuinely talented musicians who are here to stay.

The band toured Europe and the U.S. throughout 1999 including appearances on leading festivals such as Reading and Bizarrefest and tours with bands like Red Hot Chili Peppers and Blink 182. After all this touring the band announced that they would be taking a 12 month break to recharge their batteries.

Having fulfilled their three album deal with Sony Music Australia the group was pursued by labels for much of this year off. At the end of 2000 they announced that they had signed new recording agreements with Atlantic Records for North and South America and their own indie label, Eleven: a music company in Australasia and Asia. As a result of these new deals their former label rush released a compilation album without the band’s involvement.

Silverchair’s one and only gig in 2000 was a sold out appearance at Australia’s Falls Festival on New Years Eve. It was followed on January 21, 2001 by the biggest show of their lives - 250,000 people at Rock In Rio - a performance which the band describe as the highlight of their career to date.

In June 2001 the band entered a studio in Sydney with producer David Bottrill (Tool, Peter Gabriel, King Crimson) to start work on their fourth album, “Diorama”. This time Daniel Johns formally assumed the role of co-Producer and set out to explore even more new musical territory.

A range of other musicians were drawn in to contribute to the disc, most notably the legendary Beach Boys and U2 collaborator, Van Dyke Parks who contributed orchestral arrangements to three tracks including a lush epic called “Luv Your Life”. Also helping out again were “Neon Ballroom” sidemen, Paul Mac and Jim Moginie.

Silverchair fans got their first taste of “Diorama” when a single called “The Greatest View” was released in Australia in January 2002 to coincide with the band’s appearance on the Big Day Out Tour. The track displayed a fresh new sound showing yet another creative leap for the band – now rock veterans at the age of 22!

The enhanced melodic sensibility and newfound vocal confidence of “The Greatest View” attracted unprecedented radio support in Australia on all formats and drove the single to #1 on the alternative charts and #3 on the mainstream singles chart.

Diorama means “a world within a world”. It’s a particularly apt name for Silverchair’s new CD as this evocative piece of work lifts you out of the everyday and carries you into a world of its own.

“No matter what people have got going on in their lives, hopefully when they play this album it will make them forget about everyday stuff. When music does that it’s magical and, for me, that’s what “Diorama” is about”, says Silverchair’s Daniel Johns.

The album sees the Newcastle trio embracing melody and combining it with lyrics that are brighter than most of their previous works. It’s a huge creative leap which also sees them exploring a vast array of instrumentation and musical styles.

The resulting piece of work literally covers the whole musical spectrum – as its colourful cover suggest. It moves from edgy rockers “The Lever” and “One Way Mule” to sweeter tunes such as “After All These Years” and “World Upon Your Shoulders”. There are also irresistible melodic rock songs like “Without You” and the fantasia-esque epics “Across The Night” and “Tuna In The Brine”. It’s a technicolour collage that’s innovative and memorable.

According to Rolling Stone magazine in it’s four and a half star review, the album is “one of the boldest musical statements ever made by an Australian rock band”.

“Diorama” entered the Australian charts at #1 in April and has gone on to sell over 140,000 copies (double platinum) in this country so far. It has also yielded the top 10 single “Without You” and the top 20 hit “Luv Your Life”.

The album’s international performance has unfortunately been severely affected by the band’s inability to tour or do promotional appearances due to Daniel Johns’ ill health. The singer/guitarist has spent 2002 battling a severely debilitating case of reactive arthritis from which he is now recovering. Nevertheless, even without any of the usual promotional support the album has reached #12 in Germany and the top 40 of numerous other countries including Holland, Sweden and Brazil. However, the group’s inability to tour in support of the release still made 2002 a very frustrating year.

This all began to change in October 2002 when the band’s work on “Diorama” won them six ARIA Awards including “Best Group” and “Best Rock Album”. In a last minute surprise the trio returned to the stage to deliver a searing performance of “The Greatest View” which catapulted their album back into the national top 20. The ARIA triumph capped a roller coaster year for the band – a year which in many ways traced the journey of “Diorama” itself – from bleak times into a much happier new dawn.

“Our other albums have all been pretty black”, explains Daniel Johns when asked to summarize the new album. “This time around I wanted to try painting with lots of colours”.

Friday, May 15, 2009

Finch Biography


Source:
http://www.finchmusic.com Finch-photo
Have you heard the one about the Drive-Thru band that started off in high school sounding suspiciously like one of its major influences before finding its own sound and catching the ear of the eminent label?

Sure you have, only the story didn't quite go the way this one does. Finch didn't start off by aping the sounds of Blink 182, or Jimmy Eat World, or any of the other usual suspects. In fact, that was the furthest thing from their mind.

"We were pretty much a Deftones ripoff band," singer Nate admits sheepishly. In those days, the Temecula, California based band was called Numb, but it was essentially the same band. Except for one key element, that is: Randy.

