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Nightwish Biography

2011-02-08T08:12:00.000-08:00

After playing keyboards in several heavy metal bands in the 1990s, including Nattvindens Gråt and Darkwoods My Betrothed, Tuomas Holopainen decided to create his own project while sitting around a campfire with friends in 1996.He immediately had a clear idea of the music: experimental acoustic music he wrote himself, similar to the music usually played around campfires, but with a distinct sound and atmosphere,played on his keyboards.

He soon invited friend and schoolmate Erno "Emppu" Vuorinen to play acoustic guitars, and the classical vocalist Tarja Turunen, who shared the same music teacher, Plamen Dimov. The three musicians recorded their self-titled acoustic demo in the winter of 1996. The name “Nightwish” was derived from the first sontogether, and the demo also included the song “The Forever Moments”, and an early version of “Etiäinen”.

Nightwish is a symphonic metal band from Kitee, Finland, formed in 1996 by songwriter and keyboardist Tuomas Holopainen, guitarist Emppu Vuorinen, and former vocalist Tarja Turunen. Nightwish's current line-up has five members, although Tarja has been replaced by Anette Olzon and the original bassist, Sami Vänskä, has been replaced by Marco Hietala, who also took over the male vocalist part; previously male vocal-parts were done by Tuomas or guest singers.

Although Nightwish has been prominent in their home country since the release of their first single, “The Carpenter” (1997) and debut album Angels Fall First, they did not achieve worldwide fame until the release of the albums Oceanborn, Wishmaster and Century Child, which were released in 1998, 2000 and 2002 respectively. Their 2004 album, Once, which has sold more than 1 million copies,led to the broadcast of Nightwish video clips on MTV in the United States and inclusion of their music in US movie soundtracks. Their biggest US hit single, “Wish I Had an Angel” (2004), made it onto three US film soundtracks as a means to promote their North American tour.The band produced three more singles and two music videos for the album, as well as “Sleeping Sun”, from the 2005 “best of” compilation album, Highest Hopes, prior to vocalist Tarja Turunen’s dismissal.

In May 2007, former Alyson Avenue frontwoman, Anette Olzon, was revealed as Tarja Turunen’s replacement,and in the autumn, the band released a new album, Dark Passion Play, which has sold almost 2 million copies.The supporting tour started on October 6, 2007 and ended on September 19, 2009.A new E.P./live album, Made in Hong Kong (And in Various Other Places), was released in March 2009 as a MCD/DVD, and a seventh studio album is in production, set for release in 2011.

Just Like Heaven Lyrics by The CURE

2011-01-29T01:16:00.000-08:00

show me
show me
show me
how you do that trick
the one that makes me scream
she said
the one that makes me laugh
she said
and threw her arms around my neck

show me how you do it
and i promise you
i promise that i'll run away with you
i'll run away with you

spinning on that dizzy edge
i kissed her face and kissed her head
and dreamed of all the different ways i had
to make her glow
why are you so far away?
she said
but won't you ever know that i'm in love with you?
that i'm in love with you?

you
soft and only
you
lost and lonely
you
strange as angels
dancing in the deepest oceans
Twisting in the water
you're just like a dream...
you're just like a dream...

daylight licked me into shape
i must have been asleep for days
and moving lips to breathe her name
i opened up my eyes
and found myself alone
alone
alone
above a raging sea
that stole the only girl i loved
and drowned her deep inside of me

you
soft and only
you
lost and lonely
you
just like heaven

Friday I'm in Love Lyrics by The Cure

2011-01-29T01:09:00.000-08:00

I don't care if Monday's blue
Tuesday's gray and Wednesday too
Thursday I don't care about you
It's Friday, I'm in love

Monday you can fall apart
Tuesday, Wednesday break my heart
Oh, Thursday doesn't even start
It's Friday I'm in love

Saturday, wait
And Sunday always comes too late
But Friday, never hesitate...

I don't care if Mondays black
Tuesday, Wednesday - heart attack
Thursday, never looking back
It's Friday, I'm in love

Monday, you can hold your head
Tuesday, Wednesday stay in bed
Or Thursday - watch the walls instead
It's Friday, I'm in love

Saturday, wait
And Sunday always comes too late
But Friday, never hesitate...

Dressed up to the eyes
It's a wonderful surprise
To see your shoes and your spirits rise
Throwing out your frown
And just smiling at the sound
And as sleek as a sheik
Spinning round and round
Always take a big bite
It's such a gorgeous sight
To see you eat in the middle of the night
You can never get enough
Enough of this stuff
It's Friday, I'm in love

I don't care if Monday's blue
Tuesday's gray and Wednesday too
Thursday I don't care about you
It's Friday, I'm in love

Monday you can fall apart
Tuesday, Wednesday break my heart
Thursday doesn't even start
It's Friday I'm in love

1-2 Crush On You Lyrics by the clash

2011-01-22T10:02:00.000-08:00

standing in a queue of a school canteen
guys on the corner they were laughin' at me
but i don't mind if they see it all
you know i gotta come clean
i gotta come clean
i got a crush on you

my mind don't need it but my body do
a little bit of loving and attention for you
although we're only strangers
they don't need to know
i gotta cum clean, i gotta cum clean
ooh, i got a crush on you

i wanna get serious right away
1-2, i got a crush on you
what you doin' today or any other day?
1-2, i got a crush on you
just one look and i go insane
1-2, i got a crush on you

your daddy never comes to get you
`cos lives so far away
but his i-talian chauffeur shows up every day
but i'll get you in the corner, i'll get you all
alone
i gotta cum clean, i gotta come clean

i got a crush on you

1-2, i got a crush on you
1-2, i got a crush on you
1-2, i got a crush on you
i said 1-2
i got a crush on you

why should i get a crush on yet?

Architecture in Helsinki Biography

2011-01-21T12:19:00.000-08:00

Even though they mention Finland's capital Helsinki in their band name, it wasn't until the Flow Festival of summer 2007 that they played in Finland. "When we were in Norway at the end of last year there were a few Finnish interviewers who came to interview us mainly about the name. I think they were quite perplexed. To us, the name means having to answer many questions and inquiries about the name, which I guess, is entirely understandable," the band members have said.

Architecture in Helsinki are an Australian band based in the inner Melbourne suburb of Northcote. The group consists of Cameron Bird, Gus Franklin, Jamie Mildren, Sam Perry, and Kellie Sutherland.

Most of the band members can play multiple instruments. Their music makes use of a wide range of instruments, from analog synthesizers, samplers, the glockenspiel and handclaps; to concert band instruments like the trumpet, tuba, trombone, saxophone, clarinet and recorder; and the more standard guitars, bass guitar and drums.

The band has been on multiple national and international tours. They have toured the United States with acts such as Death Cab for Cutie and Clap Your Hands Say Yeah and opened for David Byrne, The Polyphonic Spree, Yo La Tengo and Belle & Sebastian. In May 2009, they opened for The Presets' concerts held in Sydney and Melbourne.

Guitar Chords " When A Blind Man Cries " by Deep Purple

2011-01-18T23:50:00.000-08:00

Bm
If you're leaving, close the door.
A                        Bm
I'm not expecting people anymore.
Bm
Hear me greaving, lying on the floor.
A7                          Bm
Whether I'm drunk or dead I really ain't too sure.


Bm              D
I'm a blind man, I'm a blind man.
G               Em
And my world is pale.
Bm
When a blind man cries,
D             G                     Bm
Lord you know there ain't no sadder tale.


Bm
Had a friend once, in a room.
A
Had a good time, but it ended much to soon.
Bm
In a cold month, in that room.
A7                     Bm
Found a reason for the things we had to do.


Bm              D
I'm a blind, I'm a blind man.
G               Em
Now my world is cold.
Bm
When a blind man cries,
D                G                 Bm
Lord you know he feels it from his soul

Guitar Chords " Soldier Of Fortune " by Deep Purple

2011-01-18T23:41:00.000-08:00

Intro: Gm / F / Eb

        Gm
I have often told you stories

I have often told you stories
F
about the way
   Gm
I lived the life of a drifter
Dm
  waiting for the day
          Gm
When I'd take your hand and sing you songs
      F
Then maybe you would say
Gm
Come lay with me and love me
Dm                      Bass D-C-Bb
  And I would surely stay


Bb       C                Gm   Bass G-F-Eb
  But I feel I'm growing older
            F                Bb
  And the songs that I have sung
   D            Gm
  Echo in the distance
             F
  Like the sound
        Bb              Eb  Bass Eb-D
  Of a windmill going round
  Cm                Dm
  Guess I'll always be
                Gm
  A soldier of fortune.

Solo:  Gm / C / Gm / C /
       Gm / Bb / C / Gm

Many times I've been a traveller
I looked for something new
In days of old when nights were cold
I wandered without you
But those days I thought my eyes
Had seen you standing near
Though blindness is confusing
It shows that you're not here.


  Now I feel I'm going older
  And the songs that I have sung
  Echo in the distance
  Like the sound
  Of a windmill going round
  Guess I'll always be
  A soldier of fortune

       Eb             F
  Yes, I can hear the sound
         Bb           Eb Bass Eb-D
  of a windmill going round
     Cm               Dm
  I guess I'll always be
                Gm
  a soldier of fortune.
     Eb         F
  I guess I'll always be
                G  (major chord)
  a soldier of foRtune.

The Doors Biography

2011-01-14T10:52:00.000-08:00

The Doors were an American rock band formed in 1965 in Los Angeles, California, with vocalist Jim Morrison, keyboardist Ray Manzarek, drummer John Densmore, and guitarist Robby Krieger. The band took its name from Aldous Huxley's book The Doors of Perception,[4] the title of which was a reference to a William Blake quotation: "When the doors of perception are cleansed, things will appear to man as they truly are...infinite." They were among the most controversial rock acts of the 1960s, due mostly to Morrison's wild, poetic lyrics and charismatic but unpredictable stage persona. After Morrison's death in 1971, the remaining members continued as a trio until finally disbanding in 1973.[1]

Although The Doors' active career ended in 1973, their popularity has persisted. According to the RIAA, they have sold over 32.5 million albums in the US alone.[5] The band has sold 80 million albums worldwide.[6] Ray Manzarek and Robby Krieger continue to tour as Manzarek-Krieger, performing Doors songs exclusively.source:wikipedia

The Fratellis Biography

2011-01-14T02:17:00.000-08:00

The band's name came from the surname of the criminal family in the 1985 film The Goonies, although Barry's mother's maiden name was also Fratelli. They played their first show on 4 March 2005 in the O'Henry's bar in Glasgow across the road from the famous Horseshoe bar, and received their first radio playing in 2005, on central Scotland's Beat 106 (later XFM Scotland, now Galaxy Scotland) Beatscene show hosted by Jim Gellatly. They were signed by Fallout Records.

The Fratellis EP was released on 3 April 2006, featuring the tracks "Creepin' Up the Backstairs", "Stacie Anne" and "The Gutterati?". The NME ran a two page feature on The Fratellis in 10 August 2006 issue, proclaiming them "the best new band in Britain". "Creepin' Up the Backstairs" was never a single released by the band, even though a video was made for it. It was not eligible for the charts. The first single released by the band was "Henrietta", which was released on 12 June 2006 and charted at number 19 on the UK Charts.source:wikipedia more info last.fm

Frank Zappa Biography

2011-01-09T11:55:00.000-08:00

Zappa produced almost all of the more than 60 albums he released with the band Mothers of Invention and as a solo artist.Frank Vincent Zappa ( December 21, 1940 – December 4, 1993) was an American composer, singer-songwriter, electric guitarist, record producer, and film director. In a career spanning more than 30 years, Zappa wrote rock, jazz, electronic, orchestral, and musique concrète works. He also directed feature-length films and music videos, and designed album covers.

While in his teens, he acquired a taste for percussion-based avant-garde composers such as Edgard Varèse and 1950s rhythm and blues music. He began writing classical music in high school, while at the same time playing drums in rhythm and blues bands—he later switched to electric guitar. He was a self-taught composer and performer, and his diverse musical influences led him to create music that was often impossible to categorize. His 1966 debut album with the Mothers of Invention, Freak Out!, combined songs in conventional rock and roll format with collective improvisations and studio-generated sound collages. His later albums shared this eclectic and experimental approach, irrespective of whether the fundamental format was one of rock, jazz or classical. He wrote the lyrics to all his songs, which—often humorously—reflected his iconoclastic view of established social and political processes, structures and movements. He was a strident critic of mainstream education and organized religion, and a forthright and passionate advocate for freedom of speech, self-education and the abolition of censorship.

Zappa was a highly productive and prolific artist and he gained widespread critical acclaim. Many of his albums are considered essential in rock and jazz history. He is regarded as one of the most original guitarists and composers of his time. He also remains a major influence on musicians and composers. He had some commercial success, particularly in Europe, and for most of his career was able to work as an independent artist. Zappa was posthumously inducted into the Rock and Roll Hall of Fame in 1995 and received the Grammy Lifetime Achievement Award in 1997.

Zappa was married to Kathryn J. "Kay" Sherman from 1960 to 1964. In 1967 he married Adelaide Gail Sloatman, with whom he remained until his death from prostate cancer in 1993. They had four children: Moon Unit, Dweezil, Ahmet Emuukha Rodan and Diva Thin Muffin Pigeen. Gail Zappa manages the businesses of her late husband under the name the Zappa Family Trust.source:wikipedia

Captain Beefheart & the Magic Band Biography

2011-01-09T11:09:00.000-08:00

With the exception of British disc jockey John Peel, they saw little critical endorsement or recognition in their years active, but their influence was highly significant; to later avant-garde artists such as The Residents and Tom Waits, as well as to the punk movement, which appreciated both their stripped-down sound and Van Vliet’s unleashed, expressive vocal delivery. In recent years their importance has been acknowledged by the mainstream music press, with Trout Mask Replica (1969) reaching number 58 on Rolling Stone Magazine’s 500 Greatest Albums of All Time list (beating albums like Led Zeppelin’s Physical Graffiti and John Lennon’s Imagine). In 1988 Fast N Bulbous: A Tribute to Captain Beefheart, was released, featuring such diverse artists as XTC, Sonic Youth and The Mock Turtles.

Captain Beefheart & the Magic Band created music that has occasionally been dubbed “avant garde-blues”. Their music is characterized by bluesy melodies, shambolic instrumentation, idiosyncratic, unbound timings, the growls and shrieks of Beefheart’s vocals and his surreal, poetic lyrics. Throughout their career, the band’s musical direction was tightly controlled by Don van Vliet (1941 - 2010), aka Captain Beefheart, who subjected the band to intense regimes of rehearsal; this tension combined with poor salary contributing to the break-up of the original Magic Band. Beefheart reformed a new band of musicians under the name, but left the music industry for good in 1982 to pursue his career as a painter.source:last.fm

Telefon Tel Aviv Biography

2011-01-03T10:02:00.000-08:00

Telefon Tel Aviv was formed in 1999 by Charles Cooper and Joshua Eustis, with their first album released in the fall of 2001 to positive reviews. In 2002, the group released an EP on the Hefty Records Immediate Action label. In 2004, the duo released their second full-length album, and a compilation album of remixes appropriately titled Remixes Compiled in 2007.

The group released its third full length album on January 20, 2009 on the BPitch Control label. Immolate Yourself peaked at #17 on the Billboard Top Electronic Albums chart.source:wikipedia...more last.fm

Tears for Fears Biography

2011-01-01T23:54:00.000-08:00

Tears for Fears adalah grup musik beraliran pop rock Inggris yang dibentuk pada awal 1980-an oleh Roland Orzabal dan Curt Smith. Grup musik ini dibentuk setelah pecahnya grup pertama mereka, Graduate. Mereka akhirnya membentuk grup musik beraliran New Wave pada awal 1980-an, namun kemudian diubah menjadi pop dan rock yang membawa mereka menjadi sukses. Album mereka telah terjual sebanyak 22 juta album (8 juta di Amerika Serikat).source:wikipedia for more info:last.fm

Daft Punk Biography

2010-12-29T11:19:00.000-08:00

Daft Punk is an electronic music duo consisting of French musicians Guy-Manuel de Homem-Christo (born February 8, 1974) and Thomas Bangalter (born January 3, 1975). Daft Punk reached significant popularity in the late 1990s house movement in France and were met with continued success in the years following. The duo is also credited with producing songs that were considered essential in the French house scene. Daft Punk is noted for its elaborate live shows, in which visual elements are incorporated with the music. The group is also known for its emphasis on visual and story components associated with their musical productions, as well as for wearing ornate robot costumes while performing. They were managed from 1996 to 2008 by Pedro Winter (Busy P), the head of Ed Banger Records.

Early in the group's career, the band members were strongly influenced by groups such as The Beach Boys and The Rolling Stones. Bangalter and de Homem-Christo were originally in an indie rock trio called Darlin', which disbanded after a short period of time, leaving the two to experiment musically on their own. The duo became Daft Punk, and released their critically acclaimed debut album Homework in 1997. The 2001 release Discovery was even more successful, driven by the club singles "One More Time", "Digital Love" and "Harder, Better, Faster, Stronger". In March 2005, the duo released the album Human After All to mixed reviews. However, the singles "Robot Rock" and "Technologic" achieved success in the United Kingdom. Daft Punk toured throughout 2006 and 2007 and released the live album Alive 2007, which won a Grammy award for Best Electronic/Dance Album. The duo composed the score of the film Tron: Legacy and in 2010 released the soundtrack album of the film.source:wikipedia

The Radio Dept Biography

2010-08-28T12:20:00.000-07:00

The Radio Dept. is a Swedish pop band signed to Labrador Records. They have released three full length albums, and a series of singles and EPs. The band originated in Lund, Sweden.

In 1995, The Radio Dept. was formed by Elin Almered and Johan Duncanson (who were old school friends). The name was taken from a gas station/radio repair shop in Lund, Sweden, which had a large sign with the name Radioavdelningen, (“The Radio Department” in Swedish) hanging outside their shop.

Since 1995 members have been coming and going and at some points there has never really been a Radio Department at all.
Martin Carlberg and Johan Duncanson started playing together in 1998 and decided to use the name The Radio Dept. Since then the band has done lots of gigs and lots of recordings. The Radio Dept. recorded 4-tracks in friends’ living rooms or at home, in smelly warehouse, in demo studios with blinking fluorescent lightning and at schools....more...source:last.fm

The Strokes - New York City Cops VIdeo and liric

2010-08-22T09:51:00.000-07:00

Oh !

hahha I meant Ah !

No I didn't mean thatat all

here in the streets of American nights

Rise to the bottom of the meaning of life

Studied all the rules didn't want no part

But I let you in just to break this heart

Even though it was only one night

It was fucking strange

Nina's in the bedroom

She said time to go now

But leavin' it ain't easy

I got to let go

And the hours they ran slow

I said everynight she just can't stop sayin'

New York City cops

They ain't too smart

New York City cops

They ain't too smart

Well, kill me now, if I let you down

I swear it one day we're gonna leave this town

Stop----

Yes I'm leavin'

'Cause it just won't work

They act like Romans

But they dress like Turks

Sometime, in your prime

See me, I like the summertime

but, hey!

Nina's in the bedroom

She said time to go now

But leavin' it ain't easy

I got to let go

Oh!

Trapped in an apartment

She would not let them get her

She wrote it in a letter

Oh, I've got to come clean

The authorities they've seen

darling I'm somewhere in between

I said everynight they she can't stop sayin'

New York City cops

They ain't too smart

New York City cops

They ain't too smart

The Clash Biography

2010-08-22T09:02:00.000-07:00

Mick Jones had a band called London S.S. with Bernard Rhodes who would become later The Clash's manager. Paul Simonon joined the London S.S. at its last legs. After, they decided to start all over again in a new band. Mick Jones decided to teach Paul Simonon how to play guitar, but as Paul had never played that instrument, it was too difficult for him. So they decided he should play bass, "because it's easier and has only four strings", as Paul said once.

