2009 ~ Enjoy your Music

Tuesday, December 29, 2009

Rage Against the Machine biography

Posted by theturtle on 12:35 AM

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

Posted by theturtle on 11:25 AM

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

Posted by theturtle on 11:24 AM

A Million Miles Lyrics by lostprophets

Posted by theturtle on 10:02 AM

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

Posted by theturtle on 10:00 AM

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

Posted by theturtle on 9:20 AM

FREE Come As You Are Lyrics BY NIRVANA

Posted by theturtle on 10:28 AM

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

Posted by theturtle on 10:21 AM

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

Posted by theturtle on 10:19 AM

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

Posted by theturtle on 10:17 AM

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

Posted by theturtle on 12:47 PM

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

Posted by theturtle on 12:38 PM

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

Posted by theturtle on 12:28 PM

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

Posted by theturtle on 9:18 AM

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

Posted by theturtle on 7:42 AM

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

Posted by theturtle on 10:05 AM

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

Posted by theturtle on 10:01 AM

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

Posted by theturtle on 9:51 AM

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

Posted by theturtle on 9:31 AM

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

Posted by theturtle on 8:56 AM

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

Posted by theturtle on 8:47 AM

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

Posted by theturtle on 1:47 AM

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

Posted by theturtle on 3:17 AM

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

Posted by theturtle on 12:07 AM

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

Posted by theturtle on 12:03 PM

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

Posted by theturtle on 1:14 PM

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

Posted by theturtle on 1:51 PM

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

Posted by theturtle on 1:35 PM

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

Posted by theturtle on 10:32 AM

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

Posted by theturtle on 1:58 AM

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

Posted by theturtle on 9:56 AM

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.

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