Initially recruited as a second guitarist to bolster Numb's sound, Randy's musical interests were hardly shared with the rest of the band. "Temecula is really cliquey. I had my surfer/skater friends, and we'd listen to punk rock," says Randy. "When I was first in the band, everyone hated punk except Derek."

So what attracted them to Randy of all people? "I was in this band called Evitca Fresh. We were playing our bass player Jeremy's birthday, and Numb came to watch us play," Randy explains. "Derek (Numb/Finch's bassist) came up to me after the show and he goes, ˜Hey, your girlfriend's hot!" And I'm like, "What? Thanks, I guess."

"It kind of creeped me out," Randy continues. "But then he pursued me a few days later, and he was like, ˜You're a good guitar player, dude. You should come play for our band!"

A dubious beginning, no doubt, but when Randy finally decided to enter the fold it would prove a major turning point for the band.

"Randy's totally influenced by punk, so he brought that element, and it started changing things," says Nate. "He introduced us to things like Jimmy Eat World and emo-ish stuff, too. Everyone started listening to it and getting our own ideas. It's been a little over a year and a half since we've all been working together, and the music has changed so much since then."

It's not that Randy became the architect of a new sound for the band, but the clash of his punk and emo influences with their heavier ones brought Finch collectively to something that wasn't exactly any of those things.

"We're waiting for someone to throw us into a category” because we don't really know what genre we are, either," says Nate. "There are so many different elements and different ideas in our music that it's hard to classify."

"It's just our style now," echoes Randy. "We're all on the same wavelength. We developed our style together, we built it up, so now we all write similar songs."

The addition of Randy didn't just broaden the newly renamed Finch's approach to music. It changed their entire perspective on being a band. Up to that point, the thought of inking a record deal hadn't even crossed their minds.

"I was working and doing school, and the band was just something else to do. I didn't really care if we got signed or not," says Nate. "But when we hooked up with Randy, he kept talking about Drive-Thru Records."

As it turns out, Randy had kept in touch with Drive-Thru since writing a fan letter to the label years earlier. He'd even tried to pique the label's interest with his previous bands. Needless to say, when Randy told his new band mates about his relationship with the label, he was met with a bit of excitement.

"Richard (Drive-Thru Record's owner) was like, "All right, come and play for me," says Randy. "So we rented a studio. Richard wasn't even stoked, he was just doing it as a favor. But we went up there and played, and he was blown away."

So blown away, in fact, that he called his sister and Drive-Thru co-owner Stefanie into the studio to check the band out. She was duly impressed , and Finch was offered a contract on the spot.

Which just about brings us up to date. Finch's debut, a four-song EP produced by Chris Fudurich (The Hippos, Rx Bandits), will be in stores on Drive-Thru on October 9, 2001.

The band has been working on its first full length with producer Mark Trombino (Blink 182, Jimmy Eat World, Midtown), which ought to give you an idea of the faith the label has in its new signing. Finch's sound continues to grow in new directions, although they're no closer to being able to tell you just what genre that sound fits into. And the plan from here is simple:"We're gonna finish our album, and then we're gonna go on tour and get homesick," says Randy. "And then we'll come back for a little bit, and go on tour and get homesick again, until we turn 30 and we're Drive-Thru has-beens."

Monday, May 11, 2009

Metallica Biography


source:sing365.com
FORMED: 1981, Los Angeles, CA

The most consistently innovative metal band of the late 80s and 90s was formed in 1981 in California, USA, by Lars Ulrich (b. 26 December 1963, Copenhagen, Denmark; drums) and James Alan Hetfield (b. 3 August 1963, USA; guitar/vocals) after each separately advertised for fellow musicians in the classified section of American publication The Recycler. They recorded their first demo, No Life Til' Leather, with Lloyd Grand (guitar), who was replaced in January 1982 by David Mustaine (b. 13 September 1961, La Mesa, California, USA), whose relationship with Ulrich and Hetfield proved unsatisfactory. Jef Warner (guitar) and Ron McGovney (bass) each had a brief tenure with the band.

At the end of 1982 Clifford Lee Burton (b. 10 February 1962, USA, d. 27 September 1986; bass, ex-Trauma) joined the band, playing his first live performance on 5 March 1983. Mustaine departed to form Megadeth and was replaced by Kirk Hammett (b. 18 November 1962, San Francisco, California, USA; guitar). Hammett, who came to the attention of Ulrich and Hetfield while playing with rock band Exodus, played his first concert with Metallica on 16 April 1983. The Ulrich, Hetfield, Burton and Hammett combination endured until disaster struck the band in the small hours of 27 September 1986, when Metallica's tour bus overturned in Sweden, killing Cliff Burton. During those four years, the band put thrash metal on the map with the aggression and exuberance of their debut, Kill 'Em All, the album sleeve of which bore the legend "Bang that head that doesn't bang".