They got Keith Levene as another guitarist and Terry Chimes as drummer. Bernard Rhodes was becoming the band's manager. Paul and Mick met Joe Strummer once, and Bernard asked him if he would like to join the band. Joe Strummer had another band (called The 101'ers) and was more musically experienced than the others by that time. He joined them on 31st May 1976, and Mick Jones said that it was a great deal getting Joe, because of that. Keith left the band, because the others said he wasn't into their project, so they voted him out. After, Terry Chimes left the band too. By that time The Clash consisted of only Mick Jones, Joe Strummer and Paul Simonon. Terry Chimes would be back only to record their first album.....more.....source:sing365.com

Canned Heat Biography

2010-04-19T15:36:00.000-07:00

Los Angeles, United States (1965 – present)

Canned Heat is a blues-rock/boogie band that formed in Los Angeles in 1965. The group has been noted for its own interpretations of blues material as well as for efforts to promote the interest in this type of music and its original artists. It was launched by two blues enthusiasts, Alan Wilson and Bob Hite, who took the name from Tommy Johnson’s 1928 Canned Heat Blues, a song about an alcoholic who has desperately turned to drinking Sterno, generically called “canned heat”. After appearances at Monterey and Woodstock, at the end of the ’60s the band had acquired worldwide notoriety with a lineup consisting of Bob Hite, vocals, Alan Wilson guitar, harmonica and vocals, Henry Vestine or Harvey Mandel on lead guitar, Larry Taylor on bass, and Adolfo (‘Fito’) de la Parra on drums. Since the early ’70s numerous personnel changes have occurred and today, in the fifth decade of the band’s existence, Fito de la Parra is the only original member from the glorious epoch. He has authored a book about the band’s career[1]. Larry Taylor, whose presence in the band has not been steady, is the other surviving member from the earliest lineups. Harvey Mandel, Walter Trout and Junior Watson are among the guitarists who gained notoriety for playing in later editions of the band. British blues pioneer John Mayall has frequently found musicians for his band among former Canned Heat members.source:last.fm

Velvet Underground Biography

2010-04-12T11:42:00.000-07:00

Few rock groups can claim to have broken so much new territory, and maintain such consistent brilliance on record, as the Velvet Underground during their brief lifespan. It was the group's lot to be ahead of, or at least out of step with, their time. The mid-to-late '60s was an era of explosive growth and experimentation in rock, but the Velvets' innovations — which blended the energy of rock with the sonic adventurism of the avant-garde, and introduced a new degree of social realism and sexual kinkiness into rock lyrics — were too abrasive for the mainstream to handle. During their time, the group experienced little commercial success; though they were hugely appreciated by a cult audience and some critics, the larger public treated them with indifference or, occasionally, scorn.

The Velvets' music was too important to languish in obscurity, though; their cult only grew larger and larger in the years following their demise, and continues to mushroom today. By the 1980s, they were acknowledged not just as one of the most important rock bands of the '60s, but one of the best of all time, and one whose immense significance cannot be measured by their relatively modest sales.

Historians often hail the group for their incalculable influence upon the punk and new wave of subsequent years, and while the Velvets were undoubtedly a key touchstone of the movements, to focus upon these elements of their vision is to only get part of the story. The group were uncompromising in their music and lyrics, to be sure, sometimes espousing a bleakness and primitivism that would inspire alienated singers and songwriters of future generations. But their colorful and oft-grim soundscapes were firmly grounded in strong, well-constructed songs that could be as humanistic and compassionate as they were outrageous and confrontational. The member most responsible for these qualities was guitarist, singer, and songwriter Lou Reed, whose sing-speak vocals and gripping narratives have come to define street-savvy rock & roll.readmoreon:sing354.com

Sonic Youth Biography

2010-04-08T16:32:00.000-07:00

Time warp back to the '60s. Pop songs, ditties, the British Invasion, The Beach Boys, The Byrds, blah blah blah. With very few exceptions, pop-rock music was all about tunefulness - about making music that was pleasing to the ear. Of course there was an undercurrent of avant-garde and modern classical composers putting a dent in this wall of perfect harmony, but nothing that rocked the boat on a very large scale.

As the years dragged on, the ear-pleasing hits multiplied, and despite innovations from Hendrix, The Velvet Underground and their ilk, the discovery of noise and discordance took a long time to catch on. The '60s rolled into the '70s, and the '70s were almost rolling into the '80s before the punk movement finally exploded. And even punk wasn't that discordant - dust off your old Sex Pistols and Clash records and listen to how catchy their songs are underneath the snarl and the angst. It was only once the aftermath of punk started bleeding into 'post-punk' that bands seemed to realize that it made sense to integrate pure noise into the traditional harmonic scale. And this is thanks to Sonic Youth more than any other band.source:sing365.com

FREE DOWNLOAD Pennywise Biography

2010-02-11T09:07:00.000-08:00

Pennywise Biography

The group signed to Epitaph Records in 1990 and released their first album Pennywise (1991). The album quickly spread throughout the punk community, earning the band some nation-wide recognition. Lyrics in the album endorsed a positive mental attitude, helping promote progressive ideals for Generation X. Lindberg left the band soon after the debut record. Bass player Randy Bradbury joined the lineup as Thirsk took over lead vocal duties. In 1992, The Vandals lead singer Dave Quackenbush took over on vocals for a brief stint. Bradbury left the band and Thirsk returned to bass.

Pennywise was formed in 1988 in Hermosa Beach, California by four members Jim Lindberg (vocals), Fletcher Dragge (guitar), Byron McMackin (drums) and Jason Thirsk (bass). They released two EPs: A Word from the Wise (1989) and Wildcard (1992). Each of the band members had played in other bands in the Hermosa Beach, California area and attended the same high school.

Lindberg got married and returned to the group in 1992 in time for their second album Unknown Road (1993), an underground hit that established the band as a force in punk music. By 1995, punk bands The Offspring and Rancid hit the mainstream and Pennywise refused invitations to join several major labels. About Time (1995) was another indie hit.

In 1996, Pennywise began recording their fourth album. Thirsk left the band in an attempt to conquer alcoholism. He was successful but relapsed and died from a self-inflicted gunshot wound to the chest on July 29, 1996.source:last.fm

FREE Download Vampire Weekend Biography

2010-02-04T10:09:00.000-08:00

Vampire Weekend Biography

New York City, New York, United States (2006 – present)

Vampire Weekend received much buzz from local blogs throughout 2007 during their rise to a record deal. Rolling Stone placed Cape Cod Kwassa Kwassa at number 57 for the top 100 songs of 2007. They also garnered much local buzz in the summer of 2007 with their song Oxford Comma, which gripes about prep grammar, Lil’ Jon, and coal drama.

Vampire Weekend is an afrobeat-influenced indie rock band which formed in February 2006 in New York City, New York, United States. The band consists of Ezra Koenig (vocals, guitar), Rostam Batmanglij (keyboards, guitar, vocals), Chris Baio (bass) and Christopher Tomson (drums). The band has released two albums: Their successful 2008 self-titled album and 2010’s “Contra”. The band has gained positive comparisons to such artists as Paul Simon, Haircut 100 and The Walkmen.source:last.fm

Free Download The Black Keys Biography

2010-02-04T08:34:00.000-08:00

The Black Keys Biography

They released their first album, The Big Come Up, in 2002, followed by Thickfreakness in 2003, and Rubber Factory in 2004. October 2005 saw the release of the DVD Live, recorded live at The Metro Theatre in Sydney, Australia March 18, 2005. In 2006 they released Magic Potion, as well as the lesser-known Chulahoma and a single version of Your Touch

The Black Keys are a two-man blues-rock group from Akron, Ohio, United States which formed in 2001, consisting of singer and guitarist Dan Auerbach and drummer Patrick Carney. The band name was inspired by a schizophrenic artist and friend in Akron, who used the term “black keys” to describe things he disliked or people he did not trust. The Black Keys have roots in traditional blues and psychedelic rock stylings.

The Black Keys have achieved increasing critical acclaim and recognition since their debut album, which itself received praise from Rolling Stone magazine. Time magazine named them one of the “10 Best Acts of 2003” (behind OutKast and The White Stripes). They have supported a number of bands: they toured with Sleater-Kinney in 2003, had a short stint opening for Beck, have recently opened for Radiohead on the American leg of their brief 2006 tour, and performed at Lollapalooza in 2005 and 2007. In addition to this, they were also well-liked by influential British radio DJ John Peel and appeared on both Late Night with Conan O’Brien and The Late Show with David Letterman. Famous followers of the band include Led Zeppelin frontman Robert Plant, Billy Gibbons of ZZ Top, Thom Yorke and Jonny Greenwood of Radiohead, and Metallica guitarist Kirk Hammet. Matt Helders, drummer for the Arctic Monkeys, can be seen in a Black Keys T-Shirt in an interview on MTV’s RAW.

Their new record that Danger Mouse produced Attack & Release was out April 1st 2008. The duo’s fifth album is the first one recorded in a proper studio.source:last.fm

Cliff Diving Lyrics by +44

2010-01-13T10:36:00.000-08:00

FREE DOWNLOAD Cliff Diving BY +44

Hey silly girl, I think I got a thing for you.
From late nights spent driving in this stolen car.
The years we wasted living in this desert town,
Haven't broken up so far.

Hot afternoons, we'd climb onto the neighbors house.
Breathed deep and jumped into a waiting sky.
Our bare feet were framed on the horizon.
I felt the future in your eyes.

It was the promise of summer.
We'll seal it with a kiss.
This time I'll do things proper.
How did it get to this?

Dear you, tonight let's get ahead of ourselves,
Past now, I barely can remember.
Yesterday stretched on for so long.
Tomorrow feels like forever.

My God, you know how much I needed this.
These days are filled with such disaster.
Sometimes I think that life will never be the same.
Sometimes I think that's the answer.

And she said, here comes the promise of summer.
Let's seal it with a kiss.
This time I'll do things proper.
How did we get to this?

Broken Hearts Lyrics by +44

2010-01-13T10:32:00.000-08:00

Free Download Broken Hearts

said you love me
and I said "I love you too"
but look how you've been fine
stupid thing, stupid thing to do

said you needed me
I said "I need you too"
and all that time I wasted trying to stop you

said you wanted me
I said "I want you too"
but you didn't realise that I thought I wanted you

Broken hearts with broken strings
are all that I have seen
'till today you left me
you're not even seventeen

'till that day things have not changed
they're still the same
as broken hearts and broken strings remain

said you love me
and I said "I love you too"
but look how you've been fine
stupid thing, stupid thing to do

said you needed me
I said "I need you too"
and all that time I wasted writing songs for you

said you wanted me
I said "I want you too"
but you didn't realise that I thought I wanted you

Broken hearts with broken strings
are all that I have seen
'till today you left me
you're not even seventeen

'till that day things have not changed
they're still the same
as broken hearts and broken strings remain

(whispering voice)
broken hearts and broken strings for me [x7, getting louder]

Broken hearts with broken strings
are all that I have seen
'till today you left me
you're not even seventeen

'till that day things have not changed
they're still the same
as broken hearts and broken strings remain

FREE DOWNLOAD 145 Lyrics by +44

2010-01-13T10:25:00.000-08:00

FREE DOWNLOAD 145 Lyrics by +44

Love
This is getting harder
And I can't seem to pick you out of the crowd
But you my dear
Have been discovered a liar
And I'm afraid that this is building up for far too long

And this is not the time or place for us speak like this
So dry your hollow eyes and lets go down to the water

In a different time or place the words can make more sense
So dry your hollow eyes and lets go down to the water

Even though it's the last time

Love
This is getting the best of me
And truth be told, you were the start of it all
Now you my dear, might end up lonely
Before you go, there's something you should know

And this is not the time or place for us to speak like this
And if I ever had the thought I'd never dream of it
So dry your hollow eyes and lets go down to the water

In a different time or place the words can make more sense
In a perfect world, the future wouldn't make it then
So dry your hollow eyes and lets go down to the water

Even though it's the last time

This is not the time or place for us to speak like this
And if I ever had the thought I'd never dream of it
So dry your hollow eyes and lets go down to the water

In a different time or place the words can make more sense
In a perfect world, the future wouldn't make it then
So dry your hollow eyes and lets go down to the water

Please, let's not speak, don't breath a word
Even though it's the last time

Please, let's not speak, don't breath a word
Even though it's the last time

Abandoned Love Lyrics Bob Dylan

2010-01-06T09:12:00.000-08:00

free Abandoned Love Lyrics Bob Dylan

I can hear the turning of the key
I've been deceived by the clown inside of me.
I thought that he was righteous but he's vain
Oh, something's a-telling me I wear the ball and chain.

My patron saint is a-fighting with a ghost
He's always off somewhere when I need him most.
The Spanish moon is rising on the hill
But my heart is a-tellin' me I love ya still.

I come back to the town from the flaming moon
I see you in the streets, I begin to swoon.
I love to see you dress before the mirror
Won't you let me in your room one time 'fore I finally disappear?

Everybody's wearing a disguise
To hide what they've got left behind their eyes.
But me, I can't cover what I am
Wherever the children go I'll follow them.

I march in the parade of liberty
But as long as I love you I'm not free.
How long must I suffer such abuse
Won't you let me see you smile one time before I turn you loose?

I've given up the game, I've got to leave,
The pot of gold is only make-believe.
The treasure can't be found by men who search
Whose gods are dead and whose queens are in the church.

We sat in an empty theater and we kissed,
I asked ya please to cross me off-a your list.
My head tells me it's time to make a change
But my heart is telling me I love ya but you're strange.

One more time at midnight, near the wall
Take off your heavy make-up and your shawl.
Won't you descend from the throne, from where you sit?
Let me feel your love one more time before I abandon it.

4th Time Around Lyrics by Bob Dylan

2010-01-06T09:10:00.000-08:00

free 4th Time Around Lyrics
When she said,
"Don't waste your words, they're just lies,"
I cried she was deaf.
And she worked on my face until breaking my eyes,
Then said, "What else you got left?"
It was then that I got up to leave
But she said, "Don't forget,
Everybody must give something back
For something they get."

I stood there and hummed,
I tapped on her drum and asked her how come.
And she buttoned her boot,
And straightened her suit,
Then she said, "Don't get cute."
So I forced my hands in my pockets
And felt with my thumbs,
And gallantly handed her
My very last piece of gum.

She threw me outside,
I stood in the dirt where ev'ryone walked.
And after finding I'd
Forgotten my shirt,
I went back and knocked.
I waited in the hallway, she went to get it,
And I tried to make sense
Out of that picture of you in your wheelchair
That leaned up against . . .

Her Jamaican rum
And when she did come, I asked her for some.
She said, "No, dear."
I said, "Your words aren't clear,
You'd better spit out your gum."
She screamed till her face got so red
Then she fell on the floor,
And I covered her up and then
Thought I'd go look through her drawer.

And, when I was through
I filled up my shoe
And brought it to you.
And you, you took me in,
You loved me then
You didn't waste time.
And I, I never took much,
I never asked for your crutch.
Now don't ask for mine.

Lady GaGa BIOGRAPHY

2010-01-06T08:56:00.000-08:00

New York, U.S.A. (1986 – present)

Stefani Joanne Angelina Germanotta (born March 28, 1986), who performs under the stage name Lady Gaga, is a singer, songwriter and musician fromNew York, U.S.A… She began her career as a songwriter for some of pop music’s biggest stars, including Fergie, Pussycat Dolls, Britney Spears and New Kids on the Block, as well as American singer and producer Akon. After Akon recognized that Gaga also had vocal talent, he signed her to a joint deal with his own label, Kon Live Distribution, and then she started to work on her own new material for her debut album.

Bob Dylan BIOGRAPHY

2010-01-01T12:25:00.000-08:00

Duluth, Minnesota, United States (1941 – present)
Although his career began in 1959, much of Dylan’s best known work is from the 1960s, when he became an informal documentarian and reluctant figurehead of American unrest. Some of his songs, such as “Blowin’ In The Wind” and “The Times They Are A-Changin’”, became anthems of the anti-war and civil rights movements. Bob Dylan (born Robert Allen Zimmerman on May 24, 1941 in Duluth, Minnesota, United States) is an American musician, poet and artist whose position in popular culture is unique.

Rage Against the Machine biography

2009-12-29T00:35:00.000-08:00

Los Angeles, California, United States (1991 – 2000, 2007 – present)
The band’s continual members are vocalist Zack De La Rocha, guitarist Tom Morello (who also records as a solo artist under the name “The Nightwatchman”), bassist Tim Commerford and drummer Brad Wilk. Rage Against the Machine are noted for their blend of punk rock, hip hop, heavy metal and funk as well as their revolutionary politics and Socialist lyrics and imagery (including use of the former-USSR Red Army white-outlined star emblem, as well as images of Ernesto ‘Che’ Guevara, and the red EZLN star). Rage Against the Machine drew their inspiration from early metal instrumentation, as well as rap acts such as Public Enemy and Afrika Bambaataa. The group’s music is based primarily on de la Rocha’s rhyming styles and powerful stage energy, and Morello’s unorthodox guitar techniques.

Silverstein Biography

2009-12-21T11:25:00.000-08:00

Burlington, Ontario, Canada (2000 – present)
band from Burlington, Ontario, Canada; formed in 2000. The band name was taken from the famous children’s author Shel Silverstein.
They are:
* Shane Told – lead vocals, occasional guitar
* Neil Boshart – lead guitar
* Josh Bradford – rhythm guitar
* Bill Hamilton – bass, backing vocals
* Paul Koehler – drums, percussion
view more

Grand PTC

2009-12-21T11:24:00.001-08:00

A Million Miles Lyrics by lostprophets

2009-12-19T10:02:00.000-08:00

I hear you screaming but I know that you don't mean it and its
All gone wrong now
I get the feeling that its gone and its the reason that I
Feel so dark now
Too much inside, too much in life
Define your point of view
I know your leaving, though I think that my times fleeting but yet
you don't see it
5, 4, 3, 2, 1

[chorus:]
Gone, once you shone, I move on
though I still find time to hide
It's all buried deep inside, so it
Looks like you've found a way to reach my heart
And take it all back to the start of this (though I'm)
A million miles from home

Maybe your reasons, keep on changing through the seasons
Only time could tell now
Don't stem the bleeding, cause I m sure it has some meaning still you
Feel so dark now
Too much inside, too much in life
Define your point of view
Are you still leaving, maybe you should start believing but still
You don't see it
5, 4, 3, 2, 1

[chorus x2]

A million miles from home

a New Transmission Lyrics by lostprophets

2009-12-19T10:00:00.000-08:00

Take, take, take, all my time, all my company
Take everything from me
Fake, fake, fake all these things that you say to me
Nothing that I want to believe
I think the time has come to set it straight
I need to change this frequency
'Cause everyone just says the same old thing to me

Get up!
Get up!

Your shattered crown, it ties me down
'Cause there's no sun when you're around
Your righteous lies, you slip and slide
Now I want you to just
(Fade out)
Static in my stereo man
(Fade out)
A new transmission's calling, here we go!

Say, say, say anything that you want to me
I'm still not gonna agree
I'm not gonna be a part, be a part of this
I'm not what you want me to be.
Because I need some time to set this straight
I'm gonna forward everything I say
Tell everyone to say the same old thing to me.

Get up!

Your shattered crown, it drags me down
'Cause there's no sun when you're around
Your righteous lies, you slip and slide
Now I want you to just
(Fade out)
Static in my stereo man
(Fade out)
A new transmission's calling...
A new transmission's calling, here we go!

Woah Woah A new transmission
Woah Woah A new transmission

Your shattered crown, it drags me down
'cause theres no sun when you're around
Your righteous lies, you slip and slide
Now I want you to just
(Fade out)
Static in my stereo man
(Fade out)
A new transmission's calling...
Change the channel, flick the switches

A new transmission's calling
A new transmission's calling, here we go!

Paid to click

2009-12-19T09:20:00.001-08:00

FREE Come As You Are Lyrics BY NIRVANA

2009-12-15T10:28:00.000-08:00

Come as you are, as you were, as I want you to be.
As a friend, as a friend, as an old Enemy.
Take your time, hurry up, choice is yours, don't be late.
Take a rest, as a friend, as an old memory.

Memory ah, Memory ah, Memory ah.

Come doused in Mud, soaked in Bleach, as I want you to be.
As a trend, as a friend, as an old Memory ahhh.

Memory ahh, Memory ahh, Memory ahh.

Chorus:
And I swear that I don't have a gun
No, I don't have a gun
No, I don't have a gun

--Instrumental--

Memory ahh, Memory ahh, Memory ahh, Memory ahh. (Don't have a Gun.)

Chorus:
And I swear that I don't have a gun
No, I don't have a gun
No, I don't have a gun
No, I don't have a gun
No, I don't have a gun
(Memory ahh, Memory ahh)

Lithium Lyrics by NIRVANA

2009-12-15T10:21:00.000-08:00

I'm so happy. Cause today I found my friends.
They're in my head. I'm so ugly. But that's ok.
'Cause so are you. We've broke our mirrors.
Sunday morning. Is everyday for all I care.
And I'm not scared. Light my candles. In a daze cause I've found god.

Yeah yeah yeah yeah.....

I'm so lonely. And that's ok. (alt: 'cause today )
I shaved my head. And I'm not sad, and just maybe
I'm to blame for all I've heard. And I'm not sure.
I'm so excited. I can't wait to meet you there.
And I don't care. I'm so horny. But that's ok. My will is good.

Yeah yeah yeah yeah yeah.....

(Chorus)
I like it. I'm not gonna crack.
I miss you. I'm not gonna crack.
I love you.I'm not gonna crack.
I killed you. I'm not gonna crack. (x2)

I'm so happy. Cause today I found my friends.
They're in my head. I'm so ugly. But that's ok.
'Cause so are you. We've broke our mirrors.
Sunday morning. Is everyday for all I care.
And I'm not scared. Light my candles.
In a daze cause I've found god.