This served as a template for a whole new breed of metal, though the originators themselves were quick to dispense with their own rule book. Touring with New Wave Of British Heavy Metal bands Raven and Venom followed, while Music For Nations signed them for European distribution. Although Ride The Lightning was not without distinction, notably on "For Whom The Bell Tolls', it was 1986's Master Of Puppets that offered further evidence of Metallica"s appetite for the epic. Their first album for Elektra Records in the USA (who had also re-released its predecessor), this was a taut, multi-faceted collection that both raged and lamented with equal conviction.

After the death of Burton, the band elected to continue, the remaining three members recruiting Jason Newsted (b. 4 March 1963; bass) of Flotsam And Jetsam. Newsted played his first concert with the band on 8 November 1986. The original partnership of Ulrich and Hetfield, however, remained responsible for Metallica's lyrics and musical direction. The new line-up's first recording together was The $5.98 EP - Garage Days Re-Revisited - a collection of cover versions including material from Budgie, Diamond Head, Killing Joke and the Misfits, which also served as a neat summation of the band's influences to date.

Sessions for ... And Justice For All initially began with Guns 'N' Roses producer Mike Clink at the helm. A long and densely constructed effort, this 1988 opus included an appropriately singular spectacular moment in "One" (a US Top 40/UK Top 20 single), while elsewhere the barrage of riffs somewhat obscured the usual Metallica artistry. The songs on 1991's US/UK chart- topper Metallica continued to deal with large themes - justice and retribution, insanity, war, religion and relationships. Compared to Kill "Em All nearly a decade previously, however, the band had grown from iconoclastic chaos to thoughtful harmony, hallmarked by sudden and unexpected changes of mood and tempo.

The MTV -friendly "Enter Sandman" broke the band on a stadium level and entered the US Top 20. The single also reached the UK Top 10, as did another album track, "Nothing Else Matters". Constant touring in the wake of the album ensued, along with a regular itinerary of awards ceremonies. There could surely be no more deserving recipients, Metallica having dragged mainstream metal, not so much kicking and screaming as whining and complaining, into a bright new dawn when artistic redundancy seemed inevitable. Metallica was certified as having sold nine million copies in the USA by June 1996, and one month later Load entered the US charts at number 1. The album marked a change in image for the band, who began to court the alternative rock audience.

The following year's Reload collected together more tracks recorded at the Load sessions, and featured 60s icon Marianne Faithfull on the first single to be released from the album, "The Memory Remains". Garage Inc. collected assorted cover versions, and broke the band's run of US number 1 albums when it debuted at number 2 in December 1998. The following year's S&M, recorded live with the San Francisco Symphony Orchestra, evoked the worst excesses of heavy rock icons Deep Purple. In January 2001, Jason Newsted announced he was leaving Metallica after almost fifteen years service with the band. During spring 2001 Metallica entered the studio again, although with no bassist, and began recording the new album which they hoped would be released by christmas that year or early 2002. However, in July 2001 James Hetfield announced that he was in re-hab for alcohol and 'other' addictions. The recording of the new album was put on hold until he recovered.
Robert Trujilo is the new bass player!

Bowling for Soup Biography


Once upon a time, young Jaret Von Erich was using–though some might say wasting!–his considerable vocal and songwriting skills in a death metal band in Wichita Falls, Texas. That is, until one fine morning in 1994 when a thoughtful Von Erich awoke, stretched, and realized: "I want to start a band that's happy. Wouldn't it be cool to see a band and leave the club singing their songs, smiling and in a good mood?" After all, Von Erich, a former toy shop owner nurtured on Tammy Wynette, Sha Na Na, REO Speedwagon, Van Halen and Ozzy Osbourne, was a happy guy.

Thus, BOWLING FOR SOUP was born. The group's first rehearsal was June 4, 1994, the first show, July 3, and BOWLING FOR SOUP's self-titled debut, on their own Queso (si, it's Espanol for cheese) Records, hit in September of that same year. The genial pop-punksters had modest, but instantly realized goals: to write spirited, honest, sing-along songs, utilize their strong vocals and harmonies, and, in the words of Spinal Tap, "have a good time, all the time.

" In the new Millennium, BOWLING FOR SOUP's goals remain the same–and on the quartet's engaging Jive/Silvertone Records debut, "Let's Do It For Johnny," with its infectious first single, "The Bitch Song," those goals–and much more–are accomplished.