Yeah yeah yeah yeah.....
(Chorus)..

free download All Apoligies Lyrics by nirvana

2009-12-15T10:19:00.000-08:00

What else should I be
All apologies
What else could I say
Everyone is gay
What else could I write
I don't have the right
What else should I be
All Apologies

In the sun
In the sun I feel as one
In the sun
In the sun
Married
Buried

I wish I was like you
Easily amused
Find my nest of salt
Everything is my fault
I'll take all the blame
I'll proseed from shame
Sunburn with freezer burn
Choking on the ashes of her enemy

In the sun
In the sun I feel as one
In the sun
In the sun
Married
Buried
Married
Buried

Yeah yeah yeah yeah

All in all is all we are (x20)

free download Smells Like Teen Spirit Lyrics by Nirvana

2009-12-15T10:17:00.000-08:00

Load up on guns,
Bring your friends
It's fun to lose and to pretend
She's overboard self assured
Oh no I know, a dirty word.

Hello, hello, hello, how low?
Hello, hello, hello, how low?
Hello, hello, hello, how low?
Hello, hello, hello.

With the lights out, it's less dangerous
Here we are now, entertain us
i feel stupid and contagious
Here we are now, entertain us
A mulato!
An Albino!
A mosquito!
My libido!
Yay!(x3)

I'm worse at what I do best
And for this gift I feel blessed
Our little group has always been
And always will until the end

Hello, hello, hello, how low?
Hello, hello, hello, how low?
Hello, hello, hello, how low?
Hello, hello, hello.

With the lights out, it's less dangerous
Here we are now, entertain us
I feel stupid and contagious
Here we are now, entertain us
A mullato!
An Albino!
A mosquito!
My libido!
Yay!(x3)

(Solo)

And I forget just why I taste -
Oh yeah, I guess it makes me smile
I found it hard, it was hard to find
Oh well, whatever, nevermind

Hello, hello, hello, how low?
Hello, hello, hello, how low?
Hello, hello, hello, how low?
Hello, hello, hello.

With the lights out, it's less dangerous
Here we are now, entertain us
I feel stupid and contagious
Here we are now, entertain us
A mullato!
An albino!
A mosquito!
My libido!

A denial!(x9)

Alice in Chains Biography

2009-11-23T12:47:00.000-08:00

Formed in 1987 by Staley, guitarist Jerry Cantrell, bassist Mike Starr, and drummer Sean Kinney, the band was first named “Alice N’ Chains”, and later changed to “Alice in Chains”. Combining the unique voice and intense delivery of Staley with the evocative songwriting and vocal harmonies of Cantrell, Alice in Chains created an immediately identifiable sound that also proved to be quite versatile as their repertoire grew to include both driving, angry rock songs and mellow acoustic compositions. The unique vocal harmonies of Staley and Cantrell included overlapping passages, and dual lead vocals. Alyssa Burrows said the band’s distinctive sound “came from Staley’s vocal style and his lyrics dealing with personal struggles and addiction”.

Nirvana Biography

2009-11-23T12:38:00.000-08:00

Aberdeen WA, United States (1987 – 1994)Nirvana was a popular and highly influential American grunge band. The band formed in Aberdeen, Washington in 1987, and was part of the Seattle grunge scene of the late 80s. Other Seattle grunge bands such as Pearl Jam, Alice in Chains and Soundgarden also gained in popularity, and, as a result, alternative rock became a dominant genre on American and Canadian radio and music television during the early-to-mid ’90s.
Nirvana’s initial incarnation consisted of Kurt Cobain on guitar and vocals, bassist Krist Novoselic, and drummer Chad Channing. After a brief stint as a four-piece in 1989 with the addition of second guitarist Jason Everman.

Michael Jackson Biography

2009-11-23T12:28:00.000-08:00

born August 29, 1958 in Gary, Indiana, died June 25, 2009 in Los Angeles, California), often referred to as The King of Pop, is the biggest-selling solo artist of all time, with over 750,000,000 sales. Jackson is an inductee of the Songwriters Hall of Fame, and double inductee to the Rock & Roll Hall of Fame. His awards include 8 Guinness World Records, 13 Grammy Awards, and 26 Billboard Awards

From 1988 to 2005, Jackson lived on his Neverland Ranch property, on which he built an amusement park and private zoo for the enjoyment of economically disadvantaged and terminally ill children. In 1993 and 2003, separate accusations of child molestation that allegedly occurred in Neverland were made against Jackson, which drew intense negative media coverage. While he was never charged for the first case, Jackson was tried and vindicated in 2005 of the latter allegation, but moved out of the US shortly thereafter. He later returned to Las Vegas in early 2007.

Led zeppelin Biography

2009-11-06T09:18:00.000-08:00

United Kingdom (1968 – 1980)
Led Zeppelin was originally formed in 1968 by guitarist Jimmy Page under the name “The New Yardbirds,” based on Page’s previous band, The Yardbirds. While The New Yardbirds arose at first simply to fulfill some performance commitments booked in Scandinavia before the original band’s break-up, Page attempted to create a rock-supergroup out of the new band, which would have been composed of the Yardbirds’ own Page and Jeff Beck, The Who’s Keith Moon and John Entwistle (who were considering leaving their band), and possibly Steve Winwood or Steve Marriott.

Red Hot Chili Peppers Biography

2009-11-04T07:42:00.000-08:00

Red Hot Chili Peppers is a funk rock band based in Hollywood, California and was formed in 1983, in Los Angeles, California. Since 1998, the band has consisted of founding members Anthony Kiedis (vocals) and Michael “Flea” Balzary (bass) along with longtime members John Frusciante (guitar) and Chad Smith (drums).

The band initially formed for a one-off support act for a friend’s band, calling themselves Tony Flow And The Miraculously Majestic Masters Of Mayhem. Upon renaming themselves Red Hot Chili Peppers, they played a handful of small club venues in Los Angeles in 1983, before they were signed to EMI Records.

Current members:

Vocal: Anthony Kiedis (1983-present).
Guitar: John Frusciante (1988-1992, 1998-present).
Bass: Michael Peter “Flea” Balzary (1983-present).
Drums: Chad Smith, (1988-present).

Previous members:

Notable guitarists (in chronological order):
Hillel Slovak (1983-1984),
Jack Sherman (1984),
Hillel Slovak (1985-1988),
John Frusciante (1988-1992),
Arik Marshall (1992-1993),
Jesse Tobias (1993)
Dave Navarro (1993-1998),
John Frusciante (1998-Present)

Notable drummers (in chronological order):
Jack Irons (1983-1984),
Cliff Martinez (1984-1987),
Jack Irons (1987-1988),
D.H. Peligro (1988),
Chad Smith, (1988-present)

Placebo Biography

2009-11-02T10:05:00.000-08:00

London, United Kingdom (1994 – present) There is more than one artist with this name: 1) A popular Alternative rock band from London, England which formed in 1994. 2) A Belgian jazz rock band active in the 1970’s 3) A short-lived Canadian punk band from the early 90’s 4) A short-lived British underground post-punk duo 1) The British band was founded when former Luxembourg schoolmates Brian Molko and Stefan Olsdal - who never actually spoke to each other - met by accident at South Kensington, London, United Kingdom tube station in 1994. Molko invited Olsdal to one of his gigs and Olsdal was impressed by Molko’s vocals so they agreed on forming a band. While briefly known as Ashtray Heart, the band quickly settled on the name Placebo, after the drug that has no active ingredient but works because the patient believes it does. Placebo also means “I shall please” in Latin. The band could not decide on a drummer at first with Steve Hewitt (drums) and Robert Schultzberg alternating on the spot. While Hewitt was the preferred choice, he also had other commitments as drummer for London band Breed, leading to Schultzberg being the drummer when the band signed its contract with Caroline Records. As the other band members were having difficulty getting on with Robert Schultzberg, they persuaded Hewitt to rejoin the band in 1996. The singles “Nancy Boy”, from Placebo (1996), and “Pure Morning”, from Without You I’m Nothing (1998), were the peak of their British success, both charting in the top ten.

Pink Floyd Biography

2009-11-02T10:01:00.000-08:00

Cambridge, England (1965 – 1994)
Pink Floyd were a psychedelic/progressive rock band formed in Cambridge, England in 1965. They are one of rock’s most successful and influential acts, having sold over 300 million albums worldwide. The band’s classic lineup was Roger Waters (vocals, bass), David Gilmour (vocals, guitar), Rick Wright (organ, keyboards, vocals) and Nick Mason (drums).

Rammstein Biography

2009-11-02T09:51:00.000-08:00

Berlin, Germany (1994 – present) Rammstein is a German metal band with industrial influences, founded in Berlin, and consisting of Till Lindemann (lead vocals), Richard Kruspe (lead guitar and backing vocals), Paul Landers (rhythm guitar, backing vocals), Oliver Riedel (bass guitar, “Ollie”), Christoph Schneider (drums and Electronic percussion, “Doom”) and Christian Lorenz (keyboards, “Flake”). The band is widely accepted as part of the ndh-scene, alongside bands such as Oomph! and Die Krupps.
source:www.last.fm

Death Cab for Cutie Biography

2009-11-02T09:31:00.000-08:00

Bellingham WA, United States (1997 – present)
Death Cab for Cutie is an American indie rock band formed in Bellingham, Washington in 1997. The band consists of Ben Gibbard (vocals, guitar, piano), Chris Walla (guitar), Nicholas Harmer (bass) and Jason McGerr (drums).

Death Cab began as a solo project of Ben Gibbard, now the band’s vocalist and guitarist. Gibbard took the band name from the satirical song PlayDeath Cab for Cutie, performed by The Bonzo Dog Band in The Beatles’ 1967 experimental film Magical Mystery Tour.source:www.last.fm

King of Leon Biography

2009-11-02T08:56:00.000-08:00

Kings of Leon is an American rock band, that formed in Nashville, Tennessee in 1999, consisting of brothers Anthony Caleb Followill (lead vocals, rhythm guitar), Ivan Nathan Followill (drums, percussion, backing vocals) and Michael Jared Followill (bass guitar, backing vocals), with their cousin Cameron Matthew Followill (lead guitar, backing vocals). Each member of the family group is known by their second name as opposed to their first name.source:www.last.fm

Gregor samsa Biography

2009-11-02T08:47:00.000-08:00

Gregor Samsa are originally from Richmond, Virginia, and now based in Brooklyn. They formed in 2000, took their name from the main character of Franz Kafka’s short story The Metamorphosis. The current members are Champ Bennett, Nikki King, Billy Bennett, Jeremiah Klinger, Cory Bise, Toby Driver and Mia Matsumiya. After the release of two ep’s, Gregor Samsa and 27:36, and two splits with The Silent Type and Red Sparowes, Gregor Samsa delivered their much anticipated debut full-length 55:12, composed of eight songs submerged in dreamy, multi-layered post-rock atmospherics. In their new album, Gregor Samsa take a new approach to composition, both in process and instrumentation. The result is Rest, set to be released in May of 2008 on Kora Records (US) and Own Records (Europe).source: www.last.fm

The Cure Biography

2009-08-05T01:47:00.000-07:00

Through more than 20 extravagant years and 20 extraordinary albums The Cure have done it all in their own unmistakable way. Free, independent, wilful, unconfined, the band have spent most of their career creating and exploring in the strange places where the worlds of mainstream and alternative collide. They have developed a range of uniquely distinctive sounds and styles, and in the process created as great a body of contemporary music as you could wish to hear.

With over 27 million albums sold, The Cure's achievements on every level have been incredible. Yet whereas even the most creative of bands both past and present have invariably completed their best work during 'the early years', The Cure have continued to flourish and grow with every release, continually adding new, unusual and essential chapters to their improbable story.

As the band move into their 3rd decade, they present what is undoubtedly their most powerful work to date, their 13th studio album 'Bloodflowers'. Exhibiting a coherency, intensity and emotional depth that is at times breathtaking, 'Bloodflowers' embodies all that The Cure do best. It is the band at the height of it's powers, and the now 5 year-old line up has developed into what is unquestionably the strongest ever; Cure mastermind Robert Smith (voice, guitar), Simon Gallup (bass), Perry Bamonte (guitar), Roger O'Donnell (keyboards) and Jason Cooper (drums).

The album has been co-produced by Robert and Paul Corkett, and is intended as the final part of a trilogy that began with the release in 1982 of the album 'Pornography', and that continued on with the release in 1989 of the album 'Disintegration'. Moving from wistful nostalgia through unguarded introspection, to impotent rage through helpless despair, 'Bloodflowers' is in essence an attempt at resolution. Performed with a musical sensibility that is truly moving, the emotional and lyrical clarity combine to make the listener uncomfortably aware that this could indeed be the oft threatened 'last ever' Cure album...

...It all started in 1976 when Robert, a 17 year old attending St Wilfrid's Comprehensive in Crawley, Sussex, formed The Easy Cure with schoolmates Michael Dempsey (bass), Lol Tolhurst (drums) and local guitar hero Porl Thompson. The 4-piece began writing and demoing their own songs almost immediately, and quickly amassed an impressive repertoire of original material that included such seminal classics as 'Killing an Arab' and '10:15 Saturday Night'.

By early 1977 the fledgling group had won a nationwide 'Battle of the Bands' style competition held by German-owned major label Ariola-Hansa that would have led to the release of a debut single and album but for the doomed nature of the relationship -Hansa saw The Easy Cure as a 'fresh faced' and malleable pop group - but even at this relatively young age, a headstrong Robert had other ideas... Within one unsatisfactory year the two parties had parted company with nothing having been released.

Frustrated but undeterred, in 1978 the 'Easy' was dropped, along with Porl, and an eager trio now known simply as The Cure sent out a demo tape of 4 songs to a number of record labels. A keen response from Polydor A&R man Chris Parry was quickly followed up, and The Cure signed with his new Fiction label that September; it was to prove a lasting partnership - they have been together ever since. Work began immediately on their first single and album, with debut engineer Mike Hedges, and 'Killing An Arab' was released to great acclaim through a deal with 'Small Wonder' records in December.

Re-released on Fiction in January 1979, it was quickly followed by the album 'Three Imaginary Boys', and the strangely beguiling mix of peculiarly obscure imagery and sparsely angular music caused a great deal of controversy and comment. The album kick-started an extensive UK touring period, during which The Cure played with various other emergent bands of the time such as Wire, Joy Division and The Jam. A further two non-album singles, 'Boy's Don't Cry' and 'Jumping Someone Else's Train' were released, as well as a couple of 'sideline recordings' with 'The Obtainers' and 'Cult Hero'. 'Boys Don't Cry', the single, was a minor success in the USA, and led to 'Three Imaginary Boys' being re-tuned and re-named 'Boys Don't Cry'.

This period also saw the development of a long standing affiliation between The Cure and Siouxsie and The Banshees, as within two dates of their support slot on the Banshee's UK tour in late 1979, Robert found himself playing two sets a night, having stepped into the breach for departed guitarist John McKay. At the end of this incredibly hectic period, subtle but irresolvable differences within the band led to the quiet departure of Michael Dempsey.

Simon Gallup (bass) and Matthieu Hartley (keyboards) joined, and in early 1980 the 4-piece Cure embarked on two weeks of studio experimentation. This time with Mike Hedges co-producing, the band decided to explore the darker side of Robert's songwriting, and emerged with the minimalist classic 'Seventeen Seconds'. An album of extraordinary clarity and grace, the distinctive, almost cinematic 'A Forest' became the band's first bona fide UK hit single, and a Top Of The Pops appearance followed. With 'Seventeen Seconds' climbing to #20 in the UK album charts, The Cure set out on an extensive and exhilarating world tour of Europe, the USA and Australasia. Unfortunately, the strains of a frantic year proved too much for Matthieu Hartley, and he was forced to leave the band.

A trio once more, in the spring of 1981 The Cure, again with Mike Hedges co-producing, recorded 'Faith', a mournful, atmospheric album of bleak and barren soundscapes evoking a world of dissolution and fear. The band also finished an instrumental soundtrack for their 'tour support' film 'Carnage Visors'. 'Faith' reached #14 in the UK album charts, and spawned another successful single, the abrasively insistent 'Primary'. The global 'Picture Tour' that followed was an intense experience for all, and by the time the hauntingly beautiful non-album single 'Charlotte Sometimes' was released in October, the band were due a break.

But a break was not on the agenda. Instead, at the start of 1982 The Cure returned to the studio to produce an album, in tandem with Phil Thornalley, that was to be the culmination of their increasingly morbid fascination with darkness, despair and decay. 'Pornography', released in May, was infected with an unrelenting black nihilism, and rather ironically became the first Cure album to break into the UK Top 10 at #9. The 'Fourteen Explicit Moments' tour however, saw the band becoming increasingly more volatile and violent, and by the time 'The Hanging Garden' was released as a single, Simon Gallup had left.

Having pushed himself and those around him beyond the limits of excess, Robert realised it was make or break time, and that the only way to distance himself from all that the group had become was to 'lighten up' again. This he did with the counterfeit cheesy disco of 'Let's Go To Bed', an instant if unexpected pop hit in America! The Cure line-up was still in some disarray - the single was recorded with Wreckless Eric drummer Steve Goulding, Lol Tolhurst having moved onto keyboards - but another key Cure partnership was forged in the making of the accompanying promotional video, and the colourful collaboration with Tim Pope was another relationship that would stand the test of time.

The Cure continued to redefine themselves in 1983 with the groovy electronic dance of 'The Walk' (UK #12) and the demented cartoon jazz of 'The Lovecats', which became the band's first single to claim UK Top 10 status, reaching #7. Robert felt vindicated: he had worked through the rage and despair of 'Pornography', and with the release of these 3 wildly different singles, had effectively turned everyone's perception of The Cure upside down. 1983 was interspersed further with Robert's commitments recording and touring once more as a Banshee, helping write and record their 'Hyaena' and 'Nocturne' albums, as well as completing the 'Blue Sunshine' album as 'The Glove', an experimental project undertaken in partnership with Banshee Steve Severin. The three Cure singles and their B-sides were collectively released as the album 'Japanese Whispers' in December.

In 1984 'The Top' was released, and although billed as a Cure album, in reality Robert played everything on it save drums. The result was a strangely hallucinogenic mix that saw the band drift once more into the UK Top 10, a Top 20 single being achieved with the release of the infectiously psychedelic 'The Caterpillar'. Robert also recorded the Tim Pope single 'I Want To Be A Tree' at this time. With the world 'Top Tour' featuring the live line-up of Andy Anderson on drums, Phil Thornalley on bass and Porl Thompson back on guitar, the band were seemingly once more fully functioning and on their way. But for a number of reasons, come the end of the tour both Andy Anderson and Phil Thornalley had left the band. Boris Williams (drums) and a returning Simon Gallup (bass) replaced them.

This new incarnation started work on 1985's 'The Head On The Door' with enthusiasm, zeal, and a very real sense that 'something was happening'... Varied and diverse, and yet informed throughout with a wonderfully simple pop sensibility, 'THOTD', co-produced with Dave Allen, reached # 7 in the UK. The vibrant hit single 'Inbetween Days' was followed up by 'Close To Me', and another brilliant Tim Pope collaboration, this time featuring the five band members unaccountably trapped in a wardrobe, balanced perilously on the clifftop of the infamous suicide drop Beachy Head!

'THOTD' had managed #59 in the American Billboard Charts, and the accompanying world tour and ever increasing devotion of fans paved the way for the massive success of the impeccable collection 'Standing On A Beach'. Released in May 1986, the title taken from the first line of 'Killing An Arab', it featured all The Cure singles and B-sides to date. Complemented by a video version of the compilation 'Staring At The Sea', these releases, and yet another huge world tour, including the band's first headlining slot at Glastonbury, launched the band headlong into a worldwide 'big time'. The album broke into the US Top 50, and the American media suddenly became fascinated with Robert Smith. One publication labelled him "the male Kate Bush", and when he lopped off his notorious mop of hair in a fit of pique, it made MTV News On The Hour! 'Boy's Don't Cry' was re-sung, re-mixed and re-released as a single, and a year of extensive gigs and festivals was crowned in the August with Tim Pope's celebratory live concert fil
m 'The Cure In Orange', released for cinema and video the following Spring.

In 1987 The Cure brought out an immense and ambitious double album entitled 'Kiss Me Kiss Me Kiss Me'. Lyrically and musically broader than anything they had yet attempted, the greatest strength of the album, once again co-produced with Dave Allen, lay in it's extreme diversity and extraordinary stylistic range, as the band moved effortlessly from dreamlike beauty to nightmare horror. Hit singles 'Why Can't I Be You?', 'Catch', 'Just Like Heaven' and 'Hot Hot Hot!!!' were released, all accompanied by more brilliantly inventive Tim Pope videos. With the arrival of Roger O'Donnell on keyboards, the 6-piece Cure travelled the world from July to December on the wildly successful 'Kissing Tour'.

In 1988 The Cure's first decade was officially documented with the 'Ten Imaginary Years' biography, and the band had a few well deserved months off. On reconvening for new demos, it became obvious that Lol Tolhurst's increasingly tenuous position in the group had soured beyond recognition and his departure was sadly inevitable.

His exit was followed by the completion and release in 1989 of the wonderfully atmospheric 'Disintegration'. Co-produced once more with Dave Allen, the album was a classic work of mournful grandeur and brooding power. It entered the UK charts at #3, and gave rise to 4 Top 20 singles; 'Lullaby' (which also garnered a 'Best Video' award at 'The Brits'), 'Fascination Street', 'Lovesong' and 'Pictures Of You'. The awesome 'Prayer Tour' that followed gave rise to some of the best performances The Cure had yet played, and the European leg included, among many memorable shows, a wonderful three night stint at Wembley Arena, whilst the USA leg took in sell-out crowds at the Giants and Dodgers Stadiums.