Or, as founding member Christopher Van Malmsteen notes: "The world is our playground. I’m a kid who can’t grow up and this is the perfect band for that." Given that radio jumped on "The Bitch Song" before its official add date, a lot of folks are finding BOWLING FOR SOUP "perfect." The 13-song album that takes its name from the Francis Ford Coppola flick The Outsiders is the culmination of years of touring in an '82 Dodge, and show-stealing at gigs with bands as diverse as Blink 182, Sammy Hagar, Stabbing Westward and Less Than Jake. Several "Let's Do It For Johnny" tracks, such as

"Belgium," "Scope" and "The Bitch Song" (remixed by Matt Wallace of Everlast and Faith No More fame), were re-done from previous BFS albums including "Tell Me When to Whoa!" and "Rock On Honorable Ones." Others, like "Pictures He Drew," which lyricaly tackles a painful true story, are brand-new compositions. And of course, "Summer of '69" is a creative cover of the hit written by Canadian treasure Bryan Adams. Additionally, the band has penned a new song, "The Greatest Day," for a new Tiger Woods video game.

Clearly, BOWLING FOR SOUP are serious about music–and fun–and that sense of surreal realism is evident on "Let's Do It For Johnny" as well as at the foursome's legendary live shows. "You see us walking into the club, you know we’re the band," laughs Von Erich, who adds, cryptically, "then, onstage, we do take our pants off a lot." (To answer the unspoken question: normally, boxers. On laundry day, sometimes none at all.) Testament to the powerful performances included a review of a recent gig during 2000's South by Southwest conference, which inspired one critic to rave: "...oozing oddball charisma... these guys rock. Watch for them." Of course, one writer who dared to do less than rave was fired from his gig following numerous letters in support of BOWLING FOR SOUP. Still, the modest Von Erich is quick to clarify: "I don’t think it was because of that....exactly."

BOWLING FOR SOUP, who germinated from the seeds of two Texas bands–Cool Fork (featuring Von Erich and BFS's original drummer) and Folkadots (Van Malmsteen and Rodham Clinton)–recruited "new kid" drummer Gary Wiseass in 1999. Wiseass, however, was a longtime fan and friend, checking out pre-BFS lineups at the Refuge, the non-profit club Van Malmsteen ran and booked. Yes, it's true: Van Malmsteen wasn't always the naked rock icon he is in BOWLING FOR SOUP. Once a church-going scholar, picking up the guitar was the beginning...of the beginning for the behemoth axeman, once also a pre-med major in college. "For me, the coolest players were ones who were flashy and entertaining, like Rick Nielsen, Angus Young, and of course Eddie Van Halen and Randy Rhodes, guys who were good, but flashy," he notes. As for Van Malmsteen's onstage antics? "I don’t know about exhibitionist, maybe dumb-ass?" he chuckles. "I’m not ever going to be a Calvin Klein model, so who cares?"

Bassist Erik Rodham Clinton (who, prior to an unfortunate typo, was once Erik "Rodman" Clinton, quite a difference!), may harbor secret desires to be a CK model, however. He began his showbiz career at 11 by singing with his grandfather's band in front of 10,000 people for a Texas state celebration. Then it was on to stuff the chicks dig, including the trumpet and tuba. To date, Rodham Clinton's worst job was as a janitor at a jeans factory, where he'd wake up in the middle of the night coughing up blue lint. He was joined in this endeavor by Van Malmsteen, whose last name was indeed nicked from the fast-fingered guitar guru.

And speaking of names (yes, we actually were!), BOWLING FOR SOUP was somehow, surprisingly, not already spoken for when the band chose the moniker. And BOWLING FOR SOUP realizes that journalists have more pressing questions to ask the band than "where'd you get your name?" so they're happy to set the record straight once and for all. Von Erich, whose degree in marketing with a minor in psychology comes in handy in the music business, was not immune to the teachings of more esoteric subjects.

In fact, while rumor has it the band name was inspired by comedian Steve Martin's unwritten but scatalogically titled book, "Bowling For Shit," the BFS name actually has its genesis in the writings of Harvard International Affairs professor Robert D. Putnam, whose 1995 essay, "Bowling Alone," struck a chord (a C, it's said) in the singer/songwriter.

As Von Erich explains: "the community surrounding a band–fans, record industry folk and its own members–is a microcosm of society as a whole, and such civic engagement has been proven beneficial to the members of that aggregate as well as crucial to the greater good." (Subliminal message: buy their record; you'll be part of a cool clique.) Von Erich's philosophy parallels the ideas elucidated in Professor Putnam's essay. "Putnam observes that 'more Americans are bowling today than ever before, but bowling in organized leagues has plummeted,' "explains Von Erich. Thus, concludes the BFS frontman, coming to a BOWLING FOR SOUP show puts you in the shrinking but crucial population of those involved with social intercourse.

To summarize: Bowling Alone is bad for children and other living things. Going to a BOWLING FOR SOUP show and feeling the love is good for the individual and integral to the greater good of contemporary society and community. Thus spake Von Erich.