In early 1990 Roger O'Donnell left the group, and was replaced by long-time band friend and 'roadie' Perry Bamonte. The Cure headlined various festivals around Europe, including Glastonbury for a 2nd time, gave the royalties from their live album 'Entreat' to their 10 favourite charities, recorded the single 'Never Enough', and released 'Mixed Up', a collection of remixes old and new by such luminaries as Mark Saunders and William Orbit. The album also included the seminal Paul Oakenfold single remix 'Close To Me', and reached #13 in the UK and #14 in the US.

In February 1991 The Cure at last won some long overdue recognition at home with 'The Brits' award of 'Best British Group', and celebrated by filming a secret London gig as 'Five Imaginary Boys', debuting 4 new songs which would go on to form part of their next album. They also released 'Playout', a 'behind the scenes' live video containing excerpts of this show as well as a number of other strange TV performances!

'Wish' was hailed in 1992 as The Cure's best work yet. Again working with Dave Allen as co-producer, the album was a richly diverse, multi-faceted guitar driven album of massive appeal. It went straight in at #1 in the UK and #2 in the USA, and 3 more fabulous hit singles were taken from it; 'High', 'Friday I'm In Love', and 'A Letter To Elise'. This was another phenomenal year for The Cure, with the wonderfully kaleidoscopic 'Wish Tour' taking the band around the world again, playing sold-out shows wherever they went, from NZ's Wellington Town Hall to Dallas Texas Stadium...

The sheer power and excitement of the 'Wish Tour' performances inspired the release of two live works in 1993, 'Show' and 'Paris'. 'Show', a double album as well as a cinema and video release, captured the band onstage in Detroit performing 'all the hits and more', whereas 'Paris', a limited edition, presented the band live in the French capital playing a rather more eclectic collection of songs. Immediately after the tour, guitarist Porl Thompson left the band again, (this time with a smile!), and The Cure headlined the 'Great Xpectations Show' in London's Finsbury Park as a 4-piece on behalf of XFM. The band also contributed the song 'Burn' to the film 'The Crow', as well as covering 'Purple Haze' for the Hendrix tribute album 'Stone Free'.

The recording of new material was hindered in 1994 by a protracted and distracting legal action, instigated by Lol Tolhurst and finally settled in the Fall by High Court judgement in favour of the defendants Robert Smith and Fiction Records, and by the unexpected departure of drummer Boris Williams. A period of auditions was held, and Jason Cooper quickly took up residency behind the kit, as Roger O'Donnell rejoined on keyboards.

In 1995 The Cure contributed 'Dredd Song' to the film 'Judge Dredd', as well as covering Bowie's 'Young Americans', again in support of XFM. They broke off recording further new songs with co-producer Steve Lyon to headline some more major European Festivals, including, for an unprecedented 3rd time, the 25th Glastonbury. The band eventually returned to the studio (actually Jane Seymour's country mansion!) to finish off the new album in time for Christmas...

In January 1996 The Cure headlined the two Hollywood Rock festivals in Sao Paulo and Rio de Janeiro, returning to the UK for the release of the album 'Wild Mood Swings'. Although the sheer scope and scale of its diversity unsettled many people, it still went straight into almost every Top Ten around the world! The Cure hit the road once more with 'The Swing Tour', their biggest to date, and as the four singles 'The 13th', 'Mint Car', 'Strange Attraction' and 'Gone' were released to growing acclaim, the band played over 100 extraordinary concerts to increasingly rabid crowds around the globe.

In January 1997, Robert was invited to perform at David Bowie's 50th birthday party at Madison Square Gardens NYC, and was thrilled to sing and play a couple of songs onstage with the only living idol of his teenage days... Later in the year 'Galore', a collection of the second decade of Cure singles, including new track 'Wrong Number', was released on album and video. The Cure headlined another number of festivals in America and Europe, as well as performing live on several TV shows around the world.

In early 1998 Robert appeared in an episode of 'South Park' saving the world from the evil Mecha Streisand, as well as recording the song 'A Sign From God' for the Trey Parker/Matt Stone film 'Orgazmo'. The Cure also recorded 'World In My Eyes' for a Depeche Mode tribute, and 'More Than This' for the 'X-Files' album. During the summer The Cure headlined another 12 European festivals, played a secret gig in London for Miller Beer's 'Blind Date' competition, and then returned once more to Jane Seymour's house to record a new album with Paul Corkett (Depeche Mode, Placebo, Nick Cave) co-producing.

1999 saw the band complete the recording and mixing at RAK Studio in London and Fisher Lane Farm in Surrey, and with the new album 'Bloodflowers' finished, they went over to NYC to record an episode of VH1's Hard Rock Live, scheduled for broadcast in Spring 2000. Robert then embarked on an extensive global promotional campaign using TV, radio, print and the internet to get the word out...

...that 'Bloodflowers' is, in his opinion, the most perfect Cure album ever.

The Cure will be playing a limited number of small promotional shows in Europe and the USA around the February 2000 release date, before setting off around the world again for a full-scale 'Dream Tour' very soon after... as the story continues...

Blur Biography

2009-07-18T03:17:00.000-07:00

FORMED: 1989, Colchester, England The history of Blur can be traced back to 1980 when Damon Albarn (b.1968) and Graham Coxon (b.1969) met as schoolboys at Stanway Comprehensive School in Colchester, Essex, where they sang together in the choir. Both were drawn to music. Damon, a Londoner by birth, was the son of Keith Albarn, a former luminary of England's late-1960's psychedelic rock. Arriving in Colchester in the late '70's, young Damon began studying music. Coxon, who was born on an airbase in Germany, was also the son of a musician. He moved to Colchester in 1977 and was encouraged to learn the saxophone and guitar at Stanway. Alex James grew up in Bournemouth on England's south coast, coming to London in the late '80's to study at Goldsmith's College, where he first met Coxon. Colchester-born Dave Rowntree, whose father was a BBC sound engineer and whose mother played in an orchestra, "took up" the bagpipes at a young age and graduated to drums not long afterwards. These four men formed a bizarre, Brechtian art-punk band called Seymour -- Albarn on vocals (and occasional keyboards), Coxon on guitar, James on bass, and Rowntree on drums. After laying a dozen or so shows in and around London, they renamed the band Blur in 1989. Blur signed to Food Records later that year. The first release from Blur was the single "She's So High," in 1990. The story really began to gather speed with the next single, "There's No Other Way," a sizable hit in Britain in spring 1991. The song saw Blur working for the first time with the legendary producer Stephen Street (the Smiths, Morrissey, the Cranberries). Leisure, Blur's debut album, released in August 1991, was an enjoyable collection of songs influenced by Pink Floyd, the explosive guitars of My Bloody Valentine and vocal harmonies reminiscent of Revolver-era Beatles. A No. 7 hit in Britain, Leisure was soon outgrown by Blur, who announced a complete change of attack on their great, "lost" single "Popscene" in March 1992: furiously-paced, with blaring horns over punky guitars. Albarn had undergone a major transformation as a songwriter: from reticent bystander to caustic commentator, and Blur greedily stockpiled the songs that would make up their sophomore effort, the critical breakthrough, Modern Life Is Rubbish. Named after a piece of graffiti scrawled on a wall near London's hallowed monolith Marble Arch, Modern Life Is Rubbish (released in May 1993) was a total sea-change. Flying in the face of fashion, it was a huge pop encyclopedia of England (from Julian Cope to XTC, from the Beatles to Madness). The album's witty and touchingly parochial songs (variously bolstered by the use of string sections and brass sections) aimed for -- and achieved -- a quintessential English sound. This modern view of urban England was developed on the third Blur album, Parklife (a No.1 U.K. chart entry in April 1994), which took an analytical, often comical look at England's foibles and misfortunes. The band won four Brit Awards for Parklife in early 1995. Some months in the making, the much-misunderstood The Great Escape was Blur's worldwide coming of age. Its musical reach far outstripped traditional pop: banjo, Mellotron, curdled waltzes and zonked out keyboards all took a bow in the band's ingenious arrangements. The album spanned every age group, and Blur became the first group ever to receive front cover stories in the teen mag "Smash Hits" and the thirty-somethings' monthly "Mojo." The Great Escape shot straight into the British album charts at No. 1 -- it sold over one million copies in the U.K. alone -- and is Blur's biggest-selling album worldwide to date. A tour of British seaside resorts followed, during which Blur played to small audiences for one last time. Their fifth album, Blur, was released on Food/Paralophone in February 1997 in the U.K. and in March 1997 in the United States. It contained the breakout hit "Song 2" (Whee-hooo!). Two years later, 13 hit record store shelves. Rolling Stone called the William Orbit-produced album their "most playful set yet."

The Smiths Biography

2009-07-04T00:07:00.000-07:00

FORMED: 1982, Manchester, England
DISBANDED: August 1987

Acclaimed by many as the most important UK band of the 80s, the Smiths were formed in Manchester, England during the spring of 1982. Morrissey (b. Steven Patrick Morrissey, 22 May 1959, Davyhulme, Manchester, England) and Johnny Marr (b. John Maher, 31 October 1963, Ardwick, Manchester, England) originally combined as a songwriting partnership, and only their names appeared on any contract bearing the title "Smiths". Morrissey had previously played for a couple of months in the Nosebleeds and also rehearsed and auditioned with a late version of Slaughter And The Dogs. After that he wrote reviews for Record Mirror and penned a couple of booklets on the New York Dolls and James Dean. Marr, meanwhile, had played in several Wythenshawe groups including the Paris Valentinos, White Dice, Sister Ray and Freaky Party.

By the summer of 1982, the duo decided to form a group and recorded demos with drummer Simon Wolstencroft and a recording engineer named Dale. Wolstencroft subsequently declined an offer to join the Smiths and in later years became a member of the Fall. Eventually, Mike Joyce (b. 1 June 1963, Fallowfield, Manchester, England) was recruited as drummer, having previously played with the punk-inspired Hoax and Victim. During their debut gig at the Ritz in Manchester, the band was augmented by go-go dancer James Maker, who went on to join Raymonde and later RPLA.

By the end of 1982, the band appointed a permanent bass player. Andy Rourke (b. Manchester, England) was an alumnus of various previous groups with Marr. After being taken under the wing of local entrepreneur Joe Moss, the band strenuously rehearsed and after a series of gigs, signed to Rough Trade Records in the spring of 1983. By that time, they had issued their first single on the label, "Hand In Glove", which failed to reach the Top 50. During the summer of 1983, they became entwined in the first of several tabloid press controversies when it was alleged that their lyrics contained references to child molesting. The eloquent Morrissey, who was already emerging as a media spokesperson of considerable power, sternly refuted the rumours.

During the same period the band commenced work on their debut album with producer Troy Tate, but the sessions were curtailed, and a new set of recordings undertaken with John Porter. In November 1983 they issued their second single, "This Charming Man", a striking pop record that infiltrated the UK Top 30. Following an ill-fated trip to the USA at the end of the year, the quartet began 1984 with a new single, the notably rockier "What Difference Does It Make?", which took them to number 12.

The Smiths ably displayed the potential of the band, with Morrissey's oblique, genderless lyrics coalescing with Marr's spirited guitar work. The closing track of the album was the haunting "Suffer Little Children", a requiem to the child victims of the 60s Moors Murderers. The song later provoked a short-lived controversy in the tabloid press, which was resolved when the mother of one of the victims came out on Morrissey's side. A series of college gigs throughout Britain established the band as a cult favourite, with Morrissey displaying a distinctive image, complete with National Health spectacles, a hearing aid and bunches of gladioli. A collaboration with Sandie Shaw saw "Hand In Glove" transformed into a belated hit, while Morrissey dominated music press interviews.

His celibate stance provoked reams of speculation about his sexuality, and his ability to provide good copy on subjects as diverse as animal rights, royalty, Oscar Wilde and 60s films, made him a journalist's dream interviewee. The singer's celebrated miserabilism was reinforced by the release of the autobiographical "Heaven Knows I'm Miserable Now", which reached number 19 in the UK. Another Top 20 hit followed with "William, It Was Really Nothing". While the Smiths commenced work on their next album, Rough Trade issued the interim Hatful Of Hollow, a bargain-priced set that included various flip-sides and radio sessions. It was a surprisingly effective work, that captured their inchoate charm.

By 1984 the Smiths found themselves f坱ed as Britain's best band by various factions in the music press. The release of the sublime "How Soon Is Now?" justified much of the hyperbole and this was reinforced by the power of their next album, Meat Is Murder. This displayed Morrissey's increasing tendency towards social commentary, which had been indicated in his controversial comments on Band Aid and the IRA bombings. The album chronicled violence at schools ("The Headmaster Ritual"), adolescent thuggery ("Rusholme Ruffians"), child abuse ("Barbarism Begins At Home") and animal slaughter ("Meat Is Murder"). The proselytizing tone was brilliantly complemented by the musicianship of Marr, Rourke and Joyce.

Marr's work on such songs as "The Headmaster Ritual" and "That Joke Isn't Funny Anymore' effectively propelled him to a position as one of Britain"s most respected rock guitarists. Despite releasing a milestone album, the band's fortunes in the singles charts were relatively disappointing. "Shakespeare's Sister" received a lukewarm response and stalled at number 26, amid ever-growing rumours that the group were dissatisfied with their record label. Another major UK tour in 1985 coincided with various management upheavals, which dissipated the band's energies.

A successful trek across the USA was followed by the release of the plaintive summer single "The Boy With The Thorn In His Side", which, despite its commerciality, only reached number 23. A dispute with Rough Trade delayed the release of the next Smiths album, which was preceded by the superb "Big Mouth Strikes Again", another example of Marr at his best. During the same period, Rourke was briefly ousted from the band due to his flirtation with heroin. He was soon reinstated, however, along with a second guitarist, Craig Gannon, who had previously played with Aztec Camera, the Bluebells and Colourfield. In June 1986, The Queen Is Dead was issued and won immediate critical acclaim for its diversity and unadulterated power.

The range of mood and emotion offered on the album was startling to behold, ranging from the epic grandeur of the title track to the overt romanticism of "There Is A Light That Never Goes Out" and the irreverent comedy of "Frankly, Mr Shankly" and "Some Girls Are Bigger Than Others". A superb display of Morrissey/Marr at their apotheosis, the album was rightly placed alongside Meat Is Murder as one of the finest achievements of the decade. A debilitating stadium tour of the USA followed and during the group's absence they enjoyed a formidable Top 20 hit with the disco-denouncing "Panic". The sentiments of the song, coupled with Morrissey's negative comments on certain aspects of black music, provoked further adverse comments in the press.

That controversy was soon replaced by the news that the Smiths were to record only one more album for Rough Trade and intended to transfer their operation to the major label EMI Records. Meanwhile, the light pop of "Ask' contrasted with riotous scenes during the band"s 1986 UK tour. At the height of the drama, the band almost suffered a fatality when Johnny Marr was involved in a car crash. While he recuperated, guitarist Craig Gannon was fired, a decision that prompted legal action. The band ended the year with a concert at the Brixton Academy supported by fellow Mancunians the Fall. It was to prove their final UK appearance.

After another hit with "Shoplifters Of The World Unite" they completed what would prove to be their final album. The glam rock-inspired "Sheila Take A Bow" returned them to the Top 10 and their profile was maintained with the release of another sampler album, The World Won't Listen. Marr was growing increasingly disenchanted with the group's musical direction, however, and privately announced that he required a break. With the band's future still in doubt, press speculation proved so intense that an official announcement of a split occurred in August 1987.

Strangeways, Here We Come, an intriguing transitional album, was issued posthumously. The work indicated the different directions towards which the major protagonists were progressing during their final phase. A prestigious television documentary examining the group's career followed on The South Bank Show, and a belated live album, Rank, was issued the following year. The junior members Rourke and Joyce initially appeared with Brix Smith's Adult Net, then backed Sin俛d O'Connor, before Joyce joined the Buzzcocks.

Morrissey pursued a solo career, while Marr moved from the Pretenders to The The and Electronic, as well as appearing on a variety of sessions for artists as diverse as Bryan Ferry, Talking Heads, Billy Bragg, Kirsty MacColl, the Pet Shop Boys, Stex and Banderas. In 1992, there was renewed interest in the Smiths following the furore surrounding Johnny Rogan's controversial biography of the band, and Warner Brothers Records' acquisition of their back catalogue from Rough Trade. In 1996, the long-standing legal action taken by Mike Joyce was resolved with Morrissey and Marr losing their case. Joyce was awarded damages of ? million, and Morrissey subsequently lost his appeal..source:sing365.com

The Feeling Biography

2009-06-23T12:03:00.000-07:00

Dan Gillespie Sells - vocals & guitar
Richard Jones - bass
Kevin Jeremiah - guitar
Ciaran Jeremiah - keyboards
Paul Stewart - drums

The Feeling are five twentysomethings from Sussex and London who love pop music. Great big no-nonsense, hook-filled, giant-chorused pop music – music for the masses, only intelligent, with sunshine hooks and killer choruses that everyone can hum, from plumbers to professors.

Singer Dan Gillespie Sells, who admits to having had an indie phase once, says: "There are no guilty pleasures anymore. You're allowed to like Andrew Gold, ELO, Supertramp or 10cc. It's really liberating."

The Feeling are pop and proud. They're reclaiming the term.

Like The Raspberries or, more recently, Jellyfish or The New Radicals, The Feeling are premier exponents of prog pop meets nouveau soft-rock.

GET THE FEELING 2: THE MUSIC
"You can get away with murder in pop music," says Dan. "We like getting away with murder. We like great big choruses with great big hooks."

If there's a Lennon & McCartney - or rather, Becker-Fagen, Gouldman-Stewart, or Godley & Crème - in The Feeling, it's the hydra-headed Dan Gillespie Sells, who handles the music and the words. The band, they say, have to "wrestle the songs out of him."

As a Queen fan, Dan admits he doesn't just like "concise pop songs" - he's also a bit partial to "prog epics with ludicrous outros."

This perfect blend of pop and prog will soon see the light of day on The Feeling's debut album "Twelve Stops And Home". It will be a 12-track affair "with no fillers, all stonkers - a classic album."

It will also, explains Richard, be "lush and epic," while at the same time being, in Dan's words, "stripped-down." The singer cites early Elton John records, The Beatles' swansong and The Carpenters as examples of the feel The Feeling are after.

"They were epic but not lavishly orchestrated," says Dan. "'Rocket Man' is just bass, guitar, piano and drums, but it's vocally driven with not much else going on. ‘Let It Be’ was still powerful without the orchestration. It still had epic-ness; a melodic strength to it. Or 'Solitaire' by The Carpenters: that's a great example of a song that's epic but stripped down. The Carpenters were a big influence on me."

GET THE FEELING 3: THE HISTORY
The Feeling, who are all between 25 and 27, are overnight sensations with a bit of a past, cutting their teeth as session musicians on a variety of mainstream and marginal recordings. They're all from Sussex, except Dan, who's from London. Paul, Kevin and Ciaran even went to the same school: Paul and Ciaran were in the same year. The Sussex axis of the band have been friends for 13 years. They met Dan and Richard at music college in Croydon 10 years ago, and they've been working together in various forms ever since.

Five years ago they went through their "Hamburg era" when they appeared for several seasons in the Alps as a covers band who specialised in versions of Rolling Stones, Kinks, Stevie Wonder and Beatles songs as well as rocked-up versions of '80s hits like "Take On Me" by A-ha, "Walk Like An Egyptian" by The Bangles and "Jump" by Van Halen: "Whatever got the crowd going."

The band still go back there, to try out new material.

"It's our spiritual home," says Richard, adding more seriously: "That's how
we got good at playing."

GET THE FEELING 4: THE PLAYERS
The Feeling are, let's not be coy, superb musicians who have spent years honing their craft. That's not to imply that virtuoso expertise and dexterous professionalism in rock'n'roll are a necessity. But it certainly helps if you can play your instruments. And these cats can play.

But who inspired them, as individuals?

Paul?
"Loads of people! Mick Fleetwood, Bernard Purdie, Roger Taylor and Ringo are all big influences. There seems to be a misconception that Ringo was crap, but some of his parts were genius," says the drummer. "I’d love to contribute as much to our sound as he did to The Beatles."

Dan?
"Karen Carpenter was one of the greatest vocal technicians ever. She had a clean, pure voice, only filled with oodles of emotion. It was heartbreaking. But it doesn't have to be flourish-y or over-elaborate. I'd choose Freddie Mercury for his stage presence, and Neil
Young for his guitar-playing. I'd like to be Karen Carpenter in Neil Young's body. With Freddie Mercury's trousers."

Richard?
"I like to get involved with the whole arrangement and see how I can complement it with my part. Bassists like Paul McCartney or John Deacon were great in this way. For technicality, I'd pick Jaco Pastorius [jazz-rock fusion supremo] or James Jamerson [Motown] "

Kevin?
"Slash and Brian May - Slash for the sheer attitude of his playing, and Brian May for the fact that his solos are always an indispensable part of every Queen song."