But radio could care less about the band name. They care about BOWLING FOR SOUP's songs. And they've already played quite a few of them, too. In fact, "Sandwich," off BFS' self-titled debut, earned airplay, as did a single release, "Cody." Yet it was 1997 when it truly sunk in for the bandmembers that BOWLING FOR SOUP was more than fun. "We played with The Hunger in front of about 4,000 people in Abilene, Texas. We walked off the stage and I knew that our lives had changed forever," recalls Von Erich. The next couple years were a blur of activity that included more radio play (an early incarnation of "The Bitch Song" from "Tell Me When To Whoa!" beat out tunes from Marilyn Manson and Sugar Ray on Dallas station KDGE), up to 28 shows per month, and massive label interest, of which Jive/SIlvertone emerged the happy victors.

With so much history under their shorts, it's difficult to imagine a future more fruitful than the past. But the happy campers who comprise BOWLING FOR SOUP are only too happy to imagine it. "I can hardly wait for the world tour," begins Van Malmsteen. "Our music crosses a lot of boundaries. We could sound like Cheap Trick or something from the ‘70s. Or we can walk into a country bar and have them loving us in five minutes. I swear, we could play a nursing home. You name the crowd, we’ve played for them," he concludes. "We’ll heckle the audience just as much as they’ll heckle us. But by the end of our show, they’re always on our side. "

Friday, May 8, 2009

The Who Biography

The Who-photo
SOURCE:SING365.COM
In the annals of rock 'n' roll history, only a handful of bands are recognized as among the greatest of all time. Everyone knows the short list, and invariably, The Who is on it.

Since joining together in 1963, The Who have consistently created engaging and challenging music, much of it defying easy categorization. That the band is together today, thirty years after the release of their landmark 1970 concert album, "Live At Leeds", exciting new and old fans alike, is a testament to their power and endurance.

Today, The Who remain as vital as ever, performing together at a series of charity concerts in the U.S. in the fall of 1999, and about to embark on a North American tour in 2000.

For long-time Who fans, the music of the band seems to improve over time. For new generations of fans, the Who comprise a priceless discovery.

In 1965, Pete Townshend wrote, and Roger Daltrey sang, of "My Generation." Little did they know then, that every generation to follow would become theirs as well.

Sunday, May 3, 2009

Story Of The Year Biography


source:sing365.com
Straight from the heart of St Louis, Cometh five humans with rock and roll powers unlike most citezens of Earth. In the immortal and ever knowing words of one Bill S. Preston Esquire and Ted Theodore Logan, Story of the Year have proven themselves "most triumphant.

After nearly a decade of tight-knit friendship and years of playing music, Story of the Year have established themselves as one of the most promising unsigned bands in the nation. With tons of shows under thier belt; opening and touring with bands like GlassJAw, Goldfinger, Finch, Mest, Papa Roach, Riddlin Kids, (to name a few) Story of the Year have turned heads with an insanely energetic live show rivaled by few. Their on-stage antics and originality have earned them praise nationwide and have no doubt made them a band to watch out for.

Story of the Year takes pride in knowing that they are undoubtedly one of the hardest working bands in the universe. Over the years, they have independently handled all of their own affairs and learned to be quite self sufficient. They personaly built and maintain this webpage, they design, print, and package all of their own promotional material, CDs, T-shirts, and other merchandise, they book and organize all of their shows and tours, they (along with friend Alan Hessler) record their own music, and they've even filmed, edited, and duplicated their own 40 minute home video. Story of the Year have independently organized their own nation-wide street team, right down to duplicating the Promo CD's themselves. All of this, on top of a 5 day a week practice schedule keep the boys very busy, but very happy....

In Spring of 2001, Story of the Year recorded a 5 song self titled EP in St Louis with engineer / producer Alan Hessler (SGM records) and relocated from St Louis, MO to Orange County to surf, catch potato bugs in their house, and to take over the world. The band spent this summer and fall on tour with Goldfinger and the Vans Warped Tour. In September, the band officially changed their name to "STORY OF THE YEAR". (Since 1997, they were known as "bigbluemonkey")

Future Plans...In the spring of 2003, Story of the Year will be recording their debut full length record with producer John Feldman (The Used, Mest, Goldfinger) in Los Angeles, CA. Until then, the boys will spend all winter in sunny California writing their record and playing random shows here and there.

.:The Member:.
Josh Wills / drums
Ryan Phillips / guitar
Dan Marsala / vocals
Adam Russell / bass
Phil Sneed / guitar (coming soon)

Oasis Biography

source:sing365.com
The very first time Oasis played together they promised they were going to be the best, that they'd never settle for the dull thud of mediocrity. And then they set about proving it. Right from the off, they resisted the security of the obvious, of doing things the way they were supposed to. They never sent a demo to a record company, knew that supreme self-confidence and a host of classic songs would be enough to curve destiny their way. When Creation Records supremo Alan McGee saw them at a club gig in Glasgow they had no manager, no agent, and no money. Just greatness. He signed them on the spot. An unsuspecting world was about to be blown away.