Ciaran?
"Maybe Joe Zawinul," says the quiet but deadly keyboardist, and you've got
to admire a band that reference groups like Earth Wind & Fire and Weather
Report. "But my favourites would be Garth Hudson of The Band and Tom Waits."

GET THE FEELING 5: THE FUTURE
The Feeling have an assured future. With dead-cert smash hits like "Fill My
Little World", the joyous harmonies of "I Want You Now", the lilting acoustic and electric guitars and micro-melodies of "Never Be Lonely", the surging keyboard refrains and pop riffs of "Love It When You Call", touching piano ballads like "Strange" and "Spare Me", and the awesomely infectious "Helicopter", pretty soon you won't be able to - hey! - fight The Feeling. They'll just be there, on our radios, a part of all our lives.source:sing365.com

Jet Biography

2009-06-21T13:14:00.000-07:00

Everyone talks about rock these days, the problem is, they forget about the roll. How Keith Richards- who made this comment about post 90's rock music- must love Jet. They rock like there's no tomorrow yet they also roll like the greats of yesterday. As their debut album 'Get Born' proves, this Melbourne four piece, Nic Cester (guitar/vocals), Chris Cester (drums/vocals), Cameron Muncey (guitar/vocals), Mark Wilson (bass), stand for everything that is raw, primitive, direct and loose about rock music. Like all the best bands they trace their influences to the source. I think we were always interested in tracing the roots of this music, explains Chris. We wanted to look beyond the sixties and the seventies and find out where that music came from. That's why we do a cover of Elvis' 'That's Alright Mamma' at the shows. It's just a natural exploration for us.

Jet are steeped in rock folklore. Like The Kinks, AC/DC and Oasis before them- all major influences- they feature two photogenic brothers (Nic and Chris Cester). Their name is on loan from Paul McCartney's frazzled post-Beatles peak from 1973, whilst their debut E.P. 'Dirty Sweet' (Rubber Records) took it's name from T-Rex, and in acoustic highlight 'Move On' had the song The Faces were too hungover to write. But then that's what happens if the first album you ever heard was 'Abbey Road.' My parents had some bad records, explains Chris. But that one always stood out as great. I'd sit there banging on these cushions with a pair of chopsticks playing 'Mean Mr. Mustard.' We formed an entire imaginary band, where we'd play guitars on tennis rackets and do gigs. We were called The Boys, I think?

Such fantasy infuses Jet. Just as Liam Gallagher remarked that BRMC deserved their early Oasis support slots because they 'dared to look like a rock'n'roll band' so Jet see rock music with a clarity only available to those who grew up five thousand miles away in Australia. Where US and British bands subconsciously obey the whims of a media for whom rock's central texts (Beatles, Stones) are somehow seen as passé, Jet bring with them a lucidity and freshness that comes from both youth and sheer Oz-centric bloodymindedness. Jet don't know the rules, and even if they did, they'd break them.

Beginnings. Having grown up in the suburbs of Melbourne on a strict diet of classic rock, the Cester brothers (Nic is three years older at 24) found disaster looming. A terrible blight was about to hit the youth of the Melbourne suburbs. Grunge. I couldn't stand the stuff, continues Nic. To me that was real slit your wrists music. It didn't relate to this idea of rock'n'roll I had in my head. I'd grown up loving The Who, The Easybeats, The Faces and The Stones and these guys were taking music somewhere I didn't want to go. They didn't have that feeling in the music that all great bands have got. Oasis were the last ones.

A long spell in the netherworld of the Melbourne live circuit followed. At the time I think we felt we weren't ever going to break free from that scene, explains Nic. That's why songs like 'Radio Song' have got that feeling of resignation about them. At the time it was unimaginable that a band like ours would get any recognition at all. As with everything, timing was all. Having recruited towering bassist Mark Wilson and sworn to get serious Jet's first few shows coincided with the global success of local heroes The Vines. With the A&R feeding frenzy fuelled by a breathless review in the NME of debut single 'Take It Or Leave It' describing it as a hybrid of the 'Rolling Stones and the balls-out stadium rock of AC/DC' the band duly signed to Elektra, the very birthplace of classic American rock.

The result is 'Get Born.' Produced by Dave Sardy (Dandy Warhols, Marilyn Manson) at the legendary Sunset Sound Studios in LA, 'Get Born' is a reminder of rock at its most primal, vibrant and honest. At its frantic best: 'Get What You Need'; 'Are You Gonna Be My Girl'; 'Get Me Out Of Here'; it hits you straight and deep in a manner to rival The Ramones. Elsewhere with the Nic-penned 'Look What You've Done', the elegiac 'Radio Song' and the ELO-ish 'Lazy Gun' they suggest the wistfulness of everyone from Badfinger to Todd Rundgren after he called time on The Nazz. Lyrically it's home to an epic wantonness to match legendary Oz-rockers The Saints. When Nic growls I know we ain't got much to say in new single 'Are You Gonna Be My Girl' or Dance little deejay c'mon in 'Rollover DJ' you can almost hear the female knees buckle and feel ten years of club culture whither on the vine. We wanted to make a contemporary album, states Chris. We didn't want to make a one dimensional rock'n'roll record either. Albums should be able to reflect all sides of your personality, that's why songs like 'Timothy' and 'Radio Song' are on there. We're trying to get the same amount of emotion you get when you listen to an album like Goats Head Soup. There are quieter moments and others where you just want to go crazy.

Proof of their success came with a call halfway through recording from The Stones camp offering the band the support slot on the Australian leg of The Rolling Stones world tour. Clearly, Jet have got the roll.

I like the idea of 'Get Born' having two meanings adds Chris finally. Like 'Rubber Soul.' It's basically a reminder to forget your problems and celebrate the moment instead. It's a rejection of all those feelings of negativity or depression you might get. It's a heartfelt thing, and that's where that primal energy comes through the music.

The choice is yours. Or, as Nic puts it so succinctly on 'Take It Or Leave It': You better roll with whatever you know/ You better move/ If you don't know what to do, here's the groove.source:sing365.com

Theory Of A Deadman Biography

2009-06-18T13:51:00.000-07:00

There's an old axiom in music that says you have your whole life to make your first record and under a year to make your second. This spells disaster for the many bands that return from touring, find themselves with nothing left to say and fall prey to the sophomore slump. But for Vancouver, Canada's Theory of a Deadman, going back into the rehearsal studio was an opportunity to experiment and grow into the group they always dreamt of being. That doesn't mean it was easy. The band members - singer Tyler Connolly, guitarist Dave Brenner and bassist Dean Back - were so exhausted after playing shows around the world with artists including 3 Doors Down, Saliva, Nickelback, and 3 Days Grace that the last thing they wanted to do when they got home was write new songs, so they took a few months off and just absorbed life. "I think the songs we did are a lot more credible this time because they weren't done over a period of six years, they were done in six months," Connolly says. "They really show where we were at when we did them and proved to us that we can come up with great material in a short period of time. We just put our heads together and did it." Gasoline, the product of Theory of a Deadman's second offering, is immediate and urgent without sounding the least bit rushed. Throughout, the band is inventive and precise, drawing influence from decades of rock and recontextualizing them into personal and passionate songs that range from acoustic-based ballads to electrified anthems. "No Surprise" melds electric and acoustic guitar, a compelling vocal and hum-along vocal harmonies in a way reminiscent of the best Alice in Chains. "Since You've Been Gone" shivers with woebegone strumming and tearslicked strings, and features some of the most dramatic vocal work of Connolly's career. Elsewhere, "Say Goodbye" blends a folk-based rhythm and enticing vocal harmonies to a surging main riff and colossal chorus, "Better Off" is a dust-kicking blast of crashing chords and pounding beats that's equal parts Bad Company and AC/DC, and "Santa Monica" is a sentient number treated with strings and delicate arpeggios that underline the song's heartbroken message. One line, "She fills my bed with gasoline" inspired the album's explosive title. "Gasoline is what it takes to get things moving," Connolly said. "And this is the album that's going to take us from one place to another. On the first record we wrote a lot of great songs but I think it was more like a science project than songwriting. We sat in a room and said, 'Okay, let's make a song. Here's what it takes. It has to be three minutes, you have to have a chorus and a bridge. And this time we were like, 'Okay, well, why can't we just sit here and jam?' So that's what we did." "We could tell right away that the songs were really coming together, and our sound was really becoming our own with each song we wrote," Brenner adds. "A lot of times we'd just write one riff and get excited and want to jam it without having a song together." The band's time on the road has earned them an impressive list of jamming partners- rock icons Zakk Wylde and Randy Bachman (The Guess Who and Bachman Turner Overdrive) dropped in on the band, adding to their rock and roll storybook, but not to the new album. In addition to coming up with colorful, spontaneous riffs and melodies, Connolly penned his most heartfelt and narrative lyrics to date. Some songs were culled from personal experience, including the self-explanatory "Hating Hollywood" and the touching family break-up song "Hello Lonely." "My mom left our family when I was in high school, so I write about how my dad felt when she left," he said. "She just took off, so I grew up with my dad. I think anyone who's had a family split can relate to that one." Other new tracks were drawn from experiences of those close to Connolly. "No Surprise" sees a naïve boyfriend whose significant other is fooling around with guys she hangs out with in a bar, and on "Santa Monica" a guy's girlfriend packs up and moves to California. Whether chronicling his past or creating a work around situations he observes, writing gives Connolly a cathartic rush. When he sits down with pen and paper, furthering his career is the last thing on his mind. He's far more interested in purging his inner poisons. "Some people get pissed off and get drunk or go get into fights in bars or punch holes in walls," he says. "Instead of doing that, I just write all the stuff that's in my head and it makes me feel better." When writing was completed, the band flew to Bay 7 Studios in Los Angeles to record with producer Howard Benson and mixer Chris Lord-Alge. The team of Benson and Lord-Alge is responsible for some of the biggest rock and modern rock records of the moment, including Hoobastank, Papa Roach, P.O.D., My Chemical Romance, Cold, to name a few. Recording with such a seasoned producer and his team brought out the best in Theory of a Deadman, who pushed themselves to their creative limits and beyond. The band used vintage guitars and amps to get their 'monster' guitar tones, as well as unique musical elements like sitars, a Hammond organ and string instruments to embellish some of the songs on the album. Benson had the band play in a much higher key than they recorded in last time, giving the songs a more lively feel, and challenging Connolly to find new ways to sing. "When Howard said we were going to change the key up a whole step, it was challenging. Sometimes I'd have to sit there for two hours and learn how to sing a chorus way higher than I was used to. It was really hard, but in the end it turned out way better." The members of Theory of a Deadman grew up within six blocks of one another in the small town of North Delta, Canada. Connolly and Back went to the same guitar school and worked in the same restaurant, and Brenner was the younger brother of one of Beck's friends. "We recognized each other at work, and one night, Tyler asked if I was interested in starting a band with him," Back recalls. "Dave and his band used to play gigs with us, and he ended up taking the spot on guitar." The band chose its name from the original title of "Last Song," a track Connolly penned seven years ago about a man who writes his memoirs before committing suicide. Theory of a Deadman made a name for themselves playing live in the Vancouver scene. The band released its debut Theory of a Deadman in 2002, and was soon embraced as a new force in articulate, emotional hard rock. Songs like "Nothing Can Come Between Us", "Make Up Your Mind", and "The Last Song" received strong rock radio play, and the two years of touring that followed tightened the group's sound and strengthened its chemistry. By the time Theory of a Deadman started writing for Gasoline in earnest, they were firing like a stock car engine. The only hitch came when original drummer Tim Hart left the fold. Fortunately, Theory of a Deadman were resourceful enough to play the drum parts themselves while writing Gasoline. When they entered the studio, they brought back Robin Diaz, for every track but "Santa Monica," which features their friend, 3 Doors Down drummer Daniel Adair. "We grew up and went to the same school together, so it was really great to have him play with us," Connolly says. It's difficult to pick a standout track from Gasoline. The storming "Better Off" is one of the band's favorites but Brenner is equally pumped about "No Way Out." "That was one of the last songs we wrote before we went into the studio," he says. "When we listened back to it, I knew right there we were on to something. It got me excited for the rest of the material." That excitement shines through the entire album from the Cult-meets-Stone- Temple-Pilots roar of "Hating Hollywood" to the twangy, countrified verse of "Me & My Girl." Taken as a whole, Gasoline isn't your typical contemporary rock album, where there's one or two strong singles and lots of filler. It's also not a collection of calculated hits- though every song is infectiously well-crafted rock "I just think that if you want to be real, you have to write from the heart," Connolly says. "You can't write a smash hit, you can just write great songs that will hopefully become smash hits. I always say it's easy to write a song, hard to write a good song and pure luck to write a hit." With such a good attitude and such strong material, Theory of a Deadman don't need luck. They've just gotta pour out the Gasoline, and watch it burn.

Camera Obscura Biography

2009-06-18T13:35:00.000-07:00

The Band : Tracyanne Campbell - guitar and vocals Carey Lander - piano, organ and vocals Kenny McKeeve - guitar, mandolin, harmonica and vocals Gavin Dunbar - bass Lee Thomson - drums Nigel Baillie - trumpet and percussion A Brief History of Camera Obscura Camera Obscura started in 1996. Tracyanne, John and Gavin started playing together in Gavin's parent's cellar with no drummer. They were soon joined by a guitarist called David Skirving. They recorded the 'Park and Ride' and 'Your Sound' singles for Andmoresound in Glasgow and mini album 'Rare UK Bird' for Quattro in Japan. Richard Colburn took on drum duties live with the band and played on the 'Your Sound' single until Lee joined the band in 2000. During this time they played live shows at Glasgow's 13th Note, Hyndland Church Hall, Nice n' Sleazy's, King Tut's. They also supported Snow Patrol in the Maryhill Community Central Halls and played at the Bowlie Weekender in Camber Sands. David left the band to work on his own, (forming California Snow Story) and was replaced by Kenny. Lindsay Boyd (of Andmoresound) joined on keyboards. During 2000 they recorded their debut album, 'Biggest Bluest Hi Fi' in Cava studios, producing the record themselves with Geoff Allen engineering. The single 'Eighties Fan’ was produced by Stuart Murdoch. These records were released in the UK in 2001 and received airplay from John Peel and The Evening Session on Radio 1. ‘Biggest Bluest Hi Fi’ was 'Album of the week' on XFM and in the Rough Trade shop. It went on to become Prime Distribution's best selling independent album. 'Biggest Bluest Hi Fi' was also released in Spain (Elefant Records), Japan (Quattro) and Australia (Gifted). The band did some UK live shows in 2001 along with their first session for John Peel on Radio 1. Lindsay left the band and was replaced by Carey and they rounded off the year playing live from Peel Acres for John Peel’s Christmas show. 'Eighties Fan' was Number 8 in Peel's Festive 50. In 2002, the band played the Primavera Sound festival in Barcelona, Track & Field's 'Pow to the People' Easter festival in London and the Chickfactor 10th Anniversary 'Black and White Ball' in London's Bush halls. This was followed by their first Spanish Tour. On their return from Spain, work began on the follow-up to 'Biggest Bluest Hi Fi', once again in Cava studios with Geoff Allen engineering and co-producing with the band. Nigel, who had played trumpet as a session musician on BBHF, and who had also been playing live, joined the band full time. 2003 saw Camera Obscura preparing for the release of the new album, 'Underachievers Please Try Harder' and single, 'Teenager' with a couple of Glasgow shows, playing in Hyndland Church Hall with The Ladybug Tranistor, and in Nice'N'Sleazy's for a Big Issue benefit show. The band also played at Spain’s Benicassim Festival in 2003 alongside artists such as Beck and Donovan. The album was released by Elefant Records after the band left Andmoresound. Following its release, the band embarked upon their first proper tour of the UK and Ireland. The tour ended with one final recorded Peel session. One more single, Keep It Clean, was released. It became one of two entries into the Peel Festive 50, along with the album track 'Suspended From Class'. 2004 was a very eventful year for the band. They were invited to play live on Radio 1 from John Peel's house. For this, their third visit to Peel Acres, they were asked to put music to the words of Scotland's National Poet, Robert (Rabbie) Burns. The band came up with five songs, one of which was a version of 'Of A' The Airts the Wind Can Blaw', also known as 'I Love My Jean'. The show was broadcast a few days before Burns' Night in January and the band shared haggis, whisky and stories with John afterwards. The band were so happy with the results of this experiment that they went into the studio and recorded two of the songs. With growing interest in the band coming from America, Elefant released Underachievers there, licensing it to the much-revered Merge Records label. The band undertook their first tour of the States and Canada in July and August, playing as far afield as San Diego in California, Montreal in Quebec and Athens, Georgia. A huge journey... A few weeks after their return to the UK, Camera Obscura played one more live show. It was a private concert- the 65th birthday party of their most enthusiastic supporter, John Peel. Sadly, the great man died that October. That concert also saw the last live appearance of John Henderson, and the band became a six-piece again. Writing commenced for album three. In 2005, work on the next record continued. The band released 'I Love My Jean' as a tribute to John Peel, and it resulted in their first Independent Chart entry. The band were also given the opportunity to try out the new reduced line-up with three shows. First was the South Pop Festival in Seville. Then the band travelled to Sweden for two shows in Stockholm and Uppsala, making new friends along the way. In May of 2006 "Lloyd, I'm ready to be heartbroken" is the first single to be taken from the band's new album, "Let's get out of this country". Recorded and mixed in several studios in Sweden , this was produced by Jari Haapalainen, producer behind such gems as The Concretes and Ed Harcourt.source:sing365.com

The Ordinary Boys Biography

2009-06-17T10:32:00.000-07:00

source:sing365.com
Preston Guitar / Lead Vocals
William J Brown Lead Guitar / Backing Vocals
Charlie Drums
James Bass

In an age where most bands exist only to be famous, it’s heartening to see that wit, intelligence and style are poised to make their re-appearance. Born out of the same genealogy of British musical genius that includes The Kinks, The Smiths, The Clash and The Jam but transcending their influences to produce a sound fit for the 21st century, The Ordinary Boys are a band determined to prove that success does not necessarily mean lowest common denominator.

With influences that stretch from the great songwriters to Will Self and beyond, The Ordinary Boys rise above the trivialities of a Big Brother world. Displaying tunes full of passion, wit and grace, these four young men from Worthing are a welcome reminder of a British pop that relies on ability, not computers, dance routines and end-of-the-pier talent shows. Early live shows, demonstrating a need to entertain and provoke, have amassed a small army of devotees: all this prior to a note being released. The NME are already proclaiming:

“Something exciting is going on in the UK underground…The Ordinary Boys make a brilliant case for why they’ll be at the very front of it”

With the conviction of the truly righteous and a history of playing together back into their early teens, The Ordinary Boys are set to release their debut single at the start of the New Year, and things will probably never be the same again. Produced by the legendary Stephen Street, famed for his work with The Smiths and Blur, amongst a host of others, band and producer found their ideal partners in each other, inaugurating the start of what is sure to be a long term musical relationship. Singer Preston says of the forthcoming debut single, ‘It’s about putting back the honesty and passion in music that’s been missing for too long’.

The Ordinary Boys have already begun to build a loyal and dedicated fanbase with selected shows supporting The Thrills and a one-off performance for Radio One’s Live In Brighton event at the invitation of Zane Lowe. Support dates with Stellastarr saw the band take their first proper steps towards the fanaticism that is sure to follow them through 2004 and beyond, with The Times noting incredulously that:

“their best tunes really do evoke Paul Weller when he was still alive, and the Smiths’ minor-key fantasies”

When the members of the band first started playing music at the age of fourteen, pop music was about guitars and tunes, swagger and purpose: about living the dream and taking everyone along with you for the ride. With that as their cue, The Ordinary Boys were formed in March of 2002 and now those times are just around the corner once again.

Michael Learns To Rock Biography

2009-06-15T01:58:00.000-07:00

FORMED: 1988, Arthus, Denmark

Michael Learns To Rock is one of Denmark's most successful bands ever. The group was formed in spring 1988, and already same year they won two music contests and met their current manager, J.P. Andersen. They also released four songs on a promo record called "Secrets". The following year they got recording contract with the Danish recording company, Medley Records and released their first single, The Actor. In 1991 their first album, Michael Learns To Rock was released. It sold about 30.000 copies in just two months and was no. 1 on the sales list for 5 weeks. In 1993 they released their 2nd album, Colours, which sold more than 1.1 million copies and became one of the best selling Danish pop-albums ever.

In 1995 Played On Pepper was released, and it became a mega-success too. The album sold about 100.000 copies in half a year, and the readers of the two Danish music magazines Mix and Vi Unge chose MLTR as Danish band of the year 1995 and That's Why as Danish single of the year. In 1996 Paint My Love - Greatest Hits was released in Asia and sold more than 2,5 millions copies. MLTR are REALLY BIG in Asia, and with their 4th album "Nothing To Lose", they are hoping to break through in Europe too. And why not? In Denmark "Nothing To Lose" sold 25.000 copies on the release day!