On April 11th 1994, Oasis released their debut single, 'Supersonic', an elegantly noisy pop celebration. By now their live shows were being talked of as something very special and they'd built an extensive, committed fan base. A trio of classic singles, 'Shakermaker', 'Live Forever' and 'Cigarettes and Alcohol' further emphasised Oasis' soaringly assured power. Their increasingly growing audience began to wonder what they ever did without them.

More live shows followed, including a triumphant New York debut and promoters soon got used to the band breaking all records, exceeding even the wildest expectations.

With the release of their debut album, 'Definitely Maybe', it was time to rewrite the record books once again. The album was the fastest selling debut in British history, entering the charts, unsurprisingly, at number one. It's still in the UK top twenty after a staggering eighteen months, going way past triple platinum and perhaps more impressively has sold well over one million copies outside the UK.

They crowned 1994 with their No.3 Xmas single 'Whatever', swept the readers' and writer's polls in the music press, and were, unsurprisingly, winners at the BRIT Awards. Barely a year between their first single and the stratospheric. Not bad going.

In 1995 the reputation of Oasis' live shows sky-rocketed. All around the world gigs sold out in under half an hour, and telephone exchanges from Dublin to Detroit blew up through the sheer weight of calls for tickets. Furthermore they headlined Glastonbury, played two nights in a colossal tent on Irvine Beach, Scotland, and staged the two biggest ever indoor gigs in Europe, at a specially-expanded Earls Court. So loud were the latter that serious earth tremors were reported in the Kensington and Chelsea areas. The shows themselves were astounding, emotional, and proof, if any was needed, that Oasis were undoubtedly the biggest and best band in the country.

On record, too, the band had progressed, in April 'Some Might Say' provided them with their first No. 1 single, selling over 300,000 copies. The follow-up 'Roll With It' reached 400,000, and 'Wonderwall' is Platinum (600,000) and rising after 12 weeks in the Top Ten, and inspired an almost instant cover version by Mike Flowers.

Their second album '(What's The Story) Morning Glory?' went straight in at No. 1, and became the fastest-selling album since Michael Jackson's 'Bad' in 1987. By the end of 1995 it was certified 6 times Platinum, and, apart from Robson & Jerome, by far the biggest-selling album of the year. This success is being mirrored world-wide, with the album hitting No. 1 in France, Sweden, Ireland and New Zealand, as well as reaching gold in most other countries.

If last year was magnificent, their future looks better still. Edging into 1996 , there's 4 BRAT Awards, 6 BRIT nominations, and 'Don't Look Back In Anger' their ninth single in less than 2 years. Significantly, at time of writing '...Morning Glory?' had just jumped to No. 5 in the US Billboard charts.

How much more do they want? How much have you got'?

Friday, May 1, 2009

free download Guitar Chords " Baker Street " by Foo Fighters

Guitar Chords " Baker Street " by Foo Fighters

Chords used:
EADGBe
Dm xx0231 or Dm7 : xx0211
Am x02210 or Am7 : x02010
Em 022000
G 355xxx
A 577xxx
C x355xxx
D x577xx

Key:
10b - Bend note
13h - Hammer-on
12p - Pull-off
13/10 - Slide to next note
10~~~ - Hold note
(7) - Ghost note, don't necessarily play it
(x12) - Play 12 times
Intro:

G-|-4b-4b-2-0---3-0---------|
D-|-----------3-----1-3-0-0-|

D-|---9-------8---5-|
A-|-7---(7)-6---3---|

G-|-4b-4b-2-0---3-0-------|
D-|-----------3-----1-3-0-|

Solo 1:
(with power chords - should be strummed by guitar 2 during solo)

D
e-|----13-12-10---10h12p10-|
B-|-10---------13h---------|

D
e-|----13-12-10------------|
B-|-10---------13h-10------|

C A
e-|----13-12-10------------|
B-|-10---------13h-13-10---|

G
e-|----13-12-10---10h12p10------|
B-|-10---------13h----------8-6-|


A
Winding your way down on Baker Street
A
Light in your head, and dead on your feet
Em G
Well another crazy day, you drink the night away
D
And forget about everything

A
This city's dance makes you feel so cold, it's got
A
So many people but its got no soul
Em G
And its taken you so long to find out you were wrong
D
When you thought it held everything.