In 1999 they released different Greatest Hits and Remix albums around the world.

In summer 2000 bass player Søren Madsen decided to leave the band to pursuit a solo carrier. MLTR continues as a trio, bass player SP is playing Søren's part on stage. MLTR's 5th studio album Blue Night was released in November 2000. In Indonesia it sold 42.000 copies on the release day.

Regina Spektor Biography

2009-06-10T09:56:00.000-07:00

Born in Moscow, CCCP, Regina came to the Bronx when she was 9 years old. She started studying classical piano at the age of six, and loved her teacher, but had to say goodbye, and her family had to sell the piano, right before their immigration. She badly wanted to continue her lessons when she got to America, and thanks to her piano teacher, Sonia Vargas, she was able to. Sonia was a Manhattan School of Music Professor, and her husband Samuel Marder, a NY Philharmonic violinist. They had invited Regina's family for a lunch and a free concert before their tour to Spain. After playing with their four cats and two dogs, Regina approached Sonia and asked "Will you be my teacher?" Her mother, a music historian and theorist, turned an embarrassed red, knowing the family had no piano or money for lessons. Sonia said "Of course!" and went on to teach Regina for years, her and her husband becoming like family.

In 1998, she left the Bronx for the conservatory of music at SUNY Purchase. There, she met lots of wonderful and talented people, and was inspired by the school's art scene. Many of the kids she met there were associated with the Lower East Side Anti-Folk scene. Regina played her earliest NYC shows at Sidewalk Cafe, and made the Anti-Folk world her home.

Ever since graduating Purchase in 2001, Regina has played hundreds of shows around NY. She ran away to France for a summer, and Switzerland for a spring where she also performed to rapt audiences. In NYC she has played at The Living Room, Tonic, Knitting Factory, Joe's Pub, Fez at Time Cafe, The Bowery Ballroom, CB's Gallery, Makor, and of course Sidewalk Cafe. This fall and winter she had the opportunity to open for the Strokes for their U.S. tour playing in front of thousands of music fans a night. Now she is currently on the road with the Kings of Leon for their European tour.

She has self-released two records, "11:11" and "Songs" sold at shows and online. She recently completed her third album, Soviet Kitsch - recorded in New York City and London she co-produced the album with Gordon Raphael and Alan Bezozi - the album will be released on an independent label in the later winter of 2004.

Mika Biography

2009-05-23T13:07:00.000-07:00

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

2009-05-23T12:38:00.000-07:00

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 Åhlund, 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,” Åhlund 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”.

Åhlund 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 Åhlund’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 Åhlund 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 Åhlund, childhood schoolmates, fell into the band as a lark. Along with other friends David Lindqvist and Jens Örjeheim (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 Åhlund. “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,” Åhlund 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…”

I Am Ghost Biography

2009-05-19T10:40:00.000-07:00

source: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

2009-05-19T10:37:00.001-07:00

Source: http://www.allamericanrejects.com/rejects.htm
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

2009-05-19T10:34:00.001-07:00

Source: http://lostprophets.com
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.

The Kooks Biography

2009-05-16T13:10:00.000-07:00

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

2009-05-16T12:58:00.000-07:00

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”.

Finch Biography

2009-05-15T13:27:00.000-07:00

Source: http://www.finchmusic.com
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."

Metallica Biography

2009-05-11T03:28:00.000-07:00

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

2009-05-11T02:29:00.000-07:00

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. "

The Who Biography

2009-05-08T10:39:00.000-07:00

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.

Story Of The Year Biography

2009-05-03T13:06:00.000-07:00

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

2009-05-03T12:42:00.000-07:00

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'?

free download Guitar Chords " Baker Street " by Foo Fighters

2009-05-01T12:13:00.000-07:00

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

2009-05-01T12:11:00.000-07:00

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

2009-05-01T12:09:00.000-07:00

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

2009-05-01T12:04:00.000-07:00

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

  |-------------------------|
  |-------------------------|
  |-------------------------|
  |------3------------------|
  |------1------------------|
  |------1------------------|

Free download Guitar Chords " Hide " by Creed

2009-05-01T12:03:00.001-07:00

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

2009-05-01T12:01:00.000-07:00

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

2009-05-01T11:59:00.000-07:00

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

Incubus Biography

2009-04-26T11:59:00.000-07:00

Incubus has remained an ever-changing and developing band throughout their history, evolving their sound and lyrical content through each of their four full-length albums, various EPs, soundtrack work and home DVDs. It is this kinetic approach that has allowed them to survive throughout their 12-year career.

2003 has been an eventful year for the band and brought about several changes, including the replacement of founding member Dirk Lance with bass player Ben Kenney, former guitarist of the funk, hip-hop group The Roots. After taking a much-needed break following more than two years of promoting Morning View, Incubus has been writing new material for their much-anticipated follow-up album. They plan to debut new songs for audiences across the country this summer when they head out on the legendary Lollapalooza tour as one of the mainstage artists.

Incubus' major label debut landed in 1997 with Enjoy Incubus, an EP consisting of six revamped demos following their signing at Immortal/Epic Records. Later that year, with the release of S.C.I.E.N.C.E., Incubus hit the road in support of their first full-length album; something the band would continue to do virtually non-stop for the next six years. Their third album, Make Yourself, was released in October 1999 and became a catalyst for propelling Incubus into the mainstream music scene by spawning numerous hit singles. "Pardon Me", "Stellar" and "Drive" all settled in the top three spots on Billboard's Modern Rock chart in 2000 and 2001. In the summer of 2000, Incubus graduated to the main stage at the annual OzzFest tour, which exposed them to massive audiences. Following up with another coveted slot on Moby's eclectic Area: One Tour, their consistent touring coupled with the huge success of Make Yourself, made Incubus a household name. In October 2001 the group released their highly anticipated fourth album, Morning View.

Morning View brought Incubus their most significant success to date, going platinum in just 10 weeks while Make Yourself continued to climb, selling over two million copies. The momentum steadily gained around Morning View with the help of the lead single "Wish You Were Here," making it to the #2 spot on Billboard's Modern Rock chart.

Following the hectic pace of the last few years, the band decided to take some well-deserved time off at the end of 2002. During their break, Mike and Jose needed an outlet for their creativity and formed a funk-jazz infused side project, Time-Lapse Consortium, also featuring Incubus bassist Ben Kenney, Neal Evans (Soulive), Suzie Katayama and an 11-piece orchestra. The band has only played on two special occasions; one club appearance at the Roxy Theatre in Los Angeles in January and a live television stint this past April on Jimmy Kimmel Live, a late night television show.

With Lollapalooza beginning, Incubus is ready to do what they love most. return to the stage to play their new material and begin a new journey with their fans.

Hoobastank Biography

2009-04-26T11:54:00.001-07:00

Band Members:
Dan Guitar
Doug Vocals
Chris Drums
Markku Bass

"What if I don't want to hear the things you say? Where were you when I was needy yesterday?" -Too Little Too Late

Put a band together with influences like Faith No More, Tool, and Fishbone, let each member add unique influences ranging from Phish to Guns n Roses to Trance music. Enter Hoobastank.

Flash back to July of 1998 and enoughmoney saved up to self release the first album They Sure Don't Make Basketball Shorts Like They Used To, spreading the Hoobastank sound across Southern California, throughout the United States, and as far as the UK, Brazil, Russia, and Israel.

Even further back to the summer of 1994 when Dan and Doug and Markku started writing music together, and then to early 1995 when Chris answered the right newspaper ad to complete the quartet. Forward a bit to the summer of 1995. The Roxy in Los Angeles. The first show: the lights, the adrenaline and the fans. The fans like you that have enabled Hoobastank to consistently sell out local shows, to play up and down California and Arizona, and to play venues as large as the Palace and even the Universal Amphitheatre.

And then look to what is almost yesterday. A band that has matured and grown enough to get signed to Island/Defjam Records and be picked up by the booking agency CAA, and then to tomorrow: a new album that will set new standards for and a tour that will bring the energetic Hoobastank sound even closer to you.

It has all led up to this, and this is only the beginning...

Creed Biography

2009-04-26T11:47:00.000-07:00

source:sing365.com

It's not easy to find a success story as genuine as Creed’s in popular culture these days, with all the carefully scripted rises to glory and the falls that inevitably follow careers built on hype. If any late-'90s band can claim to have ascended strictly on its own merits, it's Creed, a Florida-bred foursome that went from zero to sixty (or, more accurately, zero to nearly 4x Platinum) by virtue of a combination of finger-on-the-pulse songs and powerful live performances, rather than a raft of hype.

"With My Own Prison, I knew we had the talent to get a record deal and I knew we had songs good enough to get played on the radio, but I never had any expectations of reaching this many people," says Creed's dynamic frontman, Scott Stapp. "But when I think back, I can remember that Mark Tremonti definitely did. The very first time we went into a meeting at Wind-up, he said he'd be totally disappointed if the album didn't go triple platinum." Tremonti didn't have to suffer any pangs of regret. Creed was the first band in history to have four Number One Rock Radio singles from a debut album -- a feat even more impressive in these days of love-'em-and-leave-'em, one-hit wonders.

On the strength of their singles, including the crushing title track and the more pensive "What's This Life For," Creed topped countless year-end charts and was recognized as the Rock Artist of the Year at Billboard’s 1998 Music Awards. Their debut album was also the #1-selling Hard Music album for 1998 on SoundScan’s Hard Music chart. Now, with the release of their second album, Human Clay, Creed is poised to up the ante yet again. "We're the type of band that functions really well under pressure, and there was definitely a pressure to try to top ourselves this time," says Stapp. "Not so much what we sell, because we don't really care about that. We wanted to make a really great record.

The band’s goal has always been to make records that are solid from start to finish; records that take you through an entire range of emotions." Those sentiments come across loud and clear during stretches of Human Clay. On "What If," Stapp's baritone turns fierce when addressing those he feels have judged him unfairly over the years -- a pitch that's matched by the searing guitar lines that Tremonti turns out. The intensity comes through in more subtle ways as well, as in the plaintive tone of the album’s first single, "Higher," which finds Stapp seeking refuge from the rigors of the outside world, as his bandmates erect a majestic wall of riffs to ring his discourse. Throughout Human Clay, the entire band sounds to be on a quest to explore different sonic territories, ranging from the Led Zeppelin-styled eastern modalities of the album’s first track "Are You Ready?" to the lush balladry of "Wash Away Those Years." While Stapp grants that the band's increased resources had some impact on the structure

of Human Clay - the first album was recorded for a mere $6,000 -- it's clear that Creed's evolution is far more than just a matter of dollars and cents.

For Human Clay, Creed once again turned to longtime friend and producer John Kurzweg to ensure that they captured the anthemic guitars, dramatic vocals and bold lyrics that made Creed's brawny-yet-intimate sound a radio staple for two solid years. Together with Kurzweg, the band recorded the new album in a studio they constructed in a house just outside of Tallahassee. On Human Clay, Stapp contemplates how responsibilities, choices and actions impact people. The album’s songs explore fears of growing up and letting go of youth ("Never Die") conscience ("Faceless Man") and betrayal ("Beautiful") among other topics. Creed challenges their listeners to think without preaching or pretending to have all the answers. Balancing Human Clay’s hard rock sensibilities is "With Arms Wide Open," a deeply personal song that Stapp wrote when he learned he was going to become a father. "I think my songwriting is very direct and understandable," says Stapp. "People can relate to that, so that's something I didn't want to

move away from.

At the same time, we're a little bit older and more mature now and we’ve been through a lot in the past two years, so we were looking to put things across in a way that reflected that." In many ways, Creed has been evolving gradually since the band played its first dates together four years ago. After high school, teenage acquaintances Stapp and fellow songwriter Tremonti took different routes, but both ended up in Tallahassee, where they recruited bassist Brian Marshall and drummer Scott Phillips to form Creed. Within a few months, they had meshed their wide-ranging influences to create the band’s rich musical texture. Creed’s reputation for dynamic, passionate live performances has led to consistently sold-out shows. During the past two years the band has played to more than two million fans worldwide, not including the huge crowd who witnessed their awesome performance at Woodstock ’99.

Creed gave fans something special to remember the festival by when they invited Robby Krieger, guitarist for The Doors, to join them during their performance on the main stage. When Stapp introduced Krieger, the crowd of approximately 200,000 erupted in cheers and shouted along to Doors favorites "Roadhouse Blues" and "Riders On The Storm." Krieger also stayed on to play slide guitar on Creed's "What's This Life For." "We were out on tour for a long time, and wherever we went, there were people telling me how much certain songs meant to them and how they felt so close to them," says Stapp. "That means more to me than any other kind of attention. It’s important to feel as if you're doing something worthwhile, and in this band, I feel like I am." It will only take a few listens to Human Clay to see that they are. DISCOGRAPHY Albums My Own Prison -- August 1997 Human Clay -- September 1999 Singles "My Own Prison" - August 1997 "Torn" - January 1998 "What’s This Life For" - May 1998 "One" - December 1998 "Hi

gher" - August 1999 Soundtracks "Bound & Tied" (from the Dead Man On Campus soundtrack) - August 1998 "I’m Eighteen" (from The Faculty soundtrack) - December 1998 - "Is this the End" (from the Scream 3 soundtrack) -January 2000

Just for the record Creed no longer has 4 band members, they don't have a bass gutair player, the members still there are: Scott Stapp(lead vocals), Mark Tremonti(gutarist), Scott Phillips(drummer)!!!!

Foo Fighters Biography

2009-04-26T11:38:00.000-07:00

While he was drumming with Nirvana, Dave Grohl was recording original songs at home that never received public release. Those tapes would become the foundation of the Foo Fighters, the band he formed in 1995, after the death of Kurt Cobain. Like Nirvana, the Foo Fighters melded loud, heavy guitars with pretty melodies and mixed punk sensibilities with a sharp sense of pop songwriting.

Dave Grohl began playing guitar and writing songs in his early teens, as well as performing with a variety of hardcore punk bands. In the late '80s, when he was still in his teens, he joined the Washington, D.C.-area hardcore band Scream as their drummer. During the final days of Scream, Grohl began recording his own material in the basement studio of his friend, Barrett Jones. Some of Grohl's songs appeared on Scream's final album, Fumble. After Scream's 1990 summer tour, Grohl joined Nirvana and moved to Seattle.

After Nirvana recorded Nevermind, Grohl went back to the D.C.-area and recorded a handful of tracks that would appear on Pocketwatch, a cassette released by Simple Machines. For most of 1992, he was busy with Nirvana, but when the band stayed off of the road, he recorded solo material with Jones, who had moved to Seattle. The pair kept recording throughout early 1993, when Grohl returned to Nirvana to record In Utero.

Grohl had toyed with the idea of releasing another independent cassette in the summer of 1993, but the plans never reached fruition. Following Kurt Cobain's suicide in 1994, the drummer kept quiet for several months. In the fall of 1994, booking time in a professional studio, Grohl and Jones recorded the album that became the Foo Fighters' debut album in a week. Boiling down his backlog of songs to about 15 tracks, Grohl played all of the instruments on the album. He made 100 copies of the tape, passing it out to friends and associates. In no time, Dave Grohl's solo project became the object of a fierce record-company bidding war.

Instead of embarking on a full-fledged solo career, Grohl decided to form a band. Through his wife he met Nate Mendel, the bassist for Sunny Day Real Estate. Shortly before the pair met, Jeremy Enigk, the leader of Sunny Day Real Estate, had converted to Christianity and quit the band, effectively ending the group's career. Not only did Mendel join Grohl's band, but so did Sunny Day's drummer, William Goldsmith; former Germs and Nirvana guitarist Pat Smear rounded out the lineup.

The band, named the Foo Fighters after a World War II secret force that allegedly researched UFOs, signed a contract with Capitol Records. The band's self-titled debut, consisting solely of Dave Grohl's solo recordings, was released on July 4, 1995. It was an instant success in America, as "This Is a Call" garnered heavy alternative and album rock airplay. By early 1996, the album was certified platinum in the U.S.

Throughout 1996, the Foo Fighters supported the album with an extensive tour, enjoying a crossover hit with "Big Me" that spring. Late in the year, the group began recording their second album with producer Gil Norton. During the sessions, William Goldsmith left the band due to creative tensions, leaving Grohl to drum on the majority of the album. Before the record's release in the spring of 1997, Goldsmith was replaced by Taylor Hawkins, who had previously drummed with Alanis Morissette. The Colour and the Shape, the Foo Fighters' second album and the first they recorded as a band, was issued in May of 1997.

Smear left the group in the wake of the album's completion, and was replaced by guitarist Franz Stahl, whose stay proved short-lived; 1999's There Is Nothing Left to Lose was recorded as a three-piece, with ex-No Use for a Name guitarist Chris Shiflett signing on soon after.

In the Summer of 2002, Foo Fighters headlined Reading festival in England and released the brilliant album One By One. They followed the release of this with their first UK arena tour, which sold out in many venues. They received massive airplay for the saingles All My Life and Times Like These lifted off the album. One by One was number one in the Uk album charts for one week. During the recording of the album, Dave Grohl decided to scrap the tracks they had allready layed down and left to drum for Queens Of The Stone Age's Songs for the deaf album. He performed several live shows with them before returning to Foo Fighters and re-recording the whole album in a few days. Dave described it as the rawest album yet, and the best in his opinion.

Guitar Tabs " The Drugs Dont Work 1 " by The Verve

2009-04-25T12:08:00.001-07:00

chords used:
C          Am         Em          F (barre)    G
|---3---|  |---0---|  |---0---|   |---1---|    |---3---|
|---1---|  |---1---|  |---0---|   |---1---|    |---3---|
|---0---|  |---2---|  |---0---|   |---2---|    |---0---|
|---2---|  |---2---|  |---2---|   |---3---|    |---0---|
|---3---|  |---0---|  |---2---|   |---3---|    |---2---|
|---X---|  |---X---|  |---0---|   |---1---|    |---3---|


INTRO

C   Am   Em   F   G   C


VERSE 1

        C
all this talk of gettin old
              Am
it's gettin me down my love
               Em
like a cat in a bag
          F
waiting to drown
    G        C
this time i'm coming down


VERSE 2

     C
and i hope you're thinkin of me
               Am
as you lay down on your side
                   Em
now the drugs don't work
                  F
they just make you worse
     G                  C
but i know i'll see your face again
                   Em
now the drugs don't work
                  F
they just make you worse
     G                  C
but i know i'll see your face again


VERSE 3

     C
but i know i'm on a losing streak
                   Am
cause i passed down my old street
                Em
and if you wanna show
                F
then just let me know
        G            C
and i'll sing in your ear again
                   Em
now the drugs don't work
                  F
they just make you worse
     G                  C
but i know i'll see your face again


CHORUS

          F         Em
cause baby ooooooooooh.....
         Am               G
if heaven calls, i'm coming too
             F        Em
just like you saaaaaaaaaid.......
            Am                   G
you leave my life, i'm better off dead


VERSE 4

        C
all this talk of gettin old
              Am
it's gettin me down my love
               Em
like a cat in a bag
          F
waiting to drown
    G        C
this time i'm coming down
                   Em
now the drugs don't work
                  F
they just make you worse
     G                  C
but i know i'll see your face again


CHORUS

           F      Em
cause baby ooooooooooh.....
         Am                G
if heaven calls, i'm coming too
             F     Em
just like you saaaaaaaaaid.....
            Am                   G
you leave my life, i'm better off dead


VERSE 5

                Em
but if you wanna show
                F
then just let me know
        G            C
and i'll sing in your ear again
                   Em
now the drugs don't work
                  F
they just make you worse
     G                  C
but i know i'll see your face again


BRIDGE

C
yeah i know i'll see your face again
C
yeah i know i'll see your face again
C
yeah i know i'll see your face again
C
yeah i know i'll see your face again


OUTRO

C
never comin down
C
i'm never comin down
C
no more, no more, no more, no more, no more......

Guitar Tabs " Bittersweet Symphony " by The Verve

2009-04-25T12:06:00.000-07:00

Intro

      Dsus2             G             Bm              G

E|---------0-------|---------3-|-----------------|-----------|
B|-----3---------3-|-----0-----|---------3-------|---------0-|
G|---2---2-----2---|---0---0---|-----4---------4-|-----0-----|
D|-0---------------|-----------|---4---4-----4---|---0---0---|
A|-----------------|-----------|-2---------------|-----------|
E|-----------------|-3---------|-----------------|-3---------|

        D            G5             D               G5

E|-------3-2-----|-----------|-------3-2-----|---------------|
B|-----3-------3-|---------3-|-----3-------3-|---------3-----|
G|---2-------2---|-----0-----|---2-------2---|-----0-------0-|
D|-0-------------|---0---0---|-0-------------|---0---0---0---|
A|---------------|-----------|---------------|---------------|
E|---------------|-3---------|---------------|-3-------------|

       Bm            G             Bm            G5

E|---------------|-----------|---------------|--------3--|
B|---------3-----|--------0--|---------3-----|-----------|
G|-----4-------4-|-----0-----|-----4-------4-|-----0-----|
D|---4---4---4---|---0---0---|---4---4---4---|---0---0---|
A|-2-------------|-----------|-2-------------|-----------|
E|---------------|-3---------|---------------|-3---------|




Verse

      Dsus2             G             Bm              G

E|---------0-------|---------3-|-----------------|-----------|
B|-----3-------3---|-----0-----|---------3-------|---------0-|
G|---2---2---2---2-|---0---0---|-----4-------4---|-----0-----|
D|-0---------------|-----------|---4---4---4-----|---0---0---|
A|-----------------|-----------|-2-------------0-|-----------|
E|-----------------|-3---------|-----------------|-3---------|

 Dsus2                   G
 When I was young I knew everything....
 Bm                             G
 And she a punk who rarely ever took advice
 Dsus2                                  G
 Now I'm guilt-striken, sobbing with my head on the floor
 Bm                         G
 Stop a baby's breath and a shoe full of rice, no


Pre-Chorus

    Bm         A          G

E|---------|---------|-----------|
B|---------|---------|---------0-|
G|-----4---|-----2---|-----0-----|
D|---4---4-|---2---2-|---0---0---|
A|-2-------|-0-------|-----------|
E|---------|---------|-3---------|

Bm A G                           Bm A G
    I can't be held responsible,     'cause she was touching her face
Bm A G                           Bm A             G
    I won't be held responsible,     she fell in love in the first place



Chorus

       Dsus2              G                 Bm            G   *=1st time only

E|---------0-------|---------3-------|-----------------|-----------|*-------|
B|-----3-------3---|-----0-------0---|---------3-------|---------0-|*-------|
G|---2---2---2---2-|---0---0---0---0-|-----4-------4---|-----0-----|*---0---|
D|-0---------------|-----------------|---4---4---4-----|---0---0---|*-0---0-|
A|-----------------|-----------------|-2-------------0-|-----------|*-------|
E|-----------------|-3---------------|-----------------|-3---------|*-------|

Dsus2               G
For the life of me, I cannot remember
Bm                              G                           Dsus2
What made us think that we were wise and we'de never compro-mise
Dsus2               G
For the life of me, I cannot believe we'd
Bm                       G
ever die for these sins, we were merely freshmen


Break

        D            G5             D               G5

E|-------3-2-----|-----------|-------3-2-----|-----------|
B|-----3-------3-|---------3-|-----3-------3-|---------3-|
G|---2-------2---|-----0-----|---2-------2---|-----0-----|
D|-0-------------|---0---0---|-0-------------|---0---0---|
A|---------------|-----------|---------------|-----------|
E|---------------|-3---------|---------------|-3---------|


Verse 2

My best friend took a week's vacation to forget her
His girl took a week's worth of Valium and slept
And now he's guilt-stricken sobbing with his head on the floor
Thinks about her now and how he never really wept, he says


Pre-Chorus,
Chorus

Verse 3 (played like chorus)

We've tried to wash our hands of all of this
We never talk of our lacking relationships
And how we're guilt-stricken sobbing with our heads on the floor
We fell through the ice when we tried not to slip, we'd say



Pre-chorus
Chorus x2

End
        D            G5             D               G5

E|-------3-2-----|-----------|-------3-2-----|---------3-|
B|-----3-------3-|---------3-|-----3-------3-|-----------|
G|---2-------2---|-----0-----|---2-------2---|-----0-----|
D|-0-------------|---0---0---|-0-------------|---0---0---|
A|---------------|-----------|---------------|-----------|
E|---------------|-3---------|---------------|-3---------|

Guitar chords " Lucky Man " by The Verve

2009-04-25T12:04:00.000-07:00


Intro:
G D Asus4 - x8

Verse 1:
G         D           Asus4
Happyness more or less
Asus4                                       G
it's just a change me something in my levity
G     D      Asus4
o-o-h  m-y m-y..


Verse 2:
G         D               Asus4
happyness coming and going
Asus4                                            G
I watch you look at me watch my fever growing, I know
G    D        Asus4
just where I a-m


Bridge:
     Em
well, how many corners do I have to turn
G
how many times do I have to learn
D                            Asus4
all the love I have is in my mind.


Chorus:
         G       D Asus4
But I'm a lucky m-a-a-n
         G       D Asus4
with fire in my h-a-a-nds


Verse 3:
G         D                        Asus4
happyness something in my own place
                                         G
I'm stood here naked smiling I feel no disgrace
    D      Asus4
with who I a-m


Verse 4:
G         D               Asus4
happyness coming and going
Asus4                                            G
I watch you look at me watch my fever growing, I know
G    D        Asus4
just who I a-m


Bridge:
     Em
well, how many corners do I have to turn
G
how many times do I have to learn
D                            Asus4
all the love I have is in my mind.
          G    D    Asus4
I hope you underst-a-a-nd
          G    D    Asus4
I hope you underst-a-a-nd


Middle 8:
   G   D  Asus4
o-o-o-o-o-h-h-h-h
Asus4
no no no no no no no no
     G               D   Asus4
Gotta love that never d-i-e-s

Verse 5:
G         D           Asus4
Happyness more or less
Asus4                                       G
it's just a change me something in my levity


Verse 6:
G         D               Asus4
happyness coming and going
Asus4                                            G
I watch you look at me watch my fever growing, I know
G D        Asus4
o-o-h, my my - X 4


Middle 8:
     G               D   Asus4
Gotta love that never d-i-e-s  X 3

Asus4                                       G
it's just a change me something in my levity  X 3


(Fade out)
G D        Asus4
o-o-h, my my - X 2
Asus4                                       G
it's just a change me something in my levity 
G D        Asus4
o-o-h, my my - X 2

Guitar Chords " U " by Pearl Jam

2009-04-25T11:58:00.000-07:00

Guitar Chords " U " by Pearl Jam


Intro: C#   C   C#   C    C#   C    C#    C# 

Verse:
 D5                    E5              A     D5
Thought it was easy to fall in love but U  U  U
 D5                    E5              A     
You are different, this much I know, yeah U  U  U
  G                        A           
It might be your guile, it could be your mind
 B5                     E                 A      D5
It might be the way you take your time, oh  U  U  U

Chorus:
D5     E5       G5    A5
U, it's U, it's U  U  U
D5     E5       G5    A5
U, it's U, it's U  U  U

 D5              E5             A      D5
I never know how much to say with U  U  U
 D5               E5                  A
I'd like to go deep but is it safe with U   U  U
 G                           A
It might be your needs, it could be your eyes
 B5                     E             A      D5
It might be the way you sympathize, oh  U  U   U

Repeat Chorus

 D5                E5
You break laws and pay no fines
 G5                A
You get yours and then get mine
 D5                        E5           A         D5
I don't think it's easy to stay in love, but U  U  U

Repeat chorus 2 times.
Repeat Intro and end on A5.

free download Guitar Chords " All Those Yesterdays " by Pearl Jam

2009-04-25T11:56:00.000-07:00

Guitar Chords " All Those Yesterdays " by Pearl Jam


F tab          C7 tab
e:--------------|--------------|^A
B:--------1-----|--------------|^A
G:-----2--------|--------3-----|^A
D:--3--------3--|-----2--------|^A
A:--------------|--3--------3--|^A
E:--------------|--------------|

Intro: play (F C7) 4 times, then F

Verses:

C7                          F     C7 F
Don't you think you oughtta rest?

C7                          F                   C7 F
Don't you think you oughtta lay your head down?

C7                          F      C7 F
Don't you think you want to sleep?

C7                          F                   C7
Don't you think you oughtta lay your head down?

F       C7
Tonight

Don't you think you've done enough?
Don't you think you've got enough? Well maybe
You don't think there's time to stop
Time enough for you to lay your head down
Tonight

Let it wash away
All those yesterdays
What are you running from?
Taking pills to get along
Creating walls to call your own
So no one catches you?
Drifing off and doing all the things
That we all do
Let them wash away
All those yesterdays
All those ...
You got time...
You got time to escape
There still time...
It's no crime to escape
There still time to escape
It's no crime to escape
All those yesterdays.

free download Guitar Chords " Alive " by Pearl Jam

2009-04-25T11:53:00.000-07:00

Guitar Chords " Alive " by Pearl Jam

A: 003330
G: 320023
C: 032010
F: 133211
E: 022100
D: 000232
Esus: 002200
Asus: 000230
B: 224442
Badd9: 224422
C/G: 335553



intro:

|---------------------------------------------------------|
|---------------------------------------------------------|
|--0-----2--4--2--2-2-2-------0-----2--4--2-4s5s4--4--2-2-|
|-----0-----------------0--------0------------------------|X2
|---------------------------------------------------------|
|---------------------------------------------------------|

 (A  G) X4       F   G C



A   G         
 Son, she said
A              G
 have I got a little story for you
A   G                         A     G
   What you thought was your daddy   was nothin' but a...
A   G                      A             G
   While you were sittin' home alone at age thirteen
A   G                   A    G
   Your real daddy was dyin'
                  F      G C
 sorry you didn't see him
         F             G C
 but I'm glad we talked...



(Chorus) :
  E    G      D          A
Oh I... ooooh, I'm still alive
    E  G      D          A
Hey, I, ooooh, I'm still alive
   E  G      D          A
Hey I, ooooh, I'm still alive
     E   G  A
Hey...oh...




A  G                   A
  Oh, she walks slowly,
A   G                   
  across a young man's room
A  G            A     G
  She said I'm ready...for you
A  G                A         G
  I can't remember anything to this very day
A  G              A  G
  'Cept the look,   the look...
   F             G C      F          G C
Oh, you know where,    now I can't see, 
        E
I just stare...


CHORUS

(E G A) X4


A  Esus  Asus                    A  Esus  A
            Is something wrong, she said
                   A  Esus  Asus  
           Well of course there is
                   A  Esus  Asus
You're still alive, she said
                       B  Badd9  C/G
Oh, and do I deserve to be
                 B  Badd9  B
Is that the question
        B  Badd9  B
And if so...if so.....who answers...who answers...


CHORUS

yea yea yea yea yea yea...

Guitar Chords " Crawling " by Linkin Park

2009-04-22T12:33:00.000-07:00

Crawling guitar chords by Linkin Park




(Riff 1)       e---7-4-2-0---0-      (Riff 2)   e---4---2-4-
              b-2---------4---                 b-2---2-----
              g---------------                 g-----------

Chords     G#m      A   (or)     E      Bm
       e   4       5     0      0       7
       b   4       5     2      0       7
       g   4       6     2      1       8
       D   6       7     2      2       9
       A   6       7     0      2       9
       E   4       5     0      0       7


INTRO
     e---7-4-2-0---0----7-4-2-0---0----7-4-2-0---0----7-4-2-0---0-
     b-2---------4----2---------4----2---------4----2---------4---
     g------------------------------------------------------------
(should really be
bass)E-------------------------------4-5-12-7------12-9-7--0------


CHORUS
        G#m             A           E                   Bm
     E---4--------------5-----------0-------------------7--------
        crawling in my skin, these wounds they will not heal

        G#m            A            E              Bm
     E---4-------------5------------0--------------7----
        fear is how I fall,      confusing what is real

BREAK 
     e---7-4-2-0---0----7-4-2-0---0-
     b-2---------4----2---------4---
     g------------------------------

     E---4---5----------0---7-------
      ho - oh

VERSE 1
     E--------4------------------------5------------------------
      there's something inside me that pulls beneath the surface

     E-0-------------7-----------
         consuming,    confusing

     E-4----------------------------5---------------------------
        this lack of self-control I fear is never-ending

     E-0-------------7--------------------------
         controlling,  I can't seem

BRIDGE
     e---4-------2--4-----4-2-4--4----4-2----------4---------2--4---------
     b--2--2------------2--2---2----2-----------2----2--------------------
     g--------------------------------------------------------------------

     E-4-5---------12------7--------12---------9---------7-------0--------
         to find myself again, my walls are closing in(without a sense of

     e-------------------4---------------2--------4----------------4----2-4
     b------------2---------------2-----------------------2-----------2----
     g---------------------------------------------------------------------

     E---------------------------------------------------------------------
      confidence, I'm convinced that there's just too much pressure to take)

     e-------4-----------2--4--------4------2--4---------4-----2----4-----
     b---2---------2--------------2-----2-------------2------2------------
     g--------------------------------------------------------------------

     E-4-5--------12------7------12-----9-----7-----0---------------------
       I've felt this way before, so insecure

CHORUS (as before)

VERSE 2 (same progression as before)

        discomfort endlessly has pulled itself upon me
        distracting, reacting
        against my will I stand beside my own reflection
        it's haunting, how I can't seem

BRIDGE (as before but with a longer "insecure" and an extra riff 2 at the end)

CHORUS

CHORUS 2
          G#m            A          E                    Bm
     E-4-5-----9---7---4-5----------0---------------------7-----------------
         crawling in my skin, these wounds they will not heal
    
     e-----------------------------------------------------------------------
     b---------------------------------------------------------2-------------
     g-----------------------------------------------------------------------
        G#m            A         E         Bm
     E---4-------------5---------0---------7---------------------------------
        fear is how I fall, confusing, confusing what is real

     e----------7-----------4----------2------0-------0---------------7-----
     b--------------------------------------------4--------------2----------
     g----------------------------------------------------------------------
       G#m                                A                         E
     E-4----------------------------------5-------------------------0-------
       (there's something inside me that pulls beneath the surface,    

     e---4-------2----0--------------0--------------------------------------
     b--------------------------4-----------2-------------------------------
     g----------------------------------------------------------------------
                     Bm
     E----------------7-----------------------------------------------------
         consuming)         confusing what is real

     e---------7---------4---------2--------0---------0---------------------
     b-------------------------------------------4------------2-------------
     g----------------------------------------------------------------------
      G#m                             A                    E
     E-4-5------9----7-------------4--5--------------------0----------------
        (this lack of self-control I fear is never-ending

     e-7------4------2----------0-----------0-----------------------------
     b-------------------------------4------------------------------------
     g---------------------------------------------------------------------
                       Bm
     E------------------7-(hold)------------------------------------------
          controlling)      confusing what is re------al

Guitar Chords " Breaking The Habit " by Linkin Park

2009-04-22T12:30:00.000-07:00

Intro: Em, C, G, D (Play 2 times)


[Chorus]
C
I don't want to be the one
D
The battles always choose
C
Cuz inside I realize
D
That I'm the one confused

Em                                      C
I don't know what's worth fighting for
  D
Or why I have to scream
Em                             C
I don't know why I instigate
  D
And say what I don't mean
Em                         C
I don't know how I got this way
D
I know it's not alright
C                              D
So I'm breaking the habit
C                          D      Em
I'm breaking the habit tonight

(Play Em Thgroughout Verse)
Cultured my cure
I tightly lock the door
I try to catch my breath again
I heard much more
Than anytime before
I have no options left again

[Chorus]
C
I dont want to be the one
D
The battles always choose
C
Cuz inside I realize
D
That I'm the one confused

Em                                     C
I don't know what's worth fighting for
D
Or why I have to scream
Em                           C
I don't know why I instigate
D
And say what I don't mean
Em                         C
I don't know how I got this way
D
I'll never be alright
C                             D
So, I'm breaking the habit
C                                D    Em
I'm breaking the habit tonight
(Bridge)
Em                       D    
I'll paint it on the walls
C                           D
Cuz I'm the one that falls
Em                     D
I'll never fight again
C                          D
And this is how it ends

[Chorus]
Em                                     C
I don't know what's worth fighting for
D
Or why I have to scream
Em                               C
But now I have some clarity
D
to show you what I mean
Em                             C
I don't know how I got this way
D
I'll never be alright
C                                 D
So, I'm breaking the habit
C                        D
I'm breaking the habit
C                               D       E
I'm breaking the habit tonight

free download Guitar Chords " Dont Stay " by Linkin Park

2009-04-22T12:18:00.000-07:00

Guitar Chords " Dont Stay " by Linkin Park

E                                Am                         E
Sometimes I need to remember just to breathe
E                                            A
Sometimes I need you to stay away from me
E                                         Am              E
Sometimes I'm in disbelief I didn't know
E                           A
Somehow I need you to go
     E
Don't stay
          A
Forget our memories
      D                    A
Forget our possibilities
Em                C                      D
What you were changing me into
                       C
Just give me myself back and
E
Don't stay
                    A
Forget our memories
 D                      A
Forget our possibilities
Em                   C                     D
Take all your faithlessness with you
                      A
Just give me myself back and
   E
Don't stay

       E                                        Am
Sometimes I feel like I trusted you too well
        E                                                A
Sometimes I just feel like screaming at myself
E                              Am
Sometimes I'm in disbelief I didn't know
E                                A
Somehow I need to be alone

     E
Don't stay
          A
Forget our memories
      D                    A
Forget our possibilities
Em                C                      D
What you were changing me into
                       C
Just give me myself back and
E
Don't stay
                    A
Forget our memories
 D                      A
Forget our possibilities
Em                   C                     D
Take all your faithlessness with you
                      A
Just give me myself back and
   E
Don't stay

                    E            A                     D                  A
I don't need you anymore, I don't want to be ignored
                    E             A                     D                A
I don't need one more day of you wasting me away
                  E             A                D                       A
I don't need you anymore, I don't want to be ignored
                     E               A                D                A
I don't need one more day of you wasting me away
A
With no apologies

     E
Don't stay
          A
Forget our memories
      D                    A
Forget our possibilities
Em                C                      D
What you were changing me into
                       C
Just give me myself back and
E
Don't stay
                    A
Forget our memories
 D                      A
Forget our possibilities
Em                   C                     D
Take all your faithlessness with you
                      A
Just give me myself back and
   E
Don't stay

free download "THERE IS" guitar chords by Boxcar Racer

2009-04-22T11:51:00.000-07:00


"THERE IS" guitar chords by Boxcar Racer 

STANDARD TUNING

INTRO: E5 - D5 - F5 - D5 - C5
 (4 beats each except the 2nd D5 and C5 ---> they get 2 beats each)

VERSE: C5 - D5
 (4 beats each)

CHORUS: C5 - G5
 (4 beats each)
 also try C5 - D5 (same as verse). see which one sounds better

INTERLUDE: E5 - F5 (3X) THEN E5 - D5

free download Guitar Chords " Letters To God " by Box Car Racer

2009-04-22T11:41:00.000-07:00

Guitar Chords " Letters To God " by Box Car Racer 



e|-3-xx-3-xx--3/3--3-xx-3-xx-3-3-|
B|-3-xx-3-xx--3/3--3-xx-3-xx-3-3-|
G|-0-xx-0-xx--0/0--0-xx-0-xx-0-0-|
D|-2-xx-2-xx--2/0--0-xx-0-xx-0-0-|
A|-2-xx-2-xx--2/0--2-xx-2-xx-2-2-|
E|-0-xx-0-xx--0/2--3-xx-3-xx-3-3-|


Acoustic Chorus

e|-3-xx-3-xx-3-xx-3-xx-3-xx-3-xx-3-xx-3-xx-3-xx-3-xx-3-xx-3-|
B|-3-xx-3-xx-3-xx-3-xx-3-xx-3-xx-3-xx-3-xx-3-xx-3-xx-3-xx-3-|
G|-0-xx-0-xx-0-xx-0-xx-0-xx-0-xx-0-xx-0-xx-0-xx-2-xx-2-xx-2-|
D|-2-xx-2-xx-2-xx-2-xx-2-xx-2-xx-0-xx-0-xx-0-xx-2-xx-2-xx-2-|
A|-2-xx-2-xx-2-xx-3-xx-3-xx-3-xx-2-xx-2-xx-2-xx-0-xx-0-xx-0-|
E|-0-xx-0-xx-0-xx-0-xx-0-xx-0-xx-3-xx-3-xx-3-xx-x-xx-x-xx-x-|

Now the Easy part
Once the distortion kicks in, the 'complex' chords are replaced
with simple bar chords.

so the verse turns into

E5 E5 E5 Gb5 G5 G5 G5

And the Chorus turns into

E5 E5 E5 C5 C5 C5 G5 G5 G5 A5 A5 A5



CHORDS
 E5   Gb5    G5     C5     A5
e-X-----X------X------X------X
B-X-----X------X------X------X
G-X-----X------X------5------X
D-2-----4------5------5------7
A-2-----4------5------3------7
E-0-----2------3------X------5

free download Demise guitar tabs by Angels And Airwaves

2009-04-22T11:31:00.001-07:00

Angels And Airwaves guitar tabs – Demise      


E---------------------------------------|
B---------------------------------------|
G--9-99-99/-8-88-88/-6-66-66/-4-44-44---|
D--9-99-99/-8-88-88/-6-66-66/-4-44-44---|
A--7-77-77/-6-66-66/-4-44-44/-2-22-22---|
E---------------------------------------| x 2

E-------------------------------------|
B-----------5--0-----------5--0-------|
G-2222-2222------4444-4444------------|
D-2222-2222------4444-4444------------|
A-0000-0000------2222-2222------------|
E-------------------------------------|