Dm Am
You used to think that it was so easy
Dm Am
You used to say that it was so easy
C G D
But you're trying, you're trying now
Dm Am
Another year and then you'd be happy
Dm Am
Just one more year and then you'd be happy
C G A G
But you're crying, you're crying now

--Repeat Solo--

A
Way down the street there's a light in his place
A
You open the door, he's got that look on his face
Em G
And he asks you where you've been, you tell him who you've seen
D
And you talk about everything

A
He's got this dream about buying some land
A
He's gonna give up the crack and the one night stands
Em G
And then he'll settle down, it's a quiet little town
D
And forget about everything

Dm Am
But you know he'll always keep moving
Dm Am
You know he's never gonna stop moving
C G D
Cause he's rolling, he's the rolling stone
Dm Am
And when you wake up it's a new morning
Dm Am
The sun is shining it's a new morning
C G A D
And you're going, you're going home

--Repeat Intro--

--Repeat Solo 1--

Final Solo:
(Solo 1's chords strummed whilst playing this)

e-|-20-20-20-20\22-17-17-15-13-17b-15-13\10--|
B-|------------------------------------------|

| (x10)
e-|-10b~~~~~~~-13-15-17-|--17b-|
B-|---------------------|------|

e-|-20-20-20-20\22-10b-10-8-----------------------|
B-|-------------------------10-8--10-8------------|
G-|------------------------------------10-7-------|
D-|-----------------------------------------10\12-|

(x12)
e-|-17-|--17b

free download Guitar Chords " Aint It The Life " by Foo Fighters

Guitar Chords " Aint It The Life " by Foo Fighters

C= x32010
Am= x02210
Ab5 = 466xxx
A#5 = 688xxx
G5 = 355xxx
F5 = 133xxx
B5 = x244xx
G = 300033
C5 = x355xx

C Am
Dear Haley, can you save me from the borrowed cloud I'm on

Ab5 A#5 C
All you gotta do is try,

G5 F5
Pray you're just getting by

C Am
Hey wait I thought you'd made it How'd your bottled crown fall off

Ab5 A#5 C
Tell me how'd you get so tired

G5 F5
Faded down to the wire

G C5 B5
Am
Try living a lie and kicking out the same old guise

Ab5 C
Wasting time, so very ordinary

Am
Wait until my bomb goes off

Ab5 A#5 C
See the actors run and hide

G5 F5
Fake it all in stride

C Am
One day we all can say we're gone And haunt the ground we're from

Ab5 A#5 C
Everything's so open wide

G5 F5
Here within the divide

C Am C
Am Ab5 A#5 C
Aint it the life, Aint it the life , Aint it the life got no crime,
just sail on by

G5 F5
Sail on by

Guitar Chords " A New Way Home " by Foo Fighters

Guitar Chords " A New Way Home " by Foo Fighters

Intro-

(A) (quick Strumming)
e-----0-0-0-0-------------------------------------------
b-----2-2-2-2-------------------------------------------
g-----2-2-2-2--(14 times)------------------------------- X 2
d-----2-2-2-2---------------4-/-7-/-9-/-11/-12----------
a-----0-0-0-0-------------------------------------------
E---------------------------2-/-5-/-7-/-9-/-10----------

(A) (F#)
Have you found your way around, the down and out,
(G) (D) (C)
I know it must seem long, so long,
(A) (F#)
I'm still tryin' to keep this time, from runnin' out,
(G) (D) (C)
Head down, always moving on and on and on......

(Repeat intro)
(A) (F#)
I never heard this warning, another early morning,
(G) (D) (C)
wakes me, breaks me into.....
(A) (F#)
If you can manage me well, I'll try to manage you,
(G) (D) (C)
but lately, it's all I ever do.....

CHORUS-
(A) (F) (D) (G) (A)(F)
I Felt like this on my way home,
(D)(A) (F) (D) (G)
I'm not scared, I pass...boats and the kingdome....
(A)(F)
I'm not scared....

BRIDGE-
(A) (E)
I'll never tell you these secrets I'm holding,
(A) (E) (F#) (D)
I know these things must bore you, I can't find another way....
(A) (E)
I'll never tell you these secrets I'm holding,
(A) (E) (F#) (G)
I love this leash that holds me, when I try to run away......

Guitar Tabs " Beautiful 2 " by Creed

Guitar Tabs " Beautiful 2 " by Creed 

fig1/clean/intro fade in, 5times

|-----------------------------------------------
|-----------------------------------------------
|-----------------------------------------------
|--------3-----3h5------2------3-0--------------
|-----------------------------------------------
|---00------00------00----00--------------------
she wears a coat of colors,
loved by some feared by others. .. etc.



fig2/distorted/2 times
|---------------|
|---------------|
|---------------|
|----3brbr2-0---|
|---------------| place this part first time only.
|-00------------|


|-----------------------------------------------
|-----------------------------------------------
|-----------------------------------------------
|--4--4-4-4--3---3-3-3-----3----3h5----2----3---
|--2--2-2-2--1---1-1-1--------------------------
|--2--2-2-2--1---1-1-1--00---00-----00---00-----

fig1., 5 more times
|-----------------------------------------------
|-----------------------------------------------
|-----------------------------------------------
|--------3-----3h5------2------3-0--------------
|-----------------------------------------------
|---00------00------00----00--------------------
lust she breeds in the eyes of brothers,
violent sons make bitter mothers,
close your eyes,,,
heres your suprise!!!!!


fig2/distorted/2 times
|---------------|
|---------------|
|---------------|
|----3brbr2-0---|
|---------------| place this part first time only.
|-00------------|


|-----------------------------------------------
|-----------------------------------------------
|-----------------------------------------------
|--4--4-4-4--3---3-3-3-----3----3h5----2----3---
|--2--2-2-2--1---1-1-1--------------------------
|--2--2-2-2--1---1-1-1--00---00-----00---00-----
the beautiful is empty,
beautiful is free,
beautiful loves no one,

the beautiful...

|------------|
|------------|
|---------3--| 5 times
|-0--0-0--1--|
|-0--0-0--1--|
|------------|
stripped me
stripped mee


|--------------|
|--------------|
|----------7b--| 4 times
|-0--0-0-------| on 4th time,
|-0--0-0-------| hold 7b and let ring.
|--------------|


stripped meeeee


fig 1(intro) 5 more times, with lyrics:

in your mind she\'s your companion
violens and something bout candy???
your regret is all thats left....

fig.2 REPEAT CHORUS
after main chorus part is this,

fig3
|----------10--------10---|
|-------------------------|listen to get
|----------7b--------7b---| the pattern down
|-0--0-0--------0-0-------|
|-0--0-0--------0-0-------|
|-------------------------|


|--1010101010101010-------|
|-------------------------|
|--7-7--7-7-7-7-7-7b------| keep 7 bent.
|-------------------------| went done, let ring.
|-------------------------|
|-------------------------|


i don\'t have this part, but if anybody does, i would appreciate it greatly, if
you would mail it me.

interlude?/solo?
she told me where i\'m going,
and it\'s far away from home,
i think i\'ll go there on my own,
i think i\'ll go there on my own,repeat



REPEAT CHORUS
fig2. & fig 3.
ends with

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Free download Guitar Chords " Hide " by Creed

Guitar Chords " Hide " by Creed

C G Am
To what do i owe this gift my friend
F C
My life my love my soul?
G Am
I've been dancing with the devil for way to long
F C
And it's making me grow old.
G Am F
Making me grow old.

Chorus:
C
Let's leave .... oh let's get away
Am G
Get lost in time
F G Am
When there's no reason to hide

C
Let's leave .... oh let's get away
Am G
Run in fields of time
F G Am
When there's no reason to hide

Verse 2 : The same chords with different lyrics

Chorus

Outro (or whatever u call it)
C F
There is no reason to hide
G C
No reason to hide

free download Guitar Chords " Faceless Man " by Creed

Guitar Chords " Faceless Man " by Creed

I spent a day by the river.........It was quiet and the wind stood still

I spent some time with nature......To remind me of all that's real

C G D Dsus D D2 D
It's funny how silence speaks sometimes when you're alone and remember that you feel

C G D Dsus D D2 D
Again I stand, Lord I stand, against the Faceless Man

V2

Now I saw a face on the water..... It looked humble but willing to fight

I saw the will of a warrior....... His yoke is easy and His burden is light

C G D Dsus D D2 D
He looked me right in the eyes direct and concise to remind me to always do what's right

C G D Dsus D D2 D
Again I stand, Lord I stand, against the Faceless Man

Bridge 1
C G D
'Cause if the face inside can't see the light I know, I'll have to walk alone
C G D
And if I walk alone to the other side I know I might not make it home

C G D Dsus D D2 D
Again I stand, Lord I stand, against the Faceless Man

Bridge 2

C
Next time I see this face
G D Bm
I'll say I choose to live for always
G D
So won't you come inside And never go away

free download Guitar Chords " Dont Stop Dancing " by Creed

Guitar Chords " Dont Stop Dancing " by Creed

G D Am C
At times life is wicked and I just can't see the light
G D Am
A silver lining sometimes isn't enough to make some wrong
C
Seem right
G D Am C
Whatever life brings, I've been through everything and now I'm on my knees

Pre-Chorus:
G D
But I know I must go on
Am C
Although I hurt I must be strong
G D Am
Because inside I know that many feel this way

Chorus:
G D Am C
Children, don't stop dancing
G D Am C
Believe, you can fly
G G
Away, Away

G D Am C
At times life's unfair and you know it's plain to see
G D
Hey God I know I'm just a dot in this world
Am C
Have you forgot about me
G D Am C
Whatever life brings, I've been through everything and now I'm on my knees

Pre-Chorus

Chorus
Am C D G
Am I hiding in the shadows
Am C D G
Forget the pain and forget the sorrows
Am C D G
Am I hiding in the shadows
Am C D G
Forget the pain and forget the sorrows

Pre-chorus

Soft Chorus

Chorus
Chorus

Outro:
Am C D G
Am I hiding in the shadows
Am C D G
Are we hiding in the shadows

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