E-------------------------------------------------------------------------|
B-----------5--0-----------------------0--5-----------0--5-----------0--5-|
G-2222-2222------4444-4444---6666-6666------4444-4444------2222-2222------|
D-2222-2222------4444-4444---6666-6666------4444-4444------2222-2222------|
A-0000-0000------2222-2222---4444-4444------2222-2222------0000-0000------|
E-------------------------------------------------------------------------|

E-----------------|
B-----------------|
G-4444-4444-44/---|
D-4444-4444-44/---|
A-2222-2222-22/---|
E-----------------|

E------------------------------------------------------------------------|
B------------------------------------------------------------------------|
G-6-*6666-66666666--2-*2222-22222222--9-*9999-99999999--4-*4444-44444444-|
D-6-*6666-66666666--2-*2222-22222222--9-*9999-99999999--4-*4444-44444444-|
A-4-*4444-44444444--0-*0000-00000000--7-*7777-77777777--2-*2222-22222222-|
E------------------------------------------------------------------------|


E------------------------------------------------------------------------|
B------------------------------------------------------------------------|
G-6-*6666-66666666--2-*2222-22222222-------------------------------------|
D-6-*6666-66666666--2-*2222-22222222--2-*2222-22222222--2-*2222-22222222-|
A-4-*4444-44444444--0-*0000-00000000--2-*2222-22222222--2-*2222-22222222-|
E-------------------------------------0-*0000-00000000--0-*0000-00000000-|

E------------------------------------|
B------------------------------------|
G-4/6--4444-4444—-4/6-4444-4444--4/--|
D-4/6--4444-4444— 4/6-4444-4444—-4/--|
A-2/4--2222-2222—-2/4-2222-2222—-2/--|
E------------------------------------|

E------------------------------------------------------------------------|
B------------------------------------------------------------------------|
G-6-*6666-66666666--2-*2222-22222222--9-*9999-99999999--4-*4444-44444444-|
D-6-*6666-66666666--2-*2222-22222222--9-*9999-99999999--4-*4444-44444444-|
A-4-*4444-44444444--0-*0000-00000000--7-*7777-77777777--2-*2222-22222222-|
E------------------------------------------------------------------------|

E------------------------------------------------------------------- ---|
B-------------------------------------------------------------------- --|
G-6-*6666-66666666--2-*2222-22222222--------------------4-*4444-4444444-|
D-6-*6666-66666666--2-*2222-22222222--2-*2222-22222222--4-*4444-4444444-|
A-4-*4444-44444444--0-*0000-00000000--2-*2222-22222222--2-*2222-2222222-|
E-------------------------------------0-*0000-00000000------------------|

E------------------------------------------------------------------------|
B------------------------------------------------------------------------|
G-6-*6666-66666666--2-*2222-22222222--9-*9999-99999999--4-*4444-44444444-|
D-6-*6666-66666666--2-*2222-22222222--9-*9999-99999999--4-*4444-44444444-|
A-4-*4444-44444444--0-*0000-00000000--7-*7777-77777777--2-*2222-22222222-|
E------------------------------------------------------------------------|




E--------------------------------------|
B--------------------------------------|
G-444444/11-11-11/13-13-13/14---2-2----|
D-444444/11-11-11/13-13-13/14---2-2----|
A-222222/-9--9—-9/11-11-11/12---0-0----|
E--------------------------------------|

E---------------------------|
B---------------------------|
G-2-222/4-444/6-6666666666--|
D-2-222/4-444/6-6666666666--|
A-0-000/2-222/4-4444444444--|
E---------------------------|

E----------------------------|
B----------------------------|
G-2-222/4-444/6-6666/999/4---|
D-2-222/4-444/6-6666/999/4---|
A-0-000/2-222/4-4444/777/2---|
E----------------------------|

E---------------------------|
B---------------------------|
G-2-222/4-444/6-6666/2-2222-|
D-2-222/4-444/6-6666/2-2222-|
A-0-000/2-222/4-4444/0-0000-|
E---------------------------|

E-------------------------------------------------------------------|
B-------------------------------------------------------------------|
G-2-222/4-444/6666-6666-66/4444-4444-44/2222-2222-22/4444-4444-44---|
D-2-222/4-444/6666-6666-66/4444-4444-44/2222-2222-22/4444-4444-44---|
A-0-000/2-222/4444-4444-44/2222-2222-22/0000-0000-00/2222-2222-22---|
E-------------------------------------------------------------------|




E-----------------------------------------------------|
B-----------------------------------------------------|
G-6666-6666-66/4444-4444-44/2222-2222-22/4444-4444-44-|
D-6666-6666-66/4444-4444-44/2222-2222-22/4444-4444-44-|
A-4444-4444-44/2222-2222-22/0000-0000-00/2222-2222-22-|
E-----------------------------------------------------|

free download ADVENTURE guitar tabs by Angels And Airwaves

2009-04-22T11:21:00.000-07:00

THE ADVENTURE guitar tabs by Angels And Airwaves
                       
Words and Music by Angels And Airwaves

Intro
 Moderate Q=130
4/4
 Gtr I
|-----|
|-----|
|-----|
|-----|
|-----|
|-----|


||-----------------------|------------------|
||o----------------------|------------------|
||------11-------11------|-------11-----11--|
||---9--------9----------|---8-------8------|
||o----------------------|------------------|
||-----------------------|------------------|
|
|   Gtr II
||--19-----19-------(19)-|-(19)-------------|
||o-----19---------------|------------------|
||-----------------------|------------------|
||-----------------------|------------------|
||o----------------------|------------------|
||-----------------------|------------------|


                                            3x
|-----------------------|--------------------||
|-----------------------|-------------------o||
|-----11--------11------|-------11-----11----||
|-----------------------|---8-------8--------||
|-11--------11----------|-------------------o||
|-----------------------|--------------------||
|
|                                            3x
|-19-----19--------(19)-|-(19)---------------||
|-----19----------------|-------------------o||
|-----------------------|--------------------||
|-----------------------|--------------------||
|-----------------------|-------------------o||
|-----------------------|--------------------||


 Gtr III
  PM--------------------------------------------
|------------------------|----------------------|
|------------------------|----------------------|
|-------8---------9---8--|---------8--------9-8-|
|--9-9-----9-8-8---------|---9--9----9-8-8------|
|------------------------|----------------------|
|------------------------|----------------------|
|
| Gtr I
|------------------------|----------------------|
|------------------------|----------------------|
|------11--------11------|--------11-------11---|
|--9---------9-----------|---8---------8--------|
|------------------------|----------------------|
|------------------------|----------------------|
|
| Gtr II
|-19------19--------(19)-|-(19)-----------------|
|------19----------------|----------------------|
|------------------------|----------------------|
|------------------------|----------------------|
|------------------------|----------------------|
|------------------------|----------------------|


----------------------------------------------|
|-------------------------|----------------------|
|-------------------------|----------------------|
|-------8----------9---8--|---------8--------9-8-|
|--9-9-----9--8-8---------|---9--9----9-8-8------|
|-------------------------|----------------------|
|-------------------------|----------------------|
|
|-------------------------|----------------------|
|-------------------------|----------------------|
|------11---------11------|--------11-------11---|
|-------------------------|---8---------8--------|
|-11---------11-----------|----------------------|
|-------------------------|----------------------|
|
|-19------19---------(19)-|-(19)-----------------|
|------19-----------------|----------------------|
|-------------------------|----------------------|
|-------------------------|----------------------|
|-------------------------|----------------------|
|-------------------------|----------------------|


  PM--------------------------------------------
|------------------------|----------------------|
|------------------------|----------------------|
|-------8---------9---8--|---------8--------9-8-|
|--9-9-----9-8-8---------|---9--9----9-8-8------|
|------------------------|----------------------|
|------------------------|----------------------|
|
|------------------------|----------------------|
|------------------------|----------------------|
|------11--------11------|--------11-------11---|
|--9---------9-----------|---8---------8--------|
|------------------------|----------------------|
|------------------------|----------------------|
|
|-19------19--------(19)-|-(19)-----------------|
|------19----------------|----------------------|
|------------------------|----------------------|
|------------------------|----------------------|
|------------------------|----------------------|
|------------------------|----------------------|


----------------------------------------------|
|-------------------------|----------------------|
|-------------------------|----------------------|
|-------8----------9---8--|---------8--------9-8-|
|--9-9-----9--8-8---------|---9--9----9-8-8------|
|-------------------------|----------------------|
|-------------------------|----------------------|
|
|-------------------------|----------------------|
|-------------------------|----------------------|
|------11---------11------|--------11-------11---|
|-------------------------|---8---------8--------|
|-11---------11-----------|----------------------|
|-------------------------|----------------------|
|
|-19------19---------(19)-|-(19)-----------------|
|------19-----------------|----------------------|
|-------------------------|----------------------|
|-------------------------|----------------------|
|-------------------------|----------------------|
|-------------------------|----------------------|


  PM--------------------------------------------
|------------------------|----------------------|
|------------------------|----------------------|
|-------8---------9---8--|---------8--------9-8-|
|--9-9-----9-8-8---------|---9--9----9-8-8------|
|------------------------|----------------------|
|------------------------|----------------------|
|
|------------------------|----------------------|
|------------------------|----------------------|
|------11--------11------|--------11-------11---|
|--9---------9-----------|---8---------8--------|
|------------------------|----------------------|
|------------------------|----------------------|
|
|-19------19--------(19)-|-(19)-----------------|
|------19----------------|----------------------|
|------------------------|----------------------|
|------------------------|----------------------|
|------------------------|----------------------|
|------------------------|----------------------|


---------------------------------------------|
|-------------------------|---------------------|
|-------------------------|---------------------|
|-------8----------9---8--|--------8--------9-8-|
|--9-9-----9--8-8---------|--9--9----9-8-8------|
|-------------------------|---------------------|
|-------------------------|---------------------|
|
|-------------------------|---------------------|
|-------------------------|---------------------|
|------11---------11------|-------11-------11---|
|-------------------------|--8---------8--------|
|-11---------11-----------|---------------------|
|-------------------------|---------------------|
|
|                           Gtr IV
|                            -----------------|
|-------------------------|---------------------|
|-------------------------|---------------------|
|-------------------------|---------------------|


  Pre-Verse
   Faster Q=160
   Gtr IV
||---------------------|-----------------|
||o--------------------|-----------------|
||--11-11-11-9-9-9-8-8-|-9-9-9-8-8-8-----|
||---------------------|-------------9-9-|
||o--------------------|-----------------|
||---------------------|-----------------|
|
|   Gtr V
||---------------------|-----------------|
||o--------------------|-----------------|
||---------------------|-----------------|
||---6--6--6-6-6-6-6-6-|-9-9-9-9-9-9-9-9-|
||o--6--6--6-6-6-6-6-6-|-7-7-7-7-7-7-7-7-|
||---4--4--4-4-4-4-4-4-|-0-0-0-0-0-0-0-0-|


|-----------------|-------------------||
|-----------------|------------------o||
|-9-9-9-8-8-8-----|-------------------||
|-------------9-9-|-------------------||
|-----------------|-9-9-9-7-7-7-6-6--o||
|-----------------|-------------------||
|
|-----------------|-------------------||
|-----------------|------------------o||
|-----------------|-------------------||
|-9-9-9-9-9-9-9-9-|-4-4-4-4-4-4-4-4---||
|-9-9-9-9-9-9-9-9-|-4-4-4-4-4-4-4-4--o||
|-7-7-7-7-7-7-7-7-|-2-2-2-2-2-2-2-2---||


  PM--------------------------------------
|---------------------|-------------------|
|---------------------|-------------------|
|-11-----11-----11-13-|-9-----9-----8-(8)-|
|----9-9----9-9-------|---9-9---9-9-------|
|---------------------|-------------------|
|---------------------|-------------------|
|
|---------------------|-------------------|
|---------------------|-------------------|
|---------------------|-------------------|
|--6-6-6--6-6-6--6--6-|-9-9-9-9-9-9-9--9--|
|--6-6-6--6-6-6--6--6-|-7-7-7-7-7-7-7--7--|
|--4-4-4--4-4-4--4--4-|-0-0-0-0-0-0-0--0--|


-------------------------------------|
|---------------------|-------------------|
|---------------------|-------------------|
|-11-----11-----11-13-|-9-----9-----8-(8)-|
|----9-9----9-9-------|---9-9---9-9-------|
|---------------------|-------------------|
|---------------------|-------------------|
|
|---------------------|-------------------|
|---------------------|-------------------|
|---------------------|-------------------|
|--9-9-9--9-9-9--9--9-|-4-4-4-4-4-4-4--4--|
|--9-9-9--9-9-9--9--9-|-4-4-4-4-4-4-4--4--|
|--7-7-7--7-7-7--7--7-|-2-2-2-2-2-2-2--2--|


|--------------------|-----------------|-----------------|-----------------|
|--------------------|-----------------|-----------------|-----------------|
|-11-11-11-9-9-9-8-8-|-9-9-9-8-8-8-----|-9-9-9-8-8-8-----|-----------------|
|--------------------|-------------9-9-|-------------9-9-|-----------------|
|--------------------|-----------------|-----------------|-9-9-9-7-7-7-6-6-|
|--------------------|-----------------|-----------------|-----------------|
|
|--------------------|-----------------|-----------------|-----------------|
|--------------------|-----------------|-----------------|-----------------|
|--------------------|-----------------|-----------------|-----------------|
|--6--6--6-6-6-6-6-6-|-9-9-9-9-9-9-9-9-|-9-9-9-9-9-9-9-9-|-4-4-4-4-4-4-4-4-|
|--6--6--6-6-6-6-6-6-|-7-7-7-7-7-7-7-7-|-9-9-9-9-9-9-9-9-|-4-4-4-4-4-4-4-4-|
|--4--4--4-4-4-4-4-4-|-0-0-0-0-0-0-0-0-|-7-7-7-7-7-7-7-7-|-2-2-2-2-2-2-2-2-|


  Verse
   ~          PM----------|    ~          PM----------|
                                                           4x
||-----------|----------------|----------|------------------||
||o----------|----------------|----------|-----------------o||
||-----------|-9-x-x-9-x-x-8--|----------|-9-x-x-9-x-x-8----||
||--9--------|----------------|-9--------|------------------||
||o----------|----------------|----------|-----------------o||
||-----------|----------------|----------|------------------||


  Chorus
   Slower Q=130
   Gtr I
||-----------------------|------------------|
||o----------------------|------------------|
||------11-------11------|-------11-----11--|
||---9--------9----------|---8-------8------|
||o----------------------|------------------|
||-----------------------|------------------|
|
|   Gtr II
||--19-----19-------(19)-|-(19)-------------|
||o-----19---------------|------------------|
||-----------------------|------------------|
||-----------------------|------------------|
||o----------------------|------------------|
||-----------------------|------------------|


|-----------------------|--------------------||
|-----------------------|-------------------o||
|-----11--------11------|-------11-----11----||
|-----------------------|---8-------8--------||
|-11--------11----------|-------------------o||
|-----------------------|--------------------||
|
|-19-----19--------(19)-|-(19)---------------||
|-----19----------------|-------------------o||
|-----------------------|--------------------||
|-----------------------|--------------------||
|-----------------------|-------------------o||
|-----------------------|--------------------||


  Pre-Verse
   Faster Q=160
   Gtr IV
||---------------------|-----------------|
||o--------------------|-----------------|
||--11-11-11-9-9-9-8-8-|-9-9-9-8-8-8-----|
||---------------------|-------------9-9-|
||o--------------------|-----------------|
||---------------------|-----------------|
|
|   Gtr V
||---------------------|-----------------|
||o--------------------|-----------------|
||---------------------|-----------------|
||---6--6--6-6-6-6-6-6-|-9-9-9-9-9-9-9-9-|
||o--6--6--6-6-6-6-6-6-|-7-7-7-7-7-7-7-7-|
||---4--4--4-4-4-4-4-4-|-0-0-0-0-0-0-0-0-|


|-----------------|-------------------||
|-----------------|------------------o||
|-9-9-9-8-8-8-----|-------------------||
|-------------9-9-|-------------------||
|-----------------|-9-9-9-7-7-7-6-6--o||
|-----------------|-------------------||
|
|-----------------|-------------------||
|-----------------|------------------o||
|-----------------|-------------------||
|-9-9-9-9-9-9-9-9-|-4-4-4-4-4-4-4-4---||
|-9-9-9-9-9-9-9-9-|-4-4-4-4-4-4-4-4--o||
|-7-7-7-7-7-7-7-7-|-2-2-2-2-2-2-2-2---||


  Verse 2
   ~          PM----------|    ~          PM----------|
                                                           4x
||-----------|----------------|----------|------------------||
||o----------|----------------|----------|-----------------o||
||-----------|-9-x-x-9-x-x-8--|----------|-9-x-x-9-x-x-8----||
||--9--------|----------------|-9--------|------------------||
||o----------|----------------|----------|-----------------o||
||-----------|----------------|----------|------------------||


  Chorus
   Slower Q=130
   Gtr I
||-----------------------|------------------|
||o----------------------|------------------|
||------11-------11------|-------11-----11--|
||---9--------9----------|---8-------8------|
||o----------------------|------------------|
||-----------------------|------------------|
|
|   Gtr II
||--19-----19-------(19)-|-(19)-------------|
||o-----19---------------|------------------|
||-----------------------|------------------|
||-----------------------|------------------|
||o----------------------|------------------|
||-----------------------|------------------|


                                            6x
|-----------------------|--------------------||
|-----------------------|-------------------o||
|-----11--------11------|-------11-----11----||
|-----------------------|---8-------8--------||
|-11--------11----------|-------------------o||
|-----------------------|--------------------||
|
|                                            6x
|-19-----19--------(19)-|-(19)---------------||
|-----19----------------|-------------------o||
|-----------------------|--------------------||
|-----------------------|--------------------||
|-----------------------|-------------------o||
|-----------------------|--------------------||


Interlude
|-----|
|-----|
|-----|
|-----|
|-----|
|-----|


|--------------|--------------|--------------|--------------|
|--------------|--------------|--------------|--------------|
|--------------|--------------|--------------|--------------|
|-9--9-8-9--9--|-9--9-8-9--9--|-9--9-8-9--9--|-9--9-8-9--9--|
|--------------|--------------|--------------|--------------|
|--------------|--------------|--------------|--------------|


|--------------|--------------|--------------|--------------|
|--------------|--------------|--------------|--------------|
|--------------|--------------|--------------|--------------|
|-9--9-8-9--9--|-9--9-8-9--9--|-9--9-8-9--9--|-9--9-8-9--9--|
|--------------|--------------|--------------|--------------|
|--------------|--------------|--------------|--------------|


  Outro
   Gtr IV
||-----------------------|----------------------|
||o-12--12----14---14-14-|-12--12----14---14-14-|
||---------11------------|--------11------------|
||-----------------------|----------------------|
||o----------------------|----------------------|
||-----------------------|----------------------|
|
|   Gtr V
||-----------------------|----------------------|
||o----------------------|----------------------|
||-----------------------|----------------------|
||---4---4-----4-4-----4-|--4---4-----4-4-----4-|
||o--2---2-----2-2-----2-|--1---1-----1-1-----1-|
||-----------------------|----------------------|
|
|   Gtr I
||-----------------------|----------------------|
||o----------------------|----------------------|
||-----------------------|----------------------|
||---9---9--8--9----9----|--9---9--8--9----9----|
||o----------------------|----------------------|
||-----------------------|----------------------|


|----------------------|------------------------||
|-12--12----14---14-14-|-12--12----14---14-14--o||
|--------11------------|--------11--------------||
|----------------------|------------------------||
|----------------------|-----------------------o||
|----------------------|------------------------||
|
|----------------------|------------------------||
|----------------------|-----------------------o||
|----------------------|------------------------||
|----------------------|------------------------||
|--6---6-----6-6-----6-|--4---4-----4-4-----4--o||
|--4---4-----4-4-----4-|--2---2-----2-2-----2---||
|
|----------------------|------------------------||
|----------------------|-----------------------o||
|----------------------|------------------------||
|--9---9--8--9----9----|--9---9--8--9----9------||
|----------------------|-----------------------o||
|----------------------|------------------------||


|----------|------------|------------|--------|
|----------|------------|------------|--------|
|----------|------------|------------|--------|
|-4--------|-(4)--------|-(4)--------|-(4)----|
|-2--------|-(2)--------|-(2)--------|-(2)----|
|----------|------------|------------|--------|


   Gtr III
   PM------------------------------------------------------------------|
                                                                           6x
||------------------|-----------------|-----------------|-------------------||
||o-----------------|-----------------|-----------------|------------------o||
||--------------9-8-|-------------9-8-|-------------9-8-|-------------9-8---||
||--9-9-8-9-9-9-----|-9-9-8-9-9-9-----|-9-9-8-9-9-9-----|-9-9-8-9-9-9-------||
||o-----------------|-----------------|-----------------|------------------o||
||------------------|-----------------|-----------------|-------------------||


 PM------------------------------|
|-----------------|-----------------*|
|-----------------|-----------------*|
|-------------9-8-|-------------9-8-*|
|-9-9-8-9-9-9-----|-9-9-8-9-9-9-----*|
|-----------------|-----------------*|
|-----------------|-----------------